Existential Hibernation: Beyond Tragedy and Meaning in Post-Kantian Life

Abstract

This essay presents a philosophical position that moves beyond traditional existentialist frameworks of tragedy and meaning-making to embrace what might be termed “existential hibernation”—a state of minimal engagement with life characterized by energy conservation and the recognition of all activities as equally arbitrary forms of time-filling. Drawing on Kantian epistemological limitations and contemporary discussions of life’s fundamental inconvenience, this perspective offers a non-tragic, non-heroic approach to existence that prioritizes harm reduction and practical accommodation over metaphysical consolation.

Introduction

Contemporary philosophical discourse often oscillates between two poles: the heroic embrace of life’s absurdity found in existentialist thought, and the tragic acknowledgment of meaninglessness that characterizes much pessimistic philosophy. This essay argues for a third position—one that acknowledges life’s fundamental pointlessness without elevating that recognition to tragic status, instead treating existence as a manageable inconvenience requiring practical rather than metaphysical solutions. This perspective, which I term “existential hibernation,” represents a post-Kantian accommodation with the limits of human knowledge that sidesteps both romantic nihilism and stoic heroism in favour of pragmatic withdrawal.

The Kantian Foundation: Metaphysics as Mental Exercise

The philosophical foundation for this position rests on a radical interpretation of Kant’s critical philosophy. While Kant himself sought to preserve space for practical reason and moral faith, the perspective examined here takes his epistemological insights to their logical conclusion: if we cannot know things-in-themselves, then all metaphysical speculation becomes sophisticated puzzle-solving, no different in kind from sudoku or crosswords.

This reading aligns with what Frederick Beiser has called the “nihilistic implications” of Kant’s critical turn, though it avoids the dramatic responses typical of German Idealism (Beiser, 2002). Unlike Fichte’s attempt to ground reality in the absolute ego or Schelling’s philosophy of nature, this position accepts the arbitrariness of our conceptual frameworks without seeking to transcend them through systematic philosophy.

The key insight here is the distinction between the practical utility of beliefs and their epistemic value. As William James observed in “The Will to Believe,” we often must choose between live hypotheses for practical reasons (James, 1896). However, the position under consideration goes further, suggesting that the practical necessity of choosing beliefs does not dignify those beliefs with truth-value—they remain arbitrary selections from equally groundless alternatives.

Life as Inconvenience: Beyond Tragic and Comic Frameworks

Central to this perspective is the characterization of life not as tragedy or comedy, but as inconvenience. This represents a departure from traditional philosophical and literary treatments of human existence. Where Shakespeare’s Hamlet sees life as a “weary, stale, flat, and unprofitable” series of uses, the tragic framework still grants suffering a kind of cosmic significance (Shakespeare, 2006).

The inconvenience framework, by contrast, deflates even tragedy. Samuel Beckett’s dramatic works, particularly Waiting for Godot and Endgame, come closer to capturing this sensibility. Vladimir and Estragon continue their routines not because they serve any purpose, but because, as Estragon notes, “We always find something, eh Didi, to give us the impression we exist?” (Beckett, 1953). Yet even Beckett’s characters retain a kind of theatrical dignity in their predicament.

The perspective examined here is more radically deflationary. Life becomes a series of administrative tasks performed without consent—eating, sleeping, working, thinking—none of which serve any ultimate purpose but all of which must be managed to avoid immediate suffering. Arthur Schopenhauer’s observation that “all satisfaction, or what is commonly called happiness, is really and essentially always negative only, and never positive” approaches this insight, but remains trapped within a metaphysical framework that grants suffering cosmic significance (Schopenhauer, 1969).

The Paradox of “Wasting Time”

A crucial insight of this philosophical position concerns the paradoxical nature of the phrase “wasting time.” The very concept implies that time could be “well spent,” revealing our persistent attachment to hierarchical valuations of activity even when we intellectually recognize their arbitrariness. Thomas Nagel’s discussion of the absurd touches on this paradox: “We see ourselves from outside, and all the pretensions to significance are exposed as arbitrary” (Nagel, 1971, p. 718).

However, the position under examination goes beyond Nagel’s analysis. While Nagel suggests that recognizing absurdity might lead to a kind of ironic engagement with life’s projects, this perspective suggests complete equivalence between all forms of time-filling. Intellectual pursuits, charitable work, hedonistic pleasure-seeking, and even complete inactivity become equally valid responses to the fundamental problem of having to fill the hours between birth and death.

