Classic and Contemporary Poetry: Explained

Charles Olson?s "Obit" is a reflective and layered meditation on community, decline, and the legacies of places and people. Structured as a fragmented elegy, it weaves together elements of history, myth, and personal anecdote, creating a rich tapestry of meaning that is both universal and intimately specific. The poem mourns a lost polis—a place of human connection and purpose—while simultaneously celebrating the persistence of memory and the natural world’s reclamation of abandoned spaces.

The opening lines, “The quail, and the wild mountain aster, possess the place,” immediately situate the reader in a landscape where nature has overtaken human efforts. The imagery of wildlife and wildflowers suggests renewal but also evokes a poignant sense of loss. This is further deepened by the mother’s remark: “It was a place of blood.” The tension between the idyllic natural imagery and the weight of human history—marked by violence, labor, and struggle—sets the tone for the poem’s exploration of the layered meanings of place.

The mention of a southerner who founded the place and declared, “It’s hell to be here,” introduces a tension between the idealism of creation and the disillusionment of experience. This founder’s vision contrasts with the reality of a community now overrun by animals and snakes. Olson’s depiction of the fox crossing the road and the rumored mountain lion serves as a metaphor for the untamed forces that have reclaimed what was once organized and controlled by humans.

The poem shifts to a broader historical and mythological framework, drawing a parallel with the Chinese classic story of Kwansing. Olson describes a mythical gathering of outcasts—masters of various crafts and arts who had been rendered obsolete by an empire that no longer valued them. This allusion underscores the theme of exile and the search for meaning outside societal norms. The American “polis” in the poem echoes this ideal, a place where individuals could live with purpose and integrity, even if removed from the mainstream. Yet, like the figures in the Chinese myth, these individuals face obsolescence and the encroaching forces of time and decay.

Olson’s critique of modernity and materialism emerges through his description of the dream of this place: “only worth $50,000.” The monetary valuation of a community’s vision juxtaposes the spiritual and philosophical ideals it represents. Olson’s lament that everything has been reduced to “gin” and humanity to “poor boll weevils” highlights the dehumanizing effects of capitalism and industrial progress.

The poem takes a personal turn with the line: “fucking,” she said, “is good. It puts one in touch with the universe.” This raw, direct statement contrasts with the loftier philosophical musings, grounding the poem in the visceral realities of human existence. It emphasizes the physical and emotional connections that persist even as larger systems and ideals falter. Olson’s inclusion of such a statement reflects his belief in the power of human intimacy as a counterpoint to societal disintegration.

The recurring image of the “14 people” sought by the last man of the place ties the poem’s disparate threads together. These 14 individuals symbolize an ideal community, a small, self-sustaining group bound by shared values and commitments. Their absence—or the difficulty in gathering them—underscores the fragility of such visions in a world increasingly dominated by pragmatism and alienation.

Olson’s language throughout the poem is dense and allusive, blending colloquial speech with lyrical and philosophical reflections. The structure, with its abrupt shifts and juxtapositions, mirrors the fragmented nature of memory and the layered complexity of the themes. The ziggurat, an ancient architectural form mentioned toward the end, becomes a metaphor for the layered history of the polis, a structure built over time and now crumbling under the weight of neglect and change.

The final lines, “Sing songs for this one who signs off / And is now overgrown / Love, signed the last one,” transform the poem into a hymn. The “overgrown” state of the place symbolizes both decay and renewal, as nature reclaims what humans have abandoned. The signature of “the last one” serves as a poignant reminder of the fleeting nature of human endeavors and the enduring presence of memory and love.

In "Obit", Olson crafts an elegy for a lost ideal of community and purpose while acknowledging the inevitable cycles of decay and renewal. The poem’s rich imagery and mythological allusions invite readers to reflect on the interplay between history, nature, and human aspiration. Through its fragmented narrative and evocative language, "Obit" captures the tension between mourning what has been lost and celebrating the persistence of life in all its forms.

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