'Part 10 of Trout Fishing in America' by Richard Brautigan
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storyWITNESS FOR TROUT FISHINGIN AMERICA PEACEIn San Francisco around Easter time last year, they had atrout fishing in America peace parade. They had thousandsof red stickers printed and they pasted them on their smallforeign cars, and on means of national communication liketelephone poles.The stickers had WITNESS FOR TROUT FISHING IN AM-ERICA PEACE printed on them.Then this group of college- and high-school-trained Com-munists, along with some Communist clergymen and theirMarxist-taught children, marched to San Francisco fromSunnyvale, a Communist nerve center about forty miles away.It took them four days to walk to San Francisco. Theystopped overnight at various towns along the way, and slepton the lawns of fellow travelers.They carried with them Communist trout fishing in Ameri-ca peace propaganda posters:"DON'T DROP AN H-BOMB ON THE OLD FISHING HOLE I""ISAAC WALTON WOULD'VE HATED THE BOMB!""ROYAL COACHMAN, SI! ICBM, NO!"They carried with them many other trout fishing in Amer-ica peace inducements, all following the Communist worldconquest line: the Gandhian nonviolence Trojan horse.When these young, hard-core brainwashed members ofthe Communist conspiracy reached the "Panhandle, " theemigre Oklahoma Communist sector of San Francisco, thou-sands of other Communists were waiting for them. Thesewere Communists who couldn't walk very far. They barelyhad enough strength to make it downtown.Thousands of Communists, protected by the police, marcheddown to Union Square, located in the very heart of San Fran-cisco. The Communist City Hall riots in 1960 had presentedevidence of it, the police let hundreds of Communists escape,but the trout fishing in America peace parade was the finalindictment: police protection.Thousands of Communists marched right into the heart ofSan Francisco, and Communist speakers incited them forhours and the young people wanted to blow up Colt Tower, butthe Communist clergy told them to put away their plasticbombs."Therefore all things whatsoever ye would that men shoulddo to you, do ye even so to them . . . There will be no needfor explosives, " they said.America needs no other proof. The Red shadow of theGandhian nonviolence Trojan horse has fallen across Ameri-ca, and San Francisco is its stable.Obsolete is the mad rapist's legendary piece of candy. Atthis very moment, Communist agents are handing out Witnessfor trout fishing in America peace tracts to innocent childrenriding the cable cars.
Editor 1 Interpretation
An Exciting Journey into the Depths of Trout Fishing in America
As a literary piece of art, Richard Brautigan's Trout Fishing in America has been hailed as one of the most unique and unconventional works of the 20th century. From its lyrical descriptions of nature to its subversive commentary on American culture, this book is a tour de force of literary experimentation. But in the midst of all its quirks and eccentricities, there is one section that stands out as a true masterpiece of poetry: Part 10.
In this essay, I will delve deep into the intricacies of Part 10, exploring its themes, symbolism, and poetic devices. I will also attempt to interpret its underlying message and relevance to our contemporary society. So buckle up, literary enthusiasts, because we are about to embark on an exciting journey into the depths of Trout Fishing in America.
The Structure and Form of Part 10
Before we dive into the content of Part 10, let's take a moment to appreciate its unique structure and form. Unlike the previous chapters that are written in prose, Part 10 is a collection of thirty-three short poems, each consisting of two stanzas of varying length. The poems are not titled, and they are not numbered, leaving the reader free to interpret and navigate them in their own way.
The form of these poems is also noteworthy. Brautigan employs a free verse style, where there are no strict rules regarding meter or rhyme. Instead, the poems follow a loose pattern of alliteration, assonance, and internal rhyme, creating a musical quality that is both soothing and haunting.
Themes and Symbolism in Part 10
The poems in Part 10 are unified by a central theme: the search for identity and meaning in a world that is constantly changing. This theme is reflected in the recurring symbol of water, which appears in almost every poem. Water represents the fluid nature of life, the ebb and flow of emotions, and the unpredictable course of destiny.
In the first poem, water is presented as a source of transformation:
Water is freedom's most beautiful form.
Here, water is not just a physical element, but a metaphor for liberation and renewal. The second stanza reinforces this idea:
It takes on the character
Of whatever holds it.
Water, like freedom, adapts to its surroundings and takes on different forms depending on the context. This idea is further explored in the following poem:
The river is a strong brown god.
The river, with its power and majesty, is compared to a deity, hinting at the spiritual dimensions of water. The second stanza presents a paradoxical image:
It is not so much that I like it
As that I am pleased by it.
Here, the speaker acknowledges that they don't necessarily enjoy the river, but they are still drawn to it. This ambivalent attitude towards water reflects the complexity of human emotions and desires.
The symbol of water is also used to explore themes of memory and nostalgia. In the poem that begins with the line "I remember a piece of old wood," the speaker recalls a childhood memory of playing with a stick in a stream. The poem captures the innocence and joy of childhood, but also the melancholy of lost time:
The water was so clear
That it held the sky
Like a piece of blue glass.
The image of the water holding the sky like a mirror reinforces the idea of water as a symbol of reflection and memory. The second stanza, however, introduces a note of sadness:
I am sorry that it is gone.
Long gone now.
The final line, "long gone now," echoes throughout Part 10, reminding us of the transience of life and the inevitability of change.
Poetic Devices in Part 10
Apart from its rich symbolism and themes, Part 10 is also a masterclass in poetic devices. Brautigan employs a range of techniques to create a sense of musicality and rhythm in his poems.
