Classic and Contemporary Poetry: Explained

Linda Pastan's poem "Vertical" is a meditation on the natural world, human mortality, and the inherent desire to reach upwards—a desire that is embodied by the trees and other vertical forms that surround us. Through the exploration of verticality, Pastan reflects on the contrast between the living, striving state of being upright and the inevitable horizontal state of death.

The poem begins by considering the purpose of leaves, suggesting that they "conceal / the verticality / of trees." This idea introduces the notion that the essence of trees—their reaching, upward movement—is hidden during most of the year by their foliage. It is only in December, when the trees are stripped bare, that we "notice / in December / as if for the first time" the true form of trees: "row after row / of dark forms / yearning upwards." The use of the word "yearning" suggests that these trees are not merely growing, but striving, reaching out for something beyond themselves, possibly symbolizing a spiritual or existential quest.

Pastan then shifts the focus to the human condition, reminding us that "we will be / horizontal ourselves / for so long." This line poignantly alludes to the fact that, in death, we will lie flat, horizontal in our graves, a stark contrast to the verticality that characterizes life. In light of this inevitability, the poem urges us to "honor / the gods / of the vertical." These "gods" represent all things that rise, grow, and stretch towards the sky, embodying the vitality and persistence of life.

The poem goes on to list various vertical forms: "stalks of wheat," which to an ant "must seem as high / as these trees do to us"; "silos and / telephone poles"; "stalagmites / and skyscrapers." Each of these forms is an example of the natural and human-made structures that reach upwards, defying gravity and symbolizing the upward thrust of life and ambition. The comparison of wheat stalks to trees from the perspective of an ant emphasizes the relativity of size and scale, but also reinforces the idea that the drive to grow upwards is a universal one, present in even the smallest and simplest forms of life.

The poem concludes with a return to the trees, particularly the "winter oaks," "soft-fleshed poplars," and a "birch / whose bark is like / roughened skin." The imagery of the birch's bark as "roughened skin" adds a tactile, almost human quality to the tree, making it a relatable figure against which the speaker can lean "my chilled head." This act of leaning against the birch represents a moment of connection with the tree, a recognition of its steadfastness and resilience in the face of winter's harshness. The final lines—"not ready / to lie down"—express the speaker's reluctance to embrace the horizontal state of death, a defiance against the inevitability of lying down permanently.

"Vertical" is a rich and layered poem that explores the significance of vertical forms in nature and human life as symbols of vitality, growth, and aspiration. Pastan’s reflection on the contrast between the upright state of life and the horizontal state of death invites readers to appreciate the beauty and importance of standing tall, both literally and metaphorically, while we can. The poem ultimately serves as a meditation on the human condition, urging us to cherish and honor the striving, upward movements that define our existence, even as we acknowledge the inevitability of our eventual return to the earth.

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