This equivalence challenges even supposedly enlightened hierarchies of value. The Buddhist practitioner seeking liberation, the utilitarian maximizing welfare, and the hedonist maximizing pleasure are all engaged in the same basic activity: finding ways to make the passage of time tolerable. This perspective aligns with E.M. Cioran’s broader philosophical outlook in The Trouble with Being Born, which consistently deflates human pretensions to significance and meaning (Cioran, 1973).

Minimal Ethics: Harm as the Only Relevant Boundary

Given this framework of equivalence, the question arises: are there any meaningful ethical distinctions to be made? The position examined here suggests a minimal ethics based not on metaphysical foundations but on simple biological facts. Pain is bad not because it violates some cosmic order, but because organisms are constituted to experience it as unpleasant.

This approach resembles Jeremy Bentham’s hedonistic calculus stripped of its utilitarian ambitions. Bentham argued that “it is for them alone to point out what we ought to do, as well as to determine what we shall do” in reference to pleasure and pain (Bentham, 1970, p. 11). However, the perspective under consideration lacks Bentham’s optimistic belief in the possibility of maximizing overall welfare. Instead, it suggests a purely defensive ethics: avoid causing unnecessary suffering not because suffering matters in some ultimate sense, but because the experience of suffering is, by definition, something the sufferer wants to avoid.

This minimal ethics leads naturally to a preference for what we might call “negative liberty” in Isaiah Berlin’s sense—freedom from interference rather than freedom to pursue positive goals (Berlin, 1958). The ideal social arrangement becomes one that allows individuals maximum space to pursue their preferred forms of time-filling without imposing unnecessary inconvenience on others.

Existential Hibernation: Energy Conservation as Wisdom

The practical outcome of this philosophical position is what might be termed “existential hibernation”—a strategic withdrawal from unnecessary engagement with the world’s demands. This is not the heroic withdrawal of the Stoic sage or the dramatic retreat of the Romantic artist, but a pragmatic recognition that most social and cultural activities require energy expenditures that yield no meaningful return.

This concept finds resonance in certain Eastern philosophical traditions, particularly Zhuangzi’s concept of wu wei or effortless action. However, where Zhuangzi suggests alignment with natural patterns, existential hibernation suggests simple energy conservation in the absence of any natural pattern to align with. As Zhuangzi writes, “The perfect man uses his mind like a mirror—grasping nothing, refusing nothing, receiving but not storing” (Zhuangzi, 1968, p. 97). The hibernating individual similarly refuses to grasp onto projects or meanings while making minimal accommodations to biological necessity.

Contemporary discussions of the brain’s baseline functioning provide an interesting parallel. Research on what neuroscientists term the “default mode network” shows that the brain maintains essential functions while minimizing metabolic expenditure when not actively engaged in tasks (Raichle et al., 2001). This principle of neural energy conservation offers a biological analogue for existential hibernation—consciously adopting a minimal engagement strategy as a life approach, activating higher-order functions only when necessary to avoid immediate harm or discomfort.

The Question of Exit: Philosophical Considerations

An honest examination of this philosophical position must address the question of suicide. If life is fundamentally pointless inconvenience, why continue? The perspective under consideration suggests that even this question falls under the general principle of energy conservation. Researching and implementing an exit strategy requires significant energy expenditure and carries risks of increased suffering rather than its elimination.

This differs markedly from both the Stoic position, which saw rational suicide as sometimes appropriate (Seneca, 1969), and the Existentialist position exemplified by Camus, who argued that suicide represents philosophical defeat (Camus, 2006). Instead, it suggests that continuing and exiting are equally arbitrary choices, with the decision based purely on practical considerations of energy expenditure and harm avoidance.

David Hume’s essay “On Suicide” provides relevant context, arguing that “no man ever threw away life, while it was worth keeping” (Hume, 1985, p. 579). The hibernation perspective might modify this to suggest that life is never worth keeping in any ultimate sense, but may be worth maintaining when maintaining it requires less effort than ending it.

Implications and Responses to Objections

Several objections to this philosophical position merit consideration. First, critics might argue that it represents a form of depression rather than genuine philosophical insight. However, the position can be distinguished from clinical depression by its lack of emotional distress about life’s meaninglessness. Unlike the depressed individual who suffers from the absence of meaning, the hibernating individual simply accepts meaninglessness as unremarkable.

