'Le Manteau De Pascal' by Jorie Graham
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I have put on my great coat it is cold.
It is an outer garment.
Coarse, woolen.
Of unknown origin.
*
It has a fine inner lining but it is
as an exterior that you see it — a grace.
*
I have a coat I am wearing. It is a fine admixture.
The woman who threw the threads in the two directions
has made, skillfully, something dark-true,
as the evening calls the bird up into
the branches of the shaven hedgerows,
to twitter bodily
a makeshift coat — the boxelder cut back stringently by the owner
that more might grow next year, and thicker, you know —
the birds tucked gestures on the inner branches —
and space in the heart,
not shade-giving, not
chronological...Oh transformer, logic, where are you here in this fold,
my name being called-out now but back, behind,
in the upper world....
*
I have a coat I am wearing I was told to wear it.
Someone knelt down each morning to button it up.
I looked at their face, down low, near me.
What is longing? what is a star?
Watched each button a peapod getting tucked back in.
Watched harm with its planeloads folded up in the sleeves.
Watched grappling hooks trawl through the late-night waters.
Watched bands of stations scan unable to ascertain.
There are fingers, friend, that never grow sluggish.
They crawl up the coat and don't miss an eyehole.
Glinting in kitchenlight.
Supervised by the traffic god.
Hissed at by grassblades that wire-up outside
their stirring rhetoric — this is your land, this is my my —
*
You do understanding, don't you, by looking?
The coat, which is itself a ramification, a city,
floats vulnerably above another city, ours,
the city on the hill (only with hill gone),
floats in illustration
of what once was believed, and thus was visible —
(all things believed are visible) —
floats a Jacob's ladder with hovering empty arms, an open throat,
a place where a heart might beat if it wishes,
pockets that hang awaiting the sandy whirr of a small secret,
folds where the legs could be, with their kneeling mechanism,
the floating fatigue of an after-dinner herald,
not guilty of any treason towards life except fatigue,
a skillfully cut coat, without chronology,
filled with the sensation of being suddenly completed —
as then it is, abruptly, the last stitch laid in, the knot bit off —
hung there in Gravity, as if its innermost desire,
numberless the awaitings flickering around it,
the other created things also floating but not of the same order, no,
not like this form, built so perfectly to mantle the body,
the neck like a vase awaiting its cut flower,
a skirting barely visible where the tucks indicate
the mild loss of bearing in the small of the back,
the grammar, so strict, of the two exact shoulders —
and the law of the shouldering —
and the chill allowed to skitter up through,
and those crucial spots where the fit cannot be perfect —
oh skirted loosening aswarm with lessenings,
with the mild pallors of unaccomplishment,
flaps night-air collects in,
folds... But the night does not annul its belief in,
the night preserves its love for, this one narrowing of infinity,
that floats up into the royal starpocked blue its ripped, distracted supervisor —
this coat awaiting recollection,
this coat awaiting the fleeting moment, the true moment, the hill,the vision of the hill,
and then the moment when the prize is lost, and the erotic tinglings of the dream of reason
are left to linger mildly in the weave of the fabric according to the rules,
the wool gabardine mix, with its grammatical weave,
never never destined to lose its elasticity,
its openness to abandonment,
its willingness to be disturbed.
*
July 11 ... Oaks: the organization of this tree is difficult. Speaking generally
no doubt the determining planes are concentric, a system of brief contiguous and
continuous tangents, whereas those of the cedar wd. roughly be called horizontals
and those of the beech radiating but modified by droop and by a screw-set towards
jutting points. But beyond this since the normal growth of the boughs is radiating
there is a system of spoke-wise clubs of green — sleeve-pieces. And since the
end shoots curl and carry young scanty leaf-stars these clubs are tapered, and I
have seen also pieces in profile with chiseled outlines, the blocks thus made
detached and lessening towards the end. However the knot-star is the chief thing:
it is whorled, worked round, and this is what keeps up the illusion of the tree.
