Classic and Contemporary Poetry: Explained

Robert Bly’s "Rethinking Wallace Stevens" is a compact, conversational meditation on the legacy of Wallace Stevens and his exploration of imagination as a central force in the modern world. Through its reflective tone and direct address, the poem revisits Stevens’ work, acknowledging his influence while reinterpreting his philosophical preoccupations. Bly positions Stevens as a figure who, in the absence of the gods, offers Imagination as a means to navigate the complexities of existence.

The poem begins with a questioning tone: “What can I say? You have this funny / Idea that the gods are dead.” This opening acknowledges Stevens’ modernist skepticism, often apparent in his poetry’s treatment of traditional metaphysical frameworks. Bly’s use of “funny” introduces a wry humor, suggesting both recognition of and distance from Stevens’ dismissal of the divine. The gods, symbolic of traditional religious or mythological systems, are not so much refuted as they are reimagined, their absence creating a void that demands a response.

Bly’s own stance emerges in the next lines: “You were so rash. I’d play saying / The gods have died, but I’d never say it.” The distinction between “play saying” and “never say it” emphasizes the balance between exploring provocative ideas and fully committing to them. While Bly engages with Stevens’ assertion of the gods’ death, he remains hesitant to wholly affirm it, hinting at the enduring resonance of mythic frameworks in human thought.

The crux of the poem lies in its assertion: “If they’re gone, only Imagination / Can replace them. That’s you.” Here, Bly celebrates Stevens’ elevation of imagination as the central creative and interpretive force in the absence of divine guidance. Imagination becomes the new locus of meaning, a space where human beings can construct, perceive, and reframe their reality. By directly linking Stevens to this imaginative power, Bly both honors and critiques him, acknowledging Stevens’ pivotal role in modernist poetry while underscoring the weight of his philosophical position.

The poem’s tone becomes more intimate and localized as it addresses Stevens directly: “We’ll have to come to you, where / You stand in your Hartford garden.” This image grounds Stevens in a tangible, almost domestic setting, contrasting with the grandeur of the gods or the abstraction of imagination. The Hartford garden becomes a symbol of Stevens’ physical presence and the everyday contexts in which his imaginative insights took shape. The idea of “coming to you” suggests a pilgrimage or return, recognizing Stevens as a necessary guide in a world where traditional metaphysical structures have faltered.

The closing lines, “Looking and lolling and longing / Like a girl in a white dress,” evoke a sense of innocence, playfulness, and yearning. The simile casts Stevens in a surprisingly youthful and feminine light, a stark contrast to his typical portrayal as a cerebral and reserved figure. This image humanizes Stevens, emphasizing the vitality and vulnerability inherent in his imaginative pursuits. The “white dress” suggests purity and possibility, aligning Stevens’ imaginative endeavors with a sense of renewal and creative openness.

Structurally, the poem’s free verse and conversational tone mirror its thematic exploration of dialogue and reinterpretation. Bly’s direct address to Stevens creates an atmosphere of intimacy and reflection, inviting readers to engage with Stevens not as an inaccessible literary figure but as a fellow traveler in the search for meaning. The lack of strict form allows Bly to shift fluidly between critique, celebration, and imagery, reflecting the multifaceted nature of his engagement with Stevens’ work.

"Rethinking Wallace Stevens" is both a homage and a critique, celebrating Stevens’ role in elevating imagination to the status of a modern metaphysical force while questioning the implications of his dismissal of the gods. Bly’s conversational tone and vivid imagery position Stevens as both a towering figure and a deeply human one, whose imaginative legacy continues to inspire and challenge. By situating Stevens in his Hartford garden, Bly underscores the enduring relevance of Stevens’ work, inviting readers to revisit his insights with fresh eyes and renewed appreciation for the imaginative power he championed.

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