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In "Poem," Billy Collins engages with the meta-textual theme of how poetry approaches its subjects, dissecting the relationship between a poem and its thematic focus with a characteristic blend of wit and insight. Collins, renowned for his accessible style and keen observations about the mundanities of life, here turns his gaze inward, onto the art form itself. This poem serves as a reflection on the diverse methods poets use to entangle subject matter with form, style, and titling, presenting a subtle critique of poetry’s introspective tendencies.

"Poem" opens by categorizing poems based on their approach to subject matter. The initial lines delineate poems that clearly state their subjects in their titles, such as "On this" or "On that." These titles act as "small marquees," a vivid metaphor that likens the titles to the signs above theater doors, advertising the feature presentation within. This imagery suggests that some poems straightforwardly invite readers into their thematic realms, much like a movie theater entices spectators with promises of the stories playing inside. Words like "Celibacy" and "Ostriches at Dusk" are evocative examples, each conjuring its own set of images and expectations before the poem itself is even read. This method of titling promises a certain transparency and directness in the poetic exploration of the named subject.

The poem then shifts to discuss works that find their subject matter in the act of creation itself. Collins humorously imagines a poet "carrying / a tray of vocabulary out to the pool," only to "trip over a word," suggesting that poetry can emerge from the serendipitous, often chaotic process of creation. The metaphor of "broken glass" as a "good topic" underscores the idea that poetry can originate from unexpected accidents or moments of disruption. This segment of the poem highlights the organic, sometimes unpredictable nature of poetic inspiration, where the act of writing itself generates the subject matter.

Collins further explores poems that are self-referential, having "no subject / other than themselves to gnaw on." This introspection is depicted through vivid imagery: "The fly lands on the swatter. / The movie runs backwards / and catches fire in the projector." These lines evoke a sense of self-destruction and futility, suggesting that poems overly focused on their own mechanics or existence may risk becoming self-consuming or self-obliterating. The metaphor of a movie running backwards and catching fire encapsulates the potential for self-referential works to implode, losing their connection to broader themes or audiences outside their self-imposed confines.

The poem concludes by aligning itself with the type of poetry it has been critiquing, acknowledging its own participation in the introspective, self-referential practice it describes. The title "Poem" is identified as "a sign by the road announcing a bump," a metaphor that suggests the poem is merely a marker of something to be aware of, rather than a deep exploration of external subject matter. This self-awareness lends a layer of irony to Collins' critique, as he implicates his own work in the tendencies he examines.

Billy Collins' "Poem" is a reflective and subtly critical examination of the ways in which poetry engages with its subjects. Through a series of vivid metaphors and witty observations, Collins illuminates the diverse strategies poets employ to approach their thematic concerns. He critiques the tendency of some poetry to become overly self-involved, losing sight of the world beyond its own construction. Yet, in acknowledging his own poem's participation in this practice, Collins underscores the complexity of the relationship between form, content, and the creative process, inviting readers to consider the multifaceted nature of poetry itself.

POEM TEXT: https://jamesmacmillan.wordpress.com/2023/03/07/poem-by-billy-collins/


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