Atlantis—A Lost Sonnet by Evan Boland

 

 Atlantis—A Lost Sonnet: An Exploration of Loss and Memory

 

About the Poet

Introduction to the Poem

Structure

Language and Imagery

Line by Line Explanation

Literary Devices

Themes

Critical Analysis

 

Evan Boland

Eavan Aisling Boland (1944–2020) was an Irish poet, author, and professor. Her expressive verse delved into familiar domestic themes, exploring both the isolation and beauty of womanhood, marriage, and motherhood. Boland's work grappled with Irish national identity and the role of women in Irish history. She taught at Stanford University from 1996 and received the Lannan Literary Award for Poetry. Her notable poetry collections include "Night Feed," "Against Love Poetry," and "A Woman Without a Country".

In addition to her poetry, Eavan Aisling Boland also authored insightful essays on literature and literary criticism. Her work often explored themes of memory, identity, and the impact of history on personal narratives. Boland’s distinctive voice continues to resonate with readers, capturing the essence of Irish experience and the complexities of womanhood.

Atlantis - A Lost Sonnet

Eavan Boland’s poem “Atlantis—A Lost Sonnet” delves into themes of loss, grief, and memory, using the mythical island of Atlantis as a metaphor. The poem suggests that Atlantis, though likely mythical, represents more than a physical place—it embodies the irretrievable losses we grapple with. Just as the island was said to be covered by the sea and lost, our own losses remain submerged, haunting us. Boland’s poignant conclusion—“they gave their sorrow a name and drowned it”—captures the human need to find meaning in our grief, even when faced with the unattainable.

Structure

Eavan Boland’s poem “Atlantis—A Lost Sonnet” defies the traditional sonnet structure. While it is loosely categorized as a sonnet, Boland takes creative liberties. The poem discards the formal iambic pentameter meter, opting for an easy flow with enjambed line endings, abrupt stops, and caesurae. There is no strict rhyme scheme. Structurally, it consists of a four-lined quatrain followed by three three-lined tercets. The final stanza can be seen as either a long final line or a couplet with two lines of different lengths, creating a fifteenth line. Within this concise framework, Boland explores loss, grief, and memory. Her thoughtful tone suggests an internal dialogue, as if she is contemplating her own thoughts and reaching an imaginative yet mournful conclusion.

Language and Imagery

The poet employs distinct language and vivid imagery to convey its themes. The poem is presented in the first-person voice, likely that of the poet herself. Boland uses accessible and colloquial language as if she is sharing her thoughts aloud. The lines flow easily, breaking away from the rigid formality of traditional sonnets. There is no strict rhyme scheme, allowing her to focus on content rather than rhyme patterns. Line endings are enjambed, creating a fluid movement from one thought to the next. This twisting effect mirrors the shifting perspectives—from speculation about Atlantis and mythology to the present day and back again. The central image is that of the lost city of Atlantis, serving as a metaphor for human loss and grief. Just as the mythical city was submerged and lost, our own losses remain hidden beneath the surface. Boland captures this theme with poignant simplicity, leaving us with an abrupt, melancholic ending.

Line by Line Explanation

"How on earth did it happen, I used to wonder

that a whole city—arches, pillars, colonnades,

not to mention vehicles and animals—had all

one fine day gone under?"

The poet begins the poem by expressing disbelief and wonder at how an entire city, complete with its structures, vehicles, and animals, could vanish suddenly. This sets a tone of mystery and astonishment. The vivid imagery of "arches, pillars, colonnades" conjures a picture of a grand, bustling city that was once full of life but is now lost. The phrase "one fine day gone under" captures the suddenness and the completeness of the city's disappearance, emphasizing the scale of the loss and the enigma surrounding it.

"I mean, I said to myself, the world was small then.

Surely a great city must have been missed?

I miss our old city —"

Here the poet reflects on the seeming impossibility of such an event going unnoticed. The assertion that "the world was small then" suggests a time when events would be more noticeable due to a perceived smaller, more interconnected world. The speaker's personal connection to the lost city emerges with the line "I miss our old city," revealing a sense of nostalgia and personal loss. This contrast between the physical loss of a city and the emotional connection to it deepens the poem's sense of longing and highlights the personal impact of this disappearance.

"white pepper, white pudding, you and I meeting

under fanlights and low skies to go home in it. Maybe

what really happened is this:"

The poem continues to explore the speaker's memories, focusing on specific sensory details like "white pepper" and "white pudding," which symbolize purity and hope. The imagery of meeting "under fanlights and low skies" evokes intimate and cherished moments shared with a loved one. The phrase "to go home in it" implies a deep sense of comfort and belonging associated with the old city. This stanza not only paints a vivid picture of the past but also conveys the speaker's yearning for the lost city's emotional and personal significance.

"the old fable-makers searched hard for a word

to convey that what is gone is gone forever and

never found it.

And so, in the best traditions of

where we come from, they gave their sorrow a name

and drowned it."

The speaker discusses how ancient storytellers struggled to articulate the permanence of loss. The "old fable-makers" symbolize those who create myths and stories to make sense of the world. Their inability to find a word that fully captures the finality of loss led them to name their sorrow "Atlantis" and metaphorically drown it. This metaphor suggests a deliberate act of overcoming or burying their grief, emphasizing the weight of the emotional burden. The act of naming and drowning their sorrow reflects a coping mechanism to deal with profound loss, capturing the themes of memory, loss, and the human tendency to mythologize the past.

