Dickman’s two poems are evidence of the use of unconscious elements to depict both the surface and deeper meanings. For instance, his poems Love and Slow Dance are manifestations of the leap into the unconscious in terms of asking the reader to imagine things in extraordinary contexts. In Love, the poet attempts to analyze how lapsing into unconscious feelings helps people in seeing things from multiple spectrums that were initially unimaginable. Therefore, his language is both playful and cheeky in casting the persona as a being incapable of staying without falling in love (Dickman 45). Dickman is equally sensitive to shifts in language when he describes the tragedies of life especially when discusses the tale of the lizard that succumbed to hunger or the man whose affinity lay on war tanks. Overall, the major changes in the language shifts symbolize the clash of themes in his power and how they impact the immediate surroundings.
It is a scene replicated in Slow Dance where Dickman leaps into the unconscious through creating imaginations of triumph for the persona. Through language shifts, the poet explains how a chance to dance can transform human beings into ecstatic creatures. This often elicits a particular melody that does not care about other essential bodily functions such as eating or drinking wine at the right time. Consequently, the unconscious feel causes a sense of insomnia for the persona haunted by illusions of his naked woman (Dickman 49). In other words, Dickman believes the dance is a powerful sensation beyond the powers of man.
Dickman, Matthew. Files. New York, NY: SAGE. 2013. Print.