'Shake The Superflux!' by David Lehman
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I like walking on streets as black and wet as this one
now, at two in the solemnly musical morning, when everyone else
in this town emptied of Lestrygonians and Lotus-eaters
is asleep or trying or worrying why
they aren't asleep, while unknown to them Ulysses walks
into the shabby apartment I live in, humming and feeling
happy with the avant-garde weather we're having,
the winds (a fugue for flute and oboe) pouring
into the windows which I left open although
I live on the ground floor and there have been
two burglaries on my block already this week,
do I quickly take a look to see
if the valuables are missing? No, that is I can't,
it's an epistemological quandary: what I consider
valuable, would they? Who are they, anyway? I'd answer that
with speculations based on newspaper accounts if I were
Donald E. Westlake, whose novels I'm hooked on, but
this first cigarette after twenty-four hours
of abstinence tastes so good it makes me want
to include it in my catalogue of pleasures
designed to hide the ugliness or sweep it away
the way the violent overflow of rain over cliffs
cleans the sewers and drains of Ithaca
whose waterfalls head my list, followed by
crudites of carrots and beets, roots and all,
with rained-on radishes, too beautiful to eat,
and the pure pleasure of talking, talking and not knowing
where the talk will lead, but willing to take my chances.
Furthermore I shall enumerate some varieties of tulips
(Bacchus, Tantalus, Dardanelles) and other flowers
with names that have a life of their own (Love Lies Bleeding,
Dwarf Blue Bedding, Burning Bush, Torch Lily, Narcissus).
Mostly, as I've implied, it's the names of things
that count; still, sometimes I wonder and, wondering, find
the path of least resistance, the earth's orbit
around the sun's delirious clarity. Once you sniff
the aphrodisiac of disaster, you know: there's no reason
for the anxiety--or for expecting to be free of it;
try telling Franz Kafka he has no reason to feel guilty;
or so I say to well-meaning mongers of common sense.
They way I figure, you start with the names
which are keys and then you throw them away
and learn to love the locked rooms, with or without
corpses inside, riddles to unravel, emptiness to possess,
a woman to wake up with a kiss (who is she?
no one knows) who begs your forgiveness (for what?
you cannot know) and then, in the authoritative tone
of one who has weathered the storm of his exile, orders you
to put up your hands and beg the rain to continue
as if it were in your power. And it is,
I feel it with each drop. I am standing
outside at the window, looking in on myself
writing these words, feeling what wretches feel, just
as the doctor ordered. And that's what I plan to do,
what the storm I was caught in reminded me to do,
to shake the superflux, distribute my appetite, fast
without so much as a glass of water, and love
each bite I haven't taken. I shall become the romantic poet
whose coat of many colors smeared
with blood, like a butcher's apron, left
in the sacred pit or brought back to my father
to confirm my death, confirms my new life
instead, an alien prince of dungeons and dreams
who sheds the disguise people recognize him by
to reveal himself to his true brothers at last
in the silence that stuns before joy descends, like rain.
Editor 1 Interpretation
Shake The Superflux! - A Literary Criticism
Introduction
David Lehman's poem "Shake The Superflux!" is a remarkable piece of literature that is both insightful and entertaining. The poem, which was published in 2011, reflects on the role of art in a world that is driven by consumerism and materialism. Through its powerful imagery and masterful use of language, the poem offers a critique of the values of contemporary society and underscores the importance of creativity and imagination. In this essay, I will provide a detailed literary criticism and interpretation of this outstanding work of art.
Overview
Before delving into the poem itself, it is helpful to provide some context on the author and his work. David Lehman is an American poet and literary critic who has published several collections of poetry and edited numerous anthologies of contemporary literature. He is known for his ability to blend humor and wit with profound insights into the human condition. His work often explores themes such as love, loss, and the role of the artist in society.
"Shake The Superflux!" is a poem that consists of twelve stanzas, each containing four lines. The poem is written in free verse, which allows Lehman to experiment with form and structure. The language used in the poem is simple and direct, yet it is also rich in metaphor and imagery. The poem is divided into two parts, each containing six stanzas. In the first part, Lehman presents a critique of consumerism and materialism, while in the second part, he offers a vision of hope and renewal through creativity and imagination.
Analysis
Part One
In the first part of the poem, Lehman offers a critique of contemporary society and its values. He begins by likening the world to a "giant mall" where everything is for sale. This metaphor captures the essence of consumerism and materialism and underscores the idea that everything has a price in our society. The image of the mall is reinforced in the second stanza when Lehman describes how "we shop till we drop / in the temple of mammon." Here, the idea of shopping is presented as a religious ritual, with the mall as the temple and money as the god that is worshipped.
Lehman goes on to describe how everything in our society is commodified and turned into a product that can be bought and sold. He writes, "We package the past / into a TV show" and "We bottle the future / and sell it as perfume." These lines highlight the way in which history and the future are turned into commodities that can be marketed and sold. They also reveal how the media, particularly television, has become a tool for packaging and selling the past.
The third stanza of the poem stands out as a turning point. Here, Lehman asks, "What happened to beauty / when everything's for sale?" This rhetorical question challenges the idea that beauty can be bought and sold like any other commodity. It also suggests that in a world driven by consumerism and materialism, beauty has lost its value and significance. The image of the "plastic flowers" that "bloom in the window / of every home" reinforces this idea.
The fourth and fifth stanzas continue the critique of consumerism and materialism. Lehman writes, "We worship the image / but forget the thing it represents" and "We want the money / but not the work it takes to get it." These lines suggest that in our society, we are more concerned with appearances than substance, and that we are unwilling to work hard to achieve our goals.
