Classic and Contemporary Poetry: Explained

Ron Padgett’s "Strawberries in Mexico" is a playful, free-associative poem that blends urban observation, personal reflection, and literary homage. The poem’s title, which conjures an image of sweetness and foreignness, contrasts sharply with its setting in the gritty, bustling environment of New York City. Throughout the poem, Padgett uses his characteristic humor and casual tone to navigate between seemingly unrelated topics—bank tellers, old men, art, and poetry—while subtly weaving in themes of desire, perception, and the influence of fellow poet Frank O’Hara.

The poem opens with a simple, straightforward image: "At 14th Street and First Avenue / Is a bank and in the bank the sexiest teller of all time." The specificity of the location grounds the reader in a familiar New York City intersection, while the hyperbolic description of the bank teller immediately introduces a tone of playful exaggeration. The phrase "the sexiest teller of all time" is both humorous and sincere, capturing the spontaneous nature of attraction in everyday life. This casual observation sets the tone for the rest of the poem, where mundane experiences are infused with unexpected significance.

Padgett quickly shifts from this initial focus on the bank teller to a broader reflection: "Next to her the greatest thing about today / Is today itself." This line introduces a philosophical undertone, suggesting that the simple fact of being alive and present is its own reward. The juxtaposition of personal attraction with a larger appreciation for existence reflects the poem’s oscillation between the specific and the universal, a hallmark of Padgett’s style.

The poem then takes a sudden, humorous turn: "Through which I go up / To buy books / Like these old pricks / If you have an extra hair in the breeze / Their eyes pop out / And then recede way back." Here, Padgett shifts from contemplating the beauty of the day to mocking older men—“old pricks”—whose exaggerated reactions to youthful appearance or behavior seem both comical and judgmental. The image of “an extra hair in the breeze” suggests that even the slightest deviation from the norm provokes their attention, with their eyes popping out in cartoonish fashion before retreating, as if to signify disapproval. This playful caricature of generational differences highlights Padgett’s irreverent attitude toward societal norms and expectations.

Padgett continues this playful defiance: "As if to say, 'That person is on ... dope!' / They're very correct / But they're not in my shoes." The accusation of being “on dope”—whether literal or metaphorical—reflects the older generation’s misunderstanding of youthful exuberance or unconventional behavior. Padgett acknowledges their judgment with mock agreement—“They’re very correct”—but dismisses it with the reminder that they lack his perspective. The phrase “they're not in my shoes” reinforces the poem’s theme of individual experience and the importance of embracing one’s unique viewpoint, regardless of external judgment.

The poem then shifts into more abstract, artistic territory: "In front of a Dubuffet a circus that shines through / A window in a bright all-yellow building / The window is my eye / And Frank O'Hara is the building." This sequence blends visual art, architecture, and personal perception. Dubuffet refers to Jean Dubuffet, a French painter and sculptor known for his raw, unconventional style. By placing himself “in front of a Dubuffet,” Padgett suggests an encounter with art that mirrors the chaotic, vibrant energy of life itself—“a circus that shines through.” The bright all-yellow building becomes both a literal structure and a metaphorical one, representing how art and experience intersect through perception.

The line “The window is my eye” further emphasizes the act of seeing as both a literal and figurative process. The speaker’s eye becomes the lens through which the world—and art—is interpreted. This introspective moment seamlessly transitions into a tribute to Frank O’Hara, a central figure of the New York School of poets and a major influence on Padgett. By declaring “Frank O’Hara is the building,” Padgett suggests that O’Hara’s work is a foundational structure in his life, as present and integral as the city itself. O’Hara’s poetry, known for its spontaneous, conversational tone and deep engagement with the urban landscape, is echoed throughout Padgett’s own work.

The poem concludes with a direct acknowledgment of this influence: "I'm thinking about him like mad today / (As anyone familiar with his poetry will tell)." This closing line brings the poem full circle, connecting the personal observations, humorous asides, and artistic reflections back to O’Hara’s poetic legacy. The parenthetical aside feels intimate, as if Padgett is speaking directly to readers who share his admiration for O’Hara, inviting them into the conversation. It also reinforces the idea that poetry is a living, breathing dialogue—not just with the world, but with the poets who came before.

In "Strawberries in Mexico," Padgett masterfully blends humor, personal reflection, and literary homage to create a poem that feels both spontaneous and deeply thoughtful. The seemingly disjointed images and observations coalesce into a meditation on perception, desire, and the enduring influence of art and poetry. By weaving together the mundane and the profound, Padgett captures the vibrant, chaotic energy of city life and the quiet moments of introspection that give it meaning. The poem stands as a testament to the power of poetry to transform the everyday into something extraordinary, while honoring the artistic lineage that makes such transformation possible.

Copyright (c) 2025 PoetryExplorer

Discover our Poem Explanations and Poet Analyses!

Other Poems of Interest...