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In "Some San Francisco Poems: 5. The Translucent Mechanics," George Oppen crafts a poem that explores the interplay between the natural world and human-made structures, as well as the deeper, often elusive forces that move through both. The poem meditates on the unseen or barely perceptible elements—like wind, fear, and spiritual presence—that influence the physical world and human consciousness. Oppen uses a fragmented, evocative style to probe the mysteries of motion, existence, and the intangible connections that bind the material and the spiritual.

The poem opens with the image of wind moving "Combed thru the piers," a phrase that immediately establishes a sense of interaction between the natural elements and the built environment of the city. The wind, an invisible force, moves through the "clever city," a description that suggests the city's design and structures are sophisticated but also hints at a deeper intelligence or complexity within the urban space. The wind does not enter through doors but instead moves in the "hinges," suggesting that it finds its way into the smallest, most functional parts of the city—those elements that allow for movement and change.

Oppen then suggests that the wind "Finds the secret of motion / As tho the hollow ships moved in their voices, murmurs." Here, the wind is personified, as if it holds knowledge or a secret about how motion works, particularly in relation to the ships, which are described as "hollow" and seemingly animated by the wind's "voices" or "murmurs." This creates a sense of the ships being alive or sentient, their motion not purely mechanical but imbued with a kind of whispered life or spirit.

The introduction of "Flaws / In the wind" and the repetition of "Fear        fear" evokes a sense of vulnerability or instability. The flaws in the wind might symbolize imperfections or disruptions in the natural or spiritual order, and the fear that arises at the "lumber mastheads" suggests an awareness of these vulnerabilities among those who navigate or inhabit this environment. The mastheads, typically the highest point of a ship, become a vantage from which fear is observed or felt, possibly reflecting the precariousness of existence or the unknown dangers that lie ahead.

The phrase "fetched a message out of the sea again" hints at the sea as a source of knowledge or communication. The sea, often a symbol of the unconscious or the unknown, brings forth a message that is retrieved, perhaps by the wind or by those attuned to its movements. This retrieval suggests a cyclical process of discovery or enlightenment that comes from engaging with the natural world.

Oppen then shifts to a more abstract reflection: "Say angel                say powers / Obscurely   ‘things / And the self.’" This invocation of "angel" and "powers" introduces a spiritual or metaphysical dimension, where the poet calls upon higher forces or beings to articulate the relationship between "things" (the material world) and "the self" (human consciousness or identity). The use of "Obscurely" suggests that this relationship is not easily understood or defined, but rather exists in a shadowy or hidden realm.

The poem continues with the word "Prosody / Sings / In the stones," linking the musicality or rhythm of poetry (prosody) with the physical world, represented by stones. This connection implies that there is a natural poetry inherent in the world itself, a rhythm or song that can be found even in the most solid, seemingly inert objects. The stones, perhaps symbolizing permanence or the foundation of the earth, are imbued with a kind of living prosody, a natural music that speaks to the interconnectedness of all things.

Oppen then addresses the idea of "entrusting / To a poetry of statement / At close quarters / A living mind / ‘and that one’s own.’" Here, the poem reflects on the role of poetry in articulating or capturing the thoughts and experiences of a "living mind," emphasizing the importance of personal, direct engagement with the world. The phrase "and that one’s own" underscores the individual nature of this engagement, the uniqueness of each person's perspective and the responsibility to express it.

The poem concludes with a series of questions and reflections on spiritual or cosmic forces: "what then             what spirit / Of the bent seas / Archangel / of the tide / brimming / in the moon-streak." These lines suggest a search for understanding or connection with the forces that govern the natural world, such as the tides and the moon. The "Archangel of the tide" is a powerful, almost divine figure, associated with the rhythmic, cyclical movements of the sea, which are "brimming" with life and potential.

The final lines, "comes in whose absence / earth crumbles," suggest that this spiritual or natural force is essential to the stability and continuity of the world. Without it, the earth would "crumble," indicating the fragility of existence and the dependence on these unseen forces for balance and order.

In "The Translucent Mechanics," George Oppen offers a meditation on the complex interactions between the natural and the human-made, the material and the spiritual. Through his evocative imagery and fragmented structure, Oppen explores the hidden forces that animate the world, the fear and vulnerability that accompany our understanding of these forces, and the role of poetry in capturing and expressing the living mind's engagement with the mysteries of existence. The poem invites readers to consider the deeper, often elusive connections that bind us to the world and to each other, highlighting the importance of awareness and reverence for the forces that sustain life.


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