Analysis of the Catch by Dorianne Laux
Young knows that to be truly reverent, the poet needs to be irreverent. He understands that we live in a world of “too many divorces, too many blood panels.” But he also wants to remind us that “it’s not the skricket of the cricket/but its silence that is clairvoyant,” that it’s always worth pondering “what would that letter after Z look like.” But for all his humor and linguistic jazz, Mr. Young doesn’t shun the big questions. He tells us, “The guy who hoses the slaughterhouse floor/goes home and makes angels out of toothpicks.” And his sense of mortality is keen. In “Instant Recognition Between Strangers” he writes: “But until our names are called, we wait in the dark hall with the coat trees./Kafka, Kafka, barks the dog.” And as a man who had a heart transplant in April, he doesn’t stint on hard-won wisdom: “hark, dumbass,/the error is not to fall/but to fall from no height.”
At the end of the poem Dorianne Laux again uses physical imagery and personification by describing in her view how God comes to our life: “God comes to your window,/ all bright light and black wings,/ and you are just too tired to open it”(.145), The window definitely represents life, which establishes a personification right in the beginning of the verse. Furthermore when she starts describing how God appears to her, “all bright and black wings”(.145), she creates in every reader's head a physical image of God, which differs than most of the descriptions out there.
She teaches poetry in the MFA Program at North Carolina State University and is founding faculty at Pacific University’s Low Residency MFA Program.
Laux, Dorianne. “Dust”,[Risking Everything 100 poems of Love and Revelation] Ed,
Roger Housden, New York: Harmony Books, 2003 :145.print
Laux, Dorianne. “Dorianne Laux”. Dorianne Laux. Http://doriannelaux.net/.Web.1 Mar. 2015,