Classic and Contemporary Poetry: Explained

In "Of Being Numerous: 25," George Oppen reflects on the intersections of youth, history, and social structures, using the physical environment of a city as a metaphor for broader cultural and generational dynamics. The poem captures a sense of dislocation and the paradoxical relationship between the young and the old, as well as between the immigrants and the established middle class. Through his characteristic sparse and precise language, Oppen explores the themes of identity, heritage, and the weight of the past.

The poem begins with a striking observation: "Strange that the youngest people I know / Live in the oldest buildings." This opening line sets up a contrast between the vitality of youth and the age of the structures they inhabit. The use of "strange" suggests a certain dissonance or incongruity, as one might expect the young to seek out new, modern spaces rather than dwell in "the dark rooms / Of the past." The "dark rooms" metaphorically evoke a connection to history, tradition, and perhaps the lingering shadows of previous generations. The fact that these young people choose to live in such spaces hints at a search for identity or meaning within the historical and cultural context they have inherited.

Oppen then turns his attention to "the immigrants," who live in "black / Rectangular buildings." The stark, geometric description of these buildings contrasts with the earlier depiction of the "oldest buildings" and suggests a different kind of structure—one that is more utilitarian, impersonal, and perhaps indicative of the immigrants' marginalized status. These buildings are not just places of residence but symbols of the rigid, often oppressive social and economic frameworks that shape the lives of immigrants. The mention of the immigrants situates the poem within the broader context of American society, highlighting the contrasts between different social groups and their respective relationships to history and space.

The line "They are the children of the middle class" refers to the young people living in the old buildings, identifying them as products of a particular social stratum. This group is described as "the pure products of America," echoing a famous line from William Carlos Williams' poem "To Elsie," which critiques the fragmented and often superficial nature of American culture. By invoking this phrase, Oppen suggests that these young people, despite their middle-class background, are seeking something more substantial and meaningful than what mainstream American culture typically offers.

The young people "investing / The ancient buildings" indicates their attempt to reclaim or repurpose these old structures, infusing them with new life and meaning. However, these buildings "jostle each other / In the half-forgotten, that ponderous business." This image of buildings physically pressing against each other in a crowded urban space serves as a metaphor for the overlapping histories and cultural forces that these young people must navigate. The "half-forgotten" suggests that much of the past has been obscured or neglected, yet it still exerts a "ponderous" weight on the present. The idea of "ponderous business" conveys the sense that engaging with history is a heavy, difficult, and ongoing task, one that involves grappling with the legacy of previous generations and the accumulated layers of cultural memory.

The poem concludes with the mention of "This Chinese Wall," a metaphor that evokes the image of a massive, impenetrable barrier. The Chinese Wall can be interpreted as representing the division between different social groups, the separation between past and present, or the challenges of fully understanding and integrating the complexities of history. It may also suggest the barriers that exist within American society—barriers of race, class, and culture—that the young people and immigrants must confront.

In "Of Being Numerous: 25," Oppen meditates on the ways in which the past continues to shape the present, particularly for the younger generation and immigrants who inhabit the physical and cultural spaces left by those before them. The poem captures the tension between the desire for new beginnings and the inescapable presence of history, as well as the difficulties of navigating a society marked by deep-seated divisions. Through his nuanced portrayal of these dynamics, Oppen invites readers to reflect on the interconnectedness of place, identity, and the passage of time in the modern world.

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