Second, some might argue that this position is self-refuting—if nothing matters, why develop and articulate the position at all? The response would be that developing philosophical positions, like any other activity, is simply one way among others of filling time. The individual happens to be constituted in such a way that thinking provides a tolerable form of distraction, but this gives the activity no special status.

Third, critics might suggest that this perspective, taken seriously, would lead to social breakdown. However, the minimal ethics of harm avoidance actually supports basic social cooperation. The hibernating individual has no incentive to impose unnecessary suffering on others and every incentive to maintain social arrangements that minimize personal inconvenience.

Conclusion: Peace Without Purpose

The philosophical position examined in this essay offers neither the heroic affirmation of existentialist thought nor the tragic grandeur of pessimistic philosophy. Instead, it suggests a third way: accepting life’s fundamental pointlessness without drama, developing practical strategies for minimizing inconvenience, and finding whatever peace is available through reducing rather than multiplying one’s engagements with the world’s demands.

This “existential hibernation” represents neither victory nor defeat, but simple accommodation with circumstances beyond our choosing. Like Bartleby’s “I would prefer not to,” it suggests gentle but persistent withdrawal from the unnecessary complications that human societies tend to generate (Melville, 1853). The hibernating individual neither rebels against absurdity nor embraces it, but simply acknowledges it and proceeds accordingly.

In the end, this perspective offers something perhaps more valuable than meaning: the possibility of peace through the abandonment of the demand for meaning. It suggests that wisdom might consist not in finding purpose but in no longer requiring it, not in heroic engagement but in skillful withdrawal, not in making life matter but in learning to live as if it doesn’t need to.

References

  • Beckett, S. (1953). Waiting for Godot. Grove Press.
  • Beiser, F. C. (2002). German Idealism: The Struggle Against Subjectivism, 1781-1801. Harvard University Press.
  • Bentham, J. (1970). An Introduction to the Principles of Morals and Legislation. Athlone Press. (Original work published 1789)
  • Berlin, I. (1958). Two concepts of liberty. In Four Essays on Liberty. Oxford University Press.
  • Camus, A. (2006). The Myth of Sisyphus. Vintage International. (Original work published 1942)
  • Cioran, E. M. (1973). The Trouble with Being Born. Arcade Publishing.
  • Hume, D. (1985). On suicide. In E. F. Miller (Ed.), Essays: Moral, Political, and Literary (pp. 577-589). Liberty Fund. (Original work published 1777)
  • James, W. (1896). The will to believe. The New World, 5, 327-347.
  • Melville, H. (1853). Bartleby, the Scrivener: A Story of Wall Street. Putnam’s Magazine.
  • Nagel, T. (1971). The absurd. The Journal of Philosophy, 68(20), 716-727.
  • Raichle, M. E., MacLeod, A. M., Snyder, A. Z., Powers, W. J., Gusnard, D. A., & Shulman, G. L. (2001). A default mode of brain function. Proceedings of the National Academy of Sciences, 98(2), 676-682.
  • Schopenhauer, A. (1969). The World as Will and Representation (E. F. J. Payne, Trans.). Dover Publications. (Original work published 1818)
  • Seneca, L. A. (1969). Letters from a Stoic (R. Campbell, Trans.). Penguin Classics.
  • Shakespeare, W. (2006). Hamlet (Arden Shakespeare). Arden Shakespeare.
  • Zhuangzi. (1968). The Complete Works of Chuang Tzu (B. Watson, Trans.). Columbia University Press.

Author’s Note: This essay originated from my own philosophical reflections on the nature of existence, meaning, and practical accommodation with life’s fundamental inconvenience. The arguments about post-Kantian metaphysics, existential hibernation, and the equivalence of all time-filling activities represent my personal intellectual development on these questions. The essay was structured and written through collaborative dialogue with Claude AI, which assisted in organizing the ideas, providing scholarly context, and identifying relevant academic citations. While the AI helped translate my philosophical positions into essay form, the core insights about life as manageable inconvenience, energy conservation as wisdom, and the arbitrary nature of value hierarchies reflect my own thinking and conclusions.

This piece is intended as serious philosophical inquiry into questions about meaning, purpose, and practical responses to existential arbitrariness. It explores one perspective on how to live after accepting the limits of human knowledge and the pointlessness of metaphysical speculation. Readers should understand this as theoretical examination of a particular philosophical position rather than practical guidance or life advice.