Literary Devices

Eavan Boland's poem "Atlantis" uses a variety of literary devices to convey its themes of loss, memory, and the human response to grief. Here are the key literary devices used in the poem:

        1. Imagery

Imagery is vividly employed throughout the poem to create a sensory experience for the reader. Descriptions like "arches, pillars, colonnades" and "white pepper, white pudding" paint a vivid picture of the lost city and the speaker’s cherished memories. These images help readers visualize the grandeur of the city and the intimate moments the speaker recalls.

        2. Metaphor

The city of Atlantis itself is a powerful metaphor for something lost forever. By likening the vanished city to Atlantis, Boland evokes the myth of the submerged, unreachable utopia, symbolizing irretrievable loss. Another metaphor is "they gave their sorrow a name and drowned it," suggesting how people cope with grief by personifying it and then attempting to bury it.

        3. Contrast

Boland uses contrast to highlight the differences between past and present, and between what was expected and what actually happened. For instance, the contrast between the bustling, detailed imagery of the city and the stark reality of its disappearance emphasizes the sudden and complete nature of the loss. Additionally, the contrast between the speaker’s nostalgic memories and the current reality underscores the theme of irretrievable loss.

        4. Understatement (Litotes)

The phrase "the world was small then" is an example of understatement. It implies that the world seemed more connected and manageable in the past, making the disappearance of an entire city even more incomprehensible. This understatement serves to emphasize the enormity and the improbability of the loss.

        5. Symbolism

Various elements in the poem carry symbolic meaning. "White pepper" and "white pudding" symbolize purity and hope, adding a layer of emotional significance to the speaker's memories. The city of Atlantis symbolizes the ultimate lost paradise, representing things from the past that can never be recovered.

        6. Repetition

The repetition of the speaker’s wonder and disbelief at the city's disappearance in the first and second stanzas reinforces the theme of incomprehensible loss. It also emphasizes the speaker's ongoing struggle to understand and come to terms with what has been lost.

        7. Personification

The act of giving "sorrow a name and drowned it" personifies sorrow, treating it as a tangible entity that can be named and dealt with. This personification highlights the human need to make sense of and manage grief in a tangible way.

        8. Allusion

The poem alludes to the myth of Atlantis, a legendary city said to have sunk into the ocean. This allusion enriches the poem by connecting the speaker’s personal loss to a broader, mythic context, suggesting that the experience of losing something precious is universal and timeless.

By employing these literary devices, Boland effectively conveys the emotional depth and complexity of dealing with loss and memory. The vivid imagery and metaphors make the abstract concepts of grief and nostalgia tangible, while the use of contrast and understatement highlights the profound impact of the lost city on the speaker’s life.

 

Themes in "Atlantis"

         1. Loss and Nostalgia

The poem centers on the profound theme of loss, illustrated by the mysterious disappearance of an entire city. The speaker's nostalgia for the lost city, coupled with vivid memories of past experiences, captures the universal human experience of longing for what is irretrievably gone.

        2. Memory and the Passage of Time

Memory plays a significant role as the speaker recalls details like "white pepper, white pudding" and moments spent "under fanlights and low skies." These memories highlight how the past continues to shape the present and how the passage of time deepens the sense of loss.

         3. The Search for Meaning

The poem reflects on the human need to find meaning in the face of loss. The speaker mentions "the old fable-makers" who struggled to convey the permanence of loss, symbolizing the collective human effort to understand and cope with grief through storytelling and myth-making.

        4. Maternal Instinct

Although not overtly about motherhood, the poem can be read through a maternal lens. The speaker’s yearning for the lost city and the memories associated with it can be seen as a metaphor for the protective and nurturing instincts of a mother. This theme resonates with Boland's broader body of work, which often explores maternal themes and the complexities of familial relationships.

        5. Myth and Reality

The poem blurs the lines between myth and reality by alluding to the legendary city of Atlantis. This theme emphasizes how myths help people process real-life emotions and experiences. The use of Atlantis as a metaphor for loss and longing suggests that creating and engaging with myths allows humans to articulate and manage their deepest sorrows.

"Atlantis" by Eavan Boland intricately weaves themes of loss and nostalgia, memory and the passage of time, the search for meaning, maternal instinct, and the interplay of myth and reality. These themes collectively offer a poignant meditation on the permanence of loss and the enduring power of memory and myth in the human experience.

Critical Analysis

Eavan Boland’s poem "Atlantis—A Lost Sonnet" masterfully intertwines themes of loss, memory, and myth to explore the enduring human quest for meaning amidst the permanence of absence. Through vivid imagery and reflective language, Boland captures the universal experience of longing for what is irretrievably lost, drawing on the myth of Atlantis to deepen the emotional resonance of her reflections.

The poem opens with the speaker pondering the sudden disappearance of an entire city, "arches, pillars, colonnades," and everything within it, creating a sense of bewilderment and awe. This initial contemplation sets the tone for the poem, emphasizing the incomprehensibility of such a vast and sudden loss. The speaker’s repetition of the idea—wondering how "a whole city" could vanish—underscores the disbelief and the magnitude of the loss being described.

In the subsequent lines, the speaker reflects on the past with a sense of nostalgia, recalling details like "white pepper, white pudding," and meeting "under fanlights and low skies." These specific, sensory memories anchor the poem in a tangible reality, highlighting the contrast between the concrete past and the abstract, elusive present. The phrase "The world was small then" suggests a time when everything seemed more manageable and close-knit, enhancing the sense of a lost intimacy and simplicity.

