Classic and Contemporary Poetry: Explained

"Windy Afternoon" by Barbara Guest captures the dynamic interplay between nature, human activity, and the ambient stillness that pervades certain moments of the day. The poem opens with a vivid and almost cinematic image: "Through the wood on his motorcycle piercing the hawk, the jay / the blue-coated policeman." This juxtaposition of the motorcycle, birds, and a policeman sets a scene of motion and contrast, blending the natural world with human presence.

The imagery of "Woods, barren woods, / as this typewriter without an object or the words that from you fall soundless" introduces a sense of desolation and unfulfilled potential. The typewriter, a symbol of creation and communication, is rendered mute and purposeless, mirroring the barrenness of the woods. This image suggests a disconnect between the act of writing and the inspiration or substance needed to give it life.

As the poem progresses, Guest paints a picture of a landscape imbued with subtle melancholy and quiet beauty: "The sun lowering and the bags of paper on the stoney ledge near the waterfall." The lowering sun indicates the passage of time, while the "bags of paper" evoke a sense of discarded or forgotten thoughts and ideas, positioned near a waterfall, which symbolizes a natural flow and constant movement. This scene encapsulates the tension between stagnation and the relentless passage of time.

The mention of "Voices down the roadway and leaves falling over there a great vacancy a huge leftover" expands the sense of emptiness and residual presence. The voices and falling leaves suggest activity and change, yet they contribute to a feeling of vast emptiness, a "huge leftover." This imagery evokes the idea of lingering memories and the remnants of past events that populate the present landscape.

Guest then contemplates the "quality of the day that has its size in the North and in the South," suggesting that certain days possess a tangible, almost geographical quality that can be felt across different regions. The "low sighing that of wings" introduces a delicate auditory element, the soft, almost mournful sound of wings beating, enhancing the atmosphere of quiet reflection and gentle melancholy.

The poem concludes with a directive to "Describe that nude, audacious line most lofty, practiced street you are no longer thirsty turn or go straight." This line is rich with ambiguity and potential interpretations. The "nude, audacious line" could refer to a strikingly bold and honest expression or a significant boundary. The "most lofty, practiced street" suggests a path or journey that has been well-trodden and perfected over time. The phrase "you are no longer thirsty" implies a sense of fulfillment or the end of a quest, leading to a choice: "turn or go straight." This choice represents a moment of decision, the possibility of change or continuation along a familiar path.

In "Windy Afternoon," Barbara Guest masterfully weaves together vivid imagery, nuanced emotion, and contemplative reflections on nature, time, and human presence. The poem's structure, with its fluid transitions and rich descriptive language, mirrors the natural flow of a windy afternoon, capturing both the stillness and the movement inherent in such moments. Through her evocative and layered imagery, Guest invites readers to immerse themselves in the subtle interplay between the external landscape and internal experience, creating a poignant and reflective piece that resonates with the universal themes of change, memory, and the passage of time.

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