Classic and Contemporary Poetry: Explained

Charles Olson’s "Return" is a lyrical meditation on time, loss, and the quiet persistence of beauty within cycles of decay. Rooted in the natural and human world, the poem juxtaposes the inevitability of decline with fleeting moments of renewal and wonder. Olson’s characteristic attention to the physicality of existence, combined with his acute sensitivity to mood and memory, transforms this reflection on the dying year into a profound exploration of the human spirit’s resilience.

The poem opens with an invocation of "wanhope," an archaic term denoting despair or hopelessness. This word immediately sets the tone, aligning the "dying of the day" with the "dying of the year," drawing attention to the cyclical nature of endings. Olson’s use of "wanhope" conveys a deep-seated melancholy, its antiquated resonance suggesting that this feeling is both timeless and universal. The emphasis on waning light and the passage of time situates the speaker in a liminal space, where both the external environment and internal emotions reflect transition and uncertainty.

The "sun-deserted air" evokes a stark emptiness, where the absence of sunlight mirrors a sense of abandonment or estrangement. Yet, in the midst of this somber atmosphere, Olson introduces sound: "the heart, hear like a huge ear / the kids and grackles." This auditory imagery brings life back into the scene, countering the silence implied by the setting sun. The pairing of "kids" with "grackles" links human vitality with the natural world, suggesting that even as the day fades, life persists in myriad forms. The mention of the heart as a "huge ear" underscores the speaker’s receptivity, portraying a heightened sensitivity to both the external environment and the inner emotional landscape.

Olson’s attention to physical and emotional crevices—the "heart hurts in the crevice which night will narrow"—creates an image of constriction and vulnerability. The narrowing crevice represents both the literal encroachment of night and the figurative tightening of despair, as the heart struggles within its confines. Yet, this moment of hurt is not static; it is balanced by the sun’s lingering presence, which "throws spears" over "the heads of things." The sun, even in retreat, exerts an active and defiant force, suggesting that light—and by extension, hope—resists total annihilation.

The description of "buildings" wearing their "roofs and chimneys well" adds a touch of wildness and vitality to the urban landscape, challenging the typical associations of decay with stillness or resignation. The personification of the buildings imbues the inanimate with life, and their "wild" appearance aligns them with the gold-lit treetops that follow. Olson’s imagery here emphasizes the coexistence of human constructions and natural phenomena, suggesting an interconnectedness that transcends temporal decline.

In the final lines, Olson directs attention upward, where "the gold tree tops" capture the last light of the sun. This image of illuminated treetops serves as a visual anchor for the poem’s quiet optimism. The phrase "as children will" adds an element of innocence and wonder, contrasting with the earlier melancholy. By evoking a child’s gaze, Olson reminds the reader of the possibility of seeing the world anew, even in moments of waning and loss.

Structurally, the poem moves fluidly between the external and internal, the physical and emotional. Olson’s language is spare yet evocative, each image resonating with multiple layers of meaning. The rhythm of the poem mirrors the ebb and flow of light and emotion, oscillating between despair and resilience. The interplay between sound and silence, light and shadow, creates a textured experience that draws the reader into the speaker’s reflective state.

"Return" ultimately suggests that even in the face of endings—whether of day, year, or life itself—there are moments of vitality and connection that endure. The gold of the treetops, the cries of children and grackles, and the wildness of the built environment all point to a persistence that counters wanhope. By framing the act of looking upward as a childlike gesture, Olson aligns hope with an openness to the world’s transient beauty, urging us to find solace and strength in the fleeting yet enduring presence of light.

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