Classic and Contemporary Poetry: Explained

John Ashbery's "Where It Was Decided We Should Be Taken" is a journey through the meandering pathways of memory, perception, and the surreal landscapes that define human consciousness. Ashbery, celebrated for his intricate, elusive poetry, crafts a narrative that is both a reflection and an exploration, marked by its dreamlike imagery and the fluidity of its logic. The poem unfolds as a series of vignettes, each contributing to a tapestry of thought and experience that resists easy interpretation, inviting readers to dwell in the spaces between understanding and imagination.

The poem begins with the invocation of a name that is "invisible as a headache," setting the tone for a discourse on the unseen, the felt, and the intangible. This opening metaphorically captures the onset of an experience or realization that is as undeniable as it is difficult to pinpoint. The imagery of being "helplessly between the trees" suggests a journey or movement that is not entirely within the control of the travelers, evoking a sense of inevitability and surrender to the forces at play.

The mention of "dusting off our knees" after hearing from the addressee "over so many moons with stars in them" weaves together themes of time, distance, and reconnection. This act of cleaning oneself off and moving forward reflects a resilience and a readiness to engage with the world anew, despite the uncertainties and the passage of time that separates encounters.

Ashbery's contemplation of comfort and its relationship to the romantic—or lack thereof—introduces a meditation on the ordinary and the extraordinary. The comparison of hydrangeas and lilies, and the conditions under which they exist or are perceived, probes the nature of beauty and value, suggesting that context and imagination play significant roles in our appreciation of the world around us.

The narrative shifts to a collective endeavor "in some burrow," where the presence of planes overhead contrasts with a sense of safety or removal from danger. This setting evokes a wartime atmosphere, subtly implying themes of conflict, cooperation, and the strange normalcy found in moments of crisis.

Ashbery's digression into hobbies and dreams introduces a personal dimension, revealing the idiosyncrasies and private worlds that define individual experience. The dream of waking with a "red nightcap" or "dunce cap" blurs the lines between folly and wisdom, between the roles we are assigned and those we choose for ourselves.

The interaction with "Miss Peevish" and the journey to leave a calling card further illuminate the poem's exploration of social conventions, isolation, and the challenges of communication. The presence of a confrontational frog in this narrative thread adds a touch of whimsy and absurdity, underscoring the poem's engagement with the unexpected and the inexplicable.

As the poem concludes in "the torso of a wood," where "birdcatchers yodel and bobwhites cheep," Ashbery anchors the narrative in an environment that is at once familiar and fantastical. This woodland scene, alive with sound and activity, stands in contrast to the earlier images of solitude and introspection, suggesting a return to the communal or the natural as a source of renewal and understanding.

"Where It Was Decided We Should Be Taken" is a testament to Ashbery's mastery of poetic form and his ability to conjure worlds that resonate with the complexity of human thought and emotion. Through its evocative imagery, thematic depth, and lyrical beauty, the poem invites readers to embrace the ambiguity of life, to find meaning in the flux, and to recognize the profound connections that exist within the tapestry of existence.

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