Classic and Contemporary Poetry: Explained

"Drawing Wildflowers" by Jorie Graham is a contemplative poem that explores the complexities of capturing the essence of wildflowers through drawing. Through rich imagery and philosophical reflections, Graham delves into the limitations and potentials of artistic representation, the nature of change, and the interplay between reality and abstraction.

The poem begins with the speaker's method: "I use no colors, just number threes, / and though I know there are gradations I will miss, in this manner / change / is pressure brought to bear." The choice to use only number threes suggests a minimalist approach, one that emphasizes form and structure over color. This method inherently acknowledges the limitations of capturing the full spectrum of the subject but also highlights the focused intensity required to convey truth through simplicity.

Graham introduces the concept of truth in art: "as if something truthful could be made more true— / the spiderwebs engraved on all successive sheets, flowers inhabited / by the near disappearances of flowers." This suggests that through the act of drawing, the artist can uncover deeper layers of reality, even as the ephemeral nature of flowers—symbolized by "near disappearances"—is captured in the permanence of the drawing.

The process of drawing becomes a meditation on change and decay: "Having picked one / I can start anywhere, and as it bends, weakening, / ignore that." The act of drawing a flower, which is naturally wilting, mirrors the transient nature of life. The artist's ability to "chart the shading of the moment" acknowledges the fluidity of time and perception.

Graham reflects on the challenge of capturing movement and change: "Yet should I draw it changing, making of the flower a kind of mind / in process, tragic and animal, see how it is rendered unbelievable." This line suggests that depicting the flower in flux might make it appear less real, highlighting the tension between capturing a static image and conveying dynamic transformation.

The poem also explores the emotional weight that art can carry: "I can make it carry my fatigue, / or make it dying, the drawing becoming / a drawing of air making flowerlike wrinkles of the afternoon, / meticulous and scarred." The artist's state of mind influences the representation, infusing the drawing with personal emotions and experiences.

When brought indoors and placed in a controlled environment, the flowers and the act of drawing take on a different quality: "Brought indoors and moored to vases, unwavering light, I can take / my time, / though passage then is lonely, something high and dry and / gotten used to, / something noble." This suggests that the act of drawing in a static, unchanging light allows for meticulous attention but also introduces a sense of isolation and detachment.

Graham contrasts this controlled environment with the dynamic reality of a bouquet: "A bouquet is another thing—purple lupine, crimson paintbrush, pink / forget-mes clash." The natural vibrancy and diversity of wildflowers are difficult to capture in a static drawing, highlighting the limitations of artistic representation. The idea of "indication by default" suggests an attempt to imply reality rather than replicate it fully.

The poem concludes with a reflection on the interplay between color and form: "Watercolors could achieve the look of it, two mapped but hostile / lands / resigned to their frontiers—but it's an abstract / peace, magenta meeting crimson; crimson, scarlet." The use of watercolors might better capture the appearance of wildflowers, but the inherent tension between different colors remains, symbolizing the challenges of harmony in representation.

Graham's love for her chosen medium—black and white—resonates in the final lines: "But these in our fields, the real, the sheet of paper, the bouquet, / will not negotiate, and how I love / my black and white and the gray war they make." The monochrome palette, with its stark contrasts and subtle gradations, becomes a battlefield where the struggle to capture reality is both fought and cherished.

"Drawing Wildflowers" by Jorie Graham is a profound exploration of the artistic process, the nature of change, and the relationship between reality and representation. Through her meticulous and reflective approach, Graham invites readers to consider the complexities of capturing the essence of the natural world and the beauty inherent in the struggle to do so.

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