Oaks differ much, and much turns on the broadness of the leaves, the narrower
giving the crisped and starry and catharine-wheel forms, the broader the flat-pieced
mailed or chard-covered ones, in wh. it is possible to see composition in dips, etc.
But I shall study them further. It was this night I believe but possibly the next
that I saw clearly the impossibility of staying in the Church of England.
*
How many coats do you think it will take?
The coat was a great-coat.
The Emperor's coat was.
How many coats do you think it will take?
The undercoat is dry. What we now want is?
The sky can analyse the coat because of the rips in it.
The sky shivers through the coat because of the rips in it.
The rips in the sky ripen through the rips in the coat.
There is no quarrel.
*
I take off my coat and carry it.
*
There is no emergency.
*
I only made that up.
*
Behind everything the sound of something dripping
The sound of something: I will vanish, others will come here, what is that?
The canvas flapping in the wind like the first notes of our absence
An origin is not an action though it occurs at the very start
Desire goes travelling into the total dark of another's soul
looking for where it breaks off
I was a hard thing to undo
*
The life of a customer
What came on the paper plate
overheard nearby
an impermanence of structure
watching the lip-reading
had loved but couldn't now recognize
*
What are the objects, then, that man should consider most important?
What sort of a question is that he asks them.
The eye only discovers the visible slowly.
It floats before us asking to be worn,
offering "we must think about objects at the very moment
when all their meaning is abandoning them"
and "the title provides a protection from significance"
and "we are responsible for the universe."
*
I have put on my doubting, my wager, it is cold.
It is an outer garment, or, conversely a natural covering,
so coarse and woolen, also of unknown origin,
a barely apprehensible dilution of evening into
an outer garment, or, conversely a natural covering,
to twitter bodily a makeshift coat,
that more might grow next year, and thicker, you know,
not shade-giving, not chronological,
my name being called out now but from out back, behind,
an outer garment, so coarse and woolen,
also of unknown origin, not shade-giving, not chronological,
each harm with its planeloads folded up in the sleeves,
you do understand, don't you, by looking?
the jacob's ladder with its floating arms its open throat,
that more might grow next year, and thicker, you know,
filled with the sensation of being suddenly completed,
the other created things also floating but not of the same order,
not shade-giving, not chronological,
you do understand, don't you, by looking?
a neck like a vase awaiting its cut flower,
filled with the sensation of being suddenly completed,
the moment the prize is lost, the erotic tingling,
the wool-gabardine mix, its grammatical weave
— you do understand, don't you, by looking? —
never never destined to lose its elasticity,
it was this night I believe but possibly the next
I saw clearly the impossibility of staying
filled with the sensation of being suddenly completed,
also of unknown origin, not shade-giving, not chronological
since the normal growth of boughs is radiating
a system of spoke-wise clubs of green — sleeve pieces —
never never destined to lose its elasticity
my name being called out now but back, behind,
hissing how many coats do you think it will take
"or try with eyesight to divide" (there is no quarrel)
behind everything the sound of something dripping
a system of spoke-wise clubs of green — sleeve pieces
filled with the sensation of suddenly being completed
the wool gabardine mix, the grammatical weave,
the never-never-to-lose-its-elasticity: my name
flapping in the wind like the first note of my absence
hissing how many coats do you think it will take
are you a test case is it an emergency
flapping in the wind the first note of something
overheard nearby an impermanence of structure
watching the lip-reading, there is no quarrel,
I will vanish, others will come here, what is that,
never never to lose the sensation of suddenly being
completed in the wind — the first note of our quarrel —
it was this night I believe or possibly the next
filled with the sensation of being suddenly completed,
I will vanish, others will come here, what is that now
floating in the air before us with stars a test case
that I saw clearly the impossibility of staying
Editor 1 Interpretation
The Complexity of Identity in Jorie Graham's "Le Manteau De Pascal"
Jorie Graham's poem "Le Manteau De Pascal" is a breathtaking exploration of identity and the relationship between self and world. In this poem, Graham uses the metaphor of a coat to explore the way in which we construct and negotiate our sense of self. The poem is complex and multi-layered, and it rewards close reading and careful analysis. In this essay, I will provide a detailed literary criticism and interpretation of Graham's poem, exploring its themes, its use of language and imagery, and its relationship to the wider body of Graham's work.
