|
|
Classic and Contemporary Poetry: Explained | |||
"Crossing" by Philip Booth is a vivid portrayal of a freight train's passage through a town, encapsulating the essence of motion, industry, and the transient moments of life that often go unnoticed. Through a simple but evocative structure, Booth transforms a mundane event into a rhythmic and colorful journey, highlighting the intricate dance of human-made machines and the landscapes they traverse. The poem is not just an observation of a train crossing; it's a celebration of movement, a catalog of the vast network of railroads that crisscross the nation, and a reflection on the passage of time. The poem opens with the imperative "STOP / LOOK LISTEN" - a direct reference to the signs posted at railway crossings, urging caution. This command does not just serve as a warning but also as an invitation to witness the spectacle about to unfold. The lowering of the gate stripes marks the beginning of a momentary pause in the daily routine, creating a space for the observer to engage fully with the event. As the train begins its procession through the town, Booth meticulously counts the cars, each identified by its cargo or its railway line, transforming the train into a moving tapestry of the American landscape. The enumeration of different railway companies and the variety of freight cars - "B. & M. boxcar, Frisco gondola, Erie and Wabash, Seaboard, U.P." - serves as a reminder of the vast and interconnected network of railroads that support the country's economy and mobility. Each car, with its distinct color and content, adds to the poem's rhythm and the train's character, making the crossing an event of both significance and spectacle. The mention of "engine eating steam, engineer waving" personalizes the train, giving life to the machine and establishing a fleeting connection between the observer and the crew. This momentary interaction, though brief, emphasizes the human element in the mechanized world, suggesting a shared experience amidst the solitude of travel and labor. The progression of the train, with its varied cargo - "Santa Fe cattle shipped alive, red cars, yellow cars, orange cars, black," and specific mentions like "Anaconda copper," "hotbox smoke," - paints a picture of the economic and geographical diversity encapsulated in this single journey. The train becomes a symbol of the country's industrial might and its reliance on these moving behemoths for the distribution of goods across vast distances. The climax of the poem with the countdown and the eventual sighting of the "CABOOSE" signifies not just the end of the train but also the conclusion of an experience. The caboose, once a common sight at the end of trains, serves as a poignant reminder of the past, a nod to the traditions of railroading that have evolved over time. In "Crossing," Booth crafts a narrative that is both universal and intimate, capturing the essence of a shared human experience through the lens of a train's journey. The poem's structure, with its rhythmic enumeration and vivid imagery, mirrors the train's steady momentum, inviting readers to find beauty and meaning in the ordinary. It's a reminder to pause, to observe, and to listen—to appreciate the complex symphony of life that unfolds in the simplest moments. POEM TEXT: https://archives.newyorker.com/newyorker/1953-04-04/flipbook/074/
| Discover our Poem Explanations and Poet Analyses!Other Poems of Interest...ABOARD! ABOARD! by DONALD JUSTICE THE RAILWAY by ARTHUR CHRISTOPHER BENSON WHAT WE DID TO WHAT WE WERE by PHILIP LEVINE BURYING GROUND BY THE TIES by ARCHIBALD MACLEISH WAY-STATION by ARCHIBALD MACLEISH TWILIGHT TRAIN by EILEEN MYLES |
| |