The Klupsy Girl by Charles Bernstein Poem Lines

Poetry is like a swoon, with this difference:
it brings you to your senses. Yet his
parables are not singular. The smoke from
the boat causes the men to joke. Not
gymnastic: pyrotechnic. The continuousness
of a smile—wry, perfume scented. No this
would go fruity with all these changes
around. Sense of variety: panic. Like
my eye takes over from the front
yard, three pace. Idle gaze—years
right down the window. Not clairvoyance,
predictions, deciphering—enacting. Analytically,
i.e., thoughtlessly. Begin to push and cue
together. Or I originate out of this
occurence, stoop down, bend on. The
Protest-ant’s voice within, calling for
this to be shepherded, for moment’s
expression’s enthroning. Able to be
alibied (contiguity of vacuity). Or
do you think you can communicate
telepathetically? Verena read the epistle
with much deliberateness. If we are
not to be phrasemongers, we must
sit down and take the steps that will
give these policies life. I fumbled clumsily
with the others—the evocations, explanations,
glossings of “reality” seemed like stretching
it to cover ground rather thank make
or name or push something through.
“But the most beautiful
of all doubts is when the downtrodden
and despairing raise their heads and
stop believing in the strength of their oppressors.”
To be slayed by such sighs: a noble figure
in a removed entranceway.
“This is just a little note
to say that it was nice working with
all of you. It has been a rewarding
experience in many ways. Although I
am looking forward to my new position with
great anticipation, I shall never forget
the days I spent here. It was like
a home-away-from-home, everyone was
just so warm and friendly. I shall ever
remember you in my prayers, and I
wish you the best for the future.” Preoccupations
immediately launch: to set straight, to glean
from her glance. Terrifically bored
on the bus. Any really you want
go to mixed on me. Sumptuous slump.
As it becomes apparent. Just that I thought.
Contraction that to you perhaps an
idealization. Have I kept. But that
point is—such repair as roads no
joint, what?, these few years must
admit to not expecting, as if the
silent rudeness might separate us out. &
maybe anger would be better than explaining.
When in tents in families in comparative.
Which sums digest. Disclaimer
alights what with begin. That’s
maybe the first pace, the particular. I mean
I feel I’ve got to and a few while
I can just look to see unrelenting
amount of canny criticism whatever
occasions overriding for comparison
spin for the sake of intrinsic in that
or that I’ve already made although
against reaction’s consequent proceeding.
But it’s to the point that you’ve
begun to broach like you could almost
fault me on as if you were going to
use could become primarily propulsion
to affinity have itself so. She
gets nutty. Oh she settles in, she
settles the curdles, unhooks the latches,
but I, preferring hatches …
When batters, benumbs, the lights
in a basket, portable. Potted & make
believe—your rudeness amount to not
noticing, i.e., I’m on a different
scale of jags. To be in replacement
for a number of linings. Tubes of turmoil.
To stroll on the beach is to be in
the company of the wage-earner and
the unemployed on the public way, but
to command a view of it from a vantage
both recessed and elevated is to enter
the bourgeois space; here vantage and view
become consumable. I can’t describe
how insulted I felt, it’s a ruthlessness
not so much I didn’t know you possessed
as that I didn’t think you’d turn
on me. When you stop acting in good
faith any residue of the relationship
gets really unpleasant and the gratuitous
discounting severs what I can’t necessarily
define the circumferences of. “There are a
number of calls in the June bill
which I have been unable to document. We
believe these calls were made by S——
O—— who is no longer employed by
this project. We presume these calls
to be a program related although she
did not keep a log of long distance
calls as requested in the memo
circulated March 11,1980.” It has
more to me than please to note acquits
defiant spawn. But your letter does
not scan its view nor serve our
own resolve. Little noticing sectored
demonstration, or flail with inheld
throng. Content to meet or not to meet
what inlays subsequent flustered
adjustment. “The Good is
for the fact that I will it, and apart
from willing it, it has no existence.”
“There is no document of civilization
that is not at the same time a
document of barbarism.” Blue suede pestilence.
Binds bins. History and civilization
represented as aura—piles
of debris founded on a law and mythology
whose bases are in violence, the release
from which a Messianic moment
in which history itself is vanquished.
That’s why I’m perplexed
at your startlement, though obviously
it’s startling to see contexts changed on you
to have that done to you and
delivered unbeknownst. The Ideal
swoops, and reascends. “With real
struggle, genuine tax relief
can be won.” A manic
state of careless grace. Mylar juggernauts
zig-zag penuriously. Car smashed into;
camera stolen; hat lost; run out of
money, write for money, money doesn’t come.
Long interruption as I talk to woman
most of the way back—a runner,
very pleasant. Get off in Boston and everything
seems to go crazy.
              All of gets where
              Round dog-eared head
              The clear to trying
              Forgets issues of trembles             
              Address vestiges to remain
              These years after all
              Fog commends in discourse