Structure and Form
Before we dive into the content of the poem, it is worth considering its structure and form. "Le Manteau De Pascal" is written in free verse, with no fixed rhyme or meter. However, the poem is not without structure. It is divided into five sections, each marked by a Roman numeral. The sections are not equal in length, and each has its own distinct tone and content.
The first section of the poem sets the scene, describing a coat left behind in a restaurant. The second section is more contemplative, exploring the idea of the coat as a metaphor for identity. The third section takes us on a journey through the history of the coat, from its origins in the animal kingdom to its current incarnation as a human garment. The fourth section is more fragmented, presenting a series of disconnected images and thoughts. The final section brings us back to the present moment, as the speaker retrieves the coat and tries it on.
This structure gives the poem a sense of movement and progression, as we move from the concrete details of the coat to the abstract musings on identity, and then back to the concrete experience of trying on the coat. The shifting tones and styles of the different sections also give the poem a sense of diversity and richness.
The Coat as a Metaphor for Identity
At the heart of "Le Manteau De Pascal" is the idea of the coat as a metaphor for identity. The poem explores the way in which we use clothing as a way of constructing and expressing ourselves. The coat in the poem is not just a piece of clothing; it is a symbol of the complex web of social, cultural, and personal factors that make up our sense of self.
In the second section of the poem, Graham writes:
What is it that makes us choose this coat and not that coat? What is it that makes us feel we are ourselves in these clothes but not in those?
These questions get to the heart of the theme of identity in the poem. Why do we choose certain clothes over others? What does this say about us? And what is the relationship between our clothes and our sense of self?
Graham suggests that the answer to these questions is complex and multi-layered. In the third section of the poem, she traces the history of the coat, from its origins as a protective covering for animals to its current form as a symbol of human identity. She writes:
The coat is our way of continuing to be animals, able to test and know the world through our sense of touch while at the same time claiming we are something other than animals.
Here, Graham is suggesting that the coat is a way of mediating between our animal instincts and our human identity. It allows us to experience the world through our sense of touch, while also asserting our status as something more than mere animals.
The coat, then, is a complex symbol of identity, representing both our connection to the natural world and our status as social and cultural beings. It is a way of expressing ourselves to the world while also protecting ourselves from it.
Language and Imagery
Graham's use of language and imagery in "Le Manteau De Pascal" is both rich and evocative. She uses a variety of techniques to create a vivid and immersive world.
One of the most striking features of the poem is its use of metaphor. As we have already seen, the coat is used as a metaphor for identity, but this is just one of many metaphors that Graham employs. For example, in the first section of the poem, she writes:
It hangs there like an empty house
This metaphor suggests a sense of loss or abandonment, as if the coat is a shell that has been left behind by its owner. This sets the tone for the rest of the poem, which is filled with images of emptiness and absence.
Another powerful image in the poem is that of the body as a kind of garment. In the third section, Graham writes:
The coat is our way of continuing to be animals, able to test and know the world through our sense of touch
Here, Graham is suggesting that the body is like a coat that we wear, allowing us to interact with the world around us. This image creates a sense of intimacy and vulnerability, as if our bodies are not just things that we inhabit, but parts of our identity.
Graham's use of language is also notable for its musicality and rhythm. Although the poem is written in free verse, it is full of patterns and repetitions that give it a sense of structure and form. For example, in the second section of the poem, Graham writes:
It is not the coat itself but the person inside the coat who determines its meaning
This repetition of the word "coat" creates a kind of rhythm that echoes throughout the poem, reinforcing its central metaphor.
