Classic and Contemporary Poetry: Explained

Lawrence Ferlinghetti’s poem "London Crossfigured" is a surreal and evocative depiction of a model’s unexpected disintegration during a Sunday art session in London. Ferlinghetti combines vivid imagery with humor and absurdity to explore themes of identity, perception, and the tenuous relationship between appearance and reality.

The poem begins with a description of "London / crossfigured / creeping with trams." This introduction establishes a sense of disorientation, where the city is "crossfigured," or seen from a skewed perspective. The mention of "trams" and the phrase "creeping" evoke the movement of the city, bustling with activity yet strangely unfamiliar.

Ferlinghetti then shifts to "the artists on sundays / in the summer / all 'tracking Nature' / in the suburbs." This imagery suggests a group of artists searching for inspiration outside the city center, seeking to capture nature in their work. The phrase "tracking Nature" implies an almost predatory pursuit of artistic truth, as they leave behind the "crossfigured" cityscape.

The focus then narrows to an art session where "when someone shouted over / that they had got a model / I ran out across the court." The excitement of finding a model underscores the competitive spirit of the artists. However, the session takes a surreal turn when "the model started taking off / her clothes / there was nothing underneath." The repetition of "taking off" emphasizes the gradual stripping away of layers, while the stark realization that "there was nothing underneath" introduces a sense of dismay and absurdity.

Ferlinghetti describes how the model "took off her shoes / and found no feet / took off her top / and found no tit / under it." The disappearance of body parts suggests a complete unraveling of identity, as the model's physical presence dissolves before the artists’ eyes. The description of her reaction, "and I must say she did look / a bit / ASTOUNDED," humorously captures the bewilderment of someone confronted with their own disintegration.

Despite the absurdity of the situation, the model carefully "put her clothes back on / and as soon as she was dressed again / completely / she was completely / all right." This return to normalcy after redressing reveals the dependence on external appearance to maintain identity. Once clothed, she is perceived as whole and intact, but the experience has left her shaken.

The artists, fascinated by the spectacle, urge her to "Do it again!" while "rushing for his easel." The desire to capture the surreal disintegration speaks to their fixation on the bizarre and their artistic impulse to explore the unusual. However, the model is "afraid to / and gave up modelling." Her fear of repeating the experience prevents her from continuing in the role, suggesting a loss of confidence and a retreat from vulnerability.

The poem concludes with a poignant image: "and forever after / slept in her clothes." The model's decision to always sleep in her clothes reflects her fear of exposing herself again, both literally and metaphorically. It becomes a protective mechanism, ensuring that she remains "completely all right" in appearance, even if the inner disintegration persists.

In "London Crossfigured," Ferlinghetti uses surrealism and humor to explore the fragility of identity and the dependence on outward appearance to maintain a sense of self. The poem reflects the tension between the external and the internal, suggesting that what we see is often only a superficial layer concealing a deeper uncertainty. Ultimately, the poem leaves the reader with a sense of the absurdity of human existence and the precarious nature of identity in a "crossfigured" world.

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