The Klupsy Girl by Charles Bernstein Summary

Charles Bernstein’s poem “The Klupsy Girl” examines the intricacies of perception, communication, and self-expression. The poem expresses feelings of bewilderment and separation through odd words and pictures, presented in an abstract, fragmentary way.

It discusses how we perceive the world, how we interact with others, and how challenging it is to completely comprehend or be understood.

The poem begins by drawing a comparison between poetry and a swoon, which is a fainting or dizzying situation, but with one important distinction: poetry awakens you and helps you regain consciousness.

This introduction implies that poetry has a way of helping us see things more clearly, but in a different way, even though it can also be dreamy or surreal.

As the poem progresses, it presents a number of disjointed ideas and pictures. For instance, it discusses how boat smoke makes people joke and how a constant smile is “wry” and “perfume scented.”

These pictures provide a sense of ephemeral events and things that are difficult to preserve. After then, the poem takes on a more introspective tone as the speaker discusses their ideas and experiences.

They state that they lack clairvoyance and are unable to make simple predictions or provide clear explanations for events. Rather, individuals are merely “enacting” or performing their ideas, implying that comprehension and communication are more complicated than they first appear.

Inquiring as to whether it is possible to fully comprehend someone without speaking, the speaker also discusses the concept of attempting telepathic communication.

The difficulties of genuinely connecting with people and comprehending their inner lives is highlighted by this question. References to private exchanges, such as a thank-you message or a note from work, appear throughout the poem.

These passages appear to be unrelated to the remainder of the poem, which emphasizes how impersonal and fractured communication can feel.

The poem shifts to more historical and philosophical ideas in the middle. The poem challenges the notion of advancement or betterment and discusses how history and civilization are based on law and violence.

The speaker considers how their personal experiences—like being humiliated or let down by someone—have affected their perspective on the connection. These instances of personal suffering or annoyance relate to the poem’s overarching themes, implying that misunderstandings and poor communication are not only private but also reflect a broader trend in human history.

The poem concludes with a combination of more profound life observations and common grievances, such as losing a hat or coping with a broken car.

It implies that there are more powerful factors at work that influence our experiences and perceptions of the world, even in the middle of our everyday hardships and annoyances.

All things considered, “The Klupsy Girl” is a poem that explores the challenges of communicating with others and gaining a true understanding of the world. This perplexity is reflected in the poem’s disjointed form, which gives the impression that the speaker is enmeshed in a web of disparate ideas and pictures.

It casts doubt on the notion of direct, unambiguous communication by demonstrating how meaning is frequently illusive and difficult to define.

The Klupsy Girl by Charles Bernstein Analysis

The Klupsy Girl, a complex poem by Charles Bernstein, makes readers consider the nature of reality itself, the difficulties of comprehending, and communication.

The poem’s disjointed structure and fantastical images create a feeling of uncertainty and alienation, highlighting how people frequently fail to communicate effectively and make sense of their relationships and experiences.

Language alone sometimes fall short of capturing the truth of our thoughts, feelings, and experiences, and the abstract structure of the poem reflects the idea that knowing is not straightforward or linear.

Form and Structure

The poem has no set rhyme scheme or meter because it is written in free verse. This poem’s disconnection topic is reflected in its lack of organization. The speaker’s ideas and experiences appear disorganized and lacking, much like the poem’s broken lines lack a steady rhythm or flow.

The reader is never quite sure where the poetry will go next or what the speaker’s next idea will be because of this method, which makes it seem unpredictable.

“Poetry is like a swoon,” the poem’s opening line says, likening the act of reading or producing poetry to a fainting condition. “With this difference: it brings you to your senses,” the speaker says right away.

