Classic and Contemporary Poetry: Explained

In "Listening to Lester Young," William Matthews offers a poignant reflection on the jazz legend Lester Young, blending moments from different times to convey the enduring impact of Young's music and the inevitability of his decline. The poem shifts between 1958, the late stages of Young's life, and 1976, when Matthews himself is listening to Young's recordings, illustrating the temporal distance yet emotional proximity to Young's artistry.

The poem opens with a vivid description of Lester Young's physical state in 1958. Matthews captures Young's fragile condition, describing him as "minces / out, spraddle-legged as if pain / were something he could step over / by raising his groin." This image conveys both the physical pain and the delicate attempt to maintain dignity despite it. The use of "minces" and "spraddle-legged" emphasizes a kind of awkwardness, highlighting the toll that life and perhaps substance abuse have taken on the musician.

As Young begins to play, Matthews notes that it is "all tone now and tome / slurring toward the center / of each note." The metaphor of music as a book ("tome") suggests the depth and complexity of Young's expression, even as it fades. The "edges that used to be / exactly ragged as deckle / are already dead" refers to Young's once distinctive style, now softened by the ravages of time and illness. The "wobbly" embouchure and the fatigue evident in his playing reflect his physical decline, yet there is a sense of resignation and acceptance in the music he produces. The mention of Young "quot[ing] himself" hints at a musician retracing familiar paths, finding comfort in the known as he nears the end of his life.

The poem's narrative shifts to a brief anecdote from 1958, where a jazz writer encounters Young after a day of skating in Central Park. The interaction is casual, with the writer calling out, "Hey Pres," and Young responding with a seemingly dismissive remark, "You dropped your shit." This exchange captures the everyday reality of Young's life outside the public eye, contrasting with the reverence he receives as a musical icon. The moment is ordinary, yet it holds a bittersweet quality, highlighting the mundane aspects of life even for celebrated figures.

In the final stanza, Matthews brings the scene to 1976, where he listens to Young's music through high-quality stereo equipment. The technology allows him to hear even the faintest details, like Young's "breath rasp," which he likens to "water from a dry pond." This simile evokes a sense of desolation and emptiness, suggesting the weariness and struggle in Young's final performances. The "bottom etched, like a palm, / with strange marks" invokes a sense of mystery and inscrutability, as if the music contains a language that remains undeciphered, hinting at the complex emotions and experiences behind it.

Matthews concludes with the idea that this "language / that was never born" is something palmists can "easily read the future" in. This enigmatic ending suggests that while the specifics of Young's music and life might be obscure or lost, they still offer insight and foresight into broader human experiences. The metaphor of the etched palm also implies a predestined path, reflecting the inevitability of Young's decline and the larger human condition.

"Listening to Lester Young" is a meditation on the passage of time, the fragility of life, and the enduring power of art. Matthews skillfully blends moments from the past and present, capturing the melancholy of seeing an artist's decline while celebrating the lasting beauty of their work. Through precise and evocative language, the poem honors Lester Young's legacy, recognizing both his human frailty and his extraordinary contributions to music.

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