Classic and Contemporary Poetry: Explained

In "Talk," William Matthews explores the constant, intrinsic communication that occurs within and between bodies, using a mix of philosophical musings and physical realities. The poem begins by asserting that "the body is never silent," introducing the concept that our physical forms are in a state of perpetual activity and expression. Matthews references Aristotle's idea that we cannot hear the "music of the spheres" because it is the first sound we encounter, akin to the constant background noise of "blood at the ear." This idea sets the stage for a meditation on the myriad ways our bodies communicate, both with ourselves and with others.

The poem details the various noises and functions of the body, from the brewing of fluids to the digestive processes that "moor us to the dead." This line poignantly connects the act of eating and digesting to a larger cycle of life and death, suggesting that our sustenance links us to those who came before us. The mention of "sniffles and farts" introduces a humorous acknowledgment of the body's less dignified aspects, highlighting the unpredictability that makes these bodily functions endearing.

Matthews delves into the duality of our existence, noting that "because breath goes in and out, there are two of each of us and they distrust each other." This duality—represented by the in-and-out nature of breathing—suggests an inherent tension within us, between different aspects of our being or consciousness. The body's "reassuring slurps and creaks" are likened to a dial tone, symbolizing a constant, reliable connection to the universe. This metaphor suggests that our bodies are always in communication with the cosmos, providing a continuous background noise that signifies life.

The poem transitions to the idea of conversation, asserting that "we are always talking" through our bodies. Matthews imagines a dialogue between the self and the body, a constant exchange of troubles and experiences. This internal conversation is contrasted with the potential for communication between bodies, described as "body-sonar." This term suggests a form of non-verbal communication that occurs when two bodies are near each other, an intuitive exchange of signals and feelings.

Despite this potential for connection, Matthews acknowledges that the "art of conversation is not dead! Still, for long periods, it is comatose." This observation captures the reality that while we may always be communicating on some level, meaningful, conscious exchanges can often be rare or dormant. The poem poignantly addresses the longing for physical closeness, noting that when the speaker's body "doesn't get near enough to yours for a long time," it becomes disconsolate. This physical separation leads to a restless state where the body, deprived of the company of another, becomes "truculent."

The closing lines of the poem emphasize the deep, often unspoken desire for physical and emotional intimacy. The speaker imagines the next voice to be the body's, resonating like "blood sounds at your ear," urging silence. The poem concludes with the body saying "Ssshhh," suggesting a final, quiet acknowledgment of presence and connection. This silence is not an absence of communication but a profound, shared understanding that goes beyond words.

"Talk" is a meditation on the ceaseless communication that defines human existence, both internally and with others. Matthews explores the physical and metaphysical aspects of this dialogue, capturing the humor, tension, and longing inherent in the human condition. The poem's reflection on the body's constant activity and the nuanced conversations that arise from proximity and separation highlights the intricate and often subconscious ways we connect with ourselves and the world around us. Through its thoughtful and evocative imagery, "Talk" underscores the complexity and beauty of the unspoken exchanges that permeate our lives.

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