Lines 1-2:

Composed as I am, like others, of elements on certain well-known lists,

• The poet begins by acknowledging the shared nature of human composition. The word “composed” suggests a recognition of being made up, like everyone else, from fundamental elements listed in well-known categories.

Lines 3-4:

father’s seed and mother’s egg gathering earth, air, fire, mostly water, into a mulberry mass,

• Here, the poet delves into the biological aspect of creation, describing the union of father’s seed and mother’s egg, incorporating various elements such as earth, air, fire, water into a symbolic “mulberry mass,” symbolizing the diverse components that make up life.

Lines 5-6:

moulding calcium, carbon, even gold, magnesium and such,

• The poet continues to emphasize the diverse elements by naming specific components like calcium, carbon, gold, and magnesium. This adds a scientific dimension, reinforcing the idea of human composition as a complex amalgamation of different elements.

Lines 7-8:

into a chattering self tangled in love and work,

• The poet transitions from the physical elements to the complexities of human existence. The “chattering self” suggests the incessant inner dialogue or the complexity of thoughts. The entanglement in “love and work” points to the intricate nature of human relationships and daily endeavors.

Lines 9-10:

scary dreams, capable of eyes that can see, only by moving constantly,

• These lines introduce the psychological aspects of the self. The mention of “scary dreams” hints at the vulnerability of the human mind. The idea that eyes can see “only by moving constantly” suggests that true understanding comes from continuous observation and engagement.

Lines 11-12:

the constancy of things like Stonehenge or cherry trees;

• The poet reflects on the importance of observing the constancy in life, drawing parallels between enduring structures like Stonehenge and the perennial beauty of cherry trees. The mention of “constancy” implies that some aspects of life remain unchanged.

Lines 13-14:

add uncle’s eleven fingers making shadow-plays of rajas and cats, hissing,

• The poem takes a personal turn as the poet recalls his uncle’s unique talent. The eleven fingers of the uncle become a tool for creating intricate shadow-plays depicting kings (“rajas”) and cats, complete with hissing sounds.

Lines 15-16:

becoming fingers again, the look of panic on sister’s face

• The uncle’s fingers, having transformed into shapes, return to their original state. The focus then shifts to the sister’s panicked expression, introducing a moment of personal significance and emotion.

Lines 17-18:

an hour before her wedding, a dated newspaper map, of a place one has never seen, maybe no longer there

• The poet describes a moment of anxiety before the sister’s wedding. The mention of a “dated newspaper map” alludes to a specific location, possibly Nairobi, suggesting a sense of unease or uncertainty linked to external events.

Lines 19-20:

after the riots, downtown Nairobi, that a friend carried in his passport

• The poet continues the narrative, suggesting that the anxiety is related to post-riot Nairobi. The map’s presence in a friend’s passport adds a layer of personal connection to distant events.

Lines 21-22:

as others would a woman’s picture in their wallets;

• Drawing a parallel, the poet likens the carrying of the map to how others carry pictures of loved ones in their wallets, emphasizing the sentimental value attached to the map.

Lines 23-24:

add the lepers of Madurai, male, female, married,

• The poem introduces a vivid image of the lepers of Madurai, emphasizing their varied identities, including gender and marital status.

Lines 25-26:

with children, lion faces, crabs for claws,

• Further elaborating on the lepers, the poet paints a detailed picture, using symbolic imagery such as “lion faces” and “crabs for claws” to convey the harsh realities of their existence.

Lines 27-28:

clotted on their shadows under the stone-eyed goddesses of dance, mere pillars,

• Contrasting the suffering of the lepers, the poet describes them as being “clotted on their shadows” beneath stone sculptures of dance goddesses. The juxtaposition highlights the stark difference between beauty and affliction.

Lines 29-30:

moving as nothing on earth can move—

• Describing the lepers’ movement, the poet suggests a unique, perhaps painful, way of navigating life, different from the ordinary movements on Earth.

Lines 31-32:

I pass through them as they pass through me

• The poet expresses a mutual interaction between himself and the described elements. This mutual passing through suggests a shared existence and connection.

Lines 33-34:

taking and leaving affections, seeds, skeletons,

• This line emphasizes the exchange of various elements—emotions (“affections”), life (“seeds”), and memories (“skeletons”).

Lines 35-36:

millennia of fossil records of insects that do not last

• Introducing the theme of time, the poet refers to the enduring fossil records of short-lived insects over millennia, emphasizing the fleeting nature of life.

Lines 37-38:

a day, body-prints of mayflies,

• The poet highlights the transience of mayflies, emphasizing their brief existence with “body-prints” that last only for a day.

Lines 39-40:

a legend half-heard in a train

• Referring to a partially heard legend during a train journey, the poet introduces an element of mystery and incompleteness, further emphasizing life’s transient nature.

Lines 41-42:

of the half-man searching for an ever-fleeing other half

• The poet introduces the theme of the search for completeness, portraying a half-man in pursuit of an ever-elusive other half, reflecting on the universal quest for wholeness.

Lines 43-44:

through Muharram tigers, hyacinths in crocodile waters,

• The poet uses vivid imagery, referencing Muharram tigers and hyacinths in crocodile-infested waters, possibly symbolizing challenges and dangers encountered in life.

Lines 45-46:

and the sweet twisted lives of epileptic saints,

• Describing the lives of epileptic saints as both “sweet” and “twisted,” the poet captures the complexity and contradictions inherent in their existence.

Lines 47-48:

and even as I add I lose, decompose,

• Reflecting on the constant flux of life, the poet acknowledges that every addition is accompanied by a loss, and there is a continual process of decomposition.

Lines 49-50:

into my elements into other names and forms,

• The poet contemplates the idea of returning to basic elements and transforming into different identities and forms, suggesting a continuous cycle of change.

Lines 51-52:

past, and passing, tenses without time,

• Playing with language, the poet explores the fluidity of time, describing past and passing tenses without being constrained by a specific timeline.

Lines 53-54:

caterpillar on a leaf, eating, being eaten.

• The poem concludes with the metaphor of a caterpillar on a leaf, emphasizing the cyclical nature of life, where consumption and being consumed are inevitable aspects of existence.