Classic and Contemporary Poetry: Explained

In "Terminal Laughs", Irving Feldman offers a compelling, autobiographical poem that navigates the complexities of artistic identity, fame, and legacy. The poem, rich with anecdotal humor and reflective insights, traces an encounter between Feldman and Gregory Corso, another poet from the Beat Generation, while also meditating on the broader implications of reputation and recognition in the literary world.

The poem begins with a retrospective narrative about an incident involving a young Gregory Corso. Feldman recalls how Corso, "in his cups," meaning drunk, had crashed Feldman’s party and was indulging in Feldman’s liquor supply. Corso was "everywhere making his presence felt," leaving "steaming little signatures of self" on the furniture, indicating both literal messiness and figurative brashness.

When Corso is introduced to Feldman, he exclaims, “ 'Irving Feldman?' 'Irving Feldman?' 'Oiving Feldman?'—what kind of name is that for a poet?” Corso’s slurred repetition of Feldman’s name, with a comedic mispronunciation, mocks Feldman’s identity. The line “Caught redhanded being myself, naked in quotes” reveals Feldman’s vulnerability as he contemplates his name’s “awfulness” and how it is perceived. Feldman questions whether his name can evoke the gravitas that one might expect from a poet’s name.

Corso compares his own name favorably, declaring, “ 'Gregorio Nunzio Corso!'” which he states is "a name for a poet!" His name “alone, had heft and breath enough to launch and swell a mighty fine line,” in contrast to “Oiving Feldman,” which lacks poetic resonance in Corso’s view. Feldman further describes Corso's name as “Second paeon, dactyl, dactyl catalectic,” a poetic meter that indicates Corso’s rhythmic confidence.

However, Corso’s hubris is quickly checked when he “crossed one line too many.” Ralph, an "Anglophile" who disapproves of Corso's behavior, gives him “the old iambic one-TWO” in the form of a punch to the nose. Feldman takes some satisfaction in Corso's comeuppance and reflects on a belated comeback: “As the poet said, Gregory, What is in a name? / By any other you'd be as Coarso.” This pun on “Corso” and “coarse” turns Corso's name into a joke, but Feldman notes that the party “had long been over” before he could deliver this witty retort.

The poem then jumps forward thirty years, where Feldman finds himself at another party, this time hosted by his son in Hollywood. Here, Feldman humorously remarks, “Each newcomer turns the volume up,” hinting at the noise and chaos of the gathering. Enter Thad, a young actor “dying for parts, money, acclaim,” who spots Feldman and shouts across the room, “you are a goddamn star of poetry!”

Feldman questions whether Thad has read any of his work but still appreciates the brief moment of recognition, as he "glow[s] for a moment in his glee." However, this affirmation is tempered by an imagined echo of Gregory Corso’s voice. Feldman envisions Corso, now aged, stubble-bearded, and “slowed to a sub-pubcrawl,” muttering from his post at Parnassus Gate (a reference to the Greek mountain home of the Muses), “'Irving Feldman,' huh? Just another pretty name.”

Corso’s imagined dismissal hints at the transient nature of literary fame and recognition. Despite the accolades Feldman receives, there remains a persistent doubt about the lasting value of his name and work. The repetition of “just another” underscores the idea that, to some, even acclaimed poets can be reduced to mere labels, stripped of their individuality and significance.

Structurally, the poem is written in free verse, allowing Feldman to weave together multiple time frames and anecdotes seamlessly. The conversational tone and colloquial language create an approachable narrative, while the shifts between past and present lend the poem a reflective depth. Feldman’s use of humor and irony adds layers to the poem’s exploration of identity and reputation.

Overall, "Terminal Laughs" is a witty and poignant exploration of the artistic persona, the fleeting nature of fame, and the struggle for recognition. Through the anecdote of Corso’s mocking comments, Feldman illuminates the vulnerability and resilience required to navigate the literary world, revealing both the humor and pathos that accompany the pursuit of artistic legacy.

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