Introspection and art in “In Memory of Gerard Dillon”

Jocelyn Pettway
Professor Simon Kress
English 342
February 23, 2008

Introspection and art in “In Memory of Gerard Dillon”


In the poem “In Memory of Gerard Dillon,” Longley explores the artist’s act of introspection, what affects it, and how it affects the world. Through opposition, fraternal symbols, and the personification of places and body parts, Longley suggests our visions of ourselves are impacted by our history and the current divides in our society. Longley goes on to convey that our introspection, and the things that shape it, will be reflected back to the world.
In the second stanza Dillon is described as being “a room full of self-portraits,/ A face that follows us everywhere” (11-12). In these two lines Longley creates an opposition between the artist and the rest of the world. The personification of “room” helps relate how Dillon internalizes his self-knowledge and carves out a personal sphere separate from the rest of the world. The self-portraits are symbols of Dillon’s search within himself and its rewards. In the next line we see Dillon’s personal sphere breaks out of the room and “follow” the rest of the world. The use of the words “follow” and “everywhere,” conjure up a feeling of haunting and seems to indicate that introspection engages the rest of the world and serves as a reminder of what the artist sees within himself and in their present world.
Longley continues by personifying different body parts and moves to a description of Dillon as “an ear to the ground listening for/ Dead brothers in layers” (13-14). Longley uses the fraternal symbol of “Dead brothers” to indicate a sense of history which Dillon is a part of. The personified ear is shown searching outside himself for a sense of history and past, which will contribute to his self-portraits. By focusing on an anatomical part whose sole function is not only communication, but the receptive side of communication, Longley emphasizes the importance of observing in order to reflect the world. The sense of community created by the fraternal symbol of “Dead brothers” impacts the artist’s introspection and reveals that the personal sphere and the rest of the world are connected.
The next personified body part is “an eye/ Taking in the beautiful predators-/ Cats on the windowsill, birds of prey” (14-16). In this personification Dillon assumes the role of observer and watches the animals. This anatomical part is solely for perception and can only communicate through sharing visual images. The word “beautiful” reveals a respect for the bestial symbols which represent his divided society. The image of the opposing predators separated from each other is another thing that will be communicated through Dillon’s self-portraits and will reflect to the world outside.
Longley uses opposition, fraternal symbols, and the personification of places and body parts to emphasize how the world outside of ourselves, it’s history and conflicts, is included in our introspection and is reflected back to the world.
Works Cited
Longley, Michael. Selected Poems. Winston-Salem, NC.: Wake Forest University Press, 1999.