Classic and Contemporary Poetry: Explained

In "All of Us Here", Irving Feldman creates a lively scene set in an art gallery, capturing the fragmented and overlapping conversations of visitors as they respond to an exhibit. The poem is a collection of voices offering varied and conflicting opinions, which not only provides insight into the artwork but also reflects the complexity of human interactions and perceptions.

The poem opens with an exclamation that suggests clarity but also hints at oversimplification: "Oh, it's all so / —Oh, it's all so obvious!" This fragmented beginning immediately introduces the reader to a chorus of voices, giving the impression of entering an already-busy conversation. The following line, "—They say this show got some terrific reviews," indicates the external influence of critics and media on people's opinions. Despite the enthusiasm implied, there is an underlying tone of skepticism.

Feldman captures the feeling of surprise and familiarity with, "—I swear I did a double-take when I came in." This expression reflects the uncanny effect of seeing everyday objects repurposed in art. The artwork itself is described with fragments like "Old SUBWAY SEATS, used TABLES, metal SCRAP!" indicating the installation's bricolage nature and hinting at themes of urban decay and repurposing.

The conversation then shifts to the nature of the statues, with one person asking, "—These statues are plaster casts of real people?" Another visitor draws a comparison to a wax museum: "—To me it's like a wax museum." The art invites various interpretations, but the observer finds it unsettling that they appear to be "victims." The word "victims" introduces a darker theme, suggesting that the artwork may reflect suffering or exploitation.

A sense of curiosity and critique continues with the observation, "I think I'll just take a peek at the gallery register." This action hints at the desire to understand the artwork's context and to validate one's opinions by checking other viewers' responses. Another voice questions the practicality of art, asking, "—Do you have any idea what plaster does to a rug?"

The dialogue then becomes more personal and introspective: "—What's this guy got that I don't have? / I'll tell you what. Connections, man, connections." This comment touches on the art world's perceived elitism and the importance of social networks in gaining recognition. Another voice adds a sense of identification with the statues: "—God, sometimes I feel just the way they look."

Amid the diverse reactions, one person suggests that the artist is empathetic: "—I think he sympathizes with people. / He must be a nice man." This insight hints at the artist's intention to connect with the audience through his work. However, this empathy is not universally felt, as someone else remains puzzled: "—I don't know what it is about these statues..."

Feldman includes a humorous nod to intellectual snobbery with, "—Where are the café jokes of yesteryear? / —They're in the classroom, wagging gray beards!" This exchange satirizes the academic tendency to overanalyze and intellectualize art.

The poem closes with the realization of the growing crowd: "—It's starting to get crowded in here. / —Who are all these people?" The gallery becomes a microcosm of society, filled with individuals trying to make sense of the artwork and each other.

Theme of Fragmented Perception: The poem highlights how perceptions of art can be fragmented, subjective, and influenced by external factors like reviews, personal biases, and preconceived notions.

Contrast and Humor: Feldman uses humor to contrast different opinions and attitudes. The light-hearted commentary about café jokes and gray beards adds levity to the scene.

Empathy and Identification: The poem reveals moments of empathy and identification with the statues, reflecting how art can resonate on a personal level.

Social Commentary: The voices offer a critique of the art world, touching on elitism ("connections, man, connections") and the often superficial understanding of art.

Structurally, the poem’s lack of a traditional narrative structure and use of dialogue creates an immersive and realistic portrayal of a gallery conversation. The overlapping voices provide a kaleidoscopic view of art reception, making "All of Us Here" a rich and layered reflection on the nature of art, perception, and human interaction.

Copyright (c) 2025 PoetryExplorer

Discover our Poem Explanations and Poet Analyses!

Other Poems of Interest...