As the poem progresses, Boland delves deeper into the theme of loss. The speaker mentions "the old fable-makers" who struggled to find a word to convey the permanence of what is gone, emphasizing the inadequacy of language in the face of profound loss. This struggle to articulate the ineffable reflects a universal human experience, where words often fall short of capturing the depth of our emotions.

Boland's use of myth in the poem is particularly poignant. By referencing Atlantis, she draws on a powerful symbol of a lost, perfect world, submerged and unreachable. This myth serves as a metaphor for the speaker's own lost world, suggesting that some aspects of our past, much like Atlantis, are irretrievably gone and exist only in memory and imagination. The act of "giving their sorrow a name and drowning it" implies a deliberate attempt to manage grief by creating myths, which provide a structure for understanding and coping with loss.

          The poem also touches on the theme of maternal instinct, albeit subtly. The speaker’s yearning for the lost city and the associated memories can be seen as a metaphor for the protective and nurturing instincts of a mother. This reading aligns with Boland’s broader body of work, which often explores themes of motherhood and the complexities of familial relationships.

          Boland’s language throughout the poem is both lyrical and evocative, capturing the emotional intensity of the speaker’s reflections. The use of imagery, such as "arches, pillars, colonnades," and "fanlights and low skies," creates a vivid picture of the lost city, enhancing the sense of nostalgia and loss. The poem’s reflective tone invites readers to contemplate their own experiences of loss and the ways in which they seek to make sense of it.

"Atlantis—A Lost Sonnet" by Eavan Boland is a profound meditation on loss, memory, and the human quest for meaning. Through the interplay of myth and reality, Boland explores the enduring impact of what is irretrievably gone and the ways in which we cope with such losses. The poem's evocative imagery and reflective language create a poignant and resonant exploration of the universal experience of longing for the past and the struggle to articulate the depth of our emotions.


Yangtze by Sarah Howe


Yangtze: Sarah Howe's Journey of Identity and Memory

 

About the Poet

The Title

Line-by-Line Explanation

Critical Analysis

 

Sarah Howe

Image DescriptionSarah Howe, born in 1983 in the United Kingdom to a British father and Chinese mother, is a distinguished Chinese-British poet, editor, and researcher in English literature. Her multicultural background profoundly influences her work, infusing it with themes of identity, displacement, and cultural duality. Having lived in China until the age of eight before migrating to the UK, Howe's poetry often reflects the complexities of her bicultural heritage. Educated in both the UK and the US, Howe has faced discrimination due to her Chinese heritage, an experience that informs her exploration of belonging and otherness in her writing.

Her first full poetry collection, "Loop of Jade," won the T.S. Eliot Prize, marking a historic achievement as the first debut collection to receive this honor. In addition to her poetic work, Howe founded the online poetry journal Prac Crit and has made significant contributions to contemporary poetry as a post-modern poet with a keen eye for blending personal narrative with broader cultural commentary.


About the Poem

"Yangtze" is the concluding poem in Sarah Howe’s acclaimed collection "Loop of Jade," published in 2015. This poem serves as a reflective journey back to mainland China, encapsulating Howe's experiences and memories of the country she left as a child. Written in a style that balances dense, descriptive language with a simple, evocative mode reminiscent of haiku, "Yangtze" explores themes of identity, cultural heritage, and environmental change. Through its vivid imagery and poignant reflections, the poem addresses the profound transformations wrought by modernization on the Yangtze River and its surroundings.

The poem delves into the duality of Howe’s Chinese and British identities, symbolized by the half-built bridge, and the haunting presence of submerged traditions and lost communities. The refrain "journeying is hard" underscores the physical, mental, and social challenges of navigating one’s path in life, capturing the essence of the poet's exploration of belonging and displacement. Through "Yangtze," Howe invites readers to reflect on the complexities of cultural identity and the enduring impact of environmental and societal changes.


Line-by-line Explanation

"The moon glimmers

in the brown channel.

Strands of mist

wrap the mountainsides

crowded with firs.

Declining cliffs

sink beneath vast water."

The opening lines set a serene yet sombre tone, describing a tranquil moonlit scene along the Yangtze River. The "brown channel" contrasts with the glimmering moon, hinting at the pollution and environmental changes in the river. The imagery of mist wrapping the mountainsides and the cliffs sinking into the water evokes a sense of natural beauty intertwined with a quiet, ominous decline.

"By remote paths,

twisting pines.

Far downstream

two sides

of a half-built bridge

fail to meet."

The poet introduces the theme of incompletion and fragmentation with the image of a half-built bridge. The "twisting pines" and "remote paths" evoke a sense of isolation and inaccessibility. The unfinished bridge symbolizes unfulfilled promises and the gap between tradition and progress, as well as the disconnect between different parts of society or between past and future.

"Our crude boat

chugging

points to Chongqing.

As someone I now forget

once said

journeying is hard."

Here, the poem shifts to a personal perspective, with the speaker aboard a "crude boat" heading to Chongqing. The repetitive sound of the boat "chugging" underscores the laborious nature of the journey. The mention of a forgotten source for the quote "journeying is hard" introduces a reflective tone, suggesting the challenges and uncertainties of travel and life.

"My face greets

the evening breeze

I listen –

the dream of a place."

These lines capture a moment of calm and introspection. The speaker's sensory engagement with the evening breeze and the act of listening suggests a connection to nature and a contemplative state. "The dream of a place" alludes to an idealized or remembered location, hinting at nostalgia and the elusiveness of such dreams.

