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ThePoet–CarolAnnDuffy

CarolAnnDuffywastheeldestsistertofourbrotherswhowerebornintoaworkingclass,catholicfamily,inGlasgowin1955.ShemovedtoStaffordwhenshewassix,whereheraspirationstobecomeawriterwereencouragedbyhereducation,withherearlierpoemsbeingpublishedwhilstatschool.Herfatherworkedasanelectricalfitter.HispositionasaTradeUnionistandinvolvementinattemptingtobecomeaLabourCouncillorinStaffordgaveheraninsightintopolitics.

DuffywentontostudyphilosophyatLiverpoolUniversityfrom1974to1977,beforeworkingforGranadaTelevisionandthenintheearly80sbecomingafreelancewriterinLondon,whilstalsoworkingasawriterinresidenceinEastEndSchools.In1985shebecameafull-timewriterandhaswrittenanumberofplays,alongwithherpoetrycollections,forwhichshehasreceivednumerousawards.ShewentontobecomeProfessorofCreativeWritingatManchesterMetropolitanUniversity.SheisalsocurrentlyBritain’sfirstwomanPoetLaureate,forwhichshewasappointedin2009.Sheisalsoamothertoheronlydaughter.

WarPhotographer

Overview

Duffywasinspiredtowritethispoemthroughherfriendshipwithsomeonewhowasawarphotographer.Shewasespeciallyintriguedbythepeculiarchallengefacedbythesepeoplewhosejobrequiresthemtorecordterrible,horrificeventswithoutbeingabletohelpthemdirectly.Duffyperhapssharesanaffinitywiththesephotojournalists;whiletheyusethemediumofphotographytoconveycertaintruthsaboutthehumancondition,sheuseswordsandlanguagetodothesamejob.Throughoutthepoem,Duffyprovokesherreadertoconsidertheirownresponsewhenconfrontedwiththephotographsthatweregularlyseeinournewspapersupplementsandwhysomanyofushavebecomedesensitizedtotheseimages.Byviewingthisissuefromtheperspectiveofthephotographer,shealsorevealsthedifficultiesofsuchanoccupation.Bytheendofthepoem,itisclearoursubjectstraddlestwovastlydifferentworldsyetincreasinglyfeelshebelongstoneither.

FormandStructure

Thepoemislaidoutin4regular6linestanzas,witheachstanzaendinginarhymingcouplet.Thisstructureisinterestingsinceitsveryrigidordercontrastswiththechaotic,disturbingimagesdescribedinthepoem.Thisorganisationmirrorstheactionsofthephotographer,wholaysouthisfilmsin“orderedrows”,asthoughindoingsohecaninsomewayhelptorestoreordertothischaoticworld.Thepoemmovesthroughaseriesofobservationsinthefirstthreestanzastoaconclusionofsortsinthefourth.Thestyleisalmostclinicalandmatteroffact,perhapstoimitatetheclinicalapproachrequiredbypeopleinthislineofworktoallowthemtodotheirjobunderextremepressure.Unlikethereadersofthenewspaperheworksfor,thissenseofdistanceisanecessaryrequirementforthephotographer.

Unsurprisingly,inapoemthatissofocusedontheimagesofhumansuffering,Duffyconcentratesonthesenseofsightthroughoutthepoemandthefinalimageisalmostlikeaphotographitself,depictingthejournalistsurveyingthelandscapeanditsinhabitantsbelow“impassively”ashetravelstohisnextassignment.

StanzaOneSummaryandAnalysis

Thepoemopensintheintimate,tranquilsettingofthepoet’sdarkroom.Heiscomparedtoapriestandthereisadefinitesenseofritualinthewayhedevelopshisfilm.Hesetsoutthefilm:“spoolsofsuffering”in“orderedrows”,perhapsinanattempttorestoreordertothechaoticimagescontainedwithinthem.Hehandlesthemwiththesamerespectwithwhichapriestwouldprepareforcommunionandthereisadefinitespiritualitytothisprocess.Thisreligiousimageryiseffectiveinnotonlyconveyingthededicationthephotographerfeelstowardshisoccupationbutalsobecause,likeapriesthetooisexposedoftentodeathandsuffering.

The“redlight”ofthedarkroomhasconnotationsofthelightthatburnscontinuouslyincatholicchurchestosymbolisethepresenceofChristandalsoofblood–asightthathemustbealltoofamiliarwith.Asidefromthefunctionofthe

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lighttohelpprocessthefilmsandprotecttheimageshehastaken,thereismorethanasuggestionthatthedarkroomisaplaceofsanctuaryforthephotographer,justasareligiousorspiritualpersonmaylookforthesamekindofsolaceinachurchhadtheybeenconfrontedwiththesamehorrorsthatthephotographermustendure.

