Classic and Contemporary Poetry: Explained

In "Conqueror," Charles Olson takes on themes of nature, decay, human persistence, and intellectual curiosity in a fragmentary, reflective meditation that fuses his natural observations with reflections on human experience. Through symbolic language and stark, direct imagery, Olson presents a cycle of death and rebirth where even the simplest creatures, such as gulls and worms, serve as emblems of existence’s grit and tenacity. The poem confronts both the beauty and derangement of the natural world, mirroring the cyclical and often brutal reality of human endeavors.

The opening lines—"Gulls on the grass / and the odor of live worms / and worms dead on the walk”—"create a vivid sensory environment that draws attention to both life and death in nature. Olson uses the gulls, often seen as scavengers, as symbols of survival and adaptation, as they feed on the dead worms, showing a world where one creature’s life is sustained by another’s death. In referring to the worms as both “live” and “dead,” Olson emphasizes the duality and continuity of life, illustrating the interconnectedness of all creatures, however small or seemingly inconsequential. The language here is precise and unadorned, emphasizing Olson’s commitment to presenting life’s fundamental realities without romanticizing or sanitizing them.

Olson’s use of German—"der Weg tough as we are a path is not stirbt easy to get the foot on mister gull"—adds a layer of complexity and perhaps irony to his discussion of paths and journeys. "Der Weg," meaning “the path” or “the way,” evokes the idea of an individual’s journey or life course, while "stirbt" (meaning “dies”) suggests mortality and the inevitable end of all journeys. Olson hints at how challenging it is to even start on a path, let alone see it through, alluding to how some are dead before they’ve truly begun. The line appears to parallel Olson’s critique of societal expectations and rigid paths, implying that individuals are discouraged or constrained by the ways set before them, leading to conformity rather than discovery.

Throughout the poem, Olson’s tone is bracing and almost disdainful toward social constructs and those he views as unworthy of serious thought—"the fuckers and the boobs." This line signals Olson’s rejection of those he sees as unthinking or passive, who allow the status quo to persist without question. His command to "Cry shit and leave em they ain’t worth our time walk on em" suggests a forceful dismissal of mediocrity or of those who lack curiosity or courage. Olson’s use of coarse language here strips away pretense, reinforcing his belief that humanity’s progress is hampered by individuals who fail to strive or challenge norms. In his view, these individuals are like the dead worms on the walk—survivors perhaps, but not contributors to the larger, meaningful cycle of discovery.

A central theme emerges in Olson’s portrayal of "a man" as a figure of curiosity and method. Olson suggests that meaningful existence comes from “the root curiosity, the process question, and the end a method.” This encapsulation underscores his belief in a life driven by inquiry, where a man’s worth is measured by his willingness to pursue knowledge and question established methods. Olson’s assertion that "a man, a revolution proceeds out of, a man" posits that personal growth or change begins at the individual level—through self-reflection, challenging the self, and striving for understanding. His revolutionary impulse is not directed at external upheaval but at an internal transformation where a man becomes both subject and object in his quest for self-knowledge and method.

The line, "If a man is a matter of what consequence in consequence he is an object," implies a critique of how society often reduces individuals to their social roles, contributions, or usefulness, rather than valuing them as complete beings. Olson juxtaposes the words "consequence" and "in consequence," which can imply both the significance of one’s actions and the meaningless nature of existence when viewed purely through a utilitarian lens. To Olson, viewing a person solely through their “consequences” dehumanizes them, treating them as tools rather than as individuals with inherent worth.

The poem’s final lines capture a sense of reconciliation or acceptance in the face of life’s inevitable decay. Olson’s recognition that "a worm get us in the end" alludes to mortality in a literal and figurative sense, with death acting as the final equalizer. He seems almost resigned to this reality, noting that it is better for “a worm” to claim us, as this returns us to nature’s cycle rather than allowing us to be consumed by artificial structures or meaningless pursuits. The reference to "this morning / as I walk from breakfast to work" grounds the poem’s musings in the everyday, showing Olson’s appreciation for the simple act of noticing, even amid the mundane routines of life.

In "Conqueror," Olson ultimately presents a call for awareness and inquiry in the face of life’s challenges and uncertainties. His reflections on nature’s rawness and the reality of human mortality form a backdrop for a critique of societal complacency. In challenging his readers to look at life through the lens of curiosity, consequence, and individual purpose, Olson calls for a reclamation of the human spirit—one that is not deadened by routine or deranged by modernity but alive, questioning, and courageous in the face of the unknown.

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