Classic and Contemporary Poetry: Explained

Louis Zukofsky’s "A -- 20" is a multi-layered, experimental exploration of artistic structure, sound, and thematic resonance. The poem engages with music, language, and the interplay of form and content, highlighting Zukofsky’s characteristic emphasis on the materiality of art and his commitment to innovative poetic practices. The poem is a confluence of disparate elements—musical compositions, poetic fragments, and meditations on nature—blurring the boundaries between literary and musical expression.

The poem opens with an invocation of a “tone row,” a reference to the twelve-tone technique in music associated with composers like Arnold Schoenberg. This technique emphasizes the use of all twelve notes of the chromatic scale in a specific sequence, often in a non-repeating order. By referencing this compositional method, Zukofsky signals his interest in structure and order as central to both music and poetry. The inclusion of “Variants” and references to musical groupings for various instruments underscores the poem’s interweaving of sound and meaning, where individual components come together to create a larger, cohesive whole.

Throughout the text, Zukofsky lists titles of pieces, instruments, and ensembles—“Combination Block,” “for a dancer,” “Piano piece no. 3,” “Octet [Orders].” These catalog-like sections suggest an artistic inventory, emphasizing the plurality of creative forms. The repetition of phrases like “for a dancer” and “Piano piece no. 3” introduces a rhythmic quality, echoing musical refrains. This iterative structure mirrors the methodical, yet dynamic, processes of composition and performance. The juxtaposition of instruments such as the clarinet, mandolin, and double bass further illustrates Zukofsky’s fascination with the diverse textures of sound and their capacity to evoke meaning beyond words.

Zukofsky also incorporates literary references and poetic fragments, as seen in the transition to the meditation on “ivy green.” This section shifts from the structured cataloging of musical pieces to a lyrical contemplation of nature. The ivy, described as “so soft and green,” becomes a symbol of growth, endurance, and interconnectedness. The speaker’s reverence for the ivy’s ability to “cover the earth and wall” and provide shelter for robins, crickets, and bees situates it as a unifying force, mirroring the role of art in fostering connection and continuity.

The direct address to the ivy—“I pray to know what makes me worship thee”—imbues the poem with a tone of wonder and humility. The ivy’s omnipresence and capacity to sustain life evoke a sense of mystery and reverence. This meditation on the natural world contrasts with the earlier focus on human-made structures of art and music, yet it also reinforces Zukofsky’s belief in the interconnectedness of all forms of creation. The repetition of phrases such as “do cover” and “do make travelers stand” enhances the rhythmic and incantatory quality of the section, drawing parallels to both musical composition and devotional prayer.

The phrase “Ecce puer,” Latin for “Behold the boy,” serves as a thematic bridge between the musical and natural elements of the poem. It recalls James Joyce’s poem by the same name, which reflects on the cycle of life and the arrival of new generations. In Zukofsky’s hands, this phrase resonates as a meditation on renewal and the continuity of artistic and natural processes. By juxtaposing “Ecce puer” with the ivy’s enduring presence and the meticulously cataloged musical pieces, Zukofsky creates a dialogue between permanence and impermanence, individual and collective experience, tradition and innovation.

The structure of "A -- 20" mirrors the poem’s thematic concerns. Its fragmented, collage-like form reflects the dissonance and harmony inherent in both life and art. The poem’s refusal to adhere to a linear narrative or fixed structure challenges the reader to engage with its components as interconnected yet distinct elements, much like the instruments in an ensemble or the pieces of a tone row. This openness invites multiple interpretations, emphasizing Zukofsky’s commitment to poetry as a participatory and dynamic art form.

In "A -- 20," Zukofsky blends the languages of music and poetry to explore the intersections of sound, structure, and meaning. The poem’s cataloging of musical compositions and instruments underscores the importance of form and method, while its lyrical reflections on nature highlight the beauty and mystery of organic processes. Together, these elements create a work that is as much a celebration of artistic creation as it is a meditation on the interconnectedness of all things. By drawing on diverse traditions and forms, Zukofsky crafts a poem that transcends conventional boundaries, embodying his vision of art as a dynamic, ever-evolving dialogue between the material and the transcendent.

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