However,insteadofpreparingformass,thephotographerisdevelopingimagesofwar–evidenceofman’scontinuinginhumanitytomanwhichonlyservestocontradictthefundamentalteachingsoftheChurch.Thefinallineofthestanzaendsinalistoftheplaceswherehehasrecordedimagesofconflict.Herdeliberateuseoffullstopsherehelpsto“fix”theimages–thefinalpartoftheprintingprocess-intothemindofthereader.Thestanzaendswiththequotation“allfleshisgrass”,whichcomesfromtheNewTestamentandreinforcesthereligiousimageryaswellasemphasisingthefragilityoflife.

StanzaTwoSummaryandAnalysis

Thisstanzabreaksthereverieandcalmofthedarkroomwiththeline“Hehasajobtodo.”Thephrase“solutionsslopintrays”hasadualmeaning,referringbothdirectlytotheonomatopoeicsoundofthechemicalsheisusingtodevelopbutalsothehopethatinsomewaythesephotographsmayhelptocontributetotheresolutionoftheconflictstheydepict.Significantly,thephotographer’shandsareshakingthoughthey“didnottremblethen”.Theimplicationisthatinordertofunctionanddohisjobproperlyinthefield,thephotographermustbeabletodistancehimselffromthesubjectsofhisphotographs.However,heisabletoletdownhisguardintheprivacyofthedarkroomashefinallyallowshimselftoreacttotheterriblesufferinghewasforcedtowitnessandrecord.

Heconsidersthecontrastbetween“RuralEngland”andthewarzonesthathevisits,notinghowour“ordinary”problemscanbedispelledbythesimplicityofclementweather.Theinjusticeofthesituationisexemplifiedwhenhenoteshowourchildrendon’thavetobefearfuloflandmineswhentheyareatplay.Oneofthemosticonicimagesofwarphotographyisdeliberatelyevokedinthefinallineofstanzatwo:“ofrunningchildreninanightmareheat”.Thisphotograph,ofchildrenfleeinganapalmattackinVietnamdirectlyhelpedtoendthisconflictandemphasisesjusthowindifferentwehavebecometodaywhensimilarimagesfailtoresonatewithus.

StanzaThreeSummaryandAnalysis

Theopeningline“somethingishappening”injectsdramaandsuspenseintothepoemandsuggeststhephotographerisnotwhollyincontrolofthedevelopmentprocess.Duffyallowsusto“see”thehorrificphotographdevelopbeforeoureyes.Init,thephotographerhascapturedtheimageofamaninhisdyingmomentsandheisdescribedasa“halfformedghost”.Thisdescriptionisduallyeffectivesinceitbothdescribesthewaythefigureisgraduallyappearingonthepaper,whilealsoalludingtothefactthatsincehenolongerexistshehaseffectivelybecomea“ghost”.Thephotographerrecallshow,unabletospeakthesamelanguage,he“soughtapproval”throughtheunspokenexchangeoflooksfromthevictim’swife.Againtheanalogytoapriestiseffectivehereasthey,likethisphotographer,musttendtopeopleintheirfinalmoments.Theimpactofthismemoryonthephotographerandhissensitivityinseekingpermissiontocapturesuchanintimatemomentonfilmisclear.Justlikeapriest,hefeelshisjobisavocation,acallingratherthanacareerasheassertshedoes”whatsomeonemust”.Althoughheisawareoftheintrusivenessofhisoccupation,heconductshimselfwiththeutmostcompassionandsensitivity.

StanzaFourSummaryandAnalysis

Asthepoetbeginstoreachherconclusion,shemakesacommentonthewaytheseimagesarereceivedbythepeopletheyareproducedfor:boththenewspapereditorswhocommissiontheworkandus,thereadersofthesepublications.The“hundredagonies”thatthephotographerhasselectedforhiseditorcontrastsimmediatelywiththephrase“willpickoutfiveorsix”inthenextline.Thecarelessindifferenceinthewaytheeditorselectstheimagesreinforceshowlittleregardwehaveforthesubjectsinthepictures.Duffyextendsthisdisingenuousresponsetous,thereadersofthenewspapers,usingbathoswhendescribinghowour“eyeballsprickwithtearsbetweenthebathandprelunchbeers”.