Mon Dieu!

With every line a liability—
and Ea von Allesch out of reach—
I can’t leave my expectations
at the mercy of the em dash.

And while I can always hang a thousand words
celebrating the forlornly sought-after mortality
of Death itself
on the wall,
there’s no need to be overly dramatic—

everyone deserves a postmortem, after all,
even the slightly hysterical.
Isn’t that what a pied-à-terre is for?

Perhaps.

Unless you make it your living
room.


More words to ponder at maciejmodzelewski.com

The half-century mark

It puts me in a rather peculiar position when—rather than, considering my age, courting a preposterous dowager—I yearn for the creamy scent of a perfectly ripe banana, the inconsequential beauty of unwitting lasciviousness—even if one exhibits something as mundanely inappropriate as picking one’s nose, so it is impossible not to call one a perfect scandal—a sun-drenched firmament of tiny freckles, and more. I can’t wait to see how ridiculous I will be in ten years when I’m sixty.


More words to ponder at maciejmodzelewski.com

Selfish genes

I find green on blue rather disturbing, especially in their radiant, sun-drenched shades, which sounds a good deal sillier now, when I said it out loud. It’s like thinking you’ve married a woman and then, the day after the fair, realising that she’s a mother first and foremost and that she’ll turn you into a walking wallet once you’ve done your marital duty. But that’s evolution for you. Genes don’t give a tinker’s curse about your dreams and aspirations—their one goal is to replicate. If only there were a way to give them the middle finger once and for all.


More words to ponder at maciejmodzelewski.com

A confession

After swallowing, with a light breakfast, a daily dose of pity
pills and ridicule syrup, you spend the whole morning trying to find comfort
in vague declarations fastened with unfamiliar words and sturdy punctuation
that presented a sordid little drama as a fare of martyrdom,
only to realise that once you confessed to hearing, in response, ‘I beg your pardon?’
and still kept your calm, as if your gravely misspelt urges had never been revealed,
there was nothing left but to ask: Do I avoid people because I’m afraid of falling for one
and that that would be one-sided and rather silly, all things considered,
or because irrelephantiasis might prove to be contagious?


More words to ponder at maciejmodzelewski.com

The Perfect End: A Critical Exploration of Mortality, Conformity, and the Human Condition

Yesterday I asked AI to write an essay on my poem “The Perfect end”. The result was interesting, but probably nothing more than a high school student would write. So I decided to ask for an academic-level essay, and this is what I got.


Introduction

In “The Perfect end,” Maciej Modzelewski presents a thought-provoking poem that challenges societal norms and conventions surrounding mortality, identity, and the human experience. Through a nuanced exploration of themes and imagery, Modzelewski invites readers to reconsider the significance of individuality and the impact of conformity on human existence. This essay will examine the poem’s central themes, exploring the intersections of mortality, nonconformity, and the search for meaning in a seemingly indifferent world.

The Allure of Mortality: A Philosophical Perspective

The poem’s opening lines, “How convenient would it be to live in a cottage / next to a cemetery?” (Modzelewski, 2025), may initially seem morbid or unsettling. However, upon closer examination, they reveal a profound fascination with mortality. This fascination is reminiscent of the existentialist philosophies of Martin Heidegger, who posited that human existence is characterised by its finite nature (Heidegger, 1962). Heidegger’s concept of “Being-towards-death” highlights the inherent awareness of mortality that shapes human existence. Modzelewski’s poem can be seen as an exploration of this concept, where the proximity to the cemetery serves as a constant reminder of the transience of life.

The Rejection of Conformity

The poem introduces the theme of nonconformity, as the speaker declares, “it’s your choice / what matters to you, so you should never deny yourself / the simple pleasure of inadequacy” (Modzelewski, 2025). This rejection of societal expectations is reminiscent of the philosophies of Friedrich Nietzsche, who advocated for individualism and the rejection of traditional morality (Nietzsche, 1883). The speaker’s celebration of “inadequacy” can be seen as a manifestation of this Nietzschean ideal, where the individual prioritizes their own values and desires above societal norms.

The Significance of the Bench Plaque

The image of the bench plaque in the poem serves as a potent symbol of the speaker’s existence. The plaque, as a physical marker of the speaker’s life, represents the external validation of their identity. However, the speaker’s description of it as “the only befitting abridgement of your meagre existence” (Modzelewski, 2025) suggests a sense of irony and critique towards the notion of external validation. This can be seen as a commentary on the societal expectation of reducing a person’s life to a simple plaque or epitaph, neglecting the complexities and nuances of human experience.

