Classic and Contemporary Poetry: Explained

Linda Pastan's poem "Rereading Frost" reflects on the challenges and doubts that accompany the creative process, particularly for poets who may feel overshadowed by the great works of the past. Through her contemplation, Pastan juxtaposes moments of resignation with a rekindling of purpose, ultimately finding reasons to continue writing despite the weight of literary history.

The poem begins with a candid expression of doubt: "Sometimes I think all the best poems / have been written already, / and no one has time to read them, / so why try to write more?" This sentiment is one many writers can relate to—the feeling that everything worth saying has already been said, and that contemporary efforts may go unnoticed or unappreciated. The rhetorical question "so why try to write more?" captures the speaker’s momentary sense of futility, a common struggle among creators who compare their work to that of established masters.

However, the poem quickly shifts in tone as the speaker recalls a different perspective: "At other times though, / I remember how one flower / in a meadow already full of flowers / somehow adds to the general fireworks effect." This metaphor suggests that even in a field crowded with beauty, the addition of one more flower still contributes to the overall splendor. The "general fireworks effect" evokes an image of dazzling abundance, where every individual element enhances the collective display. The setting of "a hill / in Colorado, say, in high summer" emphasizes the vibrancy and richness of life, and the speaker draws a parallel between this natural scene and the cumulative value of each new poem, no matter how many have come before.

The speaker further justifies the act of creation by comparing it to the smallest note in a musical ensemble: "I also try to convince myself / that the smallest note of the smallest / instrument in the band, / the triangle for instance, / is important to the conductor." Here, Pastan uses the triangle—a seemingly insignificant instrument—to illustrate how even the most modest contribution has its place in the grander scheme. The conductor, who "stands there, pointing his finger / in the direction of the percussions, / demanding that one silvery ping," represents the forces that recognize and require these small, precise contributions. This metaphor underscores the idea that every poem, like every note in a composition, plays a crucial role in the broader artistic experience.

Despite the initial doubts, the speaker concludes with a renewed resolve: "And I decide not to stop trying, / at least not for a while." This decision reflects a commitment to continue writing, acknowledging that the act of creation has its own intrinsic value. However, the speaker also admits a preference for the comfort of reading: "though in truth / I'd rather just sit here reading / how someone else has been acquainted / with the night already, and perfectly." The reference to Robert Frost's famous poem "Acquainted with the Night" brings the poem full circle, connecting the speaker's reflections to the work of one of the very poets who may have initially inspired their feelings of inadequacy.

The acknowledgment of Frost’s mastery—his ability to capture a universal experience "perfectly"—serves as both a source of inspiration and a reminder of the challenges inherent in striving for such perfection. Yet, despite the allure of simply reading and admiring the works of others, the speaker’s decision to keep writing suggests an acceptance of the creative process as ongoing, valuable, and deeply personal.

"Rereading Frost" is a thoughtful meditation on the act of writing, the weight of literary tradition, and the ways in which poets find meaning and motivation in their craft. Through its exploration of doubt and renewal, the poem speaks to the persistence required to create art in a world already rich with masterpieces, ultimately celebrating the unique contributions that each new work can bring to the collective human experience.

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