Thepoemendswiththephotographerdepartingoncemoreforanewjobasthecyclebeginsagain.Hissenseofseparatenessfromhiscountrymenisevidentashereferstousas“they”,emphasisinghowlittleheidentifieswithour

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livesandvalues.AshesurveysthelandscapeofruralEnglandfromtheaeroplane,thereisagrowingacceptancethatdespitehisbesteffortshisphotographswillultimatelymakenorealdifference.

Themes

Thepoemfocusesontwomainthemes:

• TheHorrorofWar

• OurIncreasingIndifferencetotheVictimsofConflict

ThesethemesarerevealednotonlythroughDuffy’swordchoiceandimagery,butthecentralparadoxthatwhiletheimageryofwarismorewidespreadandprevalentthanatanyothertimeinhistory,itsimpactuponthoseofusexposedtoitisrapidlydeclining.

TheHorrorofWar

Duffy’sskilfulyetunderstatedimageryhelpstoconveytheterriblepersonalstoriesthatliebehindeveryconflict.Perhapsalmostinanattempttocounterthegraphicimagerythatwehavebecomesousedtoseeing,herdepictionsaresubtleandunderstatedandsheoftenleavesthereadertocomposetheirownimages.Forexample,intheline“tofieldswhichdon’texplodebeneaththefeet/ofrunningchildren”,shetakesanimagethatwewouldusuallyassociatewithsomethinginnocentandhappyandsubvertsitintosomethingmuchmoresinister.Similarly,herdescriptionofthedyingmancontainsalmostnovisualimageryandinsteadfocusesonthesenseofsoundthroughtheword-choice“cries”andtheunspokencommunicationbetweenthephotographerandthevictim’swife.Byfocusingonjustoneimageratherthanthecountlessothersthatweretaken,Duffyforcesustoconfrontthepersonalcostofwar.Indoingso,Duffyagainexposesanotherparadoxinherentinthecoverageofmodernconflict,implyingthatwehavelostthecapacitytoviewthesubjectsofwarasrealhumanbeings,eachwithunique,individualstoriesandtragedies.

OurIncreasingIndifferencetotheVictimsofConflict

Throughoutthepoem,Duffyconveystheincreasingseparatenessandisolationthepoetfeelsbothtowardshisowncountryandthenewspaperheworksfor.Unlikeusandhiseditor,heisunabletoprotecthimselffromthehorrorofthesubjectshephotographsandthereisasenseofgrowingbitternessashecontinuestofeedthevoraciousneedfornewsintheknowledgethatdespitehisbesteffortsweareincreasinglyunmovedandunaffectedbythephotographs.Ourdisingenuousresponseisrecordedmostclearlyintheline“Thereader’seyeballsprick/withtearsbetweenthebathandpre-lunchbeers.”

Hiscontemptforhiseditorisrevealedinthecareless,thoughtlesswayhenoteshowhechoosesphotographsforthepaper,pickingout“fiveorsix/forSunday’ssupplement.”

Ironically,inanalmostparallelresponsetoourdesensitization,thephotographertoofeelsincreasinglyindifferenttowardshishomelandandfellowcountrymenashestares“impassivelywhere/heearnshislivingandtheydonotcare.”

Answer:Itrevealsthatwhileheisabletocreateaprofessionaldistanceandmindsetthatallowshimtofunctionunderextremestress,hedoeshaveanemotionalresponsethatheallowshimselftoexperienceoncehereturnshome.

Fromthelaststanza,howisthecriticalattitudeofthephotographertowardsbothhiseditorandthereadersofthenewspaperconveyed?

Answer:Thecontrastofthe“hundredagonies”containedinhisphotoswiththecarelessselectionofchoosingjust“fiveorsix”forthesupplementshowsthephotographerscontemptfortheeditor.

Thebatheticcomment:“Thereader’seyeballsprickwithtearsbetweenthebathandprelunchbeers”reinforcesourownscantregardfrothesufferingdepictedinthenewspapers.Itbarelycausesustopauseformorethanamomentbeforewecontinuewithourownplans.

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Originally

Overview

Inthisautobiographicalpoem,DuffyconsidersandexploresthesenseofisolationandconfusionfeltwhenasachildherparentsmovedfromtheGorbalsinGlasgowtoEngland.Shedescribesboththeliteraldetailsofthejourneyandthemoveaswellasthedeeper,metaphoricaljourneythatsheandherfamilyexperiencedasaresultofthisdecision.Asthetitlesuggests,sheconsiderstowhatextentouridentityisshapedanddefinednotonlybyourenvironmentbutbychangesindialectandculture.Theinitialcatalystforthepoem,thememoriesofthemoveandhergradualassimilationtohernewhome,provokesabigger,morephilosophicalmeditationonthesubjectofchildhooditself.Perhapsthemostsignificantlineofthepoemcomesatthestartofstanzatwowhensheassertsthat“Allchildhoodisanemigration”,revealingclearlytheuniversaltruththattheprocessofgrowingupisalwayssynonymouswithchange.

