Classic and Contemporary Poetry: Explained

Charles Olson?s "O’Ryan: 11-15" offers a fragmented, kaleidoscopic reflection on society, history, and human absurdity. With its nonlinear structure, rapid shifts in tone and imagery, and biting wit, this sequence explores themes of resistance, realism, historical revisionism, and the contradictions of modern existence. Each numbered section stands as its own vignette, contributing to the whole while leaving space for interpretation and ambiguity.

Section 11, “Letsuzstayawayfromparades,” is a concise declaration that packs resistance into its brevity. The single line suggests a rejection of conformity, spectacle, or collective delusion. Olson’s playful collapsing of words hints at a dismissive, irreverent tone, as if the act of refusing to engage with parades—symbols of unity or nationalism—carries its own quiet defiance.

Section 12 veers into a self-aware, almost nonsensical monologue. The speaker’s frustration with the slipperiness of understanding (“how one does slip on the fucking grass”) reflects Olson’s broader concerns with the inadequacy of language to capture experience. The playful offer to “send you back a pea” and the dense, riddle-like “parse that one” mock the reader’s—or anyone’s—attempt to impose order on the chaos of existence. The references to “your mother’s or hers, or whose, or even your own” evoke a sense of origin and inheritance, questioning what can truly be passed down or understood. It’s a dizzying exploration of futility and absurdity, grounded in Olson’s skepticism about both language and human comprehension.

Section 13 begins with a stark commentary on historical and theatrical realism, recounting an instance of violence during a performance of "Tamurlaine". The anecdote about the pregnant woman killed by a stray bullet highlights the unintended consequences of human attempts to recreate or confront power and history. Olson’s inclusion of this tragic irony underscores the unpredictability and brutality of both art and life.

The second half of Section 13 transitions into a curious historical anecdote about Ericson’s Isle and its supposed Norse inscription. Olson’s focus on the Captain and his whimsical kittens—contrasted with the grandiosity of the supposed Viking legacy—injects humor and skepticism. The idea that this grand historical claim might simply be a fabrication by two bored Norwegians during a winter on the island satirizes humanity’s tendency to mythologize or distort history for meaning.

Section 14 introduces the image of a “clowder of cats” in a city backyard. The cats, surviving on scraps (“dout and on destruction”), serve as a metaphor for resilience amid decay. The collective feeding by neighbors suggests a tenuous form of community, built around shared responsibility for these discarded creatures. Olson’s use of “clowder” (a rarely used term for a group of cats) emphasizes specificity and precision, even as the scene evokes a sense of quiet chaos and neglect.

Section 15 closes the sequence with a critique of political and economic contradictions in mid-20th-century America. The image of “Joe Ball” growing “too tall too quick” draws a parallel between unchecked ambition and fragility, while “Wallace corn” and references to unions and millionaires highlight class disparities. Olson juxtaposes the left’s ideological decline with the material prosperity of the era, captured in images of “eggs” and “Sim-mons-beds.” His admonition to union men—“you better not sneeze, you better get down on your knees”—drips with irony, pointing to the compromises and hypocrisies of those once seen as agents of resistance. The final lines lament the dilution of collective power in the face of consumerism and complacency.

Structurally, Olson’s fragmented approach mirrors the disjointed and multifaceted nature of modern existence. The shifts in tone—from irreverent to tragic, from anecdotal to critical—create a collage-like effect, encouraging the reader to piece together meaning from disparate elements. His conversational, sometimes cryptic language challenges traditional poetic forms, reflecting his projectivist ethos.

Overall, "O’Ryan: 11-15" exemplifies Olson’s ability to blend personal, historical, and cultural narratives into a dense, thought-provoking whole. The sequence’s mix of humor, tragedy, and critique invites readers to confront the absurdities and contradictions of human life, while its fragmented form captures the complexity and disarray of the modern world. Through these snapshots, Olson challenges us to rethink our relationship with history, identity, and the systems that shape us.

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