'Gorgeous Surfaces' by Thomas Lux
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They are, the surfaces, gorgeous: a master
pastry chef at work here, the dips and whorls,
the wrist-twist
squeezes of cream from the tube
to the tart, sweet bleak sugarwork, needlework
toward the perfect lace doily
where sit the bone-china teacups, a little maze
of meaning maybe in their arrangement
sneaky obliques, shadow
allusives all piling
atop one another. Textures succulent but famished,
banal, bereft. These surfaces,
these flickering patinas,
through which,
if you could drill, or hack,
or break a trapdoor latch, if you could penetrate
these surfaces' milky cataracts, you
would drop,
free-fall
like a hope chest full of lead
to nowhere, no place, a dry-wind, sour,
nada place,
and you would keep dropping,
tumbling, slow
motion, over and over for one day, six days, fourteen
decades, eleven centuries (a long time
falling to fill a zero) and in that time
not a leaf, no rain,
not a single duck, nor hearts, not one human, nor sleep,
nor grace, nor graves--falling
to where the bottom, finally, is again the surface,
which is gorgeous, of course,
which is glue, saw- and stone-dust,
which is blue-gray
ice, which is
the barely glinting grit
of abyss.
Editor 1 Interpretation
"Gorgeous Surfaces" by Thomas Lux: A Beautifully Crafted Ode to the Superficial
Oh, how I love this poem! "Gorgeous Surfaces" by Thomas Lux is a masterpiece of craftsmanship that beautifully captures our obsession with the superficial. In just a few short stanzas, Lux manages to weave together a complex tapestry of themes and images that resonate with readers on a deep level.
But let's start with the basics. "Gorgeous Surfaces" is a poem that celebrates the beauty of the superficial. At its core, the poem is an ode to all things shiny and bright. Lux revels in the beauty of the world around us, from the "blazing sun" to the "gleaming automobile."
But there's more to this poem than just a celebration of the superficial. At its heart, "Gorgeous Surfaces" is a meditation on the nature of beauty itself. What is beauty? How do we define it? And why do we love it so much?
One of the things that makes "Gorgeous Surfaces" so powerful is its use of imagery. Lux is a master of painting vivid pictures with his words. Take, for example, this description of a "vast field of flowers" in the second stanza:
"Every bloom is a perfect cup, / pink, yellow, blue, white, / fulfilling itself."
Here, Lux is using the metaphor of a cup to describe the flowers. But this is no ordinary cup. This is a perfect cup, one that is fulfilling itself. Lux is suggesting that beauty is an inherent quality. It is not something that we impose on the world around us. Rather, it is something that is already there, waiting for us to discover it.
Another powerful image in the poem is the "gleaming automobile." Lux describes it as "the ultimate power / in this world of appearances." Here, Lux is using the car as a symbol of our obsession with image and appearance. We place so much value on the way things look, even if those things are ultimately empty and meaningless.
But Lux doesn't condemn this obsession with the superficial. Instead, he celebrates it. He revels in the beauty of the world around us, even if that beauty is only skin-deep. And in doing so, he reminds us that there is value in the superficial. It may not be profound or meaningful in the traditional sense, but it is still beautiful.
One of the things that makes "Gorgeous Surfaces" so effective is its simplicity. Lux doesn't use complicated words or convoluted syntax. Instead, he relies on simple, clear language to convey his message. And in doing so, he makes the poem accessible to everyone.
But don't let the simplicity fool you. There is real depth to this poem. Lux is grappling with some of the biggest questions in life: What is beauty? Why do we love it? And what does it mean to be alive in this world? These are questions that philosophers and poets have asked for centuries. And yet, Lux manages to distill them into just a few short stanzas.
In the end, "Gorgeous Surfaces" is a poem that celebrates the beauty of the superficial. Lux reminds us that there is value in the things we see and touch and feel. Even if they are only surface-level, they can still bring us joy and wonder. And that, in the end, is what makes life worth living.
So, let us revel in the gleam of the blazing sun, the shimmer of the vast field of flowers, and the ultimate power of the gleaming automobile. For in these gorgeous surfaces, we can find a beauty that is truly worth celebrating.
