Classic and Contemporary Poetry: Explained

In "For Artaud", Michael Thomas McClure channels the intense, raw energy of Antonin Artaud, a French dramatist known for his unfiltered portrayal of the human experience. The poem explores the tension between isolation and engagement, beauty and clarity, using stark imagery and fragmented language to evoke the inner struggle of seeing the world as simultaneously beautiful and indifferent. McClure's language reflects a state of heightened perception, where the boundaries between self and external reality blur, creating an experience that is deeply introspective and unsettling.

The opening declaration, “AND ALL HUGE AND ALL / I am a flask sealed and nothing is happening!” encapsulates the poet’s sense of entrapment and stasis. This image of a sealed flask implies containment and suppression, suggesting that the speaker feels trapped within himself, unable to act or escape. The capitalization amplifies the urgency and magnitude of this state, signaling an existential crisis. The phrase “nothing is happening” implies stagnation, a sense of being caught in a void where movement and progress are impossible. This sets the stage for the poem's exploration of the struggle to break free from inner confinement.

The line “I am black and I do not move out” reinforces the sense of immobility and darkness. Blackness, often a symbol of the unknown or the void, here signifies an absence of light, movement, and understanding. The speaker’s inability to “move out” suggests a profound isolation, as if trapped within the confines of his own consciousness. Yet, an instant later, he shifts perspective: “Or for an instant I am tall / look down on all as it is fit for seeing.” This sudden elevation offers a fleeting moment of power and insight, where the speaker sees the world clearly from a position of dominance. This shift underscores the instability of perception, moving from feeling trapped and powerless to moments of clarity and vision.

The description that follows—“That all is water clear and running, solid and wavering, that all is real and I walk in it”—introduces an element of fluidity. The imagery of water as both “clear and running” yet “solid and wavering” creates a paradox, suggesting that reality is both transparent and elusive. The speaker’s assertion that “all is real and I walk in it” implies a deep immersion in existence, a surrender to the flow of life and its shifting forms. This fluidity contrasts sharply with the initial stasis, indicating a dynamic interplay between stillness and movement, perception and engagement.

McClure’s depiction of seeing “in a face or breast an animal loveliness” highlights the raw, instinctual nature of attraction and connection. This “animal loveliness” evokes a sense of primal beauty, untamed and direct. However, the speaker quickly qualifies this response: “AND IT IS NOT LOVELINESS! BUT CLARITY BUT PURE responding.” This shift suggests that what the speaker perceives is not traditional beauty but an unfiltered truth—a moment of pure recognition and response that transcends aesthetics. The emphasis on “CLARITY” and “PURE” indicates that the value lies in the honest, visceral reaction, unclouded by societal or personal constructs of beauty.

The juxtaposition of “a breast I love” with “face of suffering” speaks to the duality of human experience—the coexistence of desire and pain. McClure implies that true clarity comes from acknowledging both aspects, seeing them as part of the same continuum of existence. This dual recognition underscores the complexity of perception, where moments of admiration and empathy are equally significant and revealing. The poem suggests that this kind of perception is essential to truly understanding the nature of life.

In the next section, McClure shifts the imagery to a more unsettling scene: “In the cold water black worms (planarians) move and dart or crawl unseen.” The introduction of planarians, simple flatworms known for their regenerative abilities, adds a layer of raw, almost grotesque realism. The “cold water” evokes a sense of detachment and discomfort, while the movement of the worms suggests life that exists beyond human awareness or control. This scene contrasts with the earlier depiction of “animal loveliness,” highlighting a different kind of existence that is “unseen” and indifferent to human notions of beauty.

The closing lines, “And all is clear holy and not beautiful to them. / But icy light icy dark and green wet leaves above,” underscore the idea that clarity transcends beauty. The planarians’ world is “clear holy and not beautiful,” suggesting that in nature, there is a purity and sanctity that exists beyond human interpretations of aesthetics. The repetition of “icy light” and “icy dark” emphasizes the starkness of this reality, where contrasts exist without moral or emotional weight. The “green wet leaves above” provide a final image of nature’s persistent, indifferent presence, sheltering and observing the scene below without judgment.

"For Artaud" captures the essence of McClure’s existential exploration: the relentless pursuit of understanding in a world that oscillates between beauty and cold detachment. The poem’s fragmented structure and intense imagery reflect the poet’s struggle to reconcile moments of pure, instinctual perception with the dark, indifferent forces of nature and existence. Through this homage to Artaud, McClure delves into the depths of human consciousness, revealing a space where the sacred and the grotesque coexist, demanding that we confront the reality of our perceptions and the truths they reveal.

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