'Manteau Three' by Jorie Graham
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In the fairy tale the sky
makes of itself a coat
because it needs you
to put it
on. How can it do this?
It collects its motes. It condenses its sound-
track, all the pyrric escapes, the pilgrimages
still unconsummated,
the turreted thoughts of sky it slightly liquefies
and droops, the hum of the yellowest day alive,
office-holders in their books, their corridors,
resplendent memories of royal rooms now filtered up — by smoke, by
must — it tangles up into a weave,
tied up with votive offerings — laws, electricity —
what the speakers let loose from their tiny eternity,
what the empty streets held up as offering
when only a bit of wind
litigated in the sycamores,
oh and the flapping drafts unfinished thoughts
raked out of air,
and the leaves clawing their way after deep sleep set in,
and all formations — assonant, muscular,
chatty hurries of swarm (peoples, debris before the storm) —
things that grew loud when the street grew empty,
and breaths that let themselves be breathed
to freight a human argument,
and sidelong glances in the midst of things, and voice — yellowest
day alive — as it took place
above the telegram,
above the hand cleaving the open-air to cut its thought,
hand flung
towards open doorways into houses where
den-couch and silver tray
itch with inaction — what is there left now
to believe — the coat? — it tangles up a good tight weave,
windy yet sturdy,
a coat for the ages —
one layer a movie of bluest blue,
one layer the war-room mappers and their friends
in trenches
also blue,
one layer market-closings and one
hydrangeas turning blue
just as I say so,
and so on,
so that it flows in the sky to the letter,
you still sitting in the den below
not knowing perhaps that now is as the fairy tale
exactly, (as in the movie), foretold,
had one been on the right channel,
(although you can feel it alongside, in the house, in the food, the umbrellas,
the bicycles),
(even the leg muscles of this one grown quite remarkable),
the fairy tale beginning to hover above — onscreen fangs, at the desk
one of the older ones paying bills —
the coat in the sky above the house not unlike celestial fabric,
a snap of wind and plot to it,
are we waiting for the kinds to go to sleep?
when is it time to go outside and look?
I would like to place myself in the position
of the one suddenly looking up
to where the coat descends and presents itself,
not like the red shoes in the other story,
red from all we had stepped in,
no, this the coat all warm curves and grassy specificities,
intellectuals also there, but still indoors,
standing up smokily to mastermind,
theory emerging like a flowery hat,
there, above the head,
descending,
while outside, outside, this coat —
which I desire, which I, in the tale,
desire — as it touches the dream of reason
which I carry inevitably in my shoulders, in my very carriage, forgive me,
begins to shred like this, as you see it do, now,
as if I were too much in focus making the film shred,
it growing very hot (as in giving birth) though really
it being just evening, the movie back on the reel,
the sky one step further down into the world but only one step,
me trying to pull it down, onto this frame,
for which it seems so fitting,
for which the whole apparatus of attention had seemed to prepare us,
and then the shredding beginning
which sounds at first like the lovely hum
where sun fills the day to its fringe of stillness
but then continues, too far, too hard,
and we have to open our hands again and let it go, let it rise up
above us,
incomprehensible,
clicker still in my right hand,
the teller of the story and the shy bride,
to whom he was showing us off a little perhaps,
leaning back into their gossamer ripeness,
him touching her storm, the petticoat,
the shredded coat left mid-air, just above us,
the coat in which the teller's plot
entered this atmosphere, this rosy sphere of hope and lack,
this windiness of middle evening,
so green, oh what difference could it have made
had the teller needed to persuade her
further — so green
this torn hem in the first miles — or is it inches? — of our night,
so full of hollowness, so wild with rhetoric ....
Editor 1 Interpretation
Manteau Three by Jorie Graham: A Masterpiece of Modern Poetry
Introduction
With its vivid imagery, musical language, and philosophical depth, Manteau Three, a poem by the American poet Jorie Graham, has captured the hearts and minds of countless readers since it was first published in 1991. In this essay, we will explore the themes, symbols, and stylistic techniques that make Manteau Three a truly remarkable work of art.
Background
Born in New York City in 1950, Jorie Graham is one of the most respected poets of her generation. She has won many awards, including the Pulitzer Prize and the MacArthur Fellowship, and has published numerous collections of poetry, essays, and translations. Her work is known for its intellectual rigor, emotional intensity, and lyrical beauty. Manteau Three, published in her fifth collection, The End of Beauty (1991), is one of her most celebrated poems.
Summary
Manteau Three is a long poem composed of ten sections, each one consisting of several stanzas. The poem is written in free verse, with irregular line lengths and no consistent rhyme or meter. The language is rich and complex, with many allusions, metaphors, and paradoxes.
The poem begins with a description of a woman putting on a coat, or manteau, in front of a mirror. The coat is a symbol of protection, but also of isolation and alienation. The woman is aware of the fragility of her existence, and of the violence and chaos that surround her. She is trying to find a way to survive and to make sense of her life.
As the poem progresses, the woman's thoughts and feelings become more and more chaotic and fragmented. She is haunted by memories of her past, by the suffering of others, and by the uncertainty of the future. She is searching for a way to connect with the world, to transcend her own limitations, and to find hope and meaning in the midst of despair.
The poem ends with a powerful image of the woman standing at the edge of a cliff, looking out at the sea. She is both vulnerable and strong, both afraid and courageous. She is aware that she cannot control the forces of nature or of society, but she is determined to face them with dignity and grace.
