Classic and Contemporary Poetry: Explained

Linda Hogan’s "What I Think" is a meditative reflection on the contradictions and quiet complexities of everyday life. Known for her ability to blend personal experience with broader social and environmental concerns, Hogan here presents a scene rooted in domesticity, yet layered with insights into human frailty, resilience, and the cyclical nature of life. Through a simple act of cooking, the speaker becomes attuned to the lives unfolding around her, observing how moments of peace coexist with discord, and how, beneath the surface of daily routines, there is a deeper connection to the natural world and the quiet persistence of life.

The poem begins with a moment of calm: “It is peaceful to cut celery while the woman upstairs sings.” This opening line sets a tone of quiet domesticity, suggesting that even mundane activities like chopping vegetables can be imbued with a sense of serenity when accompanied by the comforting sounds of another’s voice. The woman upstairs represents a kind of harmony, her singing a gentle backdrop to the speaker’s culinary task. However, this peace is quickly disrupted by the contrasting presence of “the woman downstairs,” who is described as “drunk” and “hits the dog while I cook soup.” This juxtaposition of tranquility and violence introduces the poem’s central tension: the coexistence of beauty and brutality in everyday life.

As the speaker continues to cook, her thoughts wander, contemplating the fragility of human existence: “how our lives break like windows from a flying stone or glasses broken on a face.” The simile of lives breaking like glass evokes both the suddenness and the violence of life’s disruptions. The comparison to “glasses broken on a face” suggests not only physical violence but also emotional pain, hinting at personal or communal trauma. Despite this awareness, the speaker remains engaged in her task, choosing to “chop carrots” rather than act on her impulse to call the landlord. This decision reflects a common human response to discomfort—acknowledging suffering while simultaneously retreating into routine as a means of coping.

Hogan’s detailed descriptions of food preparation—“cutting potatoes,” “slicing onions,” “boiling greens”—serve as both literal actions and metaphors for the speaker’s processing of her environment. Cooking becomes a form of meditation, a way to ground oneself in the present while navigating the emotional complexities of the world. The repetition of these culinary actions emphasizes the cyclical nature of life, where daily routines provide a sense of stability amid chaos.

The speaker’s observations of the woman downstairs shift from judgment to empathy as she envisions the following day: “I know tomorrow she’ll be outside on her knees with their girlhood scars, planting red tulips and petting her dog while meat cooks on the stove.” This image of the woman kneeling in the garden, tending to flowers and showing affection to the very dog she had mistreated, suggests the possibility of redemption and the multifaceted nature of human behavior. The “girlhood scars” imply a history of personal trauma, hinting that the woman’s current struggles are rooted in past wounds. The act of planting “red tulips” symbolizes renewal and beauty, contrasting with the previous night’s violence and reinforcing the theme of life’s inherent contradictions.

As the speaker continues to reflect, her thoughts broaden to encompass a wider view of human suffering: “I slice onions and think about all the broken souls wandering about in worn-down shoes and aching joints.” This line connects the specific struggles of the woman downstairs to a more universal experience of hardship. The imagery of “worn-down shoes” and “aching joints” evokes the physical toll of life’s burdens, suggesting a shared human condition marked by endurance and perseverance. Hogan’s choice to intertwine these reflections with the act of slicing onions—a task known for bringing tears—adds a layer of poignancy, blurring the line between physical and emotional responses.

The poem returns to its opening contrast with the repeated line: “The woman downstairs is drunk. The woman upstairs is singing.” This refrain underscores the coexistence of discord and harmony, reminding the reader that life is rarely one-dimensional. The speaker herself embodies this duality, balancing her awareness of suffering with the simple, sustaining act of preparing “tomorrow’s stew.” This notion of preparing for the future, despite the present’s challenges, highlights a quiet resilience and the importance of nurturing oneself and others through life’s inevitable difficulties.

Hogan then shifts the focus downward, both literally and metaphorically: “and in the basement there are only damp walls and rotten wood surrounding heat and electric.” The basement, often a symbol of the subconscious or hidden aspects of life, represents the foundational elements that support the home above. The “damp walls” and “rotten wood” suggest decay and neglect, yet the presence of “heat and electric” indicates that life continues, sustained by these unseen forces. This duality mirrors the broader themes of the poem—how beneath the surface of daily life, there are both deteriorating structures and sources of vitality.

The poem’s final lines delve even deeper, moving beyond the domestic space into the natural world: “and further down, deep thoughts of the forest, mushrooms, the black coal with its inner light.” This progression from the immediate surroundings to the earth itself suggests a profound connection between human experience and the natural world. The “forest” and “mushrooms” symbolize growth and renewal, while “black coal with its inner light” evokes the idea of hidden potential and the transformative power of pressure and time. Coal, formed from ancient organic matter, contains the potential for fire, light, and energy, serving as a metaphor for the resilience and latent strength within individuals and communities.

Structurally, "What I Think" employs free verse, allowing Hogan to weave together observations, reflections, and imagery in a fluid, almost conversational tone. The poem’s lack of punctuation in key places creates a sense of continuity and stream-of-consciousness, mirroring the way thoughts flow naturally during routine activities. Hogan’s language is straightforward yet rich in metaphor, grounding the poem in the tangible while inviting deeper interpretation.

Thematically, the poem explores the interplay between routine and reflection, suffering and resilience, destruction and renewal. Hogan highlights the complexity of human behavior, showing how moments of violence and tenderness coexist within the same individuals and communities. The poem also emphasizes the importance of connection—to oneself, to others, and to the natural world—as a means of navigating life’s challenges.

In conclusion, "What I Think" is a thoughtful, layered exploration of the human condition, blending the mundane with the profound to reveal the interconnectedness of all aspects of life. Through vivid imagery and introspective reflection, Linda Hogan captures the beauty and brutality of everyday existence, reminding readers that beneath the surface of routine actions lie deeper truths about resilience, empathy, and the enduring cycles of life. The poem invites us to find meaning in the ordinary, to recognize the complexities of those around us, and to remain attuned to the quiet, sustaining forces that shape our lives.

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