Classic and Contemporary Poetry: Explained

In "Buffalo Ode," Charles Olson intricately weaves American history, geography, and economics to present a sweeping commentary on the forces that shaped New York State and, by extension, the American identity. The poem is a meditation on land, power, and exploitation, capturing how these elements intersected in colonial and industrial America to create a complex web of conquest, commerce, and cultural identity. Olson’s use of historical names, geographical landmarks, and metaphors transforms what might appear as disconnected historical fragments into a cohesive tapestry that speaks to the evolution of American society.

The poem opens with the imagery of Sir Saltonstall and Bill Gratwick the First, figures symbolizing the early settlers and tycoons who laid the foundations of power in America. Sir Saltonstall, who “ran over the Atlantic waves carrying the virus,” represents the destructive force of colonial expansion—the spread of diseases and imposition of European systems upon Native populations. The reference to the “virus” hints at the colonial mindset’s invasive nature, positioning settlement as an act of cultural and physical infection. Olson’s mention of Arbella Lincoln, a ship that brought Puritans to America, anchors the poem’s exploration of New England's early settlers, suggesting how these origins tied the region’s history to broader colonial and capitalist ambitions. Similarly, Bill Gratwick’s arrival on the Western plains, “skidding into a stop at Lake Erie’s shore,” marks the point where Eastern expansion met the American interior. The metaphor of “burning his hooves off” suggests the ambition, intensity, and inevitable recklessness of the westward movement that marked American expansionism.

In the following sections, Olson delves deeper into specific historical events and entities, such as the Holland Land Grant. This grant was a land acquisition by Dutch financiers who purchased large tracts of land in New York in the early 19th century, contributing to the economic and cultural foundation of the state. Olson suggests that these early Dutch investments and their teaching of “wampum value” had profound implications for New York’s growth, as well as its lasting economic systems. Olson’s use of “Dutch American History” serves as a reminder of how intertwined Dutch and English colonial influences were in shaping the emerging American identity and economy. By invoking “J G Ryans or Mahoney’s Documents of Early New York History,” Olson grounds his meditation in documented history, underscoring that the Empire State was built upon specific, calculable forces.

A central image in the poem is that of “a dog with a head at each end,” which Olson uses to describe the Erie Canal. The canal, a transformative engineering feat completed in 1825, connected New York City to the Great Lakes, turning New York into a critical commercial hub. By likening it to a “dog with a head at each end,” Olson conveys the dual nature of the canal as both a conduit of opportunity and a symbol of exploitation. The canal brought wealth and accessibility to the state but also intensified the push for expansion and commercialization, inevitably leading to the displacement of Native populations. The canal, in Olson’s vision, encapsulates the contradictions inherent in America’s growth: the promise of prosperity alongside the reality of dispossession and environmental impact.

As Olson charts the geographical and social divisions within New York, he references specific towns and regions, such as Albany and Buffalo, to illustrate the fragmented nature of power distribution within the state. Olson’s attention to these divisions reflects his interest in how different social and economic forces interact across physical space. By bringing in William Jennings Bryan, who was known for advocating the working class and rural America, Olson hints at the populist tensions within the state’s history. This emphasis on local politics and social hierarchies highlights Olson’s belief that national identity is forged not solely in grand narratives but in the intricate, often contentious relationships between local powers.

A significant theme in the poem is the manipulation and exploitation embedded within American capitalism. Olson condemns the opportunism and moral ambiguity of historical figures like Daniel Drew, a financier who manipulated the stock market and amassed wealth through unscrupulous practices. Olson’s choice of Drew as a representative figure of American industry is particularly scathing, as Drew’s legacy is tied to “watered stock” and the exploitation of people and resources. Olson views Drew’s actions as symptomatic of a broader American tradition of commodification, where land, labor, and lives are bought, sold, and manipulated for personal gain. This commodification, Olson implies, underpins the American economy and its expansion, transforming ideals of freedom and opportunity into tools of exploitation.

In the latter sections of the poem, Olson continues to blend historical specificity with broader philosophical insights. He introduces symbols of colonial and indigenous interaction, such as “Cowpens,” “Gurty,” and “Doones,” referring to areas and characters in New York’s history that signify the complex mingling and conflict between Native Americans and European settlers. Olson’s language becomes increasingly dense and abstract as he delves into these intertwined histories, portraying America as a palimpsest where indigenous and colonial histories overlap in layers of unresolved tensions.

Through references to the geography and architecture of New York, such as “Connecticut farmhouses dotting with Greco-Roman elegance,” Olson explores the aesthetic and ideological influence of European styles on American identity. These farmhouses and the Greco-Roman influence point to America’s attempt to emulate European sophistication, even while it sought to forge its own path. Olson implies that American culture, while striving for independence, remains haunted by its colonial roots, a theme he captures through his fragmented yet cohesive imagery.

The poem’s conclusion, dense with imagery and allusion, brings the focus back to Buffalo and the legacy of colonial America. Olson’s invocation of locations such as the Otsego and the recurring “Paris”-Sewer emphasizes the contrasts between the pastoral ideal of America and the gritty reality of urban and industrial development. Olson’s vision of America, especially as embodied in New York State, is one of dissonance—a place where idealism, ambition, exploitation, and decay coexist. He suggests that this dissonance is integral to the American experience, where the pursuit of growth and prosperity is often marred by greed, violence, and environmental degradation.

In "Buffalo Ode," Olson presents a layered critique of American expansion and identity, using New York State as a microcosm of the broader national trajectory. The poem’s language, dense with historical allusions and geographical references, paints a vivid portrait of a nation shaped by its relentless drive for progress. Yet Olson’s tone is neither celebratory nor entirely condemnatory. Instead, he presents history as a complex, often paradoxical narrative, inviting readers to contemplate the moral and existential costs of the American project. Through this meditation, Olson positions himself not only as a poet but as a historian and philosopher, probing the foundational myths and realities of the United States.

Copyright (c) 2025 PoetryExplorer

Discover our Poem Explanations and Poet Analyses!

Other Poems of Interest...