Letter to My Great, Great Grandchild Analysis - Literary devices and Poetic devices

Welcome, aspiring literary explorers, to a fascinating journey into the heart of J.P. Grasser’s thought-provoking poem, “Letter to My Great, Great Grandchild.” This piece invites readers to ponder the passage of time, the evolution of values, and the enduring human connection across generations. Prepare to uncover the layers of meaning and the masterful use of language that make this poem a truly captivating experience. Let us begin by immersing ourselves in the poem itself.

Letter to My Great, Great Grandchild

By J.P. Grasser

Oh button, don’t go thinking we loved pianos
more than elephants, air conditioning more than air.

We loved honey, just loved it, and went into stores
to smell the sweet perfume of unworn leather shoes.

Did you know, on the coast of Africa, the Sea Rose
and Carpenter Bee used to depend on each other?

The petals only opened for the Middle C their wings
beat, so in the end, we protested with tuning forks.

You must think we hated the stars, the empty ladles,
because they conjured thirst. We didn’t. We thanked

them and called them lucky, we even bought the rights
to name them for our sweethearts. Believe it or not,

most people kept plants like pets and hired kids
like you to water them, whenever they went away.

And ice! Can you imagine? We put it in our coffee
and dumped it out at traffic lights, when it plugged up

our drinking straws. I had a dog once, a real dog,
who ate venison and golden yams from a plastic dish.

He was stubborn, but I taught him to dance and play
dead with a bucket full of chicken livers. And we danced

too, you know, at weddings and wakes, in basements
and churches, even when the war was on. Our cars

we mostly named for animals, and sometimes we drove
just to drive, to clear our heads of everything but wind.

Unpacking “Letter to My Great, Great Grandchild”: A Journey Through Time

The Heart of the Poem: A Summary

J.P. Grasser’s “Letter to My Great, Great Grandchild” is a poignant and imaginative poem that serves as a message from a past generation to a distant future. The speaker, addressing a future descendant affectionately as “button,” reflects on the values, joys, and everyday experiences of their own time. The poem subtly contrasts the perceived advancements or conveniences of the future with the simpler, often more natural, pleasures that were cherished in the past. It is not a condemnation of progress, but rather a gentle, sometimes whimsical, plea for understanding and remembrance.

The central idea of “Letter to My Great, Great Grandchild” revolves around the speaker’s earnest desire for their great-great-grandchild to grasp the essence of life in a bygone era. It is a call to appreciate the simple wonders, the deep connection to nature, and the genuine human experiences that defined their world. The poem explores themes of environmental consciousness, the importance of valuing the natural world, the enduring human need for connection, and the timeless pursuit of joy in everyday moments. It encourages readers to consider how values shift across generations and to find beauty in both the grand and the mundane aspects of existence.

Deep Dive into “Letter to My Great, Great Grandchild”: Analysis of Literary Devices

Grasser masterfully employs a rich tapestry of literary devices to craft a poem that is both evocative and profoundly thought-provoking. These techniques are not merely ornamental, but integral to the poem’s meaning, enhancing its aesthetic appeal and deepening its impact on the reader.

Allusion: Echoes of Connection

Allusion involves an indirect reference to a well-known person, place, event, literary work, myth, or work of art. The poem contains subtle allusions that enrich its meaning and invite deeper contemplation. For instance, the line, “The petals only opened for the Middle C their wings
beat, so in the end, we protested with tuning forks,” introduces a musical allusion. “Middle C” is a fundamental note in music, symbolizing harmony and a precise frequency. This reference connects the delicate interdependence of the Sea Rose and Carpenter Bee to a universal concept of resonance and balance. The “tuning forks” then become a symbol of an attempt to restore or maintain this natural harmony, suggesting a past generation’s awareness and concern for ecological equilibrium. These allusions, while not overt, create layers of meaning for those who recognize the references, underscoring the interconnectedness of life and art.