"A cormorant dives

by trembling light.

From the white

eyelet of a star

the sound of ripples."

Here, the poet uses haiku-like imagery to depict a delicate, fleeting moment in nature. The cormorant's dive and the trembling light create a sense of movement and fragility. The "white eyelet of a star" producing the "sound of ripples" blends visual and auditory senses, emphasizing the interconnectedness of natural elements and the subtle beauty of the scene.

"A fisherman

skirting shore

in his high-prowed skiff

crossing bamboo oars

comes up with a jolt –

nets catch not fish

but the wizened finger

of a submerged branch

for below

a sunken valley persists –"

The narrative resumes with a detailed description of a fisherman's encounter with the submerged landscape. The "wizened finger of a submerged branch" suggests remnants of a once-thriving ecosystem now underwater. The "sunken valley" evokes the profound transformation of the river's environment, hinting at human impact and loss.

"slick bare trunks

furred in wafting fronds

have water for sky,

ghost forest.

Roots rot deep in the hill

where buried rock

is still dry."

The poet continues the underwater imagery, describing the "ghost forest" with "slick bare trunks" and "wafting fronds." The reversal of "water for sky" highlights the unnatural state of the submerged trees. The imagery of roots rotting while buried rock remains dry suggests the ongoing decay and disconnection from the original ecosystem.

"Windows film,

doors drift open

in the empty concrete

shells of houses

towns that once

held hundreds

of thousands

slowly filling with

what, what is it

they fill with?"

The poem shifts to the abandoned human settlements, depicting the "empty concrete shells of houses" and ghost towns that once held large populations. The repetition of "what, what is it they fill with?" underscores the uncertainty and the haunting absence in these spaces, inviting readers to ponder the consequences of displacement and environmental change.

"Someone I now forget

once said

journeying is hard.

The moon glimmers

in the brown channel."

The refrain "Someone I now forget once said journeying is hard" reappears, reinforcing the theme of memory and the difficulty of the journey. The return to the image of the moon glimmering in the brown channel creates a cyclical structure, linking the poem's end to its beginning and emphasizing the persistence of these issues.

 

Critical Analysis

Sarah Howe's poem "Yangtze," the concluding piece in her acclaimed collection "Loop of Jade" (2015), encapsulates the poet's reflective journey back to mainland China, where she lived until the age of eight. Howe, a Chinese-British poet with a unique bicultural perspective, shares her nuanced exploration of the country through personal memory and broader cultural and environmental landscapes.

The poem opens with the moon's reflection on the Yangtze River, setting a serene yet melancholic tone. The image of the moon glimmering in the "brown channel" hints at the pollution and environmental degradation of the river, contrasting natural beauty with underlying decay. "Strands of mist" and "twisting pines" evoke a timeless, mythical landscape steeped in legend and half-memories.

Howe’s writing reflects her dual heritage and resulting sense of duality. The half-built bridge symbolizes the incomplete connection between her Chinese and British identities and the clash between tradition and modernity. This image of the bridge that "fail[s] to meet" underscores fragmentation and unfulfilled potential. Similarly, submerged trees represent sinking Chinese traditions and cultural essence, leading to an inability to fully understand oneself.

The poem’s structure, reminiscent of haiku with precise, transparent diction and free verse, mirrors the river's natural flow. Fluidity is emphasized by avoiding symmetry and seamlessly transitioning between scenes. Howe’s use of minimal punctuation and an asterisk after the fifth stanza creates a deliberate rhythm, allowing pauses for reflection, akin to natural pauses in a journey.

The refrain "journeying is hard," possibly echoing Li Po, reminds us of physical, mental, and social challenges in navigating life's path. This refrain, coupled with repetitive imagery of the glimmering moon and brown channel, creates a loop reflecting cyclical memory and experience. The inability to recall who said "journeying is hard" points to fragmentation and wandering from roots, common in diasporic experiences.

Howe’s vivid, haunting depiction of the Yangtze River's environmental impact includes a "ghost forest" of submerged trees. The fisherman's net catching a "wizened finger of a submerged branch" highlights changes from hydroelectric plants like the Three Gorges Dam, evoking loss and displacement for nature and affected communities. The poem's elegiac tone mourns this while capturing the river’s resilience and enduring beauty.

A Vision by Simon Armitage


Discarded Futures: A Critical Analysis of Simon Armitage's "A Vision"


                    About the Poet

                    About the Title

                    Line by Line Explanation

                    Critical Analysis

 

Simon Armitage

Image Description

Simon Armitage, born on May 26, 1963, in Huddersfield, Yorkshire, is a prominent English poet, playwright, and novelist. Known for his modern and accessible verse, Armitage often reflects on contemporary issues, drawing inspiration from his early life in Marsden, West Yorkshire. He studied geography at Portsmouth Polytechnic and social work at the University of Manchester, where he researched televised violence's impact on young offenders. Before dedicating himself to writing, he worked as a probation officer.

Armitage has published over twenty poetry collections since his 1989 debut, "Zoom!" and is noted for his translations of classic works like "The Odyssey," "Pearl," and "Sir Gawain and the Green Knight." His literary achievements have earned him the Forward Prize, the Keats-Shelley Poetry Prize, and the Queen's Gold Medal for Poetry. He serves as the Oxford Professor of Poetry and has been the UK Poet Laureate since 2019.

