Classic and Contemporary Poetry: Explained

Philip Levine’s "Businessman of Alicante" presents a surreal and somewhat humorous interaction between the speaker and a persistent salesman from Alicante. Through vivid imagery and a tone that oscillates between bemusement and frustration, Levine captures the clash of cultural and existential perspectives, offering a reflection on communication, misunderstanding, and the intrusion of the outside world into personal space.

The poem opens with the speaker describing the businessman’s arrival: “He’s on my front porch rapping like a woodpecker.” This simile immediately conveys the persistence and the slightly invasive nature of the visitor’s presence. The businessman refuses to enter, instead choosing to unravel his vision of "the White Coast" from his "carved suitcase." The suitcase, described as carved, suggests something old-fashioned and intricately designed, hinting at the depth and richness of the world he represents.

The businessman’s grand gesture of pointing to heaven and invoking it as a witness to his claims about the "first garden of the world" adds a layer of theatricality to his pitch. His insistence that the speaker can buy "the garden, and the children of the garden" accompanied by a wink, implies not just the acquisition of land but a connection to a mythic and almost Edenic vision of Alicante.

However, the speaker is skeptical, responding with a firm “No, I say, this is not my land.” The businessman’s insistent reply that it is indeed the speaker's land, and his continued pointing to the heavens, underscores his unyielding belief in his pitch. His description of the garden as "the last slip of land breaking into the sea" and "the last crust of earth we will chew before water is our bread" becomes increasingly apocalyptic and poetic, suggesting a final refuge or a last bastion of beauty before a cataclysm.

Despite the vividness and urgency of the businessman’s pitch, the speaker remains disconnected, admitting, "I don't understand a word." This line highlights the communication barrier, both linguistic and conceptual. The businessman’s refusal to speak English and his insistence on winking instead of being serious further compounds the speaker’s frustration.

In a moment of exasperation, the speaker retreats indoors, slamming the door and leaving the businessman standing outside. This act of closing the door represents a rejection not just of the businessman’s pitch but also of the intrusion into the speaker’s personal space and the confusion brought by the encounter. The speaker then listens to the sounds of the outside world—the businessman waiting, his own breath, the day's damp chill, and the trees darkening "like clusters of frightened wrens." This imagery evokes a sense of unease and a return to the natural, familiar world, now tinged with the surreal disruption caused by the encounter.

Levine’s "Businessman of Alicante" encapsulates the tension between the allure of exotic promises and the comfort of familiar realities. Through the speaker’s interaction with the enigmatic and insistent salesman, the poem explores themes of communication, cultural collision, and the sometimes absurd nature of human interactions. The persistent image of the businessman standing outside, coupled with the darkening trees, leaves the reader with a sense of unresolved tension and the lingering impact of this surreal intrusion.

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