Classic and Contemporary Poetry: Explained

Tony Hoagland's "Wasteful Gesture Only Not" poignantly explores the intersection of memory, nature, and the human rituals we engage in to honor the past. The poem centers on Ruth's visits to her mother's grave and the symbolic act of leaving white roses, examining how these gestures intertwine with the natural world and the process of remembering.

The poem begins with a straightforward scene: "Ruth visits her mother’s grave in the California hills." This sets the stage for a meditation on the significance of visiting a loved one's final resting place. Hoagland immediately notes Ruth's awareness that "her mother isn’t there," emphasizing the symbolic nature of the grave. The grave is described as "the rectangle of grass" that "marks off the place where the memories are kept," likening it to a library book named Dorothy. This metaphor suggests that the grave is a repository of memories, each chapter representing different facets of her mother’s life.

Hoagland gives glimpses into these metaphorical chapters: "Dorothy: Better Bird-Watcher Than Cook; / Dorothy, Wife and Atheist; / Passionate Recycler Dorothy, Here Lies But Not." These descriptions paint a vivid picture of Dorothy's multifaceted personality, capturing the complexities and nuances that defined her life. The chapter titles convey affection and humor, as well as a deep sense of loss.

The setting of the California hills, with "the tall tough grass" that "reminds you of persistence" and the "endless wind" that "reminds you of indifference," contrasts the resilience of nature with its indifferent passage of time. This backdrop highlights the ephemeral nature of human life and the enduring presence of the natural world.

Ruth's act of bringing "batches of white roses" to her mother's grave is described as an "extravagant gesture not entirely wasteful." The gesture, while seemingly futile, holds meaning for Ruth. She knows that "as soon as she is gone she knows / the deer come out of the woods to eat them." This acknowledgment that the roses will be consumed by deer connects the act of remembrance with the cycles of nature.

Hoagland deepens this connection with the line, "What was made for the eye / goes into the mouth," reflecting on how beauty and remembrance are transformed into sustenance for the deer. This transformation suggests that acts of remembrance, though seemingly wasted, contribute to the ongoing cycle of life.

As Ruth drives away and later lies in bed, trying to remember her mother, her thoughts drift instead to the roses and then to the deer chewing them. This shift in focus from her mother to the roses and finally to the deer illustrates how memories and symbolic acts can become intertwined with the natural world. The imagery of "pale petals of the roses in the dark / warm bellies of the sleeping deer" evokes a sense of continuity and peace, blending the memory of her mother with the natural cycle of life and death.

The poem concludes with the poignant observation that "that’s what going to sleep is like." This final line connects the act of falling asleep with the process of letting go and accepting the natural cycle of life and memory. It suggests a sense of surrender and peace, acknowledging the transformation of memory into something that sustains and continues beyond the individual.

"Wasteful Gesture Only Not" by Tony Hoagland beautifully captures the complexity of remembrance and the ways in which human rituals intersect with the natural world. Through vivid imagery and thoughtful reflection, Hoagland explores how acts of remembrance, though seemingly fleeting, contribute to the ongoing cycle of life and memory, providing a sense of connection and continuity.

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