Classic and Contemporary Poetry: Explained

OF TIME AND THE LINE, by CHARLES BERNSTEIN Poet Analysis Poet's Biography

"Of Time and the Line" by Charles Bernstein is a multifaceted exploration of the concept of lines in various contexts, weaving together cultural, social, political, and personal narratives. Through a series of vignettes and references, Bernstein reflects on the ways in which lines demarcate boundaries, create connections, and signify meanings across different spheres of life. The poem's title itself sets up a dual focus on the temporal (time) and the spatial or structural (the line), inviting readers to consider the interplay between these dimensions.

Bernstein begins with a nod to George Burns, using the comedian's use of "straight lines" as a metaphor for the straightforward and the predictable, contrasted with the spaces "between the lines" where complexity and nuance reside. This opening serves as a metaphor for the poem's broader exploration of lines—literal and metaphorical—and their implications.

The poem then moves through a series of contrasts and comparisons, from Henny Youngman's "strictly paratactic" lines, which stand side by side without hierarchical subordination, to the speaker's father who "pushed a line of ladies' dresses," introducing lines as a means of livelihood and creativity. Bernstein's mention of his mother's concern with her hemline further personalizes the discussion, bringing in the notion of lines as markers of fashion and social convention.

The reference to Chairman Mao and the "Maoist lines" juxtaposed with the "East-West line of malarkey" introduces political and ideological lines, suggesting the divisions and discourses that shape global interactions. This shift from the personal and the playful to the geopolitical underscores the poem's exploration of lines as forces that both unite and divide.

Bernstein's commentary on the "prestige of the iambic line" and the uncertainty of identity ("it's no longer so clear who 'I' am, much less who you are") delves into the realm of poetry and prosody, considering how poetic forms and structures reflect and shape perceptions of self and other.

The admonition to be "double sure what you're lining in & what you're lining out & which side of the line you're on" speaks to the ethical and existential considerations of making choices and taking stands, emphasizing the significance of lines as moral and philosophical boundaries.

The poem's mention of the "prosodic lining" of every poem and the playful assertion that "if it's in prose, there's a good chance it's a poem" challenges conventional distinctions between poetic and prosaic forms, suggesting a fluidity and permeability between genres.

Bernstein concludes with reflections on various types of lines—from picket lines representing collective action and resistance, to bloodlines signifying heritage and identity, to the lines people wait in, highlighting differences in cultural and economic conditions. The final lines playfully shift from the mathematical to the whimsical, suggesting that while lines can create angles and divisions, they can also lead to moments of joy and celebration, as in the making of a Margarita.

"Of Time and the Line" is a rich tapestry that invites readers to consider the myriad ways in which lines shape our understanding of the world and our place within it. Bernstein's poem is both a celebration of the line's versatility and a critique of its power to delineate and divide, offering a nuanced reflection on the lines that define our live

POEM TEXT:

George Burns likes to insist that he always

takes the straight lines; the cigar in his mouth

is a way of leaving space between the

lines for a laugh. He weaves lines together

by means of a picaresque narrative;

not so Henny Youngman, whose lines are strict-

ly paratactic. My father pushed a

line of ladies' dresses—not down the street

in a pushcart but upstairs in a fact'ry

office. My mother has been more concerned

with her hemline. Chairman Mao put forward