FormandStructure

LikemuchofDuffy’swork,thepoemhasaregularstructure.Thethreestanzasofeightlineshelptodividethepoemintoastraightforwardchronology:Stanza1recallsthejourneyfromGlasgowtowardshernewhome;Stanza2exploresherinitialsenseofnotfittingintothisnewlandscapewhileinthethirdsheconsidersthelargerquestionabouthowoursenseofidentityisformed,shapedandaffectedbysuchtransitions.However,underneaththisapparentlyorderedstructure,thepoet’sanxietyanduncertaintyisrevealedthroughthelackofaregularrhythmorrhymeschemewhichreinforcesthelackoforderinherownlifeatthistime.Thefactthatthepoemismainlycomposedbyofaseriesoffragmentedmemories,occasionallyusingdeliberatelychildishwordsorphrasesisreminiscentofthewaymostofusrecallourownchildhoodsandaddstotheauthenticityofthepoem.

StanzaOneSummaryandAnalysis

Inthefirststanza,Duffyemphasisesthatthisdecisionimpactedonherentirefamilyunitthroughthefirstpersonpluralintheopeningline:“Wecamefromourowncountry”.Similarly,thedeliberateassonanceof“ourown”reinforcesherdefinitesenseofbelongingtoandpossessionofaparticularplace.Shedescribestheinteriorofthetrainasa“redroom”which“fellthroughthefields”.Thecolourredhasconnotationsofpassionoranger,perhapsreflectingherownfeelingsaboutbeingforcedtoleavethecityofherbirthandearlychildhoodwhilethewordchoiceandalliterationof“fell”and“fields”emphasisesherfeelingsofimpotenceandlackofcontrolinthemakingofthisimportantdecision.Sherecallshearing“ourmothersinging/ourfather’snametotheturnofthewheels”.TheoptimisticmoodofhermotheractsasadistinctcontrasttotheobviousnegativityofDuffyherselfandisalsoslightlyambiguous:thereaderisunsurewhethertheirfatherisinthetraincarriagewiththemoriftheyaretravellingtomeethimattheirdestination.

Shealsoremembersthebehaviourofheryoungerbrotherswhoseemotionsseemtoreflectherown:they“cried”andoneofthemis“bawlingHome/Home”.Therepetitionandcapitalisationoftheword“home”reinforcesthemiseryandoverwhelmingsenseoflossandseparationthatsheassociateswiththistime.

Duffyusespersonificationintheline“themilesrushedbacktothecity”toemphasiseherowndesiretoreturntoGlasgow,toreversethistripandreinhabit“thestreet,thehouse,thevacantrooms/wherewedidn’tliveanymore”.Again,thefirstpersonpluralof“we”emphasisesthateventhoughthispoemiswrittenfromherownperspective,sheveryclearlyconsiderstheimpactofthemovenotjustasanindividualbutfortherestofthefamily.Incontrasttoheryoungersiblings,whoseprotestationsareloudandvocal,Duffyissilentasshe“stared/attheeyesofablindtoy”.Thewordchoiceof“blind”againexposesheruncertaintyandanxietyastheyheadtowardssomethingunknownandunfamiliar.

StanzaTwoSummaryandAnalysis

Thisstanzaopenswithperhapsthemostmemorablewordsinthepoeminherassertionthat“Allchildhoodisanemigration”.ThismetaphorrevealsoneofthekeyideasexploredbyDuffyinthisworkassheconsidersthewider,moregenericexperienceofchildhooditselfwhich,bydefinitionisequatedwithchangesandtransitionsthatareoftenbeyondourcontrol.Theconstructionoftheremainderofthestanza;theelongated,drawnoutphrasingofthefirst3

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linesemphasisesthe“slow”stagesofchildhoodandprovidesacontrastwiththeshort,abruptsentencesthatfollowinthelines“Othersaresudden./Youraccentwrong.”Havingthe“wrong”accentconveyshowcommunicationandacceptanceismuchmorecomplexthanmerelyspeakingthesamelanguage.Hersenseofconfusionandnotbelongingisagainreinforcedassherecallshow“Corners,whichseemfamiliar”leadto“unimagined,pebble-dashedestates”.Thewordchoiceof“seem”and“unimagined”exposesherinabilitytonegotiateherwaysuccessfullythroughthisnew,strangeandunfamiliarlandscape.Similarly,herrecollectionof“bigboys/eatingwormsandshoutingwordsyoudon’tunderstand”underpinhersenseofconfusionassheisconfrontedbybehaviourandlanguagethatisalientoher.

