Just Our Nature

By Jack Joseph Smith

Skies back like Nothern California, or rather like Mohawk Suddenly each season turns, with short and long shade, a feeling sensory to thought The unclocked orange above us is gone The waiting for years for one star is over Secrets and seconds mean something through the trees, our view of wild animals, folage and gardens, of our own, to watch the dance of muskrat and deer, between city and suburb cocky with their pitence Western Pennsylvania keeping coal on the river is yes But there is no sight of plastic and tin cans, going down with the golden leaves this fall We are the ones who know there is unlikelyness, in a cure from the million crosses we have put up, still we accept that type of critism as a way of life Make it a shock for a world, a country in horror; it is politics, that has finely let us see the stars, announced our lonely and courting dreams, over the legacy of our city Shut down towns, visual as if whiped by war; big steel ripping livelyhood away with an arm meaner than adjunk The peacemaker testing three rivers and a thousand more, with University tubes carefully through each inch, of the water, to stop chemical, computer or otherwise, from coming next

AI Interpretation

GPT

A regional poem that sees nature, industry, and politics as one shared system, with beauty always shadowed by extraction and civic damage.


Claude

A Western Pennsylvania nature poem that watches autumn arrive over a country where wilderness, suburb, and ruined industry share one ecology. Skies 'back like Nothern California, / or rather like Mohawk' open onto 'the dance of muskrat and deer,' rivers 'keeping coal,' and 'Shut down towns, visual as if whiped by war.' It ends on a guarded civic hope: 'politics, that has finely let us see the stars,' and university monitoring of 'three rivers' to keep chemical contamination 'from coming next.'

The poem's real subject is how a wounded landscape stays beautiful and how its people make peace with that. The line 'there is no sight of plastic and tin cans, / going down with the golden leaves this fall' offers a fragile, almost devotional cleanliness, while 'big steel / ripping livelyhood away with an arm meaner than adjunk' names the violence that emptied the towns. The title cuts two ways at once: this damaged coexistence is merely 'our nature' (simply how we are) and also 'just' in the moral sense, a way of life the speaker defends - 'we accept that type of critism as a way of life.' The closing image of careful 'University tubes' threaded 'through each inch / of the water' turns vigilance itself into the region's modern form of stewardship, beauty now requiring instruments to protect it.