Classic and Contemporary Poetry: Explained

"Surface as Object" by Barbara Guest is an exploration of the layers and complexities that define visible reality. The poem traverses themes of perception, history, nature, and the interaction between human consciousness and the material world, employing a rich tapestry of imagery and lyrical expression to weave a meditation on the relationship between surface and depth.

The poem begins with the assertion of "the visible / as in the past," suggesting that what we perceive is deeply rooted in historical and layered contexts. The "layered zone" refers to the multiple strata of meaning and existence that constitute our understanding of reality. This layered visibility "refuses to dangle / oaths on marsh field," implying a rejection of superficial commitments or promises that are ephemeral and insubstantial.

Guest juxtaposes "whitened or planned / memorial distance" with "vine / that which proliferates," contrasting structured, deliberate acts of remembrance with the organic, often uncontrollable growth of nature. The "bittersweet grapple / initiates / a mysterious mesh," evoking the intertwined, complex emotions and connections that develop over time, forming a "patina" or surface layer that carries the marks of history and experience.

As the poem progresses, Guest introduces a dynamic movement with "she moving forward into / the line of sticks / circled by sticks." This imagery suggests a journey through obstacles and challenges, with the "hand flies up / in the direct line of sticks" symbolizing an instinctive or reactive motion in response to these impediments. The "odor of lines" implies a sensory engagement with the environment, where perception is not just visual but also olfactory.

The poem's exploration of "annexation of Egypt / oaths on marsh fields etc." introduces a historical dimension, referring to the absorption and transformation of cultures and spaces. This line hints at the ways in which political and cultural conquests shape the landscapes and histories we inhabit. The "tomblike fragrance of stone" and "cult-like / expressiveness" suggest a reverence for the past and the mysterious, almost ritualistic qualities that imbue historical artifacts and natural objects.

Guest employs vivid imagery to create a sense of tactile and sensory immersion. The "perpendicular / millimeter stone" contrasts with the "gangling / as the artful / lessening surprised," highlighting the tension between precise, geometric forms and the organic, spontaneous aspects of nature and art. The "tree grown guava" and "oaths on marsh field" evoke the interplay between cultivated and wild elements, where human attempts to impose order coexist with the untamed aspects of the natural world.

The poem's closing lines, "the hungry minstrel and the forager / gold on the guava lick of rosin / and the chill latched thicket / grunt marsh weed / regardez-la / the untamed ibis," bring together human and animal figures, suggesting a shared existence within a rich, sensuous landscape. The "hungry minstrel and the forager" embody different modes of engagement with the world—artistic creation and subsistence—while the "gold on the guava lick of rosin" combines visual and tactile imagery to evoke a sense of preciousness and tactile pleasure.

The "chill latched thicket" and "grunt marsh weed" introduce elements of discomfort and roughness, contrasting with the more delicate or refined imagery earlier in the poem. The command "regardez-la" directs the reader's attention to the "untamed ibis," symbolizing a wild, free presence that defies domestication and control. This bird, an emblem of the natural world, stands as a counterpoint to the structured, historical layers explored throughout the poem.

In "Surface as Object," Barbara Guest masterfully combines sensory imagery, historical references, and philosophical reflections to create a nuanced meditation on the nature of perception and the interplay between surface appearances and deeper realities. The poem invites readers to consider the complexities that underlie what we see and experience, reminding us of the rich, layered contexts that shape our understanding of the world.

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