Inthelasttwolinesofthisstanza,theinitialoptimismofhermotherinthefirststanzahasbeenreplacedwithan“anxiety”that“stirredlikealoosetooth.”Thisisaninterestingsimilesincewhileitemphasisesthatherparentstooarestrugglingwithaspectsofthemove,theirfearsarenotenoughtoprovokeastrongreaction–aloosetoothcaneasilyfalloutofitsownaccordorbequicklyextracted.Theitalicisationofthefinallineofthisstanza“Iwantmyowncountry”remindsusagainoftheautobiographicalnatureofthepoemandisareferencebacktothefirstlineofstanzaone.Itactsalmostasachildishlament,perhapsonethatwasconstantlyrepeatedduringthisupsettingtransitionandremindsus,likethewords“bigboys”usedearlier,howyoungDuffywaswhenthiseventoccurred.

StanzaThreeSummaryandAnalysis

Thefinalstanzaopenswiththeconjunctive“But”toindicateachangeinthewriter’slineofthoughtasshemeditatesontheinevitabilityofchangeandadaptation.Sheusesthe2ndperson“youforget,ordon’trecall”todirectlyexposetheoftenfragilenatureofchildhoodmemory.Thespeakerinthisstanzaisolderandmorereflectiveassheconsidersherowngradualtransition.Recallingseeingherbrother“swallowaslug”refersbacktotheboyseatingwormsinthesecondstanzaandimpliesthatthisactisevidencethathehasfullyassimilatedtohisnewhome,thesimplealliterationindicatingthatthiswasastraightforwardprocessforhim.However,thedeliberateemploymentoftheScottishdialectinthephrase“askelfofshame”revealsthatshestillfeelsattachedtoherScottishrootsunwillingtofullyrelinquishthelasttracesofherScottishdialect.Whileherbrothershavesuccessfullyadapted,shestillfeelsoutofplaceandlikeasplinter,memoriesofherformerlifecontinuetotroubleher.Whilesherememberseventuallyher“tonguesheddingitsskinlikeasnake”andher“voiceintheclassroomsoundingjustliketherest”thereisadefiniteimplicationthatdespitetheseoutwardsignsthatshehadadaptedshecontinuestofeeloutofplace.

Asthepoetmovestowardsherconclusion,sheasksthefirstofthreequestions:“DoIonlythink/Ilostariver,culture,speech,senseoffirstspace/andtherightplace?”Itisthisquestionthatthepoethasbeenattemptingtoanswerthroughouttheentirepoemandyetstillbytheendsheisnowherenearertoaresolution.Inaskingthis,shechallengesbothherselfandthereadertoconsiderourownnotionsofselfandidentity.Thedeliberateinversionofthe“Ionly”againemphasisesherfeelingsofisolationandseparatenessfromtheothermembersofherfamilyduringthisperiod.Bytheendofthepoemitisclearthatthepoetisnoclosertodefiningheridentity.Whenaskedthequestion”wheredoyoucomefrom”shestillhastoqualifyandclarifythissimplequerywiththeresponse“Originally?”Thismomentaryhesitationrevealsthateventhougholder,thespeakercontinuestohavemixedfeelingabouthertrueorigins.

Themes

Inthispoem,Duffyrevealstheimportanceofearlychildhoodmemoriesandexperiencesinshapingidentityandalsoconsiderstheimpactofsignificantdomesticchangesduringtheformativeyears.ItisclearthateventhoughDuffywasonlysixwhenshemovedtoEngland,hersenseofScottishnesshasstayedwithher.However,thisaffinityhasresultedinasenseofconfusionaboutherownidentityandwhereshebelongsandthepoemisherownattempttodefinemorepreciselywherehertrueoriginslie.Althoughassertingthatallchildhoodsinvolvechangeandtransition,shefeelsadistinctpulltowardsthiscountrythatsheleftsoyoungandthereisadefinitefeelingoflossrunningthroughthepoem.Inrecallinghoweasilyherbrotherswereabletoadaptsheemphasisesherownsenseofseparateness.

