Classic and Contemporary Poetry: Explained

Michael Ondaatje’s "Taking" is an evocative exploration of the intimate and transformative process of creative influence. Through its sensuous imagery and reflective tone, the poem examines how admiration and artistic engagement with the works of others shape individual imagination and creation. By blending themes of desire, memory, and the interplay between inspiration and originality, "Taking" meditates on the act of internalizing and reinterpreting the essence of those who have come before.

The opening lines articulate a "formal need" that underscores the intentionality of creative influence: "to suck blossoms out of the flesh in those we admire." This striking metaphor captures both the visceral and delicate aspects of inspiration. The act of "sucking blossoms" suggests an intimate and almost parasitic connection to the admired figure, extracting beauty and essence to internalize and replant "private in the brain." The imagery of "fruit in lonely gardens" underscores the solitary nature of artistic creation, where what is taken from others blooms anew in an isolated, personal space.

The poem delves into the act of creation itself, describing the process as learning "to pour the exact arc of steel / still soft and crazy before it hits the page." The juxtaposition of "steel" with "soft and crazy" captures the tension between precision and chaos in creative work. The arc of steel represents the strength and permanence of creation, while its initial malleability suggests the freedom and unpredictability inherent in the act of making. This image underscores the careful balance required to transform raw inspiration into something enduring and meaningful.

Ondaatje reflects on his personal engagement with historical figures, asserting, "I have stroked the mood and tone of hundred year dead men and women." This line emphasizes the tactile, almost physical relationship the speaker has with the past, as though touching the intangible qualities of mood and tone brings them into the present. The reference to Emily Dickinson’s "large dog" and Joseph Conrad’s "beard" highlights the peculiar and personal details that emerge when engaging deeply with the lives and works of others. These figures are "removed... from historical traffic," their essence extracted and personalized, no longer confined to their original contexts.

The act of "tasting their brain" is both a metaphorical act of communion and a visceral reminder of the intimate and consuming nature of influence. The sensory imagery extends to the "wet sound of a death cough," suggesting a connection not just with the creative output of these figures but also with their mortality and humanity. By engaging so deeply with their lives and works, the speaker internalizes their "idea of the immaculate moment," bringing it into the present as something immediate and alive. This continuity between past and present highlights the enduring relevance of artistic and intellectual legacies.

The closing lines introduce the concept of "rumours" that "pass on... are planted / till they become a spine." The "rumours" represent ideas, fragments of inspiration, or whispers of influence that, when absorbed and nurtured, form the backbone of creative identity. This transformation from fleeting influence to structural necessity underscores the way artistic and intellectual inheritance becomes integral to the self. The metaphor of the "spine" also suggests strength and support, emphasizing that the act of taking is not mere imitation but a process of building something new and vital.

Structurally, the poem’s free verse mirrors the fluid and organic nature of influence and creation. The lack of rigid form allows the imagery and ideas to flow freely, reflecting the unpredictable and dynamic process of internalizing and reimagining inspiration. The language is intimate and sensuous, drawing readers into the speaker’s experience of engaging with the works and lives of others.

"Taking" is a meditation on the transformative power of influence and the deeply personal process of artistic creation. Through its vivid imagery and introspective tone, Michael Ondaatje captures the intimacy of engaging with admired figures, blending their essence with one’s own to create something new. The poem celebrates the act of drawing from the past while affirming the individuality and originality that emerge through this process, offering a nuanced reflection on the ways in which art and legacy are perpetually intertwined.

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