Classic and Contemporary Poetry: Explained

Alan Dugan's poem "On Being Out-Classed by Class" wrestles with themes of identity, class struggle, and societal expectations through the lens of personal and familial history. The poem confronts class distinctions directly and reflects on the impacts of social mobility and migration on individual identity.

The poem begins with a confrontational statement: "You say, 'You can't be any good because you aren't someone from someplace.'" This assertion sets up a conflict based on societal perceptions of worth and origin, suggesting that value and potential are often judged based on one's background or pedigree. The speaker rejects this notion with a sharp, dismissive "Ha!" signaling both defiance and the absurdity of such judgments.

The speaker then outlines a series of existential and physical displacements: "Where I come from is torn down, where I'm at is condemned, and where I'm going to is not built up yet." This statement metaphorically captures the speaker’s state of being — a life in constant transition with no stable past, uncertain present, and an undeveloped future. It underscores a sense of rootlessness and the lack of a traditional, stable foundation from which to derive an identity.

Reflecting on his family history, the speaker mentions his grandfather who "steamed away from yours for eats!, regards!, and joys." This line evokes the image of an ancestor who emigrated, presumably in search of a better life, leaving behind the old for new opportunities. The casual, almost cheerful farewell, emphasizes the hopeful optimism and necessity that often drive migration.

The poem also critiques the romanticization of the past with the line, "Better to be Dugan the Cop and never talk about a shitty past than to be classed out of the potatoes in the old sod." Here, Dugan highlights the hard realities faced by his ancestors (likely referencing the Irish potato famine), contrasting them with the nostalgic glorification of one's heritage, which he views as a luxury unaffordable to those actually suffering.

The lines "He dreamed America up, and I played Indian against his cowboy lies" suggest a disillusionment with the American Dream. The narrative of cowboys and Indians, a simplistic and mythologized version of American history, is called out as "lies." This indicates the speaker’s awareness of and disillusionment with the myths and simplified stories often told by immigrants' descendants to create a sense of belonging or legitimacy in a new country.

Dugan then broadens his critique to the societal structures that enforce and reproduce class distinctions: "Tradition is for the rich to love, the clerks to ape, the poor to suffer." This line cuts to the heart of the poem's message about the uneven distribution of social and cultural capital, where traditions are not just benign customs but tools of exclusion and markers of class.

The closing call to action, "Up the five hour day! Up art! Up the I.R.A.!" serves as a rallying cry for change, advocating for workers’ rights, artistic expression, and perhaps controversially, a nod to the Irish Republican Army, symbolizing resistance against oppressive structures.

Overall, "On Being Out-Classed by Class" by Alan Dugan is a powerful exploration of class identity and social justice. It challenges the value systems imposed by society that define worth by lineage and location. Through vivid personal and historical imagery, Dugan crafts a narrative of defiance and self-determination against societal constraints.

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