17 pages • 34-minute read
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While the speaker of a poem is not the poet, per se, it’s hard to deny the influence of Charles Simic’s personal history and life story on his poetry. As a prolific American poet, Simic thus produced a large body of work characterized by a uniquely distinctive voice. Simic’s poems, including “The Partial Explanation,” are an alchemy of his experience and environments. As a child, he survived the violence of World War II, repeatedly evacuating his home with his family to avoid the bombings that flattened Europe. Simic jokes, “My travel agents were Hitler and Stalin.” The dark humor is a signature of Simic’s work. Even in what could be considered the bleakness of “The Partial Explanation,” there is a lightness of spirit to the lines “[a] glass of ice-water / keeps me company” (Lines 10-11).
Simic was a teenager when he immigrated to the United States. His family, reunited after his father left Belgrade to work in Italy, spent a year in New York before settling in Chicago. His father took him to jazz clubs, where he developed a love for both form and improvisation. Simic was off to a fast start, publishing his first poems when he was 21 and an undergraduate of the University of Chicago. He went to New York, where he kept company with poets Allen Ginsberg, John Berryman, and Frank O’Hara before he was drafted into military service. When he left the service, he went back to New York, where he earned a bachelor’s degree in Russian from New York University. Since 1967, he has published over 60 books of poems, essays, and translated works.
When Simic was chosen to be U.S. Poet Laureate in 2007, he said, "I am especially touched and honored to be selected because I am an immigrant boy who didn't speak English until I was fifteen." Simic writes his poems in English, but has translated the work of others from French, Serbian, Croatian, Macedonian, and Slovenian. His poems contain both his geographic and linguistic origins, as well as his adopted home. This combination can be more discordant than perfectly harmonious. Simic grew up in a major city during wartime, and was witness to the atrocities and scarcities accompanying war. Though life was arguably better for him in both New York and Chicago, he reminded an outsider who had to learn the language and ways of a different country. The simplicity and accessibility of the language in “The Partial Explanation” demonstrates concision—a quality admired in poetry for its ability to distill and concentrate feeling, which can garner a large reading audience. Concision and deeply intentional word choice are also useful tools when learning to communicate in another language, when efficiency is essential to being understood.
The speaker in “The Partial Explanation” is uniquely Simic’s, inhabiting a landscape perpetually on the verge of darkness—neither completely of this world nor of any other, desirous of human interaction but ultimately bearing their alienation with a dollop of gallows’ humor.
“The Partial Explanation” can be regarded as a surrealist poem in that reality is not quite reality, and nothing is precisely as it seems. The inexactness of time—“Seems like a long time” (Line 1) and “Seems like it has grown darker” (Line 5)—lend a dreamlike quality to the poem. As in a dream—or a nightmare—time passes in ways the dreamer can’t quite grasp.
Among his non-poetry works is the book Dime-Store Alchemy: The Art of Joseph Cornell (NYRB Classics, 2011). Simic’s interest in the American surrealist’s work reflected many of his own earmarks. Cornell was known for his assemblages or collage art—boxes composed of repurposed found objects that suggested the metaphysical withing the ordinary. In Simic’s poetry, including “The Partial Explanation,” he mostly uses everyday language and ordinary objects to create an atmosphere that resembles, but is not quite, reality. In “The Partial Explanation,” time is untrackable. The streets are eerily empty. The water glass is a dining companion. The speaker—or the reader—might wake up at any moment as if from a dream.
The first artists to identify as surrealists produced and promoted their art in and after the 1920s, post-World War I and in the wake of Freud’s influence on ideas regarding the subconscious. While Simic identifies as a realist, “The Partial Explanation” reverberates with a similar energy to that of the early surrealists in that strict reality gives way to unconscious thought, and mystery commingles with the ordinary.
Literary comparison can be made, as well, between “The Partial Explanation” and the poems of Emily Dickinson—a poet Simic claims as an influence on his work. The fragments in stanza one—“Grimy little luncheonette, / The snow falling outside” (Lines 3-4)—recall the fragmentation of the so-called “scraps” in the archives of Dickinson’s work, as well as in many of her published poems. Themes of longing, the animation of objects, and a dreamlike atmosphere also echo in Dickinson’s poems. “The Partial Explanation” is a short poem of great scope which is a quality inherent in much of Dickinson’s poetry.



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