Classic and Contemporary Poetry: Explained

Louis Zukofsky’s “A -- 15” is a dense, intricate poem that exemplifies his commitment to the aesthetics of Objectivism, a movement in modern poetry with which he is often associated. The poem is the fifteenth section of his magnum opus A, a work spanning multiple decades that seeks to reconcile language, music, and the subjective experience of modernity. In “A -- 15,” Zukofsky employs a fragmented, highly allusive style to explore themes of labor, faith, mortality, and human connectedness, embedding these within a linguistic and rhythmic structure that mirrors the complexity of the ideas themselves.

The poem opens with a cryptic, animalistic metaphor: “An hinny by stallion out of she-ass.” This phrase, referencing the hybrid offspring of a stallion and a she-ass, establishes a motif of hybridity and creation. The line juxtaposes base physicality with the intricate act of genesis, suggesting a tension between natural processes and their symbolic interpretations. Throughout the poem, Zukofsky intertwines biblical echoes, particularly those from the Book of Job, with reflections on human suffering and divine omnipotence. The invocation of “Yahweh at Iyyob” frames the speaker’s contemplation as a dialogue with the divine, underscoring the existential weight of the questions posed.

Zukofsky’s style in this poem defies linear narrative. Instead, the fragmented syntax and shifting registers mimic the multiplicity of human thought and experience. The line “Wind: Yahweh at Iyyob / ‘Why yammer’” encapsulates this fragmentation. The wind, a natural force often associated with divine communication in biblical texts, serves here as both voice and interrogator, asking why humans persist in their complaints. The repetition of “Why yammer” throughout the poem reinforces this motif, transforming the act of lamentation into a kind of rhythmic refrain. The poet’s use of biblical language and modern colloquialisms creates a layered texture, suggesting that ancient struggles for meaning persist in contemporary life.

The poem transitions between abstract meditations and vivid imagery, as in the lines “Eye sore gnaw key heaver haul its core / Weigh as I lug where hide any?” The dense soundplay here demonstrates Zukofsky’s mastery of language as material, prioritizing the physicality of words over their semantic clarity. This approach challenges the reader to engage with the poem as an auditory experience as much as an intellectual one. The interplay of sound and sense creates a musical quality, aligning with Zukofsky’s lifelong interest in the relationship between poetry and music.

Amidst its abstract reflections, the poem does not shy away from the realities of mortality and historical trauma. The reference to the Kennedy assassination situates the poem within a specific historical moment, grounding its otherwise esoteric musings in the tangible grief of a national tragedy. Zukofsky’s portrayal of this event avoids overt sentimentality, instead embedding it within the broader tapestry of human suffering and resilience. The image of the widowed Jacqueline Kennedy, “the paragon of fashion widowed / with blood soaked stocking beneath the wounded head she held in her lap,” is stark and visceral, capturing the intersection of personal loss and public spectacle.

Zukofsky also weaves in reflections on artistic creation and legacy. The references to Bach and Handel underscore the poet’s belief in the enduring power of art to transcend temporal boundaries. By invoking these composers, Zukofsky aligns his poetic endeavor with their musical innovations, suggesting that his fragmented, polyphonic style mirrors their contrapuntal techniques. The line “melody is not alone speaking the words thru it” encapsulates this ethos, highlighting the inseparability of form and content in both music and poetry.

Throughout “A -- 15,” the motif of interconnectedness recurs, whether in the natural world, human relationships, or artistic expression. The line “Shore she root to water / Dew anew to branch” evokes a cyclical view of life, where destruction and renewal are intertwined. This image of ecological harmony contrasts with the discord of human history, suggesting that the answers to existential questions may lie in the rhythms of the natural world rather than in divine revelation or human constructs.

Zukofsky’s engagement with the Book of Job is particularly striking in its inversion of traditional theological interpretations. While Job’s suffering is often framed as a test of faith, Zukofsky’s poem suggests that such trials may be inherently unanswerable, with “Wind: Yahweh at Iyyob / ‘Why yammer’” positing a divine indifference to human anguish. Yet, this indifference does not negate the value of human inquiry or creation. Instead, the poem affirms the act of questioning as an essential aspect of existence, even if ultimate answers remain elusive.

The poem concludes with an exploration of memory and legacy, blending personal reflection with historical commentary. The image of reversed boots in the stirrups, a traditional symbol of mourning, encapsulates the poem’s meditation on loss and continuity. By juxtaposing historical figures, biblical allusions, and personal memories, Zukofsky creates a multifaceted portrait of humanity’s attempts to grapple with mortality and meaning.

In “A -- 15,” Zukofsky achieves a synthesis of form and content that challenges traditional poetic conventions. His dense, allusive style demands active engagement from the reader, rewarding careful attention with profound insights into the nature of existence and creation. The poem’s fragmented structure mirrors the complexities of its themes, offering a vision of poetry as a space where language, music, and thought converge to illuminate the human condition.

Copyright (c) 2025 PoetryExplorer

Discover our Poem Explanations and Poet Analyses!

Other Poems of Interest...