Classic and Contemporary Poetry: Explained

"When Half the Time They Don't Know Themselves" by John Ashbery delves into the intersection of the external world with internal contemplation, presenting a reflective journey through the familiar and the ineffable. Ashbery's poem, with its characteristic blending of the concrete with the abstract, explores themes of perception, existence, and the elusive quest for understanding amidst the backdrop of a world that is at once solid and mutable. This analysis will examine the poem's thematic concerns, its structure and form, and the stylistic elements that typify Ashbery's poetic voice, positioning the poem within his broader oeuvre and the landscape of contemporary poetry.

The poem opens with images of "Old cathedrals, old markets, good and firm things / And old streets," immediately grounding the reader in a sense of history and stability. However, this stability is juxtaposed with the feeling of being "intercepted" as one navigates through these spaces, suggesting a disconnect or a barrier between the individual and the external world. Ashbery's inclusion of "cabbages / And turnips" and their incorporation into songs introduces an element of the mundane into the poetic, highlighting the interplay between the ordinary and the extraordinary.

The sense of exclusion or being "shut out" despite the "slow purpose / Under it" reflects the poem's meditation on the barriers to understanding and connection. The relief found in looking up "To the moist, imprecise sky" emphasizes a longing for transcendence or escape from the constraints of the tangible world, with the sky's "Thrashing about in loneliness" mirroring the internal tumult of the observer.

Ashbery's assertion that "There has to be a heart to this" speaks to the human desire to find meaning and coherence in the chaos of existence, a theme underscored by the preexistence of "words" that seem to promise the potential for articulation and comprehension. The river's appearance of flowing backward and the graceful sinking of stones become metaphors for the paradoxes of perception and the inherent dignity and self-evidence of the natural world.

The poem's contemplation of the distance between the observer and the observed, and the unintended "shine" this distance bestows upon us, evokes questions of identity and the projections placed upon us by others. The comparison to "someone’s car: / Large, animated, calm" suggests an objectification or external perception that may not align with one's internal sense of self.

Structurally, "When Half the Time They Don't Know Themselves" employs free verse, allowing Ashbery to navigate fluidly between imagery, reflection, and philosophical inquiry. This structural choice mirrors the poem's thematic exploration of the fluid boundaries between the self and the external world, between what is and what seems to be.

Stylistically, the poem is marked by Ashbery's rich, evocative language and his ability to blend the lyrical with the observational. His work invites readers into a space of contemplation and interpretation, where meaning is both revealed and obscured, inviting a personal engagement with its themes and questions.

In the broader context of Ashbery's work and postmodern literature, "When Half the Time They Don't Know Themselves" reflects the movement's engagement with questions of meaning, identity, and the instability of language and narrative. The poem, with its nuanced exploration of these themes and its open-endedness, exemplifies Ashbery's contribution to contemporary poetry's ongoing dialogue with the complexities of the human experience.

In conclusion, "When Half the Time They Don't Know Themselves" by John Ashbery stands as a meditation on the paradoxes of perception and existence, weaving together the personal and the philosophical, the specific and the universal. Through its intricate imagery, thematic depth, and stylistic innovation, the poem invites readers into a reflective engagement with the uncertainties and possibilities of existence, marking it as a significant work within Ashbery's distinguished body of work and the broader landscape of contemporary poetry.

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