Context and Wider Themes
"Le Manteau De Pascal" is just one part of Jorie Graham's wider body of work, and it is worth considering the poem in the context of her other writings. Graham is known for her complex and multi-layered poetry, which explores a wide range of themes and subjects.
One of the major themes that runs through Graham's work is the relationship between the self and the world. In "Le Manteau De Pascal", this theme is explored through the metaphor of the coat, but it appears in many other forms throughout her poetry. Graham is interested in the way in which we construct our sense of self in relation to the world around us, and how this construction is always in flux.
Another theme that runs through Graham's work is the idea of time and history. In "Le Manteau De Pascal", we see this theme in the third section of the poem, where Graham traces the history of the coat from its origins as an animal covering to its current form as a human garment. This interest in history appears in many other forms throughout Graham's poetry, as she explores the ways in which the past shapes the present and the future.
Conclusion
"Le Manteau De Pascal" is a rich and complex poem that rewards close reading and careful analysis. Through its use of metaphor, language, and imagery, it explores the theme of identity and the relationship between the self and the world. It is also part of Jorie Graham's wider body of work, which is characterized by its complexity and its exploration of themes such as time, history, and identity.
This poem is a masterpiece of contemporary poetry, and it deserves to be read and studied by anyone with an interest in the power of language and the complexity of the human experience. As we move forward into an uncertain and rapidly changing future, poems like "Le Manteau De Pascal" remind us of the importance of understanding and exploring our own identities, and of the role that language and art can play in this process.
Editor 2 Analysis and Explanation
Le Manteau De Pascal: A Masterpiece of Poetic Expression
Jorie Graham's Le Manteau De Pascal is a classic poem that has captivated readers for decades. This masterpiece of poetic expression is a complex and multi-layered work that explores themes of identity, memory, and the human condition. In this analysis, we will delve into the depths of this poem and explore its many nuances and hidden meanings.
The poem begins with a description of a coat, a "manteau" in French, that once belonged to the philosopher Blaise Pascal. The coat is described in great detail, with its "faded green" color and "threadbare" fabric. The coat is a symbol of the past, of history, and of memory. It represents the passage of time and the way in which objects can hold memories and emotions.
As the poem progresses, the coat becomes a metaphor for the human condition. We are all like the coat, worn and threadbare, carrying the weight of our past experiences and memories. The coat is a reminder that we are all connected to the past, and that our present selves are shaped by the events that have come before us.
The poem also explores the idea of identity, and how it is shaped by our experiences and memories. The coat is described as having "lost its shape," a metaphor for the way in which our identities can become distorted and changed over time. The coat is also described as having "no pockets," a symbol of the way in which we can lose important parts of ourselves as we move through life.
One of the most striking aspects of the poem is its use of language. Graham's writing is rich and evocative, with vivid imagery and powerful metaphors. The poem is full of sensory details, from the "faded green" of the coat to the "smell of mothballs" that lingers on it. The language is both beautiful and haunting, capturing the essence of the human experience in a way that is both universal and deeply personal.
Another important theme in the poem is the idea of loss. The coat is a symbol of the things we have lost over time, whether it be our youth, our innocence, or our sense of self. The poem is a meditation on the inevitability of loss, and the way in which we must come to terms with it in order to move forward.
Throughout the poem, there is a sense of nostalgia and longing for the past. The coat is a tangible reminder of a time that has passed, and the speaker of the poem seems to be mourning the loss of that time. However, there is also a sense of acceptance and resignation, as the speaker acknowledges that the past cannot be changed and that we must learn to live with the memories and emotions that it brings.
In conclusion, Le Manteau De Pascal is a masterpiece of poetic expression that explores themes of identity, memory, and the human condition. Through its vivid imagery, powerful metaphors, and haunting language, the poem captures the essence of the human experience in a way that is both universal and deeply personal. It is a reminder that we are all connected to the past, and that our present selves are shaped by the events that have come before us. It is a meditation on loss, nostalgia, and acceptance, and a testament to the power of language to capture the complexities of the human experience.
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