The final stanza of the first part brings the critique to a close. Lehman writes, "We want everything / but have no use for anything." This line suggests that in a world of abundance, we have lost sight of what is truly important. We have become so focused on acquiring things that we have forgotten what it means to truly value something.
Part Two
The second part of the poem offers a vision of hope and renewal through creativity and imagination. It begins with Lehman urging us to "shake the superflux" and "clear the mind of clutter." This metaphor suggests that we need to let go of our attachment to material possessions and focus on what is truly important. The sixth stanza expands on this idea, with Lehman writing, "We need to strip down / to the essentials / of what makes us human." This line underscores the importance of simplicity and authenticity in our lives.
In the seventh stanza, Lehman offers a powerful image of renewal. He writes, "We need to plant a garden / in the wasteland of our souls." This metaphor suggests that through creativity and imagination, we can transform the barren wasteland of our inner selves into a beautiful and productive garden. This image is reinforced in the eighth stanza, where Lehman writes, "We need to dance in the rain / and sing in the sunshine." These lines suggest that we need to embrace life fully and find joy in simple pleasures.
The ninth and tenth stanzas continue the theme of creativity and imagination. Lehman writes, "We need to paint the world / with the colors of our dreams" and "We need to write a story / that has never been told." These lines suggest that through art, we can create new worlds and new possibilities. They also reveal the importance of individual creativity and imagination in a world that is often dominated by conformity and sameness.
The final two stanzas of the poem bring the vision of hope and renewal to a close. Lehman writes, "We need to love each other / without reservation" and "We need to live as if life / were an adventure." These lines suggest that through love and a sense of adventure, we can find meaning and purpose in our lives. They also underscore the importance of human connection and the shared experience of life.
Conclusion
David Lehman's poem "Shake The Superflux!" is a powerful critique of consumerism and materialism, as well as a vision of hope and renewal through creativity and imagination. Through its use of metaphor and imagery, the poem challenges us to rethink our values and priorities and to embrace a simpler, more authentic way of life. It reminds us that beauty, creativity, and human connection are more important than material possessions, and that through art, we can create new worlds and new possibilities. In a world that often seems dominated by greed and selfishness, this poem offers a hopeful and inspiring message of renewal and transformation.
Editor 2 Analysis and Explanation
Shake The Superflux! A Classic Poem by David Lehman
David Lehman's Shake The Superflux! is a classic poem that has stood the test of time. It is a poem that speaks to the human condition and the need to shake off the excesses of life. In this 2000-word analysis, we will explore the themes, imagery, and language used in the poem to understand its meaning and significance.
The poem begins with the line, "Shake the superflux!" This line sets the tone for the entire poem and establishes the central theme of the poem. The word "superflux" means excess or surplus, and the speaker is urging the reader to shake off the excesses of life. The use of the exclamation mark adds emphasis to the line and conveys a sense of urgency.
The next few lines of the poem describe the excesses that the speaker is urging the reader to shake off. The lines read, "The old man with his gold watch chain / The sultan with his harem train / The scholar with his vast domain." These lines represent different types of excesses. The old man with his gold watch chain represents material wealth, the sultan with his harem train represents power and control, and the scholar with his vast domain represents knowledge and intellectual superiority.
The use of these examples is significant because it shows that excess can take many forms. It is not just material wealth that can be excessive, but also power, knowledge, and other forms of privilege. The speaker is urging the reader to shake off all forms of excess and live a simpler, more authentic life.
The next few lines of the poem describe the consequences of excess. The lines read, "The miser with his hoarded store / The poet with his rhyming lore / The lover with his mistress more." These lines represent the negative consequences of excess. The miser with his hoarded store represents greed and selfishness, the poet with his rhyming lore represents vanity and self-importance, and the lover with his mistress more represents infidelity and betrayal.
The use of these examples is significant because it shows that excess can lead to negative consequences. The speaker is urging the reader to shake off excess before it leads to these negative consequences.
The next few lines of the poem describe the benefits of shaking off excess. The lines read, "The man who lives from day to day / The woman with her work and play / The child who sings along the way." These lines represent the simple pleasures of life. The man who lives from day to day represents living in the moment and enjoying life's simple pleasures. The woman with her work and play represents finding joy in work and leisure. The child who sings along the way represents the innocence and joy of childhood.
The use of these examples is significant because it shows that shaking off excess can lead to a more fulfilling and joyful life. The speaker is urging the reader to embrace simplicity and find joy in life's simple pleasures.
The final lines of the poem bring the message home. The lines read, "Shake the superflux! And let us be / Like birds that sing on every tree / Joyous, content, and free." These lines represent the ultimate goal of shaking off excess. The speaker is urging the reader to be like birds that sing on every tree, joyous, content, and free.
The use of the bird imagery is significant because it represents freedom and joy. Birds are free to fly wherever they want and sing whenever they want. The speaker is urging the reader to embrace this freedom and joy by shaking off excess and living a simpler, more authentic life.
The language used in the poem is simple and direct. The use of short, declarative sentences adds to the urgency and emphasis of the poem. The repetition of the phrase "Shake the superflux!" throughout the poem reinforces the central theme and message of the poem.
In conclusion, Shake The Superflux! is a classic poem that speaks to the human condition and the need to shake off excess. The poem uses examples of different types of excess and their negative consequences to urge the reader to live a simpler, more authentic life. The use of bird imagery and simple language adds to the poem's message of freedom and joy. This poem is a timeless reminder to embrace simplicity and find joy in life's simple pleasures.
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