Classic and Contemporary Poetry: Explained

"Charming" by David Baker presents a nuanced portrayal of a small town caught between its historical identity and the push towards modernization and commercialized charm. Through a series of vivid descriptions and subtle commentary, Baker explores themes of authenticity, transformation, and the commodification of local culture. The poem juxtaposes the quaint, decaying aesthetics of the town with the attempts to reinvent and market its charm to outsiders, reflecting on the complexities of maintaining genuine character in the face of change.

The opening line introduces the town as "The remnant industry of a dying town's itself," immediately setting a tone of introspection and decay. The phrase "Faux charm, flaked paint, innuendo in a nasal twang" suggests a veneer of attractiveness that barely conceals the underlying wear and tear, both physical and cultural, that the town has endured. This sense of superficiality is compounded by the mention of "how-to kits to make mushrooms out of plywood for the yard," a symbol of manufactured quaintness that contrasts sharply with the town's authentic history and natural beauty.

The poem then shifts to the corner grocery's offering of "mango chutney, fine with rabbit, duck, or spread for breakfast on a whole wheat bagel," highlighting the town's adaptation to contemporary tastes and the burgeoning trend of artisanal and exotic foods. The mention of a "small pâtisserie" further underscores the town's transformation into a destination that caters to the preferences of tourists and newcomers, seeking to capitalize on an image of rustic charm and gourmet delicacies.

Baker introduces a piece of local lore with "the five chipped divets in the hotel wall, local lime and mortar," which are said to be remnants of the town's last bad man. This legend serves as a connection to the town's past, a reminder of its more turbulent history that stands in stark contrast to its current, sanitized image. The mention of the "bad man's" "fiery death" adds a layer of intrigue and authenticity that the town's modern offerings cannot replicate.

The closing lines, "but don't look now. / Someone with a camera's got a bead on you," serve as a caution against becoming too absorbed in the town's curated charm. The presence of a photographer captures the invasive gaze of tourism and the external desire to document and consume the town's identity, further complicating the relationship between authenticity and performance. It suggests that the observer, and by extension the reader, is also part of the narrative of transformation and commodification, implicated in the process of turning genuine experiences and histories into marketable attractions.

"Charming" is a reflective and subtly critical examination of the dynamics that shape small towns in the face of economic decline and cultural change. Through its detailed imagery and thoughtful juxtapositions, the poem invites readers to consider the value of authenticity and the impact of external influences on local identities. Baker's work offers a poignant commentary on the challenges of preserving the essence of a place while navigating the pressures of modernization and consumer culture.

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