[encore] 1026: Ode to Bones by Lynne Thompson

Summary

Podcast Summary: The Slowdown: Poetry & Reflection Daily Episode: [encore] 1026: Ode to Bones by Lynne Thompson
Release Date: December 27, 2024
Host: Major Jackson
Poem Featured: "Ode to Bones" by Lynne Thompson

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Introduction

In this encore episode of The Slowdown: Poetry & Reflection Daily, host Major Jackson revisits Lynne Thompson’s poignant poem, "Ode to Bones." The episode delves into themes of identity, heritage, and the lingering impact of childhood nicknames. Major Jackson seamlessly blends personal anecdotes with poetic analysis, inviting listeners to reflect deeply on the intersections of language and self-perception.

Personal Reflection and Context

Major Jackson opens the episode by sharing a personal narrative about grappling with a familial nickname. He recounts the experience of being called "Little Man" during his youth, a moniker that felt limiting and failed to acknowledge his growth and maturity. This personal struggle sets the stage for exploring the broader implications of names and labels on one's identity.

[01:04] "As a kid, I had the demeanor of an old person. Serious, morose, not quick to smile, always with my face pressed into a book."
— Major Jackson

This reflection underscores the profound effect that names and labels from our early years can have on our self-image and how we are perceived by others.

Introduction to "Ode to Bones"

Major Jackson introduces "Ode to Bones" by Lynne Thompson, framing it as a meditation on the significance of names and their connection to ancestry and personal history. He emphasizes the poem's exploration of how a name, like "Bones," serves as a bridge between the past and the present, linking individuals to their heritage and the stories that shape them.

[02:14] "Today's poem riffs off a childhood name to caravan us to all the possibilities of association, which brings the speaker back to the uniqueness and individual nature of their being."
— Major Jackson

Analysis of "Ode to Bones"

The core of the episode focuses on dissecting the layers within Thompson’s poem. Major Jackson highlights how the poem navigates various interpretations of "bones," from the literal to the metaphorical, linking them to cultural and ancestral roots.

1. Ancestral Connection:

   The poem begins with a reflection on the nickname "Bones," suggesting it might stem from familial perceptions of him as "nothing but skin."

   [03:05] "My brothers gave childhood me the nickname Bones."

   This line introduces the idea of bones as both a physical and symbolic foundation, hinting at deeper familial and cultural ties.

2. Historical and Cultural References:

   Major Jackson points out the poem's references to historical figures and cultural elements, such as the playwright Titus Plautus, who is credited with the phrase, "your name is your destiny." The poem challenges this notion by proposing that names are not just determinants of fate but also carriers of historical and cultural legacies.

   [03:20] "But what, after all, can Romans tell us today?"
   — Major Jackson

   This rhetorical question invites listeners to consider the relevance of ancient philosophies in contemporary times.

3. Metaphorical Playfulness:

   The poem employs playful metaphors, likening bones to various elements such as dominoes and musical notes, to illustrate the multifaceted nature of identity.

   [03:50] "Or maybe, after all, all bones are just playing into the game, as in the game of dominoes, where the goal is to get the die from the boneyard."

   This metaphor suggests a strategic aspect to how we navigate and define our identities, using our "bones" or foundational selves as tools in life's game.

4. Practical and Biological Perspectives:

   The poem also touches on the utilitarian aspects of bones, referencing their role in culinary practices and their biological functions, thereby grounding the abstract discussions in everyday reality.

   [04:35] "Bones to add flavor to a mirepoix. Calcium, phosphorus, magnesium to use a boning knife to separate the flesh of the salmon or trout or bass."
   — Major Jackson

   These lines bridge the metaphorical significance of bones with their practical uses, emphasizing the interconnectedness of our biological makeup and personal narratives.

5. Internal Struggles and Voice:

   Major Jackson highlights the poem’s exploration of internal voices and struggles, symbolized by the conflict between smaller bones (stapedias) and larger ones (femur or tibia), representing different facets of the self vying for dominance.

   [04:44] "Their bones may be as small as yours or mine. Stapedias to keep the voices in your head from driving you crazy or as large as the femur or tibia, each fighting for supremacy."
   — Major Jackson

   This metaphor encapsulates the internal dialogue and conflicts that shape one's identity and actions.

Conclusion and Reflection

As the episode draws to a close, Major Jackson synthesizes the themes discussed, reiterating the profound ways in which names and inherent characteristics influence our journey of self-discovery. He encourages listeners to contemplate their own names and the stories they carry, fostering a deeper understanding of personal and collective identities.

