Classic and Contemporary Poetry: Explained

"Placements I" by Clayton Eshleman is a contemplative and deeply philosophical poem that delves into the themes of human psyche, art, and the primordial relationship between humans and their prehistoric and unconscious roots. Eshleman employs a rich tapestry of imagery and intertextual references to explore these concepts, presenting a narrative that traverses both literal and metaphorical caves—the spaces of ancient human activity and the recesses of the human mind.

The poem begins with a portrayal of anguish as a physical and existential journey: "the body bent over jagged rock, / in ooze, crawling in darkness to trace the button of itself." This imagery suggests an introspective quest, where the individual is both explorer and terrain, navigating through the complexities of their own subconscious. The "obscure cage" where "a person and an animal are copulas" evokes the blurred lines between humanity's civilized aspects and its more primal instincts, a theme that resonates throughout the poem.

Eshleman uses the phrase "delynxing each other" as a play on words to suggest both the act of disentangling and possibly a deeper, metaphorical de-linking from the lynx-like, feral aspects of human nature. The reference to subjects and predicates in the "amniotic cave air" further underscores the linguistic and cognitive barriers that separate humans from their animalistic origins and from each other.

The subsequent sections of the poem explore the nature of art and creation. Eshleman suggests that true art is produced not in the light but "in the 'dark' against a 'wall'," invoking Charles Olson's idea of the boundary as something that needs to disappear to unleash creativity. This metaphor of art created in darkness ties back to the primal scenes of cave paintings and the fundamental acts of marking and seeing in restricted light, symbolizing the exploration of unknown psychic territories.

The mention of Antonin Artaud and James Hillman introduces a discourse on depth psychology and the rejection of conventional notions of depth in favor of surface interactions. Eshleman contrasts these views with the idea that recognizing the continuous presence of the 'cave'—or the primitive and unconscious parts of the psyche—can lead to a more profound rebirth, one that does not deny depth but acknowledges it as a constant element of human experience.

Eshleman's reflections on the "construction of the underworld" in Upper Paleolithic caves serve as a metaphor for the origins of human consciousness and culture. By labeling these ancient spaces with the term "Hades," he connects the physical act of cave painting with a spiritual and psychological act of defining the human psyche. The caves become wombs where humanity and animality are intertwined, and where the process of humanization—or the "Fall" from animal grace—occurs.

The poem concludes with a poignant commentary on modernity's disconnection from these primal roots. As species and traditional forms of life disappear, the outlines of our ancient psyche become clearer but are recognized only in their absence. This paradox highlights a tragedy: in seeking to understand our deepest origins and shared essence, we simultaneously contribute to the destruction of the very environment that sustains us.

In "Placements I," Eshleman crafts a layered exploration of how humanity situates itself within its historical, psychological, and ecological contexts. The poem is a meditation on the fundamental elements that construct our understanding of self and world, urging a deeper engagement with both our ancestral legacies and our present realities.

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