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MrsMidas

Overview

MrsMidasisapoemwrittenfromtheviewpointofthewifeofthemythologicalKingMidas,fromOvid’sMetamorphoses.KingMidaswasgrantedawishbythegodDionysuswherebyeverythinghetouchedwouldturntogold.Withcomicalundertones,awiderangeofemotionsispresentedthroughthepersonaofMrsMidasasshespeaksoutagainstherhusband’sfoolishactionsandgraduallyseparatesherselffromhim,leavinghimtowasteawayinisolationwhilstshelamentsthelossoftheirphysicalrelationshipandthechancetohaveababytogethertofulfiltheirdreams.

FormandStructure

Thispoemiswrittenintheformofadramaticmonologuefromafemaleperspective,similartoallofthepoemsfromTheWorld’sWifecollectioninwhichwell-knowncharactersfrommythsorhistoryarepresentedfromtheperspectiveoftheirforgottenordisregardedandwives.Duffyfocusesonanaspectofthiswell-knowncharacterandpresentsanimaginaryresponsefromthewife’sviewpoint,providingfresh,thought-provokingandcomicalinsightintotheirlives.

MrsMidasismadeupofelevenstanzasofirregularlinelengthrangingfromsixlinestoteninordertoreflecthowunpredictableandchaoticlifehasbecomeforthiscoupleinthatatanysecondwithasimpletouch,MrsMidascouldalsosoonbeturnedtogold.

Stanzas1to6dealwiththediscoveryofKingMidas’grantedwishandtherealisationandthensheerpanicofhowhehasbeengivensuchatremendouspower,whilstacomictoneismaintainedthroughout,asMrsMidasevencatalogueseverydayitemsbeingturnedtogold.

TheremainderofthepoemrevealstheharshheartfeltimplicationsofMidas’gift,highlightingthedamageithasdonetothecouple’srelationshipandtheirfuturetogether.ThefinallineinthepoemsumsupMrsMidas’regretatthelossofphysicalcontactwithherisolatedhusband.

StanzasOne–SixSummaryandAnalysis

Inthefirststanza,DuffypresentsMrsMidasinatypicaldomesticscene,pouringaglassofwineasshecooksandbeginsto‘unwind’inthepersonifiedkitchen;‘filledwiththesmellofitself’,duringthepeakofthegoldenautumnalmonthofSeptember.Thekitchen’s‘steamybreath’whichis‘gentlyblanching’isincontrasttothelifesappingeventswhicharetakingplaceinthegardenasMidassnapsatwigfromunderapeartreewhichhasmiraculouslyturnedtogold.Havingwipedthesteamfromthekitchenwindowandputtingitdowntopoorvisibility,MrsMidashastolookagainandthistimewitnessesherhusbandpluckingapearfromabranchanddescribestheway:’…itsatinhispalmlikealight-bulb.On.’Thissimileeffectivelyconveysboththeshapeofthepearandalsothebrightnessemanatingfromit.Thefullstopsaddacomediceffect,highlightingMrsMidas’shock,disbeliefandsuddendawningofawarenessinherownmindastowhatshehasjustwitnessed.Thiswhimsical,lightandhumorousimageryiscontinuedandcontrastswiththeseriousnessofwhathasjusthappenedandherincredulityisevidentwhenshequestionswhetherheisjust‘puttingfairylightsinthetree?’

Stanza3relaysMidas’returnjourneythroughthehouseasheturnsthedoorknobsandblindsintogleaminggoldmakinghiswifethinkbacktoaschoolhistorylessonon‘theFieldoftheClothofGold’whichwasthemeetingplacebetweentheKingsofEnglandandFrancein1520,nearCalaisinFrance.Thiswasembellishedwithgoldtodisguisethesurroundingdeprivationofthenation.

MrsMidasgoesontodescribethe‘strange,wild,vain’faceofherhusbandasherealisesthathehasbeengivenatremendouspower,motivatedbygreed.Astheexasperatedwife,MrsMidasmakesatypicalexpression:‘WhatinthenameofGodisgoingon?’Herperplexedreactioncausesherhusbandtolaugh.

InStanza4,MrsMidasattemptstoinstilasenseofnormalitybyhermatteroffacttoneinservingupdinner:‘Forstarters,cornonthecob.’ThiscomediceffectismaintainedasMidasendsup‘…spittingouttheteethoftherich’.

