Sun-Up, and Other Poems — Themes and Context

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Ridge, Lola, 1873-1941 Project Gutenberg 2003 Not confirmed
Poetry Readers of public-domain and historical texts
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Edition facts

Words 11,317
Reading time 50 min
Text sections 2

Sun-Up, and Other Poems — Themes and Context can be approached with a clearer sense of reading commitment from its source measurements: 11,317 words, 50 min estimated reading time, and 2 detected text sections.

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Lola Ridge's early 20th-century poetry collection juxtaposes intimate domestic scenes with stark urban landscapes, using vivid sensory imagery and a distinctive voice that shifts between childlike wonder and sharp social observation.
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Read the Text

This thought makes me very sad.

Jude has eyes like tobacco with yellow specks on it and his hair is red as a red orange. Jude and I have made a garden in the field that no one knows about. We creep in and out through a little place where the barbed wire is down. We lie in the long grass and crush dandelions between our two cheeks till the milk comes out on our faces. We hold each other tight and the wind tip-toes all over us and pelts us with thistle-down.

Jude isn't afraid of shadows-- not even of the ones that have eyes in them. And he can look in the face of the sun without blinking at all. Hush! don't say sun so loud. The sun gets angry when you stare at him. If you peek in his glory-windows he spreads into a great white flame like God out of his Burning Bush... till you put your hands up on your face and tremble like a drop of rain upon a flower that some one throws into the fire... and then the sun makes himself small, the sun swings down out of the sky-- littler'n a star, little as a spark little as a fierce red spider on a burning thread... and then the light goes out... shivers into blackened bits.... You hold on to a wall that whirls around and the gate is a black hole. You grope your way in like a toad that's blinded by a stone... and mama puts on cold wet rags that get hot soon.... Hush! don't let's talk about the sun.

When you pass by the ditch where Janie is You run very fast and look at the other side. Jude says Janie did love me only she couldn't forgive me, and that you can love people very much and never, never, never forgive them.... so we poked a stick in the bottle-green water. But only weeds came up and an old top with the paint washed off.

Jude and I wave to the new moon curled right up like one gold hair on the bald-head sandhill. Mama peeps out the window and smiles. She thinks I am playing with myself... Run, Jude, run with the wind-- but hold my hand tight or the wind, looking for some one to play with, will take me away from you! Wind with no one to play with cooees the orange-trees-- stay-at-home orange trees, have to nurse oranges, greeny-gold. Wind shouts to the grass-- run-away-grass tugs at its roots, but the earth holds tight and the grass falls down and wind boos over it. Wind whistles the bees-- bees too busy with taking home stuff out of flowers won't look back-- bees always going somewhere. Only Jude and I-- heads over shoulders watching all roads at one time-- run with the wind, going to nowhere.

Jude and I were weeding our garden when we heard his whip-- must have been a new whip to cut off dandelion-heads at one swing.... He was the kind of boy you knew when you had Celia.... with nice clothes on and curls crawling about his collar like little golden slugs, and his man was leading his horse. I wish I hadn't run to meet him.... If you hadn't run to meet him he mightn't have trod on your garden and said: Get out of my field you dirty little beggar... he mightn't have struck you with his whip.... How the daisies stared.... I hate daisies-- stupid white faces-- skinny necks craning over the grass! I said It is not your field, and he struck me again. But he didn't make me run. His hand smelled of sweet soap... he couldn't shake me off, but his man did.... Funny--how the sky fell down and turned over and over like a blue carpet rolling you up, and the grass caught at your face-- it couldn't have been spiteful-- it must have been saving itself. Hot road... silly wind playing with your hair.... The road smelled of horses. I only got up when I heard a dray.

Mama has sung ba ba black sheep, and put a chair with a cloth on it between me and the light. But the clock keeps saying: Dirty little beggar, dirty little beggar.... Some day I will get that boy. I will pull off his arms and legs and put him in a box and hide the box under the bed.... I wonder will he buzz when I take him out to look at his body that will have no arms to whip me?

Lola Ridge's Sun-Up, and Other Poems opens with a dedication that sets a tone of intimate excavation: the speaker seeks to 'stir the attar of unused air' and 'blow the dust from off you,' suggesting a recovery of buried experience. The collection's first poem, 'Sun-Up,' immediately establishes a child's perspective, with fragmented lines and sensory details—'Celia's shriek / sticks in you like a pin'—that render memory as both vivid and unsettling. Ridge's voice moves fluidly between the personal and the public, from a cradle's shadows to the 'great round pillars of the bank' that mirror Celia's legs.

Childhood as a Fractured Lens

The opening poem 'Sun-Up' presents childhood not as nostalgia but as a series of sharp, disjointed impressions. The speaker recalls a girl with 'black, black eyes' and a recurring nightmare of a man clutching her hair, his eyes 'stick out like spears.' Ridge uses repetition—'Please God, don't let me dream any more'—to convey trauma that resists closure. The child's world is populated by adults who are both protectors and sources of fear: Celia's shadow 'rocks and rocks,' while the father is obscured by 'the big yellow bowl / like the moon with two handles.' These images are not explained but presented as fragments, inviting readers to piece together the emotional logic.

Urban Landscapes and Mechanical Rhythms

In the 'Windows' section, Ridge turns her attention to the city, personifying buildings and infrastructure with a mixture of irony and awe. 'Time-Stone' addresses the Metropolitan as a 'flight of ledger books' overrun with 'ant-black figures / Dancing on spindle legs,' contrasting the mechanical tally of time with the 'silver whistle of a moonbeam.' 'Train Window' sketches 'tubercular towns / Coughing a little in the dawn,' where the church's 'natty spire' becomes a site of gossip: 'Tzz-tzz… tzz-tzz… tzz-tzz….' The poem 'Electricity' fuses industrial and erotic energy, describing 'charged phallases / Of iron leaping / Female and male, / Complete, indivisible, one, / Fused into light.' Ridge's city is alive with tension, its skyscrapers 'remote, unpartisan' yet holding secrets 'better than all the policemen.'

Nature Reimagined Through Restraint

Even in poems that invoke the natural world, Ridge's imagery is filtered through urban confinement. 'Cactus Seed' begins with a canary's song piercing a 'narrow-chested room,' its notes like 'trillions of icily / peltering notes' that threaten to overwhelm the speaker. The poem then imagines canaries singing 'out of cages' by a 'fork of grassed earth,' where their notes would 'sink in the spirit… lie germinal.' But the final stanza pivots to a cactus flower 'star-yellow / ray out of spiked green,' and the speaker calls out 'God… God…' as if reaching for a transcendence that remains just out of reach. The wind 'scandal-mongers with gum trees,' a phrase that echoes the gossip of 'Train Window,' linking the natural and social worlds through a shared pattern of restless observation.

Ridge's poems reward attention to their sonic texture—the hiss of 'Tzz-tzz,' the percussive 'peltering notes,' the long vowels of 'moonbeam / Falling between my stoop-shouldered walls.' Readers may find it useful to read the collection in the order Ridge arranged, noting how the child's voice of 'Sun-Up' gives way to the more overtly political 'Sons of Belial' and the final 'Reveille' section. The poems resist easy categorization, moving between free verse and irregular rhyme, and between private memory and public critique.

There’s a particular ache in Lola Ridge’s poems—that childlike wonder pressed against harsh streets—which stays with me long after closing the book. It reminds me of another voice, older and equally unflinching: Sappho, whose fragments feel like small, human truths barely held. Sometimes I think Ridge’s quiet domestic scenes carry that same ancient, urgent tenderness. Sappho: A New Rendering — Text and Context rests beside her on my shelf, both whispering across decades.

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