Classic and Contemporary Poetry: Explained

"Getting Back In" by John Ashbery is a contemplative exploration of reintegration into the present, marked by a sense of displacement and a critical view of contemporary society. The poem opens with a nostalgic reflection, "Melodies of the past, fibres, tangled tracings..." suggesting a yearning for a connection to history and a simpler past. This introduction sets the stage for a contrast between the complexities of the present and the perceived simplicity of the past.

"Getting back in is the easy part. Being stuck in today isn't." This dichotomy underscores the poem’s central theme: the ease of returning to the familiar versus the challenge of navigating the present. The phrase "Being stuck in today" implies a sense of entrapment in the current moment, a moment that may be overwhelming or disorienting.

The poem then delves into a questioning and somewhat cynical tone: "What is this 'today' you speak of so incessantly?" This rhetorical question challenges the reader to consider the nature of the present, which Ashbery describes as a place where practical realities meet ("where the rubber meets the road") and superficial interactions occur ("in one long fawning kiss"). The reference to a "posse’s new poster child" could suggest the fleeting nature of fame or trends in contemporary culture.

The mention of a "system... downloaded but bogus retorts are still coming out of it" alludes to the influx of information and technology in modern life, often overwhelming and sometimes deceptive. This speaks to a broader commentary on the inauthenticity and complexity of navigating a world saturated with technology and media.

Ashbery reflects on the absurdities and contradictions of modern life, noting the paradoxical nature of contemporary existence: "It's pleasures and palaces. A commitment." This line juxtaposes the allure of luxury and enjoyment with the notion of obligation, suggesting a tension between desire and duty.

The imagery of vehicles "instinctively lean[ing] toward some breakdown lane" with none in sight, and the apathetic attitude of the police, paints a picture of a society on the brink of dysfunction, lacking support systems or proper governance.

The poem shifts to a more somber note with the story of someone imprisoned "just for dreaming," highlighting the suppression of imagination and freedom. The return to dreaming upon release signifies the indomitable nature of the human spirit and imagination.

The concluding lines, with their vivid imagery of freight cars and the lissome light, rabbits everywhere, evoke a sense of ongoing movement and fleeting beauty in a world that is at once vibrant and chaotic. This ending leaves the reader with a sense of the continuous flow of time and life, despite the challenges and absurdities presented.

In "Getting Back In," Ashbery captures the complexity of contemporary life with a blend of nostalgia, critique, and a hint of whimsy, inviting the reader to reflect on their own relationship with the ever-evolving present.

POEM TEXT: https://archives.newyorker.com/newyorker/1995-09-25/flipbook/82/

Copyright (c) 2025 PoetryExplorer

Discover our Poem Explanations and Poet Analyses!

Other Poems of Interest...