TURNING A BATTLESHIP — Summary

They say it’s like turning a battleship. They say they’re making progress: the vast bulk of iron against the swell that rises and rises and against the wind that never, ever, for a moment, lets up. All hands are doing what sailors do– –turning cranks, watching dials, running to and fro. It was more obvious when the ships were under sail, when it had to do with lowering and raising, with ropes and anchors and chains. Like turning a battleship, they say. Something that big, pounding along in a fixed direction, thousands of tons afloat inflexible, ungraceful, lumbering, loud, not like, say, whales, who turn their enormity graceful and swiftly, who breach and sing and whisper and fly– and porpoises– and kayaks, currochs, dugouts, sailboards and surfboards skimming and slipping the surface– and leaves in autumn– russet from the ash trees, red from the maple, brown from the oak– and golden birch leaves– how they blow light and high, following every whisp of wind– and ravens somersaulting–and hawks– and little birds flipping so easy above the corn– and snowflakes and snowboarders and children on swings and monkey-bars– and ballerinas, gymnasts, contra-dancers, parachutists, politicians, bass guitarists– and all those World Cup footballers turning on a dime.

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The poem starts with a familiar phrase: change is "like turning a battleship." Slow, heavy, and hard to manage. The speaker repeats what "they" say, including that "they're making progress," and the tone suggests some weariness with this official, reassuring talk. The sailors keep busy, turning cranks and running back and forth, but the ship seems barely to move.

Then the poem changes course. Instead of staying with the ship, the speaker fills the lines with things that turn easily: whales, kayaks, autumn leaves, ravens, snowflakes, children on swings, dancers, and finally footballers "turning on a dime." The list grows faster and more playful, and the line breaks start to feel like quick twists themselves.

The mood is gently humorous, but there's frustration underneath. The speaker seems to ask why we accept the battleship as the only image for change, when the world is full of graceful, nimble examples. The poem hints that some institutions, perhaps including the politicians tucked into the list, could learn to move more like them.

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