Poem Analysis - On The Borders

A Landscape of Rest: Introduction

Les Murray's "On The Borders" offers a moment of respite from the constant interpretation demanded by modern life. The poem describes a drive through a sparsely treed tableland, a landscape that evokes a sense of calm and liberation from thought. The tone is initially observational, shifting to a more reflective and personal contemplation on the nature of experience and the over-analysis of art. It is a poem about finding peace in simplicity and resisting the urge to dissect the world around us.

Rejecting Critical Overload: Themes of Anti-Interpretation

One of the central themes in "On The Borders" is the rejection of excessive interpretation. The speaker explicitly states, "I feel no need to interpret it / as if it were art. Too much / of poetry is criticism now." This suggests a weariness with the critical lens through which we often view the world, particularly art and poetry. Murray seems to argue that some experiences are best left unanalyzed, allowing for a more direct and unfiltered connection with the surrounding environment. The poem seems to question the intrinsic need to dissect and evaluate all experience, urging a more passive and appreciative approach.

Space and Simplicity: Finding Peace in Landscape

Another dominant theme is the search for peace in simplicity. The "upland near void of features" provides a stark contrast to the complexity of thought. The landscape "lets me rest from thinking," implying that the speaker finds solace in the unadorned natural world. The vastness of the tablelands represents a space free from the demands of interpretation and judgment. This theme ties into Murray’s broader poetic project, often concerned with the value of rural and working-class experience, presenting it as an alternative to the perceived intellectual elitism.

Ownership and Freedom: Resisting Commodification

The poem touches on the theme of freedom from ownership, particularly in the context of art and nature. The speaker declares, "That hawk, clinging to / the eaves of the wind, beating / its third wing, its tail / isn't mine to sell." This powerful statement rejects the idea of commodifying natural beauty for personal gain or artistic exploitation. The hawk, a symbol of wildness and freedom, exists beyond the speaker's control or possession. The hawk image strengthens the poem's broader concern with a world obsessed with owning and explaining everything, thus losing the essence of existence.

Images of Untouched Beauty: Hawk and Cloud-Roof Country

Several vivid images contribute to the poem's message. The hawk "clinging to / the eaves of the wind" is a particularly striking image, suggesting resilience and adaptation. The image implies a struggle against the elements but also a mastery of them. This could symbolize the artist's struggle to create authentic art in a world saturated with criticism. The "cloud-roof country" is another powerful image, suggesting a vast, open space that evokes a sense of wonder and possibility. The comparison to "people who first encountered roses in soap" is intriguing, suggesting a sense of understated beauty or a surprising juxtaposition of the mundane and the exquisite. Could this suggest the unexpected beauty found in the ordinary landscapes and experiences often overlooked?

Conclusion: The Value of Unmediated Experience

In conclusion, "On The Borders" is a meditation on the value of unmediated experience and a critique of the over-intellectualization of art and life. Through vivid imagery and a reflective tone, Murray invites us to appreciate the simple beauty of the natural world and to resist the urge to constantly analyze and categorize our experiences. The poem suggests that true understanding may sometimes be found not in dissecting the world, but in simply observing and appreciating it. The significance lies in the gentle reminder to disconnect from the pressures of constant interpretation and embrace the peace of unburdened perception.