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Thislineclearlydemonstratesthenegativeeffectsofsucha“gift”asMidascannolongerenjoythesimplepleasuresoffoodwhileemphasisingthatgoldteethareusuallyonlyseeninthemouthsofhewealthy.Withthecatalogueoffoodutensilsalsohavingbeenturnedtogold,MrsMidas’anxietyaboutwhatishappeningisrevealedinthewayshepourswinewith‘ashakinghand.’Alliterationisusedtohighlighttheseriousnessandrealityofthesituationwhenshewitnessesthetransformationofaglassintoa‘goldenchalice’.Shenoteshow‘ashepickeduptheglass,goblet,goldenchalice,drank.’Theblendofthevowelswiththeletter‘l’linkstothegoldenluxuryoftheitem,whilsttheharshalliterative‘g’sounddriveshometheseriousnessofthisso-calledgift.

ThesinkinginofrealityisfurtherechoedinthefirstlineofStanza5whenMrsMidas‘startedtoscream’whileherhusband‘sanktohisknees’.Asbothcometotermswithhisnewpower,MrsMidasfinishesoffthewineandforcesherhusbandtosit‘ontheothersideoftheroomandkeephishandstohimself.’Evenafterbecomingawareoftheconsequences,thishumorouslinerevealsthatwhileMidasstillseekstoenjoyaphysicalrelationshipwithhiswife,hisnew“gift”meansthathewillbedeprivedthispleasure.

ThestanzaendswithMrsMidasrelayingtheprecautionsshetooktoprotectthecatbylockingitinthecellarandthenmovingthephone,butallowingthetoilettobechangedintogold.Duffytheninsertsadeliberatepausetoimitatethespeaker’sincredulityuponhearinghowherhusbandhasbeen“granted”awish.Theword‘granted’isapunwhichisrepeatedtoconveyheropinion,thatingeneral,peopledoandcanmakewishesbutiftheyaregoingtobegiven,thenofcourseher‘fool’ofahusbandhadtobetheonetohavehiswishcometrue.Sheistrulyaggrievedbythisandgoesontojustifythefutilityofsuchawishsincegold‘feedsnoone’.Indoingsosheexposestheinherentlackofrealvalueofgold.Evenso,humourisinjectedtocontrastwiththisharshfactasMrsMidasconsiders,onamorepositivenote,howthesituationwillmeanthatatleastMidaswill’…beabletogiveupsmokingforgood.’

Stanzas7-11SummaryandAnalysis

TheremainderofthepoemcontinuestohighlightthedamageMidas’gifthasdonetotheirrelationshipwiththebeginningofStanza7summarisingthefulleffectwiththesinglestatement:‘Separatebeds.’MrsMidas’terrorofherhusbandtouchingheriscontinuedandemphasisedassherevealshowsheevenputsachairagainstthedooratnightassheis‘nearpetrified’,scaredofbeingturnedintostone,aharshconsequenceandthereality,shouldhecomenearher.Humouragain,offersabitoflightreliefassherelayshowthespareroomhasbeentransformedintotheimpressive‘tombofTutankhamen’.Thissymbolisesthattheirrelationshipanddreamsareeffectivelydead.Theseparatenessofthecoupleisfurtherhighlightedasshefocusesonthephysicalsufferingtheymustnowendure,incontrasttothefulfillingrelationshiptheyenjoyedbeforehewasgrantedhiswish:thesewere‘halcyondays’,daysofjoywhentheywere‘passionate’and‘unwrappingeachother,rapidly,likepresents,fastfood.’However,shenowrightlyfearsMidas’‘honeyedembrace’sinceitwouldbedeadlytoher.

InStanza8,MrsMidaspresentshersadnessnowofbeingdeprivedtheopportunitytohavearealbaby.Shebegsthequestion:‘who…canlivewithaheartofgold?’Usually,thisexpressionhaspositiveconnationsandisassociatedwithkindnessandempathy.Here,thisfamiliarmetaphorisironicallyinvertedastheliteralmeaningisimplied,inferringthatitwouldbeimpossibletosurviveasalivingbeingwithsuchaheart.Asuperficial,initiallyattractivedescriptionofthebabyshedreamtaboutispresentedwithit’s‘perfectorelimbs’and‘ambereyes’,butthisdescendsintoadisturbingimageastheseflamecolouredeyesaredeemedtobe‘holdingtheirpupilslikeflies.’Sadly,hermilkwillremainonlya‘dream’tooasherbreastscanneverbearanymilkaslongasherhusbandhasthis‘gift’.Wakingtothe‘streamingsun’,again,poignantlyremindsusthateachdayshewillawaketoaworldinwhichgolddominateseverywakingmoment.