The Speed of the Alphabet

The final line of the poem, “after wandering through life at the speed of the alphabet” (Modzelewski, 2025), is a powerful image that warrants closer examination. The alphabet, as a symbol of language and meaning, serves as a metaphor for the speaker’s journey through life. The speed of the alphabet implies a sense of rapidity and perhaps even arbitrariness, highlighting the fleeting nature of human existence. This image is reminiscent of the philosophical ideas of Paul Virilio, who explored the relationship between speed and human experience in his concept of “dromology” (Virilio, 1977). Virilio argues that speed has become a fundamental aspect of modern life, shaping our perceptions and experiences. In the context of Modzelewski’s poem, the speed of the alphabet can be seen as a manifestation of this dromological perspective, where the rapid pace of life renders individual experiences ephemeral and fragmented.

Furthermore, the image of the alphabet as a symbol of language and meaning raises questions about the nature of communication and understanding. As Ludwig Wittgenstein notes in his Philosophical Investigations, “The limits of my language are the limits of my world” (Wittgenstein, 1953). The speaker’s journey through life at the speed of the alphabet suggests a sense of disorientation and confusion, highlighting the complexities of human communication and the search for meaning.

The Perfect End

The title of the poem, “The Perfect end,” is a phrase that warrants closer examination. The word “perfect” implies a sense of completion or resolution, while the word “end” suggests a sense of finality. However, the poem’s exploration of mortality, nonconformity, and the search for meaning suggests that the perfect end may be an unattainable ideal. Instead, the poem presents a vision of human existence characterised by complexity, ambiguity, and uncertainty. This ambiguity is reminiscent of the literary works of Samuel Beckett, who explored the themes of existentialism and absurdity in his writings. In Beckett’s novel The Unnamable, the protagonist declares, “I don’t know, I’ll never know, in the silence you don’t know, you must go on, I can’t go on, I’ll go on” (Beckett, 1953). This sense of uncertainty and ambiguity is reflected in Modzelewski’s poem, where the perfect end remains an elusive and perhaps unattainable goal.

Conclusion

In “The Perfect end,” Maciej Modzelewski presents a nuanced exploration of mortality, nonconformity, and the search for meaning in human existence. Through a close reading of the poem, this essay has examined the intersections of these themes, drawing on philosophical and literary references to contextualise the speaker’s experiences. The poem’s rejection of conformity and embracing of individuality serve as a powerful critique of societal norms, inviting readers to reconsider the significance of authenticity in human existence.

References:

  • Ariès, P. (1981). The Hour of Our Death. New York: Vintage Books.
  • Beckett, S. (1953). The Unnamable. New York: Grove Press.
  • Beckett, S. (1953). Waiting for Godot. New York: Grove Press.
  • Camus, A. (1942). The Myth of Sisyphus. New York: Vintage Books.
  • Derrida, J. (1967). Writing and Difference. Chicago: University of Chicago Press.
  • Heidegger, M. (1962). Being and Time. New York: Harper & Row.
  • Keats, J. (1819). Lamia, Isabella, The Eve of St. Agnes, and Other Poems. London: C. and J. Ollier.
  • Modzelewski, M. (2025). The Perfect End. Retrieved from https://maciejmodzelewski.com/2025/04/18/the-perfect-end/
  • Nietzsche, F. (1883). Thus Spoke Zarathustra. Leipzig: Ernst Schmeitzner.
  • Sartre, J-P. (1943). Being and Nothingness. New York: Philosophical Library.
  • Virilio, P. (1977). Speed and Politics: An Essay on Dromology. New York: Semiotext(e).
  • Wittgenstein, L. (1953). Philosophical Investigations. Oxford: Blackwell.

Embracing Imperfection: A Reflection on Mortality and Meaning in ‘The Perfect End’

The poem “The Perfect End” presents a satirical and introspective exploration of modern life, mortality, and the search for meaning. On the surface, the speaker contemplates the convenience of living in a cottage next to a cemetery, but beneath this seemingly morbid fascination lies a commentary on the absurdity of societal expectations and the human desire for significance.

