Today’s analysis will be a poem aimed at those out there who are fighting the good fight against the naysayers – and seeking out their own artistic voice. I don’t think I need to go much into a background or set-up. The title is self-explanatory:
Disclaimer: Do not read my analysis until you’ve pondered the poem for yourself. After all, most of the fun and power comes from how you, as a person, orient yourself to the poem before conferring with other views. In the end, much of poetry’s strength comes from intuition – although explanation & analysis can help ground intuition for later readings.
This poem is copyrighted by Dan Schneider.
Honestly, I feel that this poem should be left by itself, and people should ruminate on it without my pulling-apart or interpretations. If you wish to let it sink into your mind on your own, then stop reading here – but if not, then let’s get right into it:
The first six lines of the poems are kind of like self-contained haiku. They cap-off at three lines each. None of the other stanzas are self-contained in such a manner, and they segue into one another. As a result, the overall effect of the poem is to have these two declarations – the primary posit of why we do what we do, and the forces that stand against us – ring out at the start. Then, the rest of the poem becomes a tumultuous river that doesn’t stop until we come to the definitive end of it. A perfect structural representation of what it must be like to step onto this crazy journey into creation.
The first 3 lines has beautiful music and drifts about in a slow way, slightly engineered by the long ‘l’ sounds of the ‘all’. By the next 3 lines, a stronger image surfaces in the ‘stars’ and ‘wind’ – but there’s an enjambment that splits the ‘moaning winds’ to characterize the frustration of the young poet, and the eventual lessening of these doubts. The first stanza was also declarative and definite in each line, while this one begins the merge through that enjambment.
The third stanza seems to begin with a lingering moment of inspiration – when we close our eyes and creativity starts seeping in. The slow pace (heaviness added with ‘thick miasma’) adds to the feeling, but there is a narrative twist in how the stanza ends. The stronger force of ‘begged, borrowed and outright stole’ cuts apart those visions we have of being some kind of Romantic poet dreamily pondering on life. Of course, originality doesn’t just come from our own, but has to be surmounted by extensive and thorough reading of what poets have done in the past – something that Dan knows all too well. Well, this is just my extended interpretation of this part, but the main thing is that the schism of tone exists so that we can read these differences into it. Besides that, the ‘expectation’ can also be read in multiple ways due to the enjambment, being both the poetic expectation of what comes next, and the expectations of life placed upon ourselves.
Then, the next stanza has a listing (‘ideas, lines, forms, and styles’) that carries over the rhythm from the previous line – and it gets stronger with the image of heat. The ‘grotesque concoction’ split can also be read in multiple ways, with the first word showing what we perceive as a mess of inspirations and plagiarisms, and the second showing what potential exists.
The fifth stanza carries over from the fourth, and adds an extra twist to the previous sentence by capping it off with a ‘yelped’ – and this stanza is full of exclamations to parry against the flow of the previous lines. More good enjambments outline the crisis & feeling of fraud that initially comes from the imitation – the ‘denial of our very own’. By cutting off before ‘soul’, it floats up more connections as to what this ‘own’ is pointing to.
All of the declarations in the fifth stanza start with ‘this is’ – so the sixth begins with the same, but shows us the refutation to those doubts, that there is a “path to an end full with greatness”. To undermine the glory of that path & statement, it caps off with ‘in the dark’ – and then begins to show the ugly side separate from those dreams. The music here amps up the gunk of life, and though Dan has frequently warned against excessiveness of modifiers in writing – this is where the modifiers fit in, to clog up the stanza and convey the effect so desired. The centre line of the sixth is the most descriptive line to appear so far, which has the effect of ‘concretizing’ an environment against the poet’s fancy.
The seventh stanza twists again, starting off as what seems to be a declaration of despair, which turns in favour of the poet – to the ‘envy’ of those who cannot enter the realm of poetry. The ‘tasteless farina of vapid doggerelists’ also cuts off the overabundant and chunky modifiers when it reaches the description of the poet ready to fly.
The eighth stanza continues the image, and adds more reinforcement through the ‘moldy and useless’ non-poets (which can be read in many ways thanks to the enjambment) – versus the You that ‘they could not shatter’.
As the end of the poem comes into sight, the repetitive ‘you’ of the ninth stanza becomes declamation of artistic individuality developing. An interesting and enigmatic symbol – ‘orangeing time’ is used here, calling up some sunrise or sunset depending on the frame that you choose to look at it. At this point, it is also good to notice all of the present participles that are floating up, ending with ‘being’ in the penultimate stanza (versus the ‘waiting’ that begins the poem). I wonder whether this was Dan’s intuition or whether he had planned it beforehand.
From here on out, I’ll talk less about the specifics and get into the general feel of the cosmic ending. The tenth and eleven stanzas plays off the initial image of the boiling after continuing the image of the chrysalis birthing – turning what was once grotesque into the ‘bubbling soup of art deep within you’. This then opens into the perennial image of the sky by the end of the eleventh stanza.
But the image of the sky here is twisted again, and it becomes more of an internal sky that you ‘hove’ back into, and also a kind of void (though, Dan structures it such that the ‘going into’ is read simultaneously with the ‘going outwards’ – because the best art is both entering into self and world) – so Dan still leaves that lingering uncertainty that results from being an artist. And then, it’s lifted up again, by changing that uncertainty into joy of being in that uncertainty.
Finally, the stunning conclusion. This is why we do things – not just because of the voice that we as artists find, but also the voice that is left behind to future generations in the form of art. It endlessly communicates even while lacking in body.
The twists in these poems, alternating between the internal and external, doubts and rewards, creation and scepticism – are what makes this poem the complex statement on art that it is. It doesn’t provide an easy view, but understands all of the complexities that goes into art. The structure of beginning inwards, then outwards, then inwards, then inwards AND outwards, and all of the above techniques that I mentioned make it a stunning poem that everyone on the path should read and try to comprehend, and draw their own from it. At the end, there’s only greatness to uncover – Venture On!