Fishing on the Susquehanna in July

By Billy Collins
 

I have never been fishing on the Susquehanna

or on any river for that matter

to be perfectly honest.

Not in July or any month

have I had the pleasure—if it is a pleasure—

of fishing on the Susquehanna.

I am more likely to be found

in a quiet room like this one—

a painting of a woman on the wall,

a bowl of tangerines on the table—

trying to manufacture the sensation

of fishing on the Susquehanna.

There is little doubt

that others have been fishing

on the Susquehanna,

rowing upstream in a wooden boat,

sliding the oars under the water

then raising them to drip in the light.

But the nearest I have ever come to

fishing on the Susquehanna

was one afternoon in a museum in Philadelphia

when I balanced a little egg of time

in front of a painting

in which that river curled around a bend

under a blue cloud-ruffled sky,

dense trees along the banks,

and a fellow with a red bandanna

sitting in a small, green

flat-bottom boat

holding the thin whip of a pole.

That is something I am unlikely

ever to do, I remember

saying to myself and the person next to me.

Then I blinked and moved on

to other American scenes

of haystacks, water whitening over rocks,

even one of a brown hare

who seemed so wired with alertness

I imagined him springing right out of the frame.

Frost

Roberts Frost's Mending Wall explores the theme of "inner barriers" throughout a paused, yet critical tone. By employing diverse allegories and the extended metaphor  of the "wall", Frost conveys a dense underlined message beyond the narrators relationship with his neighbor.

The parallelism begins from the first line, when the speaker alludes to "something that is doesn't love a wall" (line 1), "is" becoming an allegory for a higher power which "sends", "spills" and "makes gaps" against this wall that immediately acquires a higher connotation in the poem as a metaphorical form of antagonism.

The reader can observe the narrators denotation of his personal position towards the wall, which is somewhat compressive when saying he has "come after them" and "made repair" (line 3), partially coinciding with the figure of the wall on its weakness.

The couplet on lines 10-11 express a descriptive meta-fiction when portraying the existence of the "gaps" in the wall. Naturally, the "gaps" stand up as a metaphor for the "tweaks" and imperfections of the wall, which represents the inevitability of linear existence.

At this point, the wall is characterized as an integrated symbol in the poem, becoming the protagonist in the narrators internal conflict.