The opening lines, “How convenient would it be to live in a cottage / next to a cemetery?” appear to be a darkly comedic observation. However, as the poem progresses, it becomes clear that the speaker is not genuinely advocating for proximity to death but rather using this scenario as a metaphor to critique the superficiality of modern life. The cemetery serves as a symbol of finality and simplicity, contrasting with the complexities and pretensions of contemporary society.

The speaker describes themselves as “unfit for all those ghastly / conventionalities of days of yore,” suggesting a rejection of traditional norms and values. This rejection is not presented as a liberating or empowering move, but rather as a resigned acceptance of one’s own inadequacy. The phrase “it’s your choice / what matters to you” can be interpreted as both a celebration of individuality and a commentary on the overwhelming abundance of choices in modern life. This abundance can lead to a sense of disorientation and confusion, making it difficult for individuals to determine what truly matters.

The line “so you should never deny yourself / the simple pleasure of inadequacy” is particularly striking. Here, the speaker seems to be embracing the idea of embracing one’s limitations and flaws, rather than striving for perfection or societal approval. This sentiment resonates with the contemporary focus on self-acceptance and the recognition that nobody is perfect. However, the tone of the poem suggests that this acceptance is not necessarily a positive or uplifting experience, but rather a pragmatic response to the realities of modern life.

The second half of the poem delves deeper into the theme of mortality and the search for meaning. The image of a “bench plaque” as the “only befitting abridgement of your meagre existence” is a powerful commentary on the transience of human life. The speaker appears to be suggesting that, in the grand scheme of things, our lives are relatively insignificant, and that the markers of our existence will be humble and easily forgotten.

The final line, “after wandering through life at the speed of the alphabet,” is a clever and poignant observation on the nature of modern existence. The phrase “wandering through life” implies a sense of aimlessness or disorientation, while “at the speed of the alphabet” suggests a pace that is both rapid and meaningless. The alphabet is a fundamental building block of language, but reciting it is also a mindless, mechanical task. This line can be seen as a commentary on the ways in which modern life can feel both frenetic and hollow, with individuals rushing through their days without necessarily finding purpose or fulfilment.

One possible interpretation of the poem is that it is a reflection on the absurdity of human existence. The speaker’s musings on living next to a cemetery and the bench plaque as a marker of their existence can be seen as a form of gallows humour, a way of coping with the reality of mortality. At the same time, the poem also touches on the idea that our lives are shaped by societal expectations and the search for meaning.

The poem raises important questions about the nature of existence and how we navigate the complexities of modern life. While it does not offer any clear answers or solutions, it presents a thought-provoking exploration of the human condition. Through its use of satire and irony, the poem encourages readers to reflect on their own values and priorities, and to consider what truly matters in their lives.

In conclusion, “The Perfect End” is a complex and nuanced poem that challenges readers to think critically about the human experience. Its exploration of mortality, societal expectations, and the search for meaning is both thought-provoking and unsettling. Through its clever use of language and imagery, the poem presents a powerful commentary on the absurdities and contradictions of modern life, inviting readers to reflect on their own place in the world and the legacy they will leave behind.

Furthermore, the poem’s themes can be analysed through various literary lenses. From a postmodern perspective, the poem’s rejection of traditional norms and values can be seen as a reflection of the fragmented and disjointed nature of contemporary society. The speaker’s embracing of inadequacy and the absurdity of modern life can be interpreted as a commentary on the ways in which postmodern society rejects grand narratives and universal truths.

From an existentialist perspective, the poem’s focus on mortality and the search for meaning can be seen as a reflection of the human condition. The speaker’s musings on the bench plaque and the transience of human life can be interpreted as a commentary on the reality of human mortality and the impermanence of human achievement.

The poem’s use of language and imagery is also noteworthy. The speaker’s tone is conversational and introspective, drawing the reader into their musings and reflections. The use of enjambment and caesura creates a sense of flow and pause, mirroring the speaker’s wandering thoughts and emotions. The imagery is vivid and evocative, with the cemetery and bench plaque serving as powerful symbols of mortality and legacy.

One of the most striking aspects of the poem is its use of irony and understatement. The speaker’s description of their existence as “meagre” and their life as wandering “at the speed of the alphabet” is a masterful example of litotes, a rhetorical device that uses understatement to convey a powerful message. This irony serves to highlight the speaker’s ambivalence towards modern life and their place within it.