This introduction implies that poetry has the ability to alter our perceptions, even if it is surreal or confusing. The poem emphasizes that poetry frequently pushes us outside our comfort zones and compels us to think in novel, occasionally uncomfortable ways, thus challenging the notion that poetry should be simple and unambiguous.

The poem promises a return to clarity, even if that clarity is unnerving, yet the “swoon” is a metaphor for the sensation of being overwhelmed or lost.

Imagery and Language

Examples of the poem’s rich and frequently fantastical imagery include “The continuousness of a smile—wry, perfume scented” and “The smoke from the boat causes the men to joke.” Although these pictures don’t always make sense, they evoke a feeling of bewilderment and alienation.

Even objects that should have obvious implications (like smoke, which frequently symbolizes danger or perplexity) can become topics of amusement and detachment. For instance, the smoke from the boat is something substantial, yet its effect on the guys is lighthearted and non-serious.

The idea that communication and emotion are complicated and hard to interpret is further supported by the description of the smile as both continuous and “wry,” which implies a smile that isn’t totally real.

The vocabulary used in the poem also contributes significantly to the confused atmosphere. The speaker blends more intellectual concepts with physical ones in phrases like “not gymnastic: pyrotechnic” and “sense of variety: panic.”

In contrast to “gymnastic,” which suggests control or precision, “pyrotechnic” refers to fireworks and creates a sense of chaotic beauty that is both thrilling and overwhelming. The concept of confusion and disorientation is further highlighted by this change from control to anarchy.

The Struggle for Communication

The difficulty of communicating is one of the main topics in The Klupsy Girl. The speaker considers how challenging it is to fully comprehend and be understood by others. “Or do you think you can communicate telepathetically?” the speaker says in one section. The topic of how much can actually be communicated by words or gestures is brought up by this question.

The ability to communicate without using words, known as telepathy, is portrayed as a more straightforward and honest kind of communication. The speaker raises doubts about the possibility of such a thing, implying that communication, even in its most idealized form, might not be as flawless as we would like.

The speaker considers how they “fumbled clumsily” with others later in the poem. Since even the speaker feels unable to establish a genuine connection with others, this self-reflection demonstrates the difficulty of communication. The expression “fumbling clumsily” emphasizes the awkwardness and discomfort that frequently accompanies human encounters by implying a lack of grace and control.

According to the speaker, the “evocations, explanations, glossings of’reality’” are insufficient to adequately convey or explain the veracity of their experience. These “explanations” and “evocations” (attempts to bring things forth) feel insufficient, as if language itself is unable to capture the intricacy of the reality.

Fragmentation of Experience

The speaker’s experiences seem to be disjointed and disjointed throughout the poem. The poem abruptly switches from one idea to another, for instance, when a “Protest-ant’s voice” is mentioned, urging for “enthroning” expressiveness.

It appears that the speaker is hopping from one idea to the next without really dissecting or addressing the one before it. Since experiences frequently seem to be fragmented into parts that don’t always fit together, this fragmentation represents the difficulty of comprehending both ourselves and the world around us. The poem’s unclear plot and development reflect the speaker’s views and experiences, which are disjointed.

The poem also discusses how several facets of life can seem out of place or unrelated to one another. “To walk on the beach is to be with the wage-earner and the unemployed on the public way, but to command a view of it from a vantage both recessed and elevated is to enter the bourgeois space,” the speaker says, for instance.

In this instance, the speaker’s position on the beach—either alongside the workers or from a higher vantage point—reflects their shifting outlooks on life, and the beach itself becomes a metaphor for the various social strata. The changing point of view implies that our perception of the world is constantly changing and that no one viewpoint can fully convey the truth of any given circumstance.

Philosophical Reflections

Reflections on politics and philosophy are also included in the poem. The speaker’s statement, “The Good is for the fact that I will it, and apart from willing it, it has no existence,” is one example of this.

This sentence alludes to the philosophical idea of the “Good,” which is frequently discussed in terms of desire and willpower. The speaker raises concerns about the nature of reality and morality by implying that the Good only exists because we desire it. The “Good” becomes subjective and influenced by our desires and perceptions if it exists solely because we choose it to.

The poem’s assertion that “there is no document of civilization that is not at the same time a document of barbarism” is another important intellectual insight. This sentence alludes to the notion that oppression and bloodshed have frequently been the foundation of history and civilization.

