Classic and Contemporary Poetry: Explained

Mary Oliver’s poem “Last Days” is a vivid depiction of transformation and the cyclical nature of life, exploring themes of change, decay, and renewal. The poem’s structure and language encapsulate a moment in time where nature itself seems to be on the brink of an extraordinary shift, creating a sense of both urgency and acceptance.

The poem begins with a straightforward observation: “Things are / changing; things are starting to / spin, snap, fly off into / the blue sleeve of the long / afternoon.” Here, Oliver uses simple language to describe a scene of dynamic change. The use of the words “spin,” “snap,” and “fly” introduces a sense of kinetic energy, suggesting that these changes are not gradual but sudden and intense. The phrase “the blue sleeve of the long / afternoon” personifies the afternoon, giving it a gentle, encompassing quality that contrasts with the abruptness of the changes described.

The next lines, “Oh and ooh / come whistling out of the perished mouth / of the grass,” introduce a sense of surprise and wonder. The sounds “Oh” and “ooh” mimic the natural sounds of the wind, emphasizing the poem’s auditory imagery. The “perished mouth / of the grass” evokes a sense of decay and death, yet the whistling sounds suggest that even in decay, there is movement and life. This paradox is central to Oliver’s exploration of nature’s cycles.

“As things / turn soft, boil back / into substance and hue,” the poem continues, suggesting a process of decomposition and recomposition. The word “soft” contrasts with the earlier harshness of “snap” and “spin,” indicating a return to a more fluid state. The phrase “boil back / into substance and hue” captures the transformation from decay to new forms, from lifelessness back into color and vibrancy. This imagery aligns with the natural cycle of life, death, and rebirth, reinforcing the idea that endings are also beginnings.

Oliver then introduces a contemplative tone with “As everything, / forgetting its own enchantment, whispers: / I too love oblivion why not it is full / of second chances.” Here, she personifies nature, suggesting that all things have an inherent enchantment or essence. The whispering tone implies a quiet acceptance of oblivion, viewing it not as an end but as an opportunity for renewal. The idea that oblivion is “full / of second chances” aligns with the natural cycles of death and rebirth, suggesting that endings are not to be feared but embraced for the new beginnings they bring.

The poem’s conclusion, “Now, / hiss the bright curls of the leaves. Now! / booms the muscle of the wind,” brings us back to the present moment with a sense of immediacy and power. The repetition of “Now” emphasizes the urgency of the moment. The “bright curls of the leaves” and the “muscle of the wind” personify nature’s elements, highlighting their active and forceful presence. The word “hiss” conveys a whispering sound, while “booms” suggests a powerful, resonant noise, creating a juxtaposition of gentle and strong elements in nature.

In terms of structure, the poem’s free verse form allows for a natural flow of ideas and imagery, mirroring the unpredictable and flowing nature of the changes it describes. Oliver’s use of enjambment, where lines spill over into the next without punctuation, enhances the sense of continuous movement and transformation.

Overall, “Last Days” by Mary Oliver is a contemplative and evocative piece that captures the essence of natural cycles and the beauty of change. Through her masterful use of language and imagery, Oliver invites readers to embrace the inevitability of transformation and to find solace in the continuity of life’s cycles. The poem’s interplay of decay and renewal, urgency and acceptance, reflects a profound understanding of nature’s rhythms and the endless possibilities that arise from change.

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