Classic and Contemporary Poetry: Explained

"At the Poetry Conference: Berkeley After the New York Style" by Robert Duncan is an engaging and vibrant poem that captures the dynamic atmosphere of a poetry conference, exploring the interplay of influences, voices, and the communal spirit of poetic expression. The poem weaves together mentions of several iconic poets and styles, creating a tapestry of poetic discourse that is both homage and creative dialogue.

The poem opens with a tribute to Ted Berrigan, initiating a journey through various poetic landscapes and voices, including Allen Ginsberg and Frank O’Hara. Duncan cleverly uses the act of turning on poetry as a metaphor for engaging with these diverse and vibrant poetic voices, suggesting a radio or vehicle journeying through literary terrains. Ginsberg's presence is felt strongly, his readings serving as a guiding force or touchstone for the other voices and styles that Duncan navigates.

The "New York Style" in poetry often refers to the distinctive approach of the New York School of poets, a group that emerged in the 1950s and 1960s. This group of poets, which included key figures like Frank O'Hara, John Ashbery, Kenneth Koch, and James Schuyler, is known for its unique blend of urban sensibility, wit, colloquial language, and a deep engagement with the visual arts.

The structure of the poem reflects the spontaneity and the eclectic nature of a poetry reading. Lines like "Beautiful yellow cheeks and jowls / Marking an uneven stanza off with jewels" evoke the vivid, sensory experiences of listening to poetry, where physical presence and voice quality enhance the textual experience. Duncan also captures the geographic and cultural journey poetry can undertake, from a conference room in Berkeley to a highway in Oregon, illustrating poetry’s power to transcend physical and conceptual boundaries.

In subsequent stanzas, Duncan continues to layer references to other poets, creating an intertextual dialogue that reflects the often collaborative and referential nature of poetic creation. The poem itself becomes a space where the legacies of Berrigan, O’Hara, Ashbery, and others mingle, their styles and thematic concerns echoing and responding to one another. This blending underscores the idea of poetry as a communal, ever-evolving art form, enriched by its practitioners’ interactions.

The imagery of the poem is dynamic and often whimsical, with lines like "Dogs barking along another shore" or invoking the poetic giants of Byron, Keats, and Shelley as "our boys abroad." These elements contribute to a sense of playfulness and irreverence that is often at the heart of poetic innovation and community.

In the later stanzas, Duncan addresses the personal impact and intimate nature of poetic discourse. He contemplates his own role and experiences within this larger community, reflecting on missed connections, personal histories, and the deep emotional resonances that poetry can evoke. His reference to meeting Anais Nin and the missed opportunity due to the rain adds a poignant layer, connecting personal history with poetic inspiration.

The poem concludes with a reflective and somewhat self-deprecating acknowledgment of the poet's role as an "old creep with a need to read poems," yet still driven by the communal and transformative power of the poetry reading. The final lines about letting "the river run if it wants to" suggest a surrender to the natural flow of creativity and communication that a poetry conference—and by extension, the poetic discourse—embodies.

Overall, "At the Poetry Conference: Berkeley After the New York Style" is a celebration of poetic community, a reflection on the interconnectedness of individual creative expressions, and an homage to the enduring influence of prominent poets who continue to inspire and provoke. Duncan's poem is a vibrant, multi-voiced tapestry that captures the spirit of poetic dialogue and the continuous exchange of ideas and inspirations that define the poetic community.