Tommy Pico is often regarded as a quintessential contemporary poet, engaging with themes and language reflective of today's cultural landscape. A contemporary poet captures the essence of their times through subject matter and, significantly, through language that resonates with current vernacular. Pico’s assertion in *Nature Poem* (2017)—“You can’t be an NDN person in today’s world / and write a nature poem”—highlights his stance against traditional nature poetry.
Read More
*Nature Poem* is the second installment in what Pico describes as his Teebs tetralogy, which also features *IRL* (2016), *Junk* (2018), and *Feed* (2019). Throughout these works, Pico crafts his poetic persona, Teebs, who is queer, Indigenous, Californian, and Brooklyn-based, embodying the voice of a modern city poet engaged with contemporary culture. His poetry incorporates the ever-evolving, abbreviated language of the digital age, creating a rich tapestry that encapsulates the current electronic lexicon filled with text, subtext, and code.
In Pico's poetry, the internet seamlessly intertwines with physical reality. He reflects that all experiences are mediated through language, presenting a complex relationship between the body and the “Body / of text.” The boundary between nature and digital existence blurs, as seen in lines such as “all across Instagram—peeps are posting pics of / the sunset.” Here, Pico suggests that beauty is more likely to be encountered on a screen than in nature itself, exemplified by a YouTube clip of Amy Winehouse.
Beauty is also located in intimate moments, as expressed in his lines about the closeness of a partner. Despite the questions surrounding nature poetry’s relevance, Pico recognizes its place in American literary tradition while critiquing its often colonial and racially insensitive implications. He argues that it seems senseless to discuss nature without addressing the interconnected issues of poverty, corporate influence, colonialism, and misogyny.
Pico operates as a kitchen-sink poet, a comparison drawn to notable figures like A.R. Ammons, whose work inspired *Junk*. Ammons, while pre-dating the internet, anticipated the need for poetry that encompasses a vast array of experiences. Pico acknowledges Ammons humorously, noting his shift from perfect poems to the embrace of the chaotic.
Pico’s style is layered yet casual, maintaining precision amid a flow of ideas and statements that seem to engage the reader directly. His poetry carries a “thin crust mantle of optimism,” encouraging movement forward despite the weight of the subjects he addresses. In examining why he cannot write a nature poem, Pico embarks on a project reminiscent of Whitman, seeking to create a sense of community among readers. Pico draws on Whitman's inclusive sentiments, asserting personal identity amid collective experience.
He navigates the complicated terrain of contemporary existence, merging virtual and physical realities while acknowledging the environmental repercussions of digital life. The digital cloud is linked to real-world crises, highlighting a blend of experiences conveyed through language. Pico's work serves as a timely exploration of contradictions that define modern life, making *Nature Poem* a relevant reflection of our era.