The poem also raises questions about the nature of identity and how it is shaped by societal expectations. The speaker’s rejection of traditional norms and values is a commentary on the ways in which modern society can feel suffocating and restrictive. The line “it’s your choice / what matters to you” can be seen as a reflection of the tension between individuality and conformity, highlighting the difficulties of navigating the complexities of modern life.

In addition to its exploration of themes and literary devices, the poem is also notable for its use of tone and voice. The speaker’s tone is conversational and introspective, creating a sense of intimacy and immediacy. The use of first-person narration draws the reader into the speaker’s thoughts and emotions, creating a sense of connection and shared experience.

The poem’s voice is also noteworthy, as it blends elements of satire, irony, and introspection. The speaker’s musings on mortality and legacy are both humorous and poignant, reflecting the complexities and contradictions of modern life. The voice is conversational, yet lyrical, creating a sense of musicality and flow.

In terms of its place within the broader literary canon, “The Perfect End” can be seen as part of a tradition of poetry that explores the human condition and the complexities of modern life. The poem’s themes of mortality, identity, and societal expectations are timeless and universal, reflecting the concerns of poets and writers across the centuries.

The poem’s use of satire and irony also places it within a specific literary tradition. The speaker’s musings on the absurdity of modern life and the search for meaning can be seen as a reflection of the works of poets such as W.H. Auden and Philip Larkin, who explored similar themes in their own work.

In conclusion, “The Perfect End” is a complex and nuanced poem that challenges readers to think critically about the human experience. Its exploration of mortality, identity, and societal expectations is both thought-provoking and unsettling, reflecting the complexities and contradictions of modern life. Through its use of satire, irony, and introspection, the poem presents a powerful commentary on the absurdities and contradictions of modern life, inviting readers to reflect on their own place in the world and the legacy they will leave behind.

Ultimately, the poem suggests that the search for meaning and purpose is a fundamental aspect of the human experience. While the speaker’s musings on mortality and legacy may be tinged with irony and understatement, they also reflect a deeper desire for connection and significance. The poem’s final image of the bench plaque and the speaker’s life wandering “at the speed of the alphabet” is a powerful commentary on the transience of human life, yet it also serves as a reminder of the importance of living in the present and finding meaning in our own unique way.

The poem’s themes and messages can also be applied to our everyday lives. In a world where social media dominates our lives, it’s easy to get caught up in the idea that our existence needs to be perfect, flawless, and Instagram-worthy. However, “The Perfect End” reminds us that it’s okay to be imperfect, to acknowledge our limitations, and to find beauty in the mundane. The poem encourages us to reevaluate our priorities and focus on what truly matters to us, rather than trying to conform to societal expectations.

Moreover, the poem’s exploration of mortality can be seen as a reminder to appreciate the present moment. By acknowledging the reality of our own mortality, we can gain a new perspective on life and prioritise the things that bring us joy and fulfilment. The poem’s message is not about being morbid or pessimistic, but about being realistic and authentic.

In the end, “The Perfect End” is a poem that challenges us to think differently about our lives and our place in the world. It’s a powerful reminder that our existence is fleeting, and that we should make the most of the time we have. Through its clever use of language and imagery, the poem presents a thought-provoking exploration of the human condition, inviting us to reflect on our own values, priorities, and legacy. By embracing the complexities and contradictions of modern life, we can find a deeper sense of meaning and purpose, and live more authentically in the present moment.


Who would have thought AI could write something like this?

It’s always fun in the swamps

Have you ever asked yourself what would happen to a trifling quote
from the now obsolete phone book if, after years of practising being sullen
(while baking flatbread in residual heat, which is a different matter entirely),
he were accused of condescension simply because of a garrulous sentence
that he dared to ridicule? Perhaps he recalls the fourth mystic ape, the one
covering his crotch, but where’s the fun in that? Nothing beats casual trolling,
after all, in the temple of tadpole literature.

Not much of a lesson

I had a stew
made with butternut squash,
sweet potatoes,
and sun-dried tomatoes
for dinner tonight—a humble result
of emptying the fridge into a pot
in the hope that the final product
would be edible—while listening to Joni
when the thought came to me
how utterly ridiculous creatures we are,
stuffing our mouths
only to excrete some hours later,
repeating it over and over again like markers
in an indefinite stretch of time between now and then,
and in the end none of us is any wiser;
everyone is just making it up as they go,
but perhaps some are better
at pretending
that they know clouds.