Classic and Contemporary Poetry: Explained

"Being and Becoming" by Clarence Major explores the complex and often unsettling nature of self-reflection and identity within a modern, industrial landscape. The poem begins with a stark and jarring image: "The parking lot was / full of cars full / of dead babies and / thousands of court summonses." This opening sets a grim tone, evoking a sense of loss, neglect, and the coldness of bureaucracy. The parking lot, typically a mundane and utilitarian space, is transformed into a metaphorical wasteland, filled with symbols of death and legal entanglements, suggesting a society burdened by unresolved issues and the remnants of unfulfilled potential.

The line "Then is now" collapses past and present, indicating a continuity of bleak circumstances. The speaker describes squatting in the lot, gazing at their reflection in the "hubcaps' silver." This act of self-reflection under the "bright artificial lights" reveals a disconcerting clarity. The phrase "nothing is simple or clear" under these lights implies that artificiality distorts reality, making it difficult to discern truth or meaning.

As the speaker continues to examine themselves, they notice their reflection in the "pigmented tinsel / and the yellow chrome!" These vibrant, shiny surfaces contrast with the grim content of the poem, highlighting the superficial allure of materialism and the facades people create. The speaker's trust in what they see suggests a confrontation with their own image, an acceptance of the alloy-plated identity they perceive. This "alloy-plated identity" symbolizes a constructed, perhaps hardened self, shaped by societal expectations and personal experiences.

The phrase "that great / American wasteland!" critiques the hollowness of the consumer-driven culture, where identity is often defined by possessions and appearances. The speaker acknowledges their own part in this cultural landscape with "some sense / of chronic calm," suggesting a resigned acceptance or perhaps a coping mechanism to deal with the disillusionment.

The climax of the poem occurs as the speaker stands up and "cupped [their] eyes / peering into / the nearest car." This action represents a deeper investigation into the nature of existence and identity. The act of looking into the cars, each a potential vessel of life and death, symbolizes an exploration of the collective human condition. The realization that "each infant death was my own" is a profound moment of empathy and identification. This acknowledgment signifies the interconnectedness of human experiences, where individual suffering reflects a shared, universal tragedy.

"Being and Becoming" ultimately grapples with the concept of self-awareness within a fragmented and often harsh societal context. Major uses vivid and unsettling imagery to confront the reader with the stark realities of life, death, and identity. The poem critiques the superficiality and desolation of modern existence, while also acknowledging the personal and collective aspects of human experience. Through the act of reflection—both literal and metaphorical—the speaker arrives at a deeper understanding of themselves and their place within the broader narrative of life. The poem's exploration of "being" and "becoming" suggests an ongoing, dynamic process of self-discovery, where facing uncomfortable truths is essential for personal growth and empathy.

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