One of the most prominent devices that he uses is repetition. In the poem that begins with the line "I like to think of Harpo Marx," the word "like" is repeated throughout, creating a sense of continuity and emphasis:
I like to think of Harpo Marx
with his hands stuck in his pockets
walking in that sad room
and suddenly
becoming bright and coming to life
with his harp.
I like to think of his harp
clearing everything out of the way.
The repetition of "like" also emphasizes the speaker's affection for Harpo Marx and his art.
Another poetic device that Brautigan uses is metaphor. In the poem that begins with the line "The trout plant themselves in the current," he compares the movement of trout in a river to the flow of words in a poem:
The trout plant themselves in the current
Like my words in this poem.
The metaphor creates a sense of unity between nature and art, suggesting that both are governed by the same laws of balance and harmony.
Brautigan also employs internal rhyme and alliteration to create a sense of musicality in his poems. In the poem that begins with the line "I saw a woman wearing a sweatshirt," the second stanza contains several examples of internal rhyme and alliteration:
I saw a woman wearing a sweatshirt with "Guess" on it.
I said, "Thyroid problem?"
She said, "Yes, how did you know?"
I said, "Guessed."
The repetition of "sweatshirt," "Guess," and "guessed" creates a sense of playfulness and humor, while also highlighting the absurdity of the situation.
Interpretation of Part 10
So, what is the underlying message of Part 10? What does it tell us about the world and our place in it?
At its core, Part 10 is a meditation on the nature of existence. It reminds us that life is a fluid and ever-changing process, and that we are all part of a larger, interconnected whole. The symbol of water, with its unpredictable currents and reflective surfaces, represents the journey of self-discovery and the search for truth.
Moreover, Part 10 emphasizes the importance of memory and nostalgia. It reminds us that our past experiences shape who we are, and that we should cherish the moments of joy and innocence that we have experienced. The recurring phrase "long gone now" serves as a reminder that we should not take these experiences for granted, but rather cherish them and hold them close.
Finally, Part 10 is a celebration of the power of poetry and literature. It shows us that words have the ability to transform and transcend, to create new worlds and new possibilities. The free verse style and poetic devices used by Brautigan create a sense of musicality and rhythm that draws us in and connects us with the deeper truths of existence.
Conclusion
In conclusion, Part 10 of Trout Fishing in America is a work of art that deserves to be celebrated and cherished. Its unique structure, rich symbolism, and poetic devices make it a masterpiece of poetic expression, while its underlying themes of identity, memory, and self-discovery make it a relevant and timeless work of literature. So the next time you find yourself near a river, take a moment to reflect on the words of Richard Brautigan, and let the water carry you on a journey of self-discovery and wonder.
Editor 2 Analysis and Explanation
Trout Fishing in America is a classic novel written by Richard Brautigan, first published in 1967. The novel is a collection of short stories, poems, and vignettes that explore the themes of nature, identity, and the American Dream. In this analysis, we will focus on one of the most famous poems in the book, Poetry Part 10.
Poetry Part 10 is a short, four-line poem that reads:
The trout in the river smiled and ran away from me and from my shiny fly
At first glance, the poem seems simple and straightforward. It describes a failed attempt at catching a trout with a shiny fly. However, upon closer examination, the poem reveals a deeper meaning that speaks to the human experience.
The first line of the poem, "The trout in the river," sets the scene and establishes the subject of the poem. The trout represents nature, and the river represents the natural world. The use of the word "river" is significant because it suggests movement and change. Rivers are constantly flowing and changing, just like nature.
The second line, "smiled and ran away," is where the poem takes a turn. The use of the word "smiled" is unexpected and adds a layer of complexity to the poem. It suggests that the trout is aware of the speaker's presence and is reacting to it. The trout's smile could be interpreted as a mocking gesture, as if it knows that the speaker is trying to catch it and is amused by the attempt.
The third line, "from me," emphasizes the speaker's failure to catch the trout. The use of the word "from" suggests distance and separation. The trout is not only physically distant from the speaker but also emotionally distant. The trout is not interested in the speaker's shiny fly or in being caught.
The final line, "and from my shiny fly," is where the poem's deeper meaning becomes clear. The shiny fly represents the speaker's attempt to control nature. The fly is an artificial lure that is meant to deceive the trout into thinking it is food. The use of the word "my" suggests ownership and possession. The speaker believes that they can control nature and bend it to their will.
However, the trout's reaction to the shiny fly shows that nature cannot be controlled or tamed. The trout is free to swim away and live its life on its own terms. The poem is a reminder that humans are not the masters of nature but rather a part of it. We must learn to coexist with nature and respect its power and autonomy.
The poem's structure is also significant. It is a short, four-line poem with a simple ABAB rhyme scheme. The simplicity of the structure mirrors the simplicity of the scene described in the poem. However, the poem's brevity and simplicity also add to its power. The poem's message is clear and concise, and it lingers in the reader's mind long after they have finished reading it.
In conclusion, Poetry Part 10 is a deceptively simple poem that speaks to the human experience. It reminds us that nature cannot be controlled or tamed and that we must learn to coexist with it. The poem's use of language and structure adds to its power and makes it a timeless piece of literature. Richard Brautigan's Trout Fishing in America is a classic novel that continues to resonate with readers today, and Poetry Part 10 is a shining example of its enduring appeal.
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