Classic and Contemporary Poetry: Explained

May Swenson’s “Wednesday at the Waldorf” is a whimsical and surreal poem that transforms a scene of mundane luxury into a fantastical tableau. Through her vivid imagery, playful tone, and imaginative leaps, Swenson captures the absurd and enchanting possibilities of an ordinary moment reframed through the lens of poetic creativity.

The poem opens with the striking image of “two white whales” installed in the Waldorf, setting the stage for an interplay between the extraordinary and the everyday. These whales, described as “tumbling slowly above the tables,” exist in an improbable space, defying the physical constraints of the hotel. Their interaction with the surroundings—“butting the chandeliers” and “taking soft bites out of the red-vested waiters”—introduces a playful disruption to the expected decorum of the Peacock Room. Swenson’s use of humor and absurdity immediately draws the reader into this fantastical world, where whales and chandeliers coexist with strawberries and fleur-de-lys.

The anthropomorphism of the whales continues as they engage with the waitstaff, described in tactile and mischievous terms: “poking fleur-de-lys tails into the long pockets on the waiters’ thighs.” This imagery blends the elegance of the setting with the whales’ playful intrusion, creating a sense of surreal delight. The focus then shifts to the eccentric guests, whose appearances are equally fantastical. Described in terms of natural imagery—“skunk-cabbage green” and “wild rose and milkweed”—these characters seem to belong as much to the natural world as the whales themselves. Their presence adds another layer of whimsy and underscores the poem’s theme of blending the ordinary with the extraordinary.

The narrative takes a turn as the guests enter an elevator, and the whales ascend through the ceilings to the sixth floor, where they transform yet again. Here, the surreal imagery intensifies: the whales “turn candy-pink, with sky-colored eyes,” and “silver bubbles start to rise from velvet navels on the top of their heads.” This description evokes a dreamlike quality, emphasizing transformation and the fluid boundaries of this imagined reality. The whales, now in a state of repose, suggest a whimsical detour from their earlier playful antics, hinting at an underlying calm amidst the surreal chaos.

The poem transitions to the streets of New York City, where a “pale blue VW, running on poetry,” becomes a focal point. This line encapsulates the poem’s playful spirit and its celebration of imagination as a driving force. The forsythia, described as thriving “due to dog-do and dew,” grounds the scene in a blend of humor and earthy realism, contrasting with the fantastical elements of the whales and the bubble-laden VW. Swenson’s juxtaposition of the mundane and the magical reinforces the poem’s overarching theme of finding wonder in unexpected places.

As the whales tow the blue car “on a swaying chain of bubbles” toward the Pan Am roof, their dirigible-like ascent becomes a visual climax. The imagery of the whales, “hide-swiping each other, lily tails flipping,” captures a sense of joy and freedom, as if the whales are transcending the constraints of both the hotel and the city. The final line, “There’s a kind of hush all over the world,” lends a poignant conclusion to the poem, suggesting a universal moment of awe or quietude. This phrase, which may echo a popular song lyric, adds a layer of cultural resonance, tying the poem’s surreal imagery to a broader human experience of wonder.

Swenson’s “Wednesday at the Waldorf” is a celebration of imagination and the transformative power of poetry. Through her inventive use of language and imagery, she invites readers to see the world anew, blending the fantastical with the familiar. The poem’s humor, whimsy, and underlying sense of beauty make it a testament to Swenson’s ability to craft scenes that linger in the mind, much like the playful whales that inhabit her vibrant vision.

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