[05:17] "The Slowdown is a production of American Public Media in partnership with the Poetry Foundation. [...] The Slowdown is written by me, Major Jackson."
— Major Jackson

Notable Quotes

• Identity and Growth:
  "I was an adult. One night at a bar, I told my younger cousins I no longer wish to be called Little Man. My name is Major."
  — Major Jackson [02:14]

• Ancestral Roots:
  "Or maybe, after all, all bones are just playing into the game, as in the game of dominoes, where the goal is to get the die from the boneyard."
  — Major Jackson [03:50]

• Internal Conflict:
  "Their bones may be as small as yours or mine. Stapedias to keep the voices in your head from driving you crazy or as large as the femur or tibia, each fighting for supremacy."
  — Major Jackson [04:44]

Final Thoughts

This episode of The Slowdown masterfully intertwines personal narrative with poetic exploration, offering listeners a rich tapestry of reflections on identity, heritage, and the power of names. Through Lynne Thompson’s "Ode to Bones," Major Jackson invites a deep and meaningful contemplation of what shapes us and how we define ourselves within the vast mosaic of human experience.

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Transcript

[Major Jackson]

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[Unnamed Speaker]

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[Unnamed Speaker]

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[Major Jackson]

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[Unnamed Speaker]

My family nickname for a long time.

[Major Jackson]

Was Little man, then simply Little. Who knows why?

[Unnamed Speaker]

I recall my mother once saying that.

[Major Jackson]

Even as a kid I had the demeanor of an old person. Serious, morose, not quick to smile, always with my face pressed into a book. But as fitting as it might have been as a kid, as a young adult, I began to tire of the psychology of diminution. At holiday gatherings it was Little man, say the blessing or are you dating anyone?

[Unnamed Speaker]

Little or Little Man? Remember that time we secretly tied your.

[Major Jackson]

Sneakers and you fell and tripped running.

[Unnamed Speaker]

To the school bus?

The family moniker fixed me to a long ago age. I felt reduced. No one saw that I had grown well beyond their memories of me.

[Major Jackson]

I commuted to a job every morning.

[Unnamed Speaker]

Where co workers depended on my punctual performance. I wasn't the cute little kid anymore.

[Major Jackson]

Who merely behaved like an adult.

[Unnamed Speaker]

I was an adult. One night at a bar, I told my younger cousins I no longer wish to be called Little Man. My name is Major. They heard me, but only for an hour, then fell back to calling me Little. Except for one cousin. She called me Man. Today's poem riffs off a childhood name to caravan us to all the possibilities of association, which brings the speaker back.

[Major Jackson]

To the uniqueness and individual nature of their being.

[Unnamed Speaker]

Ode to Bones by Lynn Thompson My brothers gave child me the nickname Bones.

[Major Jackson]

Presumably because when they looked at me they thought she is nothing but skin. And the playwright Titus Plautus gets the credit, earned or otherwise, for saying your.

[Unnamed Speaker]

Name is your destiny. But what, after all, can Romans tell us today? Suppose instead that a name is the past come to build a bridge to crossover. If this is true, I could be bones of my parents beloved Carib birds, a lesser Antillean tanager, Cuban grass, quit Jamaican crow, the bones of ancestors stolen from Africa, the Hottentot teal brown booby. Or maybe, after all, all bones are just playing into the game, as in the game of dominoes, where the goal is to get the die from the boneyard. On the other hand, it could be that music makes all the difference this old man he played one give a dog a bone.

[Major Jackson]

This old man he played five with.

[Unnamed Speaker]

A knick knack paddy whack and never.

Forget to look in your kitchen to put bones in your stock.

Bones to add flavor to a mirepoix.

Calcium, phosphorus, magnesium to use a boning.

Knife to separate the flesh of the salmon or trout or bass. Their bones may be as small as yours or mine. Stapedias to keep the voices in your head from driving you crazy or as large as the femur or tibia, each fighting for supremacy.

[Major Jackson]

The Slowdown is a production of American Public Media in partnership with the Poetry Foundation. This project is also supported in part by the National Endowment for the Arts. On the [e-mail] to get a poem delivered to you daily, go to slowdownshow.org and sign up for our newsletter and find us on Instagram at slowdownshow. The Slowdown is written by me, Major Jackson. It is produced by Micah Kilbon. Our music is composed by Alexis Quadrado, engineering by Josh Savageau. Our Associate producer is Maria Wortel. Additional production help by Susanna Sharpless, James Napoli, Lou Baron and Nick Ryan. Our Executive Producer and Editor is Beth Perlman. Our executives in charge of APM Studios are Chandra Kavati, Alex Shaffer and Joanne Griffith.

[Unnamed Speaker]

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