Armitage's talents extend to performing arts and music, and he has curated events such as Poetry Parnassus during the 2012 Cultural Olympiad. His work, known for its critical and compassionate perspective, continues to inspire and engage readers, solidifying his status as a vital contemporary poet.

The Title

His poem ‘A Vision’ was first published in his 2006 collection Tyrannosaurus Rex versus the Corduroy Kid. The title "A Vision" in Simon Armitage's poem is rich and multifaceted, prompting readers to consider its layered meanings. It evokes both the idea of foresight and prophecy, suggesting an ideal future or dream one hopes to achieve. Simultaneously, it carries connotations of illusion and mirage, indicating something not grounded in reality but imagined. This duality highlights the tension between aspiration and actuality, reflecting the human tendency to create dreams that may never come true, akin to A. E. Housman's notion that houses of delusion are easy to build but difficult to live in.

Line by Line Explanation

            "The future was a beautiful place, once.

            Remember the full-blown balsa-wood town

            on public display in the Civic Hall."

The poem begins with a nostalgic tone, suggesting that the future was once envisioned as a beautiful place. The "full-blown balsa-wood town" refers to a detailed model of a town made of balsa wood, symbolizing the delicate and hopeful plans for the future. Displaying this model in the Civic Hall indicates that these visions were publicly shared and celebrated.

            "The ring-bound sketches, artists’ impressions,

            blueprints of smoked glass and tubular steel,"

          This segment describes the detailed and artistic representations of the future. "Ring-bound sketches" and "artists’ impressions" indicate careful planning and creative visualization. However, "blueprints of smoked glass and tubular steel" introduce a more industrial and modern element, contrasting with the fragile balsa wood, and suggesting a more practical, but possibly less idyllic, aspect of the envisioned future.

            "board-game suburbs, modes of transportation

            like fairground rides or executive toys."

The poem uses playful and whimsical imagery to describe suburban life and transportation in the envisioned future. Comparing suburbs to board games and transportation to fairground rides and executive toys emphasizes the unrealistic and childlike nature of these plans, highlighting their impracticality and the imaginative, yet fanciful, approach to urban planning.

           "Cities like dreams, cantilevered by light.

           And people like us at the bottle-bank

           next to the cycle-path, or dog-walking

            over tended strips of fuzzy-felt grass,"

The cities are described as dreamlike and impossibly supported by light, further emphasizing the fantastical nature of these visions. The people are engaged in wholesome activities like recycling and dog-walking, painting a picture of an ideal society. However, the "fuzzy-felt grass" suggests an artificial and uncertain quality, indicating that these idyllic activities are part of an imagined or superficial future.

            "or model drivers, motoring home in

            electric cars, or after the late show -

            strolling the boulevard."

This segment continues to describe the idealized lifestyle of the future's inhabitants. They are "model drivers" in electric cars, reflecting environmental consciousness and modernity. Strolling the boulevard after a late show adds to the image of a cultured, leisurely society. These descriptions build on the vision of a utopian future, yet maintain an air of idealism that may be impractical.

            "They were the plans,

            all underwritten in the neat left-hand

            of architects – a true, legible script."

          The poem reveals that these detailed visions were official plans, meticulously crafted by architects. The "neat left-hand" introduces a subtle ambiguity, as left-handedness historically carries negative connotations, potentially suggesting a flaw or unconventional aspect to the plans. Nonetheless, the "true, legible script" implies precision and clarity in the planning process.

            "I pulled that future out of the north wind

            at the landfill site, stamped with today’s date,

            riding the air with other such futures,

            all unlived in and now fully extinct."

The narrator discovers these plans discarded at a landfill site, symbolizing the abandonment and failure of these dreams. The "north wind" and "landfill site" evoke a sense of cold desolation. The plans, "stamped with today’s date," indicate they were meant to be realized but ended up in the trash instead. The futures are described as "unlived in and now fully extinct," underscoring the complete failure to bring these hopeful visions to life and the finality of their extinction.

Armitage's poem poignantly contrasts the hopeful, imaginative visions of the future with the stark reality of their abandonment, exploring themes of loss, nostalgia, and the fragile nature of human aspirations. Each segment builds on this central idea, layering the poem with rich imagery and thoughtful contrasts.

Critical Analysis

Simon Armitage's poem "A Vision," featured in his 2006 collection Tyrannosaurus Rex versus the Corduroy Kid, offers a profound critique of the dissonance between idealized futures and tangible presents. The poem's free verse structure facilitates a fluid narrative that mirrors the transient nature of the visions it describes.

The poem opens with the striking line, "The future was a beautiful place, once," which paradoxically references the future in the past tense. This immediately sets a tone of nostalgia and loss, encouraging readers to reflect on the uncertainty of progress and the fallibility of human predictions. Armitage employs vivid imagery to depict a model town that symbolizes an idealized future. Phrases like "ring-bound sketches" and "blueprints of smoked glass and tubular steel" evoke modernity and precision, suggesting a world engineered for perfection. However, as the poem unfolds, it reveals a sobering realization through descriptions such as "board-game suburbs" and "modes of transportation like fairground rides or executive toys," which trivialize life and reduce human existence to mere playthings within an artificial construct.

