Classic and Contemporary Poetry: Explained

In "Of Being Numerous: 11," George Oppen delves into the interplay between the personal and the urban, the everyday and the monumental. The poem reflects on the quiet, often unnoticed moments of life in the city and the complex relationship between the individual and the vast, impersonal structures that define the urban landscape.

The poem opens with a striking image of light that "seeps anywhere," suggesting a pervasive, subtle illumination that reaches into every corner, much like the pervasive influence of the city itself. This light is described as "a light for the times," indicating that it is symbolic of the contemporary moment—perhaps a modern, muted kind of clarity that is unique to the present era.

Oppen then describes the buildings, which "stand on low ground, their pediments / Just above the harbor / Absolutely immobile." These structures are portrayed as solid, unchanging, and somewhat distant, both physically and metaphorically. Their pediments, the architectural features often found at the tops of classical buildings, are just above the harbor, indicating a connection to the water, to trade, and to the broader world. Yet, these buildings remain "absolutely immobile," suggesting a kind of static presence that contrasts with the dynamic life of the city around them.

The poem then shifts to a more personal and introspective tone: "Hollow, available, you could enter any building, / You could look from any window / One might wave to himself / From the top of the Empire State Building—." Here, Oppen reflects on the accessibility and impersonality of the city's structures. The buildings are "hollow," indicating that they are open, empty, and available for anyone to enter, yet they are also impersonal and detached from the individual experience. The idea of waving to oneself from the top of the Empire State Building evokes a sense of isolation, where even at the highest point of a monumental structure, one remains alone, disconnected from others.

The imperative "Speak / If you can / Speak" is a direct call to action, urging the reader—or perhaps the poet himself—to find a voice in this vast, impersonal cityscape. It suggests the difficulty of communication and expression in a world where the individual can easily be lost amidst the towering buildings and sprawling streets.

The poem then introduces Phyllis, "not neo-classic," emphasizing her ordinariness and connection to the contemporary world. Phyllis, returning home from her first job, represents the everyday person navigating the city's "bare civic interior." The mention of her "heart, she told me, suddenly tight with happiness" is a moment of human warmth and emotion in the midst of the city's vastness. This small, personal experience contrasts with the grand, immobile structures described earlier, highlighting the significance of individual feelings and moments within the broader urban environment.

Oppen continues by acknowledging the seemingly insignificant nature of this moment: "So small a picture, / A spot of light on the curb, it cannot demean us." This line suggests that even the smallest, most mundane moments—like a spot of light on the curb—carry meaning and cannot diminish the value of human experience. These small, everyday occurrences are just as important as the monumental structures of the city.

The speaker then reveals his own emotional connection to the city: "I too am in love down there with the streets / And the square slabs of pavement—." This confession of love for the streets and the pavements underscores the deep, personal attachment to the city, despite its vastness and impersonality. It reflects a recognition of the beauty and significance of the urban landscape, not just in its grand structures but in the small, simple elements that make up daily life.

The poem concludes with a reflection on the relationship between art and life: "To talk of the house and the neighborhood and the docks / And it is not ‘art’." Here, Oppen suggests that discussing the everyday details of life—the house, the neighborhood, the docks—does not necessarily constitute "art" in the traditional sense, but it is nonetheless valuable. This line challenges the conventional boundaries of what is considered art, implying that the real, lived experiences of ordinary people in their environments are meaningful and worthy of attention, even if they do not fit the traditional definitions of artistic expression.

In "Of Being Numerous: 11," Oppen explores the contrast between the monumental and the personal, the impersonal structures of the city and the intimate moments of individual experience. The poem reflects on the challenges of finding meaning and connection in an urban landscape, while also celebrating the small, everyday moments that give life its richness. Through its careful observation and emotional resonance, the poem invites readers to consider the significance of the ordinary and the ways in which we navigate the complexities of modern life.

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