Original Poem：
London
crossfigured
creeping with trams
and the artists on sundays
in the summer
all ‘tracking Nature’
in the suburbs
It
could have been anyplace
but it wasn’t
It was
London
and when someone shouted over
that they had got a model
I ran out across the court
but then
when the model started taking off
her clothes
there was nothing underneath
I mean to say
she took off her shoes
and found no feet
took off her top
and found no tit
under it
and I must say she did look
a bit
ASTOUNDED
just standing there
looking down
at where her legs were
not
But so very carefully then
she put her clothes back on
and as soon as she was dressed again
completely
she was completely
all right
Do it again! cried someone
rushing for his easel
But she was afraid to
and gave up modelling
and forever after
slept in her clothes
Poem Explanation and Analysis
This poem vividly captures a surreal and haunting scene set in London, where the city’s usual bustle is intertwined with an eerie moment involving an artist’s model. The poem opens with a description of London’s trams and artists who spend their Sundays in the suburbs, “tracking Nature,” suggesting a pursuit of natural beauty amid urban life. The setting is familiar yet ambiguous — “It could have been anyplace / but it wasn’t / It was / London” — emphasizing the uniqueness of the city and the event that unfolds.
The central moment is when the model begins to undress, but shockingly, she has no body underneath her clothes. She removes her shoes and finds no feet, takes off her top and finds no breast, leaving her astonished and confused. This surreal image can be interpreted as a metaphor for vulnerability, invisibility, or the emptiness behind appearances. The model’s reaction—standing stunned and then carefully redressing—reflects a retreat into safety and conformity after confronting an unsettling truth.
The poem ends on a note of resignation: the model refuses to continue and “forever after / slept in her clothes,” symbolizing a loss of openness or exposure, perhaps a defense mechanism against further emotional or existential exposure.
Background and Author Introduction
This poem reflects modernist themes often explored in 20th-century poetry, such as alienation, identity, and the contrast between appearance and reality. The use of London as a setting grounds the poem in a specific cultural and historical context, highlighting the tension between urban life and natural or human essence.
The author, though not named here, likely draws on personal or observed experiences of city life and the art world, using surreal imagery to evoke deeper psychological and philosophical questions. The poem’s fragmented style and vivid imagery are characteristic of poets who challenge traditional narrative forms to explore the complexities of modern existence.
Interpretation and Reflection
This poem invites readers to reflect on the nature of identity and what lies beneath the surface of appearances. The model’s lack of a body can symbolize feelings of emptiness or invisibility that people sometimes experience, especially in a vast, impersonal city like London. It also raises questions about art and representation—what does it mean to model or portray something when there is “nothing underneath”?
The poem’s tone shifts from curiosity to shock, then to resignation, mirroring the emotional journey of confronting uncomfortable truths and retreating to safety. This can resonate with anyone who has faced moments of vulnerability or self-doubt.
Educational Insights and Learning Points
From this poem, students and children can learn several important lessons:
- Imagery and Symbolism: Understanding how poets use vivid, sometimes surreal images to convey complex emotions and ideas.
- Themes of Identity and Vulnerability: Exploring how literature reflects human experiences of feeling invisible or misunderstood.
- Urban Life vs. Nature: Recognizing contrasts between the natural world and the city environment.
- Emotional Expression: Discussing how people respond to vulnerability—whether by confronting it or retreating.
In practical life and learning, this poem encourages critical thinking about appearances versus reality, a useful skill in media literacy and interpersonal relationships. It also provides a platform for discussing mental health topics like anxiety and self-esteem in an age-appropriate way.
Usage in Learning and Life Scenarios
- Art Classes: Students can explore the role of models and the artist’s perspective, linking the poem’s imagery to visual arts.
- Creative Writing: The poem’s style can inspire students to write their own surreal or symbolic poems.
- Psychology and Social Studies: Discussions about identity, self-perception, and social pressures.
- Literature Analysis: Examining poetic devices such as repetition, enjambment, and tone shifts.
Reading Comprehension Questions
- Where is the setting of the poem?
- What unusual thing happens when the model starts undressing?
- How does the model react to discovering there is “nothing underneath”?
- What might the model’s lack of a body symbolize?
- Why do you think the model decides to stop modeling and sleep in her clothes?
- What themes does the poem explore?
- How does the poem make you feel, and why?
Answers
- The poem is set in London, specifically in the suburbs where artists gather on Sundays.
- When the model starts undressing, she has no body underneath her clothes—no feet, no breasts, no legs.
- The model looks astonished and confused, then carefully puts her clothes back on.
- The lack of a body could symbolize vulnerability, invisibility, or emptiness beneath appearances.
- The model stops modeling and sleeps in her clothes to protect herself from further exposure or vulnerability.
- The poem explores themes of identity, vulnerability, appearance vs. reality, and alienation.
- Answers will vary; readers might feel surprised, unsettled, or reflective because of the poem’s surreal and emotional content.
This poem offers rich material for exploring complex ideas in an accessible way, making it a valuable resource for education and personal growth.
