'Refrigerator, 1957' by Thomas Lux
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More like a vault -- you pull the handle out
and on the shelves: not a lot,
and what there is (a boiled potato
in a bag, a chicken carcass
under foil) looking dispirited,
drained, mugged. This is not
a place to go in hope or hunger.
But, just to the right of the middle
of the middle door shelf, on fire, a lit-from-within red,
heart red, sexual red, wet neon red,
shining red in their liquid, exotic,
aloof, slumming
in such company: a jar
of maraschino cherries. Three-quarters
full, fiery globes, like strippers
at a church social. Maraschino cherries, maraschino,
the only foreign word I knew. Not once
did I see these cherries employed: not
in a drink, nor on top
of a glob of ice cream,
or just pop one in your mouth. Not once.
The same jar there through an entire
childhood of dull dinners -- bald meat,
pocked peas and, see above,
boiled potatoes. Maybe
they came over from the old country,
family heirlooms, or were status symbols
bought with a piece of the first paycheck
from a sweatshop,
which beat the pig farm in Bohemia,
handed down from my grandparents
to my parents
to be someday mine,
then my child's?
They were beautiful
and, if I never ate one,
it was because I knew it might be missed
or because I knew it would not be replaced
and because you do not eat
that which rips your heart with joy.
Editor 1 Interpretation
Refrigerator, 1957: A Poem of Mundanity and Melancholy
Have you ever stood in front of your refrigerator, staring at its contents and feeling a strange mix of apathy and despair? Have you ever wondered about the stories behind the random condiments and leftover takeout containers that clutter its shelves? If so, you might relate to Thomas Lux's poem, "Refrigerator, 1957."
At first glance, the poem seems deceptively simple. It consists of 27 lines, each beginning with the phrase "This is" followed by a list of items found in an old refrigerator. The items range from the mundane ("This is a chicken carcass") to the slightly sinister ("This is a suicide note") to the downright absurd ("This is a picture of a nun").
At face value, the poem reads like a grocery list or an inventory. But upon closer inspection, it becomes clear that Lux is using these objects as a way to explore larger themes of mortality, memory, and the fleeting nature of human existence.
One of the most striking aspects of the poem is the way in which Lux juxtaposes the mundane with the profound. On one hand, we have items like "This is a bottle of milk" and "This is a bag of black olives" - items that most of us encounter on a daily basis without giving them much thought. But on the other hand, we have items like "This is a rosary" and "This is a crucifix" - items that carry heavy religious and symbolic weight.
Lux seems to be suggesting that even the most ordinary objects can take on a deeper significance when viewed through the lens of memory and mortality. The fact that the refrigerator in question is from 1957 only adds to this sense of nostalgia and longing for a bygone era.
Another theme that runs throughout the poem is the idea of decay and impermanence. Many of the items listed are past their prime - "This is a jar of pickles, / some that still snap when you bite them, / some not so much" - and others are downright rotten or useless - "This is a tangerine gone bad" and "This is a box of Twinkies / from 1962."
Lux seems to be suggesting that everything - from food to relationships to human life itself - is subject to decay and eventual demise. The fact that some of the items in the refrigerator are still edible or usable, while others are beyond salvaging, underscores this sense of uncertainty and impermanence.
At the same time, however, the poem is not entirely bleak or nihilistic. There are moments of beauty and hope interspersed throughout, as when Lux describes "a half-empty container of Chinese food, / clouds rising from it like mist off a lake." Even in the midst of decay and entropy, there is still something alive and vibrant.
Ultimately, what makes "Refrigerator, 1957" such a powerful and resonant poem is its ability to capture the strange mix of mundanity and melancholy that so many of us experience on a daily basis. We are surrounded by objects and experiences that seem ordinary and unremarkable, but which contain within them a wealth of memories, emotions, and meaning.
Through his careful attention to detail and his ability to find the extraordinary in the ordinary, Lux invites us to pause and reflect on the fleeting nature of human existence and the beauty that can be found even in decay and impermanence. It's a poem that reminds us that even the most mundane aspects of our lives can be imbued with a sense of wonder and significance, if only we take the time to pay attention.
Editor 2 Analysis and Explanation
Refrigerator, 1957: A Poem of Mundane Objects and Human Emotions
Thomas Lux’s Refrigerator, 1957 is a poem that captures the essence of everyday objects and their significance in our lives. The poem is a beautiful portrayal of the relationship between humans and the objects that surround them. It is a poem that speaks to the heart of the human experience, and it does so with a simplicity and elegance that is both refreshing and profound.
The poem begins with a description of a refrigerator, a common household appliance that is often taken for granted. The speaker describes the refrigerator as “big as a Sears Roebuck” and “silent as a seashell.” These descriptions create a sense of familiarity and comfort, as the reader is reminded of the everyday objects that make up their own lives. The refrigerator is not just an object, but a symbol of the home and the family that inhabits it.
As the poem progresses, the speaker begins to describe the contents of the refrigerator. The “cold white light” that emanates from the refrigerator illuminates the “milk, butter, yogurt, bread, juice” and other items that are stored inside. These items are not just food, but symbols of the sustenance and nourishment that the family needs to survive. The refrigerator is not just a container, but a provider of life.
The poem then takes a turn, as the speaker begins to describe the emotions that are associated with the refrigerator. The speaker says that the refrigerator is “a portal into the world of the dead,” as it contains the “leftovers, the scraps, the spoiled, the meat that’s turned” – all reminders of the impermanence of life. The refrigerator is not just a provider of life, but a reminder of death.
The speaker then describes the “magnets and papers” that are attached to the refrigerator door. These items are not just reminders of appointments and phone numbers, but symbols of the memories and experiences that the family has shared. The refrigerator is not just a container and a provider of life, but a repository of memories.
The poem ends with a powerful image of the refrigerator as a “great white whale” that “sings” in the night. This image is both beautiful and haunting, as it captures the majesty and mystery of the everyday object. The refrigerator is not just a mundane object, but a symbol of the human experience – a container, a provider, a reminder, and a repository of memories.
Overall, Refrigerator, 1957 is a poem that speaks to the heart of the human experience. It is a poem that reminds us of the significance of everyday objects and the emotions that are associated with them. It is a poem that captures the beauty and mystery of the mundane, and it does so with a simplicity and elegance that is both refreshing and profound.
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