Vendler's analysis of section nine notes "The dizzying infinite extension possible to consciousness, a series of circles distanced from the perceiver-center by a radial length determined by the locus of attention." Vendler's interpretation thus takes into account the vast expanse which human counsciousness can, at once, inhabit-- as the blackbird disappears from the speaker's sight, it remains present in his consciousness (13).
McNamara's interpretation of the ninth section of "Thirteen Ways of Looking at a Blackbird" hinges on the idea that, despite his best efforts, man can never gain true and utter understanding of anything. McNamara goes on to say that "The circle, a traditional symbol of wholeness, represents the limits of the observer's view, the outermost boundary of his perception of life. The poet knows that such limitation is in him, that the realities of spatial immensity can never be fully known; this should not, however, discourage the effort to know" (McNamara, 447).
For this section, Lewis stresses the importance of form in imagism: "In theory, the imagist poet seeks to capture the form of something more so than the thing itself; that is, 'direct treatment of the thing' means delineation of its form." He goes on to add that "for Stevens, it is in form where the real and imaginary coincide" (76). In this section, Stevens, then, utilizes the absence of the blackbird to dramatize its more important form.
Bogen likens section nine to haiku through its three line structure (217).