It casts doubt on the notion that civilization is a symbol of advancement and enlightenment, arguing that it is inextricably linked to violence and strife. This viewpoint mirrors the speaker’s broader topic of fragmentation and detachment, implying that the darker sides of human nature stain even our most admirable accomplishments.

To sum up, Charles Bernstein’s poem The Klupsy Girl examines the difficulties of perception, communication, and self-awareness. The poem highlights the challenge of genuinely connecting with others and comprehending the world around us through its fractured style, bizarre images, and philosophical insights.

We all fight to communicate and find meaning in our lives, and the speaker’s experience of struggling with words and trying to make sense of their thoughts is a reflection of this. The poem makes the argument that comprehension is elusive and that communication frequently fails to adequately convey reality, even when it is done with the greatest of intentions.

In the end, The Klupsy Girl is a reflection on the difficulties of negotiating the complexities of the human experience and the limitations of words.

The Klupsy Girl by Charles Bernstein Line by Line Explanation

“Poetry is like a swoon, with this difference: it brings you to your senses.”

• The speaker likens poetry to a swoon, which is a sensation of faintness or lightheadedness, but asserts that poetry is distinct from a swoon since it awakens you to reality and increases your awareness.

“Yet his parables are not singular.”

• The speaker implies that poetry’s messages or tales are more nuanced and multifaceted than they are straightforward.

“The smoke from the boat causes the men to joke.”

• The humorous atmosphere created by a boat’s smoke may be a reflection of how outside factors influence people’s emotions and behavior.

“Not gymnastic: pyrotechnic.”

• “Gymnastic” and “pyrotechnic” are contrasted in this statement; the former implies physical movement or simplicity, while the latter relates to fireworks and denotes something more intricate, dramatic, and stunning. According to the speaker, the issue is more complicated and ostentatious than a straightforward movement.

“The continuousness of a smile—wry, perfume scented.”

• The smile in question is consistent, slightly wry and full of grace or enticement (perfume scented), implying a subtle irony or charm.

“No this would go fruity with all these changes around.”

• The speaker claims that because of all the changes taking place, things could get unclear or unduly convoluted (get “fruity”).

“Sense of variety: panic.”

• Because it’s difficult to keep up with everything that’s going on, the speaker experiences anxiety or fear due to the variety and change around them.

“Like my eye takes over from the front yard, three pace.”

• The speaker’s attention is diverted, and they merely glance at their surroundings without really noticing anything.

“Idle gaze—years right down the window.”

• As if time had passed with little notice, the speaker considers the passing of time while gazing out the window in a calm or unconcerned manner.

“Not clairvoyance, predictions, deciphering—enacting.”

• The speaker rejects the notion of clairvoyance, or reading the signs or forecasting the future. Rather, they emphasize action (“enacting”), implying that life is about doing rather than only anticipating or comprehending.

“Analytically, i.e., thoughtlessly.”

• The speaker is arguing that excessive analysis can occasionally be foolish or heedless. Sometimes meaning and purpose are lost due to overthinking.

“Begin to push and cue together. Or I originate out of this occurrence, stoop down, bend on.”

• The act of beginning something new, whether by pushing things along or by adopting a more passive stance, bending down and watching events unfold, appears to be something the speaker considers.

“The Protest-ant’s voice within, calling for this to be shepherded, for moment’s expression’s enthroning.”

• The speaker’s voice of protest (or resistance) demands leadership or change, as well as the honoring or elevating of the moment’s expression.

“Able to be alibied (contiguity of vacuity).”

• Although “contiguity of vacuity” alludes to the meaningless, empty space between things, “alibied” could indicate excused or justified. The speaker can be wondering if there is an emptiness in things or if they can really be justified.

“Or do you think you can communicate telepathetically?”

• The speaker implies that communication is challenging or complex by raising the topic of whether it is feasible to communicate telepathically—that is, on a deeper, even mystical level.

“Verena read the epistle with much deliberateness.”

• Verena’s careful reading of a letter or message implies that communication requires concentration and thought.

“If we are not to be phrasemongers, we must sit down and take the steps that will give these policies life.”

• The speaker criticizes those who use empty phrases without meaning (phrasemongers). To truly create change, one must take real action and give life to ideas by making them real.

