In Anne Gallagher’s Reading of Wallace Stevens’ Of Modern Poetry, we are able to see our author grappling with the writing and thinking process of the poet. She attempts to break down Stevens’ work by analyzing it in a sense of the poet’s purpose: she ruminates on the idea of what the poet is trying to achieve in the poem, and what that may say about his perception of both himself and of the topic, modern poetry. Gallagher seems to declare that Stevens’ maintains a sense of self-reflexivity, while detailing a certain call to action of modern poetry by discussing the ways in which it is meant to serve, as well as how it differs from the poetry of the past. Gallagher concludes her thoughts when she realizes the paradoxical nature of meta-poetry in terms of the mind; as she realizes that in an attempt to explore the inner workings and meanings of the mind, one must remain inside the mind, proving that it is impossible to exist separately from the very thing one seeks to discern.
Gallagher mentions the self-meditative nature of the poem when she explains that “a poem on the nature of poetry by someone who seriously considers himself a poet is very much like a self portrait,” an idea which she clearly considers to be indicative of the overall meaning of the poem (1). She explains that despite his reluctance to “give up secrets readily,” Stevens may be found “at the heart of the poem” (1). Our author goes on to explain a certain coexistence between the poet and their poem, “this commingling of maker and made, poetry and poet seems to be borne out in the final images presented in the poem,” and the poem itself appears to comment in a metaphysical nature on the inherent meaning and fundamental endeavor of poetry, and how the poet holds a certain power with this task (3).
We are taken through the lines of the poem, where Gallagher explains Stevens’ ideals in his account of modern poetry. She perceives his lines with an astute opinion, declaring that Stevens’ “rather than lamenting the past” presents it as “over and done with” and :not necessarily as exciting or as open to possibilities as the present” which can be found in modern poetry (2). Gallagher appears to consider Stevens’ attitude of the past somewhat negatively, calling a souvenir “a token of somewhere else,” presumably existing to something separate from what she may consider modern poetry. Rather than reading the line as poetry being worthy of remembrance, Gallagher expresses it as something to be left in the past from which we must move on to produce modern poetry. Our author is certain to progress by explaining what seems to be the call to action of the poem. She lists the qualities which the poem states as being particularly indicative of modern poetry, as there are “certain qualities which modern poetry must have” (2). It must be relatable, relevant, and construct a new stage while also speaking to the mind. She explains that “if modern poetry truly speaks to this “ear of the mind”…the invisible audience of other ears of the mind will listen” as well, which seems to be a chief task in producing good poetry (2).
In accordance to the call to action of the poem must take, Gallagher mentions the poet himself as having a responsibility. She determines Stevens’ stance on poetry as a poet through her close reading, calling him a “metaphysician” who “uses words to heal the world’s hurts and explain its confusions,” a sense of power imparted at the hand of the poet. She makes sure to comment on this sense of power and describes it as fleeting and unstable, as the poet “is often taken by surprise,” and subject to the moment and the world which can be unpredictable (2).
Perhaps the most engaging aspect of Gallagher’s reading is the way she recognizes the progression of the poem from beginning with a simple task to ending with an impending necessity for the poem to provide satisfaction. She explains that “what started out as a claim for that which ‘will suffice’ has been taken beyond that to the level of nothing less than satisfaction” a duty which may be achieved by the simple “fulfillment, however momentary, of our needs and desires” one which may be achieved by “a subtle but significant choice of words: (3). It is in this description that we again see a sort of power manifest in poetry and the poet, as they are able to provide the reader with a sense of contentment by the end of the poem, an almighty satisfaction so powerful it may reach several readers by way of only one poem; the poem may seem minute, while its potential is in fact massive.