Assonance and Consonance: The Music of Language

Grasser skillfully uses sound devices to create a subtle musicality within the poem’s free verse structure. Assonance is the repetition of vowel sounds within non-rhyming words, while consonance is the repetition of consonant sounds. These devices contribute to the poem’s flow and rhythm, making it pleasing to the ear.

Assonance: Observe the repeated ‘o’ sound in “Oh button, don’t go thinking we loved pianos.” This soft, open vowel sound creates a gentle, almost soothing effect, establishing the intimate and reflective tone of the speaker’s address. Another example appears in “We loved honey, just loved it,” where the short ‘u’ sound creates a sense of simple, unadulterated pleasure.
Consonance: The repetition of the ‘w’ sound in “too, you know, at weddings and wakes, in basements
and churches, even when the war was on” provides a subtle emphasis and a sense of continuity, linking diverse life events with a shared human experience. Similarly, the ‘s’ sound in “smell the sweet perfume of unworn leather shoes” creates a soft, almost luxurious auditory texture, enhancing the sensory imagery.

These subtle sound patterns contribute to the poem’s overall musicality and reinforce its conversational yet artful quality.

Imagery: Painting Pictures with Words

Imagery is the use of vivid, descriptive language that appeals to the five senses, creating mental pictures and sensory experiences for the reader. The poem is rich in imagery, allowing readers to fully immerse themselves in the speaker’s world.

Consider the line, “smell the sweet perfume of unworn leather shoes.” This image appeals directly to the sense of smell, evoking a specific, almost luxurious, sensory experience that speaks of quality and simple indulgence.
The description of a dog “who ate venison and golden yams from a plastic dish” is a vibrant and unusual detail. It creates a clear visual of a pampered pet and hints at a time when such specific diets might have been noteworthy, adding a touch of whimsical realism.
The image of people driving “just to drive, to clear our heads of everything but wind” appeals to both sight and touch, conjuring a sense of freedom, escape, and a deep connection with the natural elements.

Through such skillful use of imagery, Grasser brings the past to life, making its values and experiences tangible for the reader.

Enjambment: Flowing Thoughts and Natural Rhythm

Enjambment occurs when a line of poetry continues onto the next line without a pause or punctuation, creating a sense of momentum and flow. Grasser employs enjambment frequently, mimicking the natural rhythm of speech and thought.

You must think we hated the stars, the empty ladles,
because they conjured thirst. We didn’t. We thanked

Here, the thought of thanking the stars is carried over to the next line, creating a seamless transition that emphasizes the speaker’s immediate correction and heartfelt gratitude. This technique adds to the poem’s conversational tone, making it feel like a direct address rather than a rigidly structured verse. It allows ideas to unfold organically, drawing the reader deeper into the speaker’s reflections.

Rhetorical Question: Inviting Reflection

The poem strategically utilizes rhetorical questions, which are questions posed not to elicit an answer, but to provoke thought and engage the reader. For example, “And ice! Can you imagine?” is not seeking a direct response. Instead, it invites the great-great-grandchild, and by extension the reader, to consider a commonplace item from a dramatically different perspective. It prompts reflection on a time when something as simple as ice was a novelty or a source of minor inconvenience, highlighting how much daily life and expectations can change. This technique directly engages the audience, encouraging them to actively participate in the poem’s exploration of generational differences.

Simile: Drawing Vivid Comparisons

Grasser employs simile, a figure of speech that directly compares two different things using “like” or “as,” to create vivid imagery and draw meaningful connections. The line, “most people kept plants like pets,” directly compares the care and affection given to plants to that typically reserved for animals. This simple yet powerful comparison highlights a deep connection to nature and a gentle, nurturing approach to life that the speaker wishes to convey. It emphasizes a value system where even inanimate objects were treated with a certain reverence and companionship, underscoring the theme of finding joy and connection in the natural world.

Symbolism: Layers of Meaning

Symbolism involves the use of objects, ideas, or actions to represent something else, adding deeper layers of meaning to a text. While not overtly symbolic, certain images in “Letter to My Great, Great Grandchild” carry significant weight, enriching the poem’s themes.

