Step Away from Them
An Analysis of Frank O’hara’s “A Step Away From Them”
At the turn of the 20th century, the movement of modern art began to distinguish itself by moving away from traditional and classical forms. Artists like Pablo Picasso were deconstructing their formal techniques by abstracting forms of conceptual art. We began to question and criticize: “Is that art?” By mid-20th century, the schools of the modern movement already began to echo into literature, dance, and music. Abstract Expressionist literature emphasizes spontaneity of motions and their fleetingness. Once a detail is mentioned, it disappears but resurfaces in the subconscious in the form of a daydream. Frank O’Hara’s “A Step Away From Them” adapts his unique style of free verse with arbitrary line breaks and enjambment. There is a relay of split-second action followed by spontaneous thought. Overall, the poem ventures into synapses of the mind in an urban space. O’Hara is the observer, self-satisfied, and content. In the first line, there is a felt quality of impulsive action. “So I go” gives a sense of urgency that we experience the moment our lunch hour hits. The meter of each word can be equal stressed. The I is a soft vowel, therefore, there is emphasize is on so and go. O’Hara combines two senses of visual and sound with “hum-colored.” Both senses capture dynamic movements like when someone takes a still photo of a moving object. The image of a cab smears across the photo. There is a distinction of the way space moves. Hum-colored can resonate sound that an engine makes. When we walk out the door into the city, the pace is already set. By line 3, the mind quickly wanders to the next visual moment. “Down the sidewalk” tells our awareness to focus on lunch hour of laborers. We are walking and capturing still photos. “Dirty glistening torsos” signifies the way construction workers eat shirtless. Another interpretation can perceive oil rubbed on their shirt hence the term, blue
At the turn of the 20th century, the movement of modern art began to distinguish itself by moving away from traditional and classical forms. Artists like Pablo Picasso were deconstructing their formal techniques by abstracting forms of conceptual art. We began to question and criticize: “Is that art?” By mid-20th century, the schools of the modern movement already began to echo into literature, dance, and music. Abstract Expressionist literature emphasizes spontaneity of motions and their fleetingness. Once a detail is mentioned, it disappears but resurfaces in the subconscious in the form of a daydream. Frank O’Hara’s “A Step Away From Them” adapts his unique style of free verse with arbitrary line breaks and enjambment. There is a relay of split-second action followed by spontaneous thought. Overall, the poem ventures into synapses of the mind in an urban space. O’Hara is the observer, self-satisfied, and content. In the first line, there is a felt quality of impulsive action. “So I go” gives a sense of urgency that we experience the moment our lunch hour hits. The meter of each word can be equal stressed. The I is a soft vowel, therefore, there is emphasize is on so and go. O’Hara combines two senses of visual and sound with “hum-colored.” Both senses capture dynamic movements like when someone takes a still photo of a moving object. The image of a cab smears across the photo. There is a distinction of the way space moves. Hum-colored can resonate sound that an engine makes. When we walk out the door into the city, the pace is already set. By line 3, the mind quickly wanders to the next visual moment. “Down the sidewalk” tells our awareness to focus on lunch hour of laborers. We are walking and capturing still photos. “Dirty glistening torsos” signifies the way construction workers eat shirtless. Another interpretation can perceive oil rubbed on their shirt hence the term, blue