Classic and Contemporary Poetry: Explained

"Aphrodite Metropolis (2)," by Kenneth Fearing, offers a glimpse into the love between Harry and Myrtle amidst the backdrop of a consumerist and sensationalist society. Fearing juxtaposes the purity of their relationship against the cynicism and commodification found in newspapers and advertising. Through this contrast, he reveals the tension between genuine human emotion and the overwhelming influence of commercial culture.

The poem opens with a simple declaration: "Harry loves Myrtle—He has strong arms, from the warehouse." This line establishes Harry's working-class background and the physical strength he derives from his labor. The next lines describe how Harry and Myrtle spend their Sundays: "And on Sunday when they take the bus to emerald meadows he doesn't say: / 'What will your chastity amount to when your flesh withers in a little while?'"

Instead of expressing cynicism or doubt, Harry chooses to remain positive and supportive. The "emerald meadows" symbolize a place of peace and beauty, offering a respite from the harshness of urban life. The reference to chastity and the withering of flesh highlights societal pressures and fears surrounding relationships, but Harry doesn't let these concerns cloud their time together.

The poem then delves into their Sunday ritual: "On Sunday, when they picnic in emerald meadows they look at the Sunday paper: / GIRL SLAYS BANKER-BETRAYER / They spread it around on the grass / BATH-TUB STIRS JERSEY ROW." The use of sensational headlines like "GIRL SLAYS BANKER-BETRAYER" and "BATH-TUB STIRS JERSEY ROW" reveals the tabloid culture that permeates their lives. Despite these lurid stories, Harry and Myrtle spread the newspaper on the grass and sit down to enjoy their picnic, finding comfort amidst the noise.

Fearing continues to emphasize the contrast between love and commercialism: "Harry doesn't say 'Ziggin's Ointment for withered flesh, / Cures thousands of men and women of moles, warts, red veins, flabby throat, scalp and hair diseases, / Not expensive, and fully guaranteed.'" This mock advertisement reflects society's obsession with appearance and perfection. The ironic reference to "withered flesh" aligns with the earlier mention of chastity and withering, emphasizing how commercial culture preys on people's insecurities. However, Harry remains undeterred, choosing instead to enjoy the moment with Myrtle.

The poem reaches a poignant climax with Harry's simple but meaningful actions: "No, / Harry says nothing at all, / He smiles, / And they kiss in the emerald meadows on the Sunday paper." By saying nothing, Harry rejects the commodification and sensationalism that surround him. His smile and kiss convey love and contentment, providing a stark contrast to the world of headlines and advertisements beneath them.

Structurally, the poem is written in free verse, giving Fearing the flexibility to blend imagery, dialogue, and advertising seamlessly. The repetition of "No" and "Harry" emphasizes Harry's deliberate choice to focus on love rather than societal pressures. The headlines and mock advertisement serve to underline the commercialism that permeates the poem.

In "Aphrodite Metropolis (2)," Kenneth Fearing captures the delicate balance between genuine love and the overwhelming influence of consumerist culture. By juxtaposing Harry and Myrtle's relationship against the backdrop of sensational headlines and commercial advertising, Fearing reveals the resilience of love in the face of societal pressures. The poem is a tender yet critical exploration of how human connection can endure despite the pervasive noise of modern life.

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