The **”Sea Rose and Carpenter Bee”** symbolize a delicate, interdependent ecological balance. Their mutual reliance, where “The petals only opened for the Middle C their wings
beat,” represents the intricate harmony of nature that the speaker’s generation understood and valued. Their potential disappearance hints at environmental loss and the speaker’s concern for a future disconnected from such natural wonders.
**”Ice”** in the coffee, casually dumped out, symbolizes fleeting luxuries and the casual wastefulness that might have been common in the speaker’s time, yet perhaps unimaginable or even offensive to a future generation facing resource scarcity. It represents a simpler, less constrained era.
The **”dog”** that “ate venison and golden yams” and was taught to dance, symbolizes companionship, the joy of living in the moment, and the unique, sometimes eccentric, bonds formed with creatures. It represents a personal, tangible connection to the natural world and the simple, yet profound, pleasures of life.
The act of **”driving just to drive, to clear our heads of everything but wind,”** symbolizes freedom, introspection, and a connection to the elemental forces of nature, contrasting with a potential future where such simple, unburdened experiences might be rare or impossible.

These symbolic elements add depth, inviting readers to consider the broader implications of the speaker’s memories and concerns.

Exploring Poetic Craft in “Letter to My Great, Great Grandchild”

Beyond specific literary devices, several overarching poetic choices contribute to the poem’s unique character and impact.

Free Verse: The Freedom of Expression

The poem is written in free verse, meaning it does not adhere to a strict rhyme scheme, metrical pattern, or consistent stanza length. This choice is deliberate and highly effective. It allows Grasser to create a natural, conversational, and intimate tone, perfectly mimicking the way one might address a beloved future descendant in a personal letter. The absence of formal constraints grants greater flexibility in rhythm and pacing, enabling the speaker’s thoughts and memories to unfold organically, much like a stream of consciousness. This freedom enhances the poem’s authenticity and directness, making the “letter” feel genuine and heartfelt.

Tone: The Speaker’s Voice Across Generations

The tone of “Letter to My Great, Great Grandchild” is complex and nuanced, shifting between nostalgic, whimsical, gently admonishing, and deeply loving. The speaker’s voice is intimate and conversational, as if sharing cherished secrets with a distant relative. There is a palpable fondness for the past, evident in descriptions like “We loved honey, just loved it,” and the detailed account of the dog. However, there is also a subtle concern, a gentle admonition, that future generations might lose touch with what truly matters, as implied by “don’t go thinking we loved pianos
more than elephants.” This nuanced tone adds significant depth and complexity to the poem, allowing it to be both a celebration of the past and a thoughtful reflection on the future.

Structure and Form: Subtle Organization

While written in free verse, the poem exhibits a subtle structural organization that contributes to its readability and impact. The poem is primarily composed of short, two-line groupings, often resembling informal couplets. Although these groupings do not typically rhyme or adhere to a strict meter, they frequently present a single idea or a pair of related thoughts, creating a sense of completion or emphasis within the free verse form. For example:

We loved honey, just loved it, and went into stores
to smell the sweet perfume of unworn leather shoes.

This informal pairing provides a gentle rhythm and helps to organize the speaker’s diverse memories into digestible units, guiding the reader through the narrative without imposing rigid formal constraints. This subtle technique provides a sense of structure and rhythm within the free verse form, making the poem feel both spontaneous and thoughtfully composed.

The Enduring Message of “Letter to My Great, Great Grandchild”

“Letter to My Great, Great Grandchild” by J.P. Grasser is a beautifully crafted and profoundly resonant poem. It serves as a powerful reminder to cherish the simple joys of life, to foster a deep connection with the natural world, and to live mindfully in the present. Through its skillful deployment of literary and poetic devices, Grasser creates a work that is both evocative and thought-provoking, inviting readers to reflect on their own values and the legacy they wish to leave behind. This poem truly resonates, encouraging a deeper appreciation for the intricate tapestry of human experience across the generations.