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Classic and Contemporary Poetry: Explained

SO GOOD, by             Poet Analysis     Poet's Biography

James Schuyler’s poem “So Good” presents a deeply reflective meditation on memory, time, and the inevitable passage of life, all woven together with his characteristic simplicity and attention to the natural world. The poem begins with a direct invocation to the weather, asking it to sing about the mundane—"one bird peck, pecking on bleached winter grass." This focus on the ordinary is a hallmark of Schuyler’s poetry, where the everyday often serves as a gateway to more profound musings.

The arrival of March, personified as a “granny a child doesn't like to kiss,” evokes a sense of unease and discomfort. March, traditionally a month of transition from winter to spring, carries with it the remnants of winter’s chill and the promise of warmer days. The comparison of March to a grandmother reflects a complex relationship—one of obligation and affection tinged with reluctance. The “farm smell” and “chill sweetness” embody the sensory memories associated with this time of year, suggesting that while the child may not appreciate the kiss now, time will change his perception.

As the poem progresses, the speaker acknowledges that “March will pass,” and with it, other birds and other weather will come, highlighting the inevitable progression of time. Schuyler's mention of a “common cold” serves as both a literal and metaphorical representation of the minor afflictions that accompany the changing seasons—things that are uncomfortable but transient, much like the emotions that arise without a clear cause: “And for no reason my eyes and the sky fill with tears.” Here, Schuyler captures the inexplicable sadness that can accompany seemingly trivial moments, a sadness that mirrors the “two kinds of weather”—both the external, physical environment and the internal, emotional landscape.

The poem then shifts to memories of the grandmother, whose death is recounted with a subtle poignancy. The image of Granny, “embanked in flowers,” with a “cold a cheek to ask a child to kiss,” captures the bittersweet nature of remembering those who have passed. Schuyler’s use of the child’s perspective underscores the innocence and confusion that often accompany such memories, where affection is mixed with discomfort and a sense of duty.

The grandmother’s voice, recalling the past, becomes a conduit for knowledge about the world—identifying birds, butterflies, and the dangers of flies. These snippets of wisdom, though simple, carry the weight of a legacy passed down through generations. However, the repetition of “Or” suggests the fragmentation of memory, as the speaker struggles to fully recall these moments, underscoring the elusive nature of the past.

Schuyler concludes the poem with a return to the present, where the day has grown dark and the speaker contemplates the mystery of where starlings sleep at night. The question, simple yet profound, hints at the unknowable aspects of life and death, much like the grandmother’s passing and the enduring impact of her memory. The final line, “Goodnight Granny, so truly good,” serves as a tender farewell, encapsulating the warmth and affection that have persisted despite the passage of time.

“So Good” is a quiet, introspective poem that explores the interplay between memory, emotion, and the natural world. Schuyler’s attention to the small details of life—weather, birds, a cold—serves as a framework for examining larger themes of loss, remembrance, and the passage of time. Through his understated yet evocative language, Schuyler captures the essence of moments that might otherwise seem insignificant, imbuing them with a sense of universality and deep emotional resonance.


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