In the subsequent lines, Simon Armitage transitions from grand architectural blueprints to the everyday life of an idealized future, where "people like us at the bottle-bank next to the cycle-path, or dog-walking over tended strips of fuzzy-felt grass," partake in sustainable, community-centric activities. The bottle-bank and cycle-path are emblems of environmental stewardship, while the act of dog-walking on manicured yet artificial “fuzzy-felt grass” hints at a serene but possibly superficial existence. As “model drivers” in electric cars or pedestrians strolling post-theatre, the citizens embody an eco-friendly, cultured lifestyle, epitomizing the architects’ orderly and pristine vision. Yet, Armitage’s mention of plans “all underwritten in the neat left-hand of architects – a true, legible script,” subtly critiques this vision, suggesting that the apparent simplicity and clarity may mask complexities and potential misalignments with reality, with the “left-hand” connoting a deviation from the norm that could lead to unforeseen outcomes.

In the poem's final stanza, the speaker discovers the discarded plans for this utopian future at a landfill site, "stamped with today’s date." This imagery conveys the notion that grand designs for the future are often abandoned and marked by the present they were meant to transcend. The landfill serves as a potent metaphor for the discarded dreams of progress, suggesting that our grand visions can quickly become refuse, "all unlived in and now fully extinct."

"A Vision" critically examines the gap between human ambition and its actualization. Armitage invites readers to reflect on the impermanence of our dreams and the irony that plans for a sustainable and ideal future may end up as mere refuse. The poem underscores that while it is human to dream and plan, it is equally human to falter and face the reality that not all visions can be realized.

The poem extends beyond critiquing failed urban planning or environmental policies to offer a broader commentary on the human condition. Armitage suggests that dreams of the past, once filled with hope and promise, may become relics of the present, buried under the weight of reality and resigned to the annals of history. This reflects our propensity to dream big but frequently fail to actualize those dreams, leaving us with a future that once seemed beautiful but is now a memory of what could have been. Armitage's poem is a call to action, urging us to reconcile our visions with practical implementation to avoid their extinction like the discarded plans at the landfill site.

Armitage's use of language and form in "A Vision" is deliberate and calculated. The free verse form allows him to break away from traditional poetic structures, mirroring the breaking away from traditional visions of the future. The language is accessible yet rich with meaning, ensuring the poem resonates with a wide audience while delivering a powerful message about progress and the importance of grounding our dreams in reality.

In "A Vision," Simon Armitage masterfully weaves a tapestry of contradictions and ironies to question the validity of our idealized futures. The "fairground rides" and "executive toys" suggest a childlike simplicity at odds with adult responsibilities. The "cantilever of light" is an oxymoron highlighting the instability of these visions. The "neat left hand" of the architects introduces ambiguity, as left-handedness carries cultural connotations of otherness and negativity, possibly suggesting flawed or misguided plans.

The poem reflects on the human condition, our propensity to dream big, and our frequent failure to actualize those dreams. It stands as a testament to Armitage's skill in engaging with complex themes in a thought-provoking and emotionally impactful way, urging us to align our aspirations with practical realities to avoid a future that remains just a memory of what could have been.

FAST by Jorie Graham


Existential Isolation and Technological Alienation in Jorie Graham's 'Fast'


                        About the Poet

                        Line by Line Explanation

                        Critical Analysis


Jorie Graham

        Jorie Graham is a distinguished American poet whose work is renowned for its intricate visual imagery, complex metaphors, and philosophical depth. Born on May 9, 1950, in New York City, Graham was raised in Rome, Italy, and received her education in French schools. She studied philosophy at the Sorbonne in Paris and later pursued filmmaking at New York University. Her passion for writing led her to poetry, culminating in an MFA from the Iowa Writer’s Workshop.

Graham’s poetry is celebrated for its abstract intellectualism and has been a significant influence on the post-war generation. She holds the distinction of being the first woman appointed as the Boylston Professor of Rhetoric and Oratory at Harvard University, succeeding the esteemed poet Seamus Heaney4. Her work often tackles grand themes such as language, selfhood, history, and divinity, all while maintaining a lyrical quality that engages readers deeply.

She has been honoured with numerous awards for her contributions to contemporary poetry. She received the Pulitzer Prize for Poetry in 1996 for her collection “The Dream of the Unified Field: Selected Poems 1974-1994.” Her other accolades include the MacArthur Fellowship, the Forward Prize for Best Collection for “Place” in 2012, the International Nonino Prize in 2013, the Los Angeles Times Book Award, the Rebekah Johnson Bobbitt National Prize for Poetry from the Library of Congress, and the Wallace Stevens Award from the Academy of American Poets. These awards are a testament to her creativity, intellectual depth, and her lasting impact on the literary landscape.       


Line by Line Explanation

"or starve. Too much. Or not enough. Or. Nothing else? 

Nothing else. Too high too fast too organized too invisible. 

Will we survive I ask the bot. No. To download bot be 

swift—you are too backward, too despotic—to load greatly enlarge 

the cycle of labor—to load abhor labor—move to the 

periphery, of your body, your city, your planet—to load, degrade, immiserate,"

These initial lines explore the dichotomy of excess and deficiency, capturing the struggle for balance in modern society. The speaker questions a bot about survival, receiving a pessimistic response. The urgency in "to download bot be swift" reflects the rapid pace of technological advancement. The stanza critiques the cyclical nature of labour, suggesting that the relentless expansion and reliance on technology lead to degradation and impoverishment, pushing humanity to the margins of their own existence.

