Shall I say how it is in your clothes?
A month after your death I wear your blue jacket.
The dog at the center of my life recognizes
you’ve come to visit, he’s ecstatic.
In the left pocket, a hole.
In the right, a parking ticket
delivered up last August on Bay State Road.
In my heart, a scatter like milkweed,
a flinging from the pods of the soul.
My skin presses your old outline.
It is hot and dry inside.
I think of the last day of your life,
old friend, how I would unwind it, paste
it together in a different collage,
back from the death car idling in the garage,
back up the stairs, your praying hands unlaced,
reassembling the bits of bread and tuna fish
into a ceremony of sandwich,
running the home movie backward to a space
we could be easy in, a kitchen place
with vodka and ice, our words like living meat. Continue reading ‘How it is’ by Maxine Kumin
First, are you our sort of a person?
Do you wear
A glass eye, false teeth or a crutch,
A brace or a hook,
Rubber breasts or a rubber crotch,
Stitches to show something’s missing? No, no? Then
How can we give you a thing?
Open your hand.
Empty? Empty. Here is a hand
To fill it and willing
To bring teacups and roll away headaches
And do whatever you tell it.
Will you marry it?
It is guaranteed
To thumb shut your eyes at the end
And dissolve of sorrow.
We make new stock from the salt.
I notice you are stark naked.
How about this suit—-
Black and stiff, but not a bad fit.
Will you marry it?
It is waterproof, shatterproof, proof
Against fire and bombs through the roof.
Believe me, they’ll bury you in it.
Now your head, excuse me, is empty.
I have the ticket for that.
Come here, sweetie, out of the closet.
Well, what do you think of that ?
Naked as paper to start
But in twenty-five years she’ll be silver,
In fifty, gold.
A living doll, everywhere you look.
It can sew, it can cook,
It can talk, talk , talk.
It works, there is nothing wrong with it.
You have a hole, it’s a poultice.
You have an eye, it’s an image.
My boy, it’s your last resort.
Will you marry it, marry it, marry it.
This is a poem that I felt a great connection to when I was still at school, and I thought about it today as I was preparing some job applications and decided to blog about it on here.
I love how this poem puts the reader in the position of the applicant in an interview; we are being forcefully interrogated by the speaker and the tone is extremely arresting. There seems to me to be a strong commentary on the role of women in society here. Plath’s context was England (and the US) in the late 50s and early 60s, but I think that this commentary is just as relevant for our Western society today.
First, the speaker asks whether we have various disabilities, such as “a glass eye”, “false teeth”, “rubber breasts” or a “rubber crotch”. The speaker wants to know if our physical body functions properly. This, to me, evokes the idea that women need to be aesthetically pleasing if they are to be ‘marketable’ or ‘desirable’. Women also need their reproductive faculties (hence the questions about the rubber breasts and crotch) to be considered valuable in the modern society/ a good wife etc.
When the speaker discovers that our (the applicant’s) hand is “Empty”, they offer us a hand to fill it, “to bring teacups and roll away headaches” — to “do whatever you tell it.” We are asked if we will marry it. This is a very bleak view of marriage, to say the least. But I think that Plath is satirising a commercially-orientated society here, and particularly adverts; for example, the speaker is really ‘selling’ this idea of marriage as they say “it is guaranteed/ To thumb your eyes shut at the end and dissolve of sorrow” . And of course, when it says “we make new stock from the salt” it becomes certain that this is a commercial transaction.
It is not just women who are trapped in this bleak, materialistic society with its approach to marriage, though I think the main commentary here is about women. The speaker notices that we, the applicant, are “stark naked” and tries to sell us a suit. We are asked if we will “marry it.” Here it is clear that marriage means nothing but an investment in the society being satirised here. I love the use of advertising language here, saying ” It is waterproof, shatterproof, proof/ Against fire and bombs through the roof”.
Continuing with the idea of marriage, we are guaranteed that the “living doll” being sold here will be “silver” in twenty five years, and “gold” in fifty. “It can sew, it can cook/ it can talk, talk, talk.” Of course, this is incredibly demeaning to women, but this is how Plath chooses to portray her society, and how she perceived the reality to be. I think that it is a really effective poem, and I love the way it is addressed to the reader.
Here is a link to a recording of Sylvia Plath reading the poem herself. I really love her voice and the way she reads this. Also, I think her accent is amazing!
Reviewed by Emily Ardagh
She walks in beauty, like the night
Of cloudless climes and starry skies;
And all that’s best of dark and bright
Meet in her aspect and her eyes;
Thus mellowed to that tender light
Which heaven to gaudy day denies.
One shade the more, one ray the less,
Had half impaired the nameless grace
Which waves in every raven tress,
Or softly lightens o’er her face;
Where thoughts serenely sweet express,
How pure, how dear their dwelling-place.
And on that cheek, and o’er that brow,
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,
A mind at peace with all below,
A heart whose love is innocent!
The poem “She Walks in Beauty”, written by George Gordon Byron in 1813, is a part of the “Hebrew Melodies” cycle. It reflects Byron’s admiration at the sight of a lady in black he saw while at a bal. Continue reading “She Walks in Beauty” by Lord Byron