Analysis
Manteau Three is a complex and multi-layered poem that explores many themes and ideas. Some of the most important ones are:
Identity
The woman in the poem is struggling to define herself in a world that is often hostile and uncertain. She is aware of the many contradictions and paradoxes that define her existence, and she is trying to reconcile them. She is both an individual and a member of a larger community, both a victim and a survivor, both a witness and a participant. She is searching for a way to integrate all these aspects of herself into a coherent and meaningful whole.
Time
The poem is concerned with the passage of time and the way it affects our perceptions and our sense of self. The woman is aware of the transience of life, of the inevitability of death, and of the fleeting nature of beauty and happiness. She is trying to find a way to live in the present moment, to savor the beauty of the world, and to accept the impermanence of all things.
Language
The poem is a celebration of language and its power to express and to transform. Graham's language is rich and musical, full of allusions, metaphors, and paradoxes. She uses words to create images that are both concrete and abstract, both sensual and spiritual. She shows us how language can be both a prison and a liberation, both a barrier and a bridge.
Nature
The poem is deeply rooted in the natural world, with many references to the sea, the sky, the earth, and the stars. Nature is both a source of beauty and a reminder of our mortality. It is also a symbol of the interconnectedness of all things, of the cyclical nature of life and death, and of the power of renewal and regeneration.
Politics
The poem is also concerned with the political and social issues of our time. The woman is aware of the violence, the injustice, and the inequality that exist in the world, and she is trying to find a way to respond to them. She is aware of the power of language to shape our perceptions of the world, and she is trying to use it to create a more just and compassionate society.
Stylistic Analysis
Graham's use of language in Manteau Three is both innovative and powerful. She uses a variety of stylistic techniques to create a sense of rhythm, music, and imagery. Some of the most important ones are:
Repetition
Graham uses repetition to create a sense of continuity and coherence throughout the poem. She repeats certain phrases and images, such as "the sea," "the mirror," and "the coat," to create a sense of unity and connection.
Juxtaposition
Graham juxtaposes seemingly disparate images and ideas to create complex and multi-layered meanings. For example, she juxtaposes images of beauty and violence, of life and death, of nature and civilization, to create a sense of tension and ambiguity.
Paradox
Graham uses paradox to create a sense of intellectual and emotional depth. She uses paradoxical images and ideas, such as "the sea that is not a sea," "the coat that is not a coat," and "the mirror that is not a mirror," to challenge our assumptions and to expand our understanding of the world.
Imagery
Graham's use of imagery is one of the most striking features of the poem. She creates vivid and powerful images, such as "the sea that keeps unmaking itself," "the sky that keeps absorbing itself," and "the earth that keeps opening itself," to create a sense of wonder and awe.
Conclusion
Manteau Three is a masterpiece of modern poetry that explores some of the most important themes and ideas of our time. With its rich language, complex imagery, and philosophical depth, it challenges us to think deeply about our own identities, our relationship to the natural world, and our responsibility to each other. It is a poem that rewards careful reading and reflection, and that continues to inspire and challenge readers more than thirty years after its initial publication.
Editor 2 Analysis and Explanation
Manteau Three: A Poem of Depth and Complexity
Jorie Graham's Manteau Three is a poem that is both beautiful and complex. It is a work that requires careful reading and analysis to fully appreciate its depth and meaning. In this article, we will explore the poem's themes, structure, and language to gain a better understanding of this classic work.
The poem begins with a description of a woman walking through a city. The woman is wearing a coat, or "manteau," and the poem's title suggests that this is the third time we have encountered her. The woman's movements are described in great detail, with the poet noting the way she walks, the way she holds her head, and the way she interacts with her surroundings.
As the poem progresses, we begin to see that the woman's movements are not just physical, but also emotional. She is struggling with something, and the poem's language becomes more abstract as we move deeper into her psyche. The woman's thoughts and feelings are conveyed through a series of images and metaphors, each one building on the last to create a complex web of meaning.
One of the key themes of the poem is the idea of transformation. The woman is not just walking through the city, she is also changing. The coat she wears is a symbol of this transformation, as it both protects her and defines her. The coat is described as "a second skin," suggesting that it is a part of her identity. But it is also something that can be shed, suggesting that the woman is not fixed in her identity, but is constantly evolving.
Another important theme of the poem is the idea of connection. The woman is not alone in the city, but is surrounded by other people and objects. The poem describes the way she interacts with these things, and the way they interact with her. The woman is connected to the city, and to the people and objects within it, in a way that is both physical and emotional.
The poem's structure is also worth noting. It is divided into three sections, each one building on the last to create a sense of progression. The first section describes the woman's physical movements, while the second section delves deeper into her psyche. The third section brings these two elements together, creating a sense of resolution and completeness.
The language of the poem is also noteworthy. Graham's use of metaphor and imagery is both beautiful and complex. The poem is full of rich, evocative language that creates a sense of depth and meaning. For example, the woman's coat is described as "a dark sail," suggesting both protection and movement. The city is described as "a vast machine," suggesting both power and impersonality.
In conclusion, Jorie Graham's Manteau Three is a poem of depth and complexity. It explores themes of transformation and connection, and uses rich, evocative language to create a sense of meaning and depth. The poem's structure is carefully crafted to create a sense of progression and resolution. Overall, Manteau Three is a classic work of poetry that is well worth reading and analyzing.
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