“I fumbled clumsily with the others—the evocations, explanations, glossings of “reality” seemed like stretching it to cover ground rather thank make or name or push something through.”

• The speaker expresses difficulty in communicating with others. They feel that the explanations of “reality” are not authentic but are stretched out to fit a narrative or idea, rather than making a genuine effort to act or create.

“But the most beautiful of all doubts is when the downtrodden and despairing raise their heads and stop believing in the strength of their oppressors.”

• The speaker reflects on a beautiful moment of resistance when those who are oppressed (the downtrodden) stop believing that their oppressors hold power over them.

“To be slayed by such sighs: a noble figure in a removed entranceway.”

• The speaker suggests that being deeply moved by this resistance (sighs) is powerful, and that it is a noble thing, even though it may be distant or removed.

“This is just a little note to say that it was nice working with all of you…”

• The speaker shifts to a formal, polite tone, mimicking a farewell letter that lacks emotional depth. This contrasts with the earlier profound reflections, highlighting the emptiness of some social conventions.

“Preoccupations immediately launch: to set straight, to glean from her glance.”

• The speaker feels preoccupied and distracted by their thoughts, trying to understand or interpret the glance of someone else.

“Terrifically bored on the bus. Any really you want go to mixed on me.”

• The speaker expresses boredom, especially during a mundane experience like being on a bus. They feel like people around them are not interesting, or perhaps too mixed up in their own world.

“Sumptuous slump.”

• This might refer to a luxurious or indulgent feeling of laziness, or a state of giving in to apathy.

“Just that I thought. Contraction that to you perhaps an idealization.”

• The speaker reflects on their thoughts, realizing they might have idealized something that wasn’t real.

“Have I kept. But that point is—such repair as roads no joint, what?, these few years must admit to not expecting…”

• The speaker seems unsure about whether they’ve achieved something meaningful, questioning whether expectations should be abandoned as time passes.

“But maybe anger would be better than explaining.”

• The speaker wonders if it would be more effective to express anger instead of trying to explain things.

“When in tents in families in comparative.”

• This could suggest moments of discomfort or struggle, possibly when people are forced together in close quarters (like in tents), comparing their lives.

“Which sums digest.”

• The phrase “sums digest” might imply that things come together or make sense after a while, even if it’s not immediately clear.

“The Good is for the fact that I will it, and apart from willing it, it has no existence.”

• This might refer to the idea that “good” or positive actions only exist if someone wills them into existence. If we don’t act, good things don’t happen.

“There is no document of civilization that is not at the same time a document of barbarism.”

• This line reflects the idea that even the greatest achievements of civilization are built on or involve some form of violence or destruction.

“Blue suede pestilence.”

• This is an abstract image, possibly referring to something damaging or problematic (pestilence) disguised in a glamorous or appealing form (blue suede).

“Binds bins. History and civilization represented as aura—piles of debris founded on a law and mythology whose bases are in violence…”

• The speaker is criticizing the idea of history and civilization, suggesting that they are built on violence, myths, and laws that are often unjust.

“The Ideal swoops, and reascends.”

• The ideal or perfect vision may come down in a fleeting moment, but it rises again, constantly shifting and unattainable.

“With real struggle, genuine tax relief can be won.”

• The speaker suggests that meaningful change or improvement requires real effort and struggle, in this case, for something as practical as tax relief.

“A manic state of careless grace. Mylar juggernauts zig-zag penuriously.”

• This line describes a chaotic and unstable state, where things are out of control but still moving with a kind of careless grace.

“Car smashed into; camera stolen; hat lost; run out of money, write for money, money doesn’t come.”

• The speaker reflects on a series of unfortunate events—physical damage, theft, financial struggle—where nothing seems to go right.

“Long interruption as I talk to woman most of the way back—a runner, very pleasant.”

• Despite everything going wrong, the speaker finds some small comfort in a pleasant conversation with a woman during their journey.

“Get off in Boston and everything seems to go crazy.”

• Upon arriving in Boston, the chaos continues, and things feel overwhelming.

“All of gets where Round dog-eared head The clear to trying Forgets issues of trembles Address vestiges to remain These years after all Fog commends in discourse”

• The poem ends in a fragmented way, with a sense of confusion or uncertainty about where things are going. The speaker reflects on the lasting effect of things (vestiges) and how some issues may remain unresolved.