Classic and Contemporary Poetry: Explained

Charles Olson?s "Writ (1)" is a layered meditation on the connections between nature, humanity, and the metaphysical forces that bind them. Drawing from archetypal imagery and personal reflection, the poem traverses themes of creation, perception, and the interplay between the material and immaterial. Olson?s characteristic style—fragmented, associative, and rich in sensory detail—imbues the poem with a sense of mystery and revelation, inviting the reader to engage deeply with its layers of meaning.

The poem opens with a declaration that "The place of the clear concept is taken by image," signaling Olson’s emphasis on intuition and the sensory over rigid logic. By privileging imagery, Olson suggests that truth is more often felt or experienced than rationally deduced. This aligns with his invocation of "Anima telluris," or the soul of the earth, which he describes as the secret force underlying natural correspondences. For Olson, the earth is not merely a physical presence but a living entity with its own creative and organizing principles. He portrays this vitality in phrases like "The earth shapes ships, fishes, kings, popes, monks and soldiers," suggesting that human constructs and natural forms are alike products of the earth?s generative power.

Olson?s use of geometry, particularly his reference to "the five geometrical bodies" and "six-cornered figures in crystals," further emphasizes the earth’s inherent order and creativity. By highlighting these patterns as independent of human reasoning—"She did this in independence of the reflection of man"—Olson underscores a view of nature as autonomous and profound, existing beyond human intervention or understanding. The image of the "six-petaled blue flower alone at the end of the row of jonquils not yet out" is emblematic of this quiet, inherent order. The flower becomes both an individual marvel and a representative of broader natural processes, an archetype reflecting the harmonious balance between form and function.

The second section shifts focus to the sensory and personal. Olson begins with "At this time, when the earth smells," grounding the poem in the visceral and immediate. The "odor of my own sweat" linked to "a state of grass" emphasizes the interconnectedness of human and natural processes. The mingling of human scents and natural odors suggests a dissolution of boundaries, a theme that recurs throughout the poem. Olson draws connections between personal experiences, such as "my father?s hat-band," and broader natural phenomena, rooting the metaphysical in the tangible and familial.

The line "When a woman tastes like a six-cornered cup, a man smells like spring" blends sensuality and symbolism, suggesting a unity between the physical and metaphysical aspects of human relationships. Olson?s repeated reference to the "dogwood"—first as a bearer of berries, then as a flowering presence—serves as a metaphor for cyclical transformation and renewal. Its changing state mirrors the broader rhythms of the earth, reinforcing the poem’s central theme of interconnectedness.

In the third section, Olson deepens the metaphysical exploration, referring to "primary images...called archetypalis." These archetypal images, drawn from the collective unconscious, link human perception to universal truths. Olson’s description of the dogwood "showing forth anther-bearing filaments all over itself" is laden with imagery of fertility and creativity. This flowering, occurring "in a matter of weeks after it has been red," highlights the cyclical nature of life and the profound transformations that occur within it. The speaker’s quiet reflection—"I was quiet. I took her arm. I found myself as willing as she to respond"—suggests a moment of unity, both with another person and with the broader forces of nature.

Structurally, the poem unfolds in three distinct yet interconnected movements, mirroring the cyclical and layered themes it explores. Olson’s use of fragmented syntax and enjambment creates a fluid, almost organic rhythm that reflects the poem?s preoccupation with natural processes. The interplay between abstract philosophical ideas and concrete imagery—such as the dogwood, the jonquils, and the scent of grass—grounds the poem?s metaphysical musings in sensory reality.

Ultimately, "Writ (1)" is a meditation on the sacredness of the natural world and humanity’s place within it. Olson?s blending of sensory details with archetypal and metaphysical reflections invites the reader to consider the ways in which the material and immaterial intertwine. The poem’s celebration of nature’s autonomy and its insistence on the importance of perception serve as a reminder of the profound connections that underlie existence, urging us to respond to the world with both reverence and curiosity.

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