Classic and Contemporary Poetry: Explained

Alicia Suskin Ostriker's poem "The Orange Cat" captures a moment of serene observation, exploring themes of desire, detachment, and the interplay between reality and illusion. Through the figure of the orange cat, Ostriker delves into the complexity of longing and the pleasure derived from a safe distance, where the potential for fulfillment exists without the risk of failure or consequence.

The poem begins with a simple, tranquil image: "The orange cat on the porch / Regards the tiny bird / Out on the pine-tree limb / And yawns without a word." This opening sets the scene of a quiet morning, where the cat, a symbol of both predator and observer, watches a bird with apparent disinterest. The yawn suggests a lack of urgency or hunger, indicating that the cat is not motivated by the instinct to hunt but rather by a more abstract curiosity or pleasure.

As the poem progresses, the setting is described with a sense of stillness and gentle transition: "The morning air is mild, / The tawny hillsides seem / Halfway from sleep to waking." The environment mirrors the cat's state of being—calm, unhurried, and on the cusp of awareness. The hillsides "halfway from sleep to waking" suggest a world in between states, much like the cat, who appears to be in a meditative or dreamlike condition.

The notion that the cat "appears to dream" is described as "of course illusion," reminding the reader that appearances can be deceptive. This illusion reflects the human tendency to project our own desires and interpretations onto the natural world. The cat, while seemingly detached, is in fact fully aware and conscious of its surroundings.

The poem then introduces the sounds of the morning: "A harsh jay on the hill / Is answered by three quail / Clucks, and a warbler's trill." These birdcalls create a backdrop of lively, natural music, contrasting with the cat's stillness. The cat, described as "not hungry," listens to these sounds with a "pleasant / Touch of desire's throes." This line suggests that the cat experiences a form of desire, but one that is detached from the immediate need to act. It is a desire that is more about the enjoyment of the possibility rather than the pursuit of the object.

Ostriker then draws a parallel between the cat's experience and human sensations: "We feel before a painting / Of nude or odalisque, / The lust without the pain, / Arousal without risk." The comparison to viewing a painting of a nude or odalisque—figures often associated with sensuality and desire—evokes the idea of aesthetic pleasure, where one can appreciate beauty and sensuality from a safe distance. The phrase "lust without the pain" highlights the allure of desire when it is unburdened by the complications and potential disappointments of real-life interactions.

The poem continues with the idea of "Arousal without risk / Of failure," capturing the essence of a desire that is purely intellectual or visual, without the dangers and awkwardness that can accompany actual love or physical interaction. The "sweet frisson" of this experience is likened to "drink, and no hangover, / Sex without friction, love / Minus the awkward lover." Here, Ostriker emphasizes the allure of an idealized form of pleasure, one that is free from the consequences, struggles, and messiness of real relationships.

In "The Orange Cat," Ostriker masterfully uses the image of the cat to explore the complexities of desire, observation, and the human tendency to find pleasure in what is safe and unattainable. The cat's dispassionate observation of the bird reflects a broader commentary on the nature of desire—how it can be both deeply felt and yet safely distanced, offering a form of satisfaction that is rooted in imagination rather than reality. The poem invites readers to consider the ways in which they engage with their own desires, and the balance between longing and the comfort of detachment.

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