InStanza9,theconsequencesofthemythandtheeffectontheirlivescontinuestodestroytheirrelationshipasMrsMidasbluntlyinformsus:‘Sohehadtomoveout.’Shethenconveyshowshehadtodrivehimtoliveintheirisolatedcaravan‘undercoverofdark’andhowshereturnsaloneas:‘thewomanwhomarriedthefool’,clearlyblamingherhusbandforstupidlywishingforgold.Shetellsofhowatfirstshevisitedatoddtimes,alwaysparkingthecarasafedistanceawayincaseshewasaffectedbyhisgift.

Stanza10continuestopresentimagesofthissolitary,distanced,detachedseparatelifestyleasshedescribestheruralsinglegoldenitemsshediscoversonherwalkfromtheparkedcartoherhusband:‘Goldentrout’and‘aharehungfromalarch’.Shedescribeshiminasorrowfulstateas‘thin,delirious,hearing,hesaid,themusicofPan.’ThisassociateshimtoanotherGreekGod,thistimetheisolatedfigureofPanwhowastheGodofshepherdsandflocksandwenotetheironythatagiftsoequatedwithwealthandprosperityshouldresultinsuchemotionalpoverty.

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ThefinalStanzastressesMrsMidas’angeratherhusband’s‘pureselfishness’inmakinghiswishwhichhasnotonlyaffectedhimbutalsodeprivedbothofanyphysicalrelationshipbutalsoofhiswife’schancetohaveherdreambaby.ThepoetisremindingusintheendthatthemythofMidas,normallyonlyviewedinconnectionwithhowitaffectedMidasandhislife,alsoaffectedhispoorwife,whomevenafterallherangerhasbeenunleashed,isstillleftalonewithnothingbutawistful,regretfulsenseoflossforthemanshemarried.Inapoignantline,sheremembersfondlytheironcefull,physicalrelationshipandmournsitspassing:‘evennow,hishands,hiswarmhandsonmyskin,histouch.’Therepetitionofthewords“hands”emphasisestoothathistouch,onceapotentsymboloftheirintimacyisnowlostforeverandremindsusthatunlikehumanskintoskincontact,goldiscoldandhard.

Themes

GreediscertainlyarecurringthemeasthiswhatmotivatedMidastomakehiswifeinthefirstplaceandthedamagingeffectsareportrayedthroughoutwithbothhusbandandwife,intheend,beingleftalonetosuffertheeffectsofwishingtopossessasubstancewhichultimately‘feedsnoone.’

Consequencesofouractions:ThisisaprevalentthemeasbothMidasandhiswifepaythepriceofnotreallytakingthetimetodeliberateandthinkthroughwhatwouldfollowiftheychoseoneactionoveranother.

LonelinessandSolitudeareallthatisleftforbothcharactersbytheendofthepoemasaresultofoneselfishact.AlifeofsolitudeischosenassoonasMidasis‘granted’hisfoolishandselfishwish.

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Valentine

Overview

ValentineisfromacollectionofpoemsentitledMeanTimeof1993,andexpressesloveandaffectionintheformofaconceitwherebythesymboloflovebeingofferedbythepersonaisanunconventionalonion.Thepoemchallengesthestereotypicalviewofvalentine’sgiftasthespeakerpresentstheirloverwiththemetaphoricalonionas‘amoonwrappedinbrownpaper’.ThisisreminiscentofthemetaphysicalpoetssuchasJohnDonne,whoapproachedordinaryobjectsinoriginalandsurprisingways.Themulti-layeredcomplexityoftheonionrepresentsarealrelationshipandisusedasanextendedmetaphorthroughout.Thestrangenessofthisunusualgift,whichcanmakealovercry,highlightsthenegativeaswellaspositiveeffectsofadeepandlovingrelationship.Theforcefulpresentationofthisgiftandfinalwordchoicealsosuggeststhisisarelationshipwhichiscruel,domineeringandmenacing.

FormandStructure

Thepoemiswritteninfreeverseusingirregularstanzastosupportthecontentandpurposeofthepoem;torejecttraditionalrestrictiveconventionssuchasmarriageandothernotionsofloveandwarnloversthatbeingoverlypossessivecanhavefatalundesirableconsequences.Whileostensiblyapoemonthethemeoflove,Duffydeliberatelyavoidstheuseoflanguageorimagerythatweassociatewiththistypeofpoetry.Instead,thewordsareoftenstarkandmonosyllabictoallowhertopresentherideasclearlyandunambiguously.

SummaryandAnalysis

Stanzas1-2

Thetitleitself,‘Valentine’,initiallysuggeststhatthