Classic and Contemporary Poetry: Explained

Philip Lamantia’s poem "Mysteries of Writing in the West" is a sprawling and intricate exploration of esoteric themes, combining elements of mythology, nature, historical references, and surrealist imagery to delve into the complexities of existence and the creative process. Through its rich tapestry of symbols and allusions, the poem contemplates the intersection of ancient knowledge and modern chaos, drawing readers into a mystical journey that defies straightforward interpretation.

The poem opens with an invocation to the Earth, “Tellus old earth whose houses are perched like ‘the language of the birds’,” suggesting a primordial wisdom embedded in the natural world. This reference to the “language of the birds” alludes to a mythical and mystical language believed to convey profound secrets and truths. Lamantia immediately sets a tone of reverence for ancient knowledge while foreshadowing the darker themes of destruction and loss.

The phrase “giants of genocide slice the shadows to species suicide” introduces a stark contrast, highlighting the destructive forces at play in the modern world. This image evokes the irreversible impact of human actions on the planet, suggesting a looming existential threat.

The poem's next lines, “the air of the message in the old sun / volcanic oil of lime at the edge of the flame rearranging forests,” blend natural and alchemical imagery, indicating a transformative process that is both destructive and regenerative. The “priests have rioted in the last prison” points to a rebellion against oppressive structures, further emphasizing the theme of upheaval and change.

Lamantia weaves in references to specific places and historical figures, such as “Mark Plug Stone and the radiant cliffs at Hopi / the bronze raindrop,” grounding the mystical journey in tangible locations known for their spiritual significance. The mention of Hopi, a Native American tribe with rich cultural and spiritual traditions, underscores the connection between land and mystical wisdom.

The poem transitions into a reflection on the passage of time and the cyclical nature of history: “the legends are silent / huff out at end of the century / millenarian shuffleboard diagonal to the cybernetic cipher.” This imagery suggests a convergence of ancient prophecies and modern technological advances, hinting at an impending transformation or reckoning.

Lamantia’s use of surreal and fantastical elements continues with lines like “hawk-eyed tambourine in a glade in Spenser’s liquifying glass / of gremlins,” blending Renaissance imagery with whimsical and otherworldly figures. This fusion of historical and fantastical elements creates a rich, layered narrative that defies easy categorization.

The poem delves deeper into themes of existential dread and the sublime with “the ultimate species suicide by nuclear bombardment / to the slobbering emptiness / of the gyrating generals with exploded testicles.” This stark and graphic imagery critiques the destructive potential of modern warfare and the moral decay of those in power.

As the poem progresses, Lamantia continues to juxtapose elements of natural beauty and human folly: “Nicolas Flamel at his cafe row / the rats of christianity void the gates west / we go.” Nicolas Flamel, a historical figure associated with alchemy, symbolizes the pursuit of hidden knowledge, while the “rats of Christianity” evoke a sense of decay and corruption within religious institutions.

The poem's latter sections delve into a cosmic and mystical journey: “Marco Polo time in the Far West / down by the bunkers of thunder / ‘Move the prisms north / the south direction is not propitious / follow the star . . . ’” This passage invokes a sense of exploration and adventure, blending historical figures and navigational imagery to suggest a quest for spiritual enlightenment.

Lamantia’s language becomes increasingly abstract and evocative, with lines like “legend winds over the window of natural devices plunged in a flask of green venom / legends go down the drain in old salty warbles.” This surreal and poetic language creates a dreamlike atmosphere, inviting readers to immerse themselves in the enigmatic and symbolic landscape of the poem.

The poem concludes with a powerful invocation of the mystical and the sublime: “little warbles of shivaite fingers cross the sea of Enigma the way of Inspired Gull, / despised bird of deities / words on the marrow actual wing dissecting dream worlds.” Here, Lamantia blends references to Hindu mythology, the natural world, and the act of writing itself, suggesting that true wisdom and creativity arise from a deep engagement with both the mystical and the mundane.

“Mysteries of Writing in the West” is a complex and richly textured poem that challenges readers to explore the intersections of history, mythology, and the human condition. Through its dense and evocative imagery, Philip Lamantia creates a work that is both deeply personal and universally resonant, inviting readers to embark on a journey of discovery and transformation.

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