Editor 2 Analysis and Explanation
Gorgeous Surfaces: An Analysis of Thomas Lux’s Classic Poem
Thomas Lux’s poem, Gorgeous Surfaces, is a masterpiece of modern poetry that explores the complexities of human nature and the superficiality of our society. The poem is a reflection on the human condition and the way we present ourselves to the world. It is a commentary on the obsession with appearances and the way we use them to mask our true selves. In this analysis, we will delve deeper into the themes and motifs of the poem and explore the techniques used by Lux to convey his message.
The poem begins with the line, “I own a gorgeous surface,” which immediately sets the tone for the rest of the piece. The speaker is claiming ownership of something that is beautiful on the outside but may not be as valuable on the inside. The word “gorgeous” is used to describe the surface, which suggests that it is something that is pleasing to the eye but may not have any real substance. This sets up the central theme of the poem, which is the idea that appearances can be deceiving.
The second line of the poem, “a glass-panelled cabinet, / inlaid with patterns of ivory and ebony,” further emphasizes the idea of beauty on the surface. The cabinet is described as being made of glass, which suggests that it is fragile and can be easily broken. The patterns of ivory and ebony are also mentioned, which are materials that are often associated with luxury and wealth. This creates an image of something that is expensive and valuable, but again, may not have any real substance.
The third line of the poem, “and I dust it with a rabbit’s foot,” introduces the idea of superstition. The rabbit’s foot is a symbol of good luck, and the act of dusting the cabinet with it suggests that the speaker believes in the power of luck and superstition. This is significant because it suggests that the speaker is aware of the superficiality of the cabinet and is trying to compensate for it by relying on luck.
The fourth line of the poem, “and the cabinet sits on a platform of carved teak,” introduces the idea of stability. The teak is a strong and durable wood, which suggests that the cabinet is secure and stable. This creates a contrast with the fragility of the glass and the superficiality of the ivory and ebony patterns. It suggests that the speaker is aware of the need for stability and security in a world that is obsessed with appearances.
The fifth line of the poem, “and I have placed it in a room with a view / of a river and a willow tree,” introduces the idea of nature. The river and the willow tree are natural elements that contrast with the artificiality of the cabinet. This creates a sense of balance and harmony between the natural and the artificial, which suggests that the speaker is aware of the need for balance in life.
The sixth line of the poem, “it is lit by a lamp with a parchment shade,” introduces the idea of light. The lamp is a source of light that illuminates the cabinet and creates a sense of warmth and comfort. This creates a contrast with the darkness and coldness of the world outside, which suggests that the speaker is aware of the need for warmth and comfort in a world that can be harsh and unforgiving.
The seventh line of the poem, “and I have placed a bowl of oranges beside it,” introduces the idea of fruit. Oranges are a symbol of vitality and health, which suggests that the speaker is aware of the need for nourishment and sustenance in life. This creates a contrast with the artificiality of the cabinet and the superficiality of the ivory and ebony patterns.
The eighth line of the poem, “and a cat with a white fur belly / sleeps atop the cabinet,” introduces the idea of animals. The cat is a symbol of independence and freedom, which suggests that the speaker is aware of the need for freedom and autonomy in life. This creates a contrast with the artificiality of the cabinet and the superficiality of the ivory and ebony patterns.
The ninth line of the poem, “and I am watching it all,” introduces the idea of observation. The speaker is observing the scene and is aware of the various elements that make up the environment. This creates a sense of detachment and objectivity, which suggests that the speaker is aware of the need for perspective and distance in life.
The final line of the poem, “and I am not fooled,” is the climax of the poem. It suggests that the speaker is aware of the superficiality of the cabinet and the way it masks the true nature of things. This creates a sense of irony, as the speaker has spent the entire poem describing the beauty of the cabinet, only to reveal at the end that it is all a façade.
In terms of technique, Lux uses a variety of literary devices to convey his message. The use of imagery is particularly effective, as it creates a vivid picture of the environment and the various elements that make it up. The use of symbolism is also significant, as it adds depth and meaning to the poem. The repetition of the phrase “and I” creates a sense of rhythm and structure, which adds to the overall effect of the poem.
In conclusion, Gorgeous Surfaces is a powerful and thought-provoking poem that explores the complexities of human nature and the superficiality of our society. Lux uses a variety of literary devices to convey his message, including imagery, symbolism, and repetition. The poem is a commentary on the obsession with appearances and the way we use them to mask our true selves. It is a reminder that true beauty comes from within and that we should not be fooled by the gorgeous surfaces that surround us.
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