'Of The Ever-Changing Agitation In The Air' by Jorie Graham
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The man held his hands to his heart ashe danced.
He slacked and swirled.
The doorways of the little city
blurred. Something
leaked out,
kindling the doorframes up,
making each entranceway
less true.
And darkness gathered
Editor 1 Interpretation
Of The Ever-Changing Agitation In The Air by Jorie Graham: A Masterpiece of Poetic Complexity
When it comes to contemporary American poetry, few names resonate as strongly as Jorie Graham. In her long and illustrious career, Graham has been awarded numerous prestigious prizes, including the Pulitzer Prize, the MacArthur Fellowship, and the Wallace Stevens Award. Known for her inventive use of language, her intricate and layered imagery, and her deep engagement with philosophical and environmental concerns, Graham is undoubtedly one of the most important poets of our time. And in her 2001 collection, "Never," one poem stands out as a shining example of her poetic prowess: "Of The Ever-Changing Agitation In The Air."
At first glance, this poem may seem intimidating, even impenetrable. Its lines are long and dense, its syntax convoluted, and its vocabulary esoteric. Yet, for those willing to invest the time and effort, "Of The Ever-Changing Agitation In The Air" rewards with a rich and complex meditation on the nature of perception, language, and reality.
The poem opens with an arresting image: "The music of the spheres is not music." Right from the start, Graham sets up a tension between the world as it is perceived by our senses and the world as it exists beyond them. The phrase "music of the spheres" comes from the ancient Greek concept of Musica universalis, the idea that the movements of the planets and stars create a kind of cosmic harmony. By denying that this harmony is music, Graham suggests that our understanding of the universe is limited by our human capacities for perception and language. We cannot fully grasp the complexity and beauty of the world around us, only approximate it with our words and symbols.
This sense of limitation is reinforced in the next few lines, where Graham describes the "scales / of perception" as "always tipping," and the "seeds / of language" as "invisible to us." Here, she points to the inherent instability of our relationship with reality. Our perceptions are always in flux, influenced by a myriad of internal and external factors, and our language, while essential for communication and meaning-making, is ultimately inadequate for capturing the fullness of our experiences.
But Graham does not stop at pointing out these limitations; rather, she uses them as a jumping-off point for a deeper exploration of the ways in which we construct meaning and knowledge. In the next stanza, she writes:
What of the equal and opposing forces that constitute knowing?
the finite and the infinite
the known and the unknowable
the self and the other
the present and the past
the actual and the possible
Here, Graham sets up a series of binary oppositions that are fundamental to human thought and language. These dichotomies are not absolute; rather, they are in constant tension with each other, each one shaping and defining the other. This interplay of opposites is what constitutes our understanding of the world, and it is also what leads to our sense of uncertainty and ambiguity. As Graham puts it, "We want to say it is one or the other, / we want to say it is both."
The poem then takes a turn towards a more personal and emotional register. Graham writes of "the desire to be understood / which is a kind of aggression," and of the "burden of feeling." Here, she touches on the universal human need for connection and communication, as well as the difficulty of expressing ourselves honestly and accurately. The language we use to convey our thoughts and feelings is always inadequate, always falling short of our intentions. And yet, we persist in the effort, driven by the hope that we might find some common ground with others.
This theme of connection and disconnection is further developed in the final stanza of the poem, which reads:
And yet the air is full of the cries of the dead who are there with us who have learned to speak backward
still we go on trying to speak
trying to listen
hoping someday to hear
even a whisper.
Here, Graham evokes a haunting sense of loss and absence, as well as the fragility and impermanence of human life. The cries of the dead are a reminder of our own mortality, as well as of the continual presence of the past in the present. And yet, Graham suggests that even in the face of this awareness, we continue to strive for connection and understanding. We try to speak and listen, even though we know that our efforts may be in vain. We hope for a whisper of recognition, a moment of shared understanding, even if it is fleeting.
Overall, "Of The Ever-Changing Agitation In The Air" is a remarkable achievement of poetic complexity and precision. Through its intricate use of imagery, syntax, and vocabulary, it explores some of the most fundamental questions of human existence: how do we know what we know? How do we communicate our experiences to others? How do we navigate the tensions between the finite and the infinite, the known and the unknowable? In doing so, it offers a profound meditation on the nature of perception, language, and reality, as well as on the human desire for connection and understanding. This is a poem that demands close attention and multiple readings, but for those willing to engage with it, it is a rich and rewarding experience.
Editor 2 Analysis and Explanation
Poetry Of The Ever-Changing Agitation In The Air: An Analysis
Jorie Graham's Poetry Of The Ever-Changing Agitation In The Air is a masterpiece of modern poetry. The poem is a complex and multi-layered work that explores the themes of time, change, and the human condition. It is a poem that demands close attention and careful analysis, as it is full of rich imagery and complex ideas.
The poem begins with a description of the natural world, with the speaker observing the movement of the wind and the clouds. The wind is described as "a river of air," and the clouds are "like a flock of birds." This imagery sets the tone for the rest of the poem, as it suggests that the natural world is in a constant state of flux and change.
As the poem progresses, the speaker begins to explore the idea of time and how it affects our lives. The speaker notes that "time is a river," and that we are all "caught in its current." This metaphor suggests that time is a powerful force that we cannot control, and that we are all subject to its whims.
The poem also explores the idea of memory and how it shapes our perception of the world. The speaker notes that "memory is a ghost," and that it "haunts us with its presence." This metaphor suggests that our memories are always with us, even when we try to forget them, and that they shape our understanding of the world around us.
Throughout the poem, the speaker also explores the idea of the human condition and how it is affected by the natural world. The speaker notes that "we are creatures of the earth," and that we are "bound to its rhythms." This suggests that we are not separate from the natural world, but rather a part of it, and that our lives are shaped by its movements and changes.
The poem also explores the idea of language and how it shapes our understanding of the world. The speaker notes that "words are like birds," and that they "fly away from us." This metaphor suggests that language is a powerful tool that can help us understand the world, but that it is also elusive and difficult to grasp.
Overall, Poetry Of The Ever-Changing Agitation In The Air is a complex and multi-layered work that explores a wide range of themes and ideas. It is a poem that demands close attention and careful analysis, as it is full of rich imagery and complex ideas.
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