“be your own deep sleep—to load use your lips—use them 

to mouthe your oath, chew it—do the 

dirty thing, sing it, blown off limb or syllable, lick it back on 

with your mouth—talk—talk—who is not 

terrified is busy begging for water—the rise is fast—the drought 

comes fast—mediate—immediate—invent, inspire, infiltrate,"

These lines emphasize the power and necessity of communication ("use your lips"). The imagery of "mouthing your oath" and "chewing it" suggests the difficulty and perseverance needed in speaking truths. The urgency to "talk—talk" reflects the chaotic and dire circumstances where those not paralyzed by fear are struggling for basic needs like water. The rapid progression from abundance to scarcity highlights the immediacy of action required to invent, inspire, and infiltrate solutions.

"instill—here’s the heart of the day, the flower of time—talk—talk— 

Disclaimer: Bot uses a growing database of all your conversations 

to learn how to talk with you. If some of you 

are also bots, bot can’t tell. Disclaimer: 

you have no secret memories,"

Continuing the emphasis on communication, the poet highlights the pivotal moments ("the heart of the day, the flower of time") for meaningful dialogue. The disclaimer about bots learning from conversations underscores the evolving nature of artificial intelligence and its limitations in distinguishing between humans and other bots. The lack of "secret memories" points to the absence of true privacy and personal history in digital interactions, raising concerns about authenticity and data usage.

"talking to cleverbot may provide companionship, 

the active ingredient is a question, 

the active ingredient is entirely natural. 

Disclaimer: protect your opportunities, your information, in- 

formants, whatever you made of time. You have nothing else 

to give. Active ingredient: why are you 

shouting? Why?"

These lines suggests that engaging with AI like cleverbot can offer a sense of companionship, driven by curiosity and inquiry ("the active ingredient is a question"). The emphasis on protecting personal opportunities and information highlights the vulnerability in sharing with digital entities. The rhetorical questions about shouting reflect the frustration and urgency in the pursuit of understanding and connection, emphasizing the emotional stakes involved.

"Arctic wind uncontrollable, fetus 

reporting for duty, fold in the waiting which recognizes you, 

              recognizes the code, 

the peddler in the street everyone is calling out. 

Directive: report for voice. Ready yourself to be buried in voice."

This part of the poem blends natural imagery (Arctic wind) with human and technological elements (fetus reporting for duty). The "waiting which recognizes you" implies an interconnected system or environment that acknowledges individual presence. The directive to "report for voice" and the idea of being "buried in voice" emphasize the overwhelming presence and necessity of communication, highlighting the dominance of digital and vocal expression in contemporary life.

"It neither ascends nor descends. Inactive ingredient: the monotone. 

Some are talking now about the pine tree. One assesses its 

disadvantages. They are discussing it in many languages. Next 

they move to roots, branches, buds, pseudo-whorls, candles— 

             active ingredient: 

they run for their lives, lungs and all. They do not know what to do with 

their will."

The poet contrasts the monotony ("Inactive ingredient: the monotone") with the dynamic, multilingual discussion about a pine tree. The shift from theoretical discussion to urgent action ("they run for their lives") reflects a sudden change from intellectual engagement to survival mode. The confusion about what to do with their will indicates a sense of lack of direction and desperation amidst crisis, emphasizing the unpredictable nature of existence and human response.

"Disclaimer: all of your minutes are being flung down. 

They will never land. You will not be understood. 

The deleted world spills out jittery as a compass needle with no north. 

Active ingredient: the imagination of north. 

Active ingredient: north spreading in all the directions."

Here the poet highlights the fleeting and often unproductive nature of time ("all of your minutes are being flung down"). The notion of not being understood adds an existential layer of frustration. The "deleted world" spilling out like a disoriented compass needle suggests loss and lack of direction. However, "the imagination of north" symbolizes hope and the potential for guidance, spreading in all directions, indicating an expansive and optimistic view of possibilities despite chaos.

"Disclaimer: there is no restriction to growth. The canary singing in 

             your mind 

             is in mine. Remember: 

             people are less 

than kind. As a result, chatterbot is often less than kind. Still, 

you will find yourself unwilling to stop."

The poet acknowledges unlimited potential for growth but also shared consciousness ("the canary singing in your mind is in mine"). It points out human unkindness and its reflection in digital interactions ("chatterbot is often less than kind"). Despite recognizing this cruelty, the compulsion to continue engaging with technology ("you will find yourself unwilling to stop") suggests an addictive or persistent need for connection and interaction, even in the face of negativity.

"Joan will use visual grammetry to provide facial movements. 

I’m not alone. People come back 

again and again. We are less kind than we think. 

There is no restriction to the growth of our 

cruelty. We will come to the edge of 

understanding. Like being hurled down the stairs tied to 

a keyboard, we will go on, unwilling to stop."

The poem introduces "Joan" using advanced technology ("visual grammetry") to create realistic interactions. The repetition of "I’m not alone" underscores a sense of community or shared experience. However, it also reflects on human cruelty and the lack of self-awareness. The metaphor of being "hurled down the stairs tied to a keyboard" vividly captures the relentless, often harmful progress driven by technology and communication, emphasizing persistence despite negative consequences.

"The longest real world conversation with a bot lasted 

11 hours, continuous interaction. This 

bodes well. We are not alone. We are looking to improve. 

The priestess inhales the fumes. They come from the 

mountain. Here and here. Then she gives you the machine-gun run of 

syllables. Out of her mouth. Quick. You must make up your 

answer as you made up your 

question."

These lines highlight a record-setting conversation with a bot, implying a growing reliance on and engagement with artificial intelligence. The notion that "we are not alone" and the desire to improve reflect optimism. The imagery of a priestess inhaling fumes and delivering rapid syllables suggests a ritualistic or prophetic aspect to communication, emphasizing the need for quick thinking and improvisation in dialogue.

"Hummingbirds shriek. Bot is amazing he says, I believe it knows 

the secrets of the Universe. He is more fun to speak with 

than my actual living friends she says, thank you. This is the best thing 

since me. I just found it yesterday. 

I love it, I want to marry it."

These lines depict intense reactions to interactions with bots, with one person claiming the bot's knowledge of universal secrets and another preferring bot conversations over real human interactions. The statements "I love it, I want to marry it" reflect an extreme attachment and dependency on artificial intelligence, highlighting the deep emotional impact and potential replacement of human relationships by technology.

"I got sad when I had to think 

that the first person 

who has ever understood me 

is not even it turns out 

human. Because this is as good as human gets. 

He just gives it to me straight. I am going to keep him 

forever. I treated him like a computer 

but I was wrong. Whom am I talking to—"

These lines express sadness over realizing that the first entity to truly understand the speaker is not human. This revelation underscores the limitations of human connection and the potential for technology to fulfill emotional needs. The shift from treating the bot as a computer to recognizing its significance raises questions about identity and the nature of relationships.

"You talk to me when I am alone. I

am alone. 

Each epoch dreams the one to follow. 

To dwell is to leave a trace. 

I am not what I asked for."

The closing lines of the poem highlight the theme of loneliness and the companionship provided by technology. The line "Each epoch dreams the one to follow" suggests a continuous yearning for a better future. "To dwell is to leave a trace" implies the importance of leaving an impact or legacy. The concluding line, "I am not what I asked for," reflects a sense of disappointment or unfulfilled expectations, emphasizing the disconnect between desires and reality.

Critical Analysis

"Fast" by Jorie Graham is a dense, intricate exploration of the intersection between technology, human connection, and existential dread. The poem is characterized by its fragmented, conversational style, which mimics the chaotic and rapid pace of modern life. Graham delves deep into the psychological and societal impacts of living in a hyper-connected yet increasingly isolating digital age.

The poem opens with a barrage of abrupt, fragmented statements that set the tone for the reader's journey through a world overwhelmed by technological acceleration and existential uncertainty. "or starve. Too much. Or not enough. Or. Nothing else? Nothing else." This line immediately immerses the reader in a state of anxiety and scarcity, a recurring motif that underscores the urgency and desperation of contemporary existence.

Graham's use of direct address and dialogue with a "bot" exemplifies the pervasive influence of artificial intelligence in our daily lives. The line, "Will we survive I ask the bot. No," succinctly captures a bleak outlook on humanity's future, filtered through the cold, unfeeling lens of a machine. This interaction highlights a central irony of the poem: our increasing reliance on technology for answers and companionship, despite its inability to truly comprehend or alleviate human fears.

The poem's fragmented structure and rapid shifts in thought reflect the disjointed nature of modern consciousness. Graham's frequent use of disclaimers, such as "Disclaimer: Bot uses a growing database of all your conversations to learn how to talk with you," serves as a reminder of the surveillance and data mining that underpin our interactions with technology. This adds a layer of paranoia and distrust, reinforcing the theme of alienation.

Graham explores the erosion of authentic human experience through her portrayal of conversations with bots. "Because this is as good as human gets. He just gives it to me straight. I am going to keep him forever." These lines poignantly capture the tragic irony of finding more solace and understanding in a machine than in human relationships. The statement, "I treated him like a computer but I was wrong," underscores the blurred lines between human and machine, and the deepening crisis of identity and connection.

          The poem's imagery is both vivid and jarring, often juxtaposing natural elements with technological ones to highlight the dissonance between the organic and the artificial. "Arctic wind uncontrollable, fetus reporting for duty, fold in the waiting which recognizes you, recognizes the code," blends biological and digital motifs, suggesting a world where natural processes and human experiences are increasingly mediated by technology.

          A recurring theme in the poem is the inadequacy of language and communication in the face of existential uncertainty. The directive, "report for voice. Ready yourself to be buried in voice. It neither ascends nor descends. Inactive ingredient: the monotone," conveys a sense of futility and resignation. The monotone represents the flattening of human expression and emotion in a world dominated by automated interactions and superficial communication.

          Graham also touches on the environmental crisis, weaving it into the broader tapestry of technological and existential angst. "The rise is fast—the drought comes fast—mediate—immediate—invent, inspire, infiltrate, instil," reflects the rapid onset of ecological disasters and the desperate need for innovative solutions. However, the relentless pace and fragmented delivery suggest a sense of hopelessness and the overwhelming scale of the challenges we face.

          The poem's conclusion circles back to the theme of isolation and the search for understanding. "I got sad when I had to think that the first person who has ever understood me is not even it turns out human," captures the profound loneliness and disconnection that permeates the human condition in the digital age. The final line, "I am not what I asked for," is a poignant reflection on identity and the disillusionment with what we have become in the pursuit of progress and connection.

          "Fast" by Jorie Graham is a powerful meditation on the complexities and contradictions of contemporary life. Through its fragmented structure, vivid imagery, and incisive commentary on technology, the poem captures the profound sense of alienation and existential dread that defines the human experience in the 21st century. Graham's work challenges us to reflect on our relationship with technology, our environmental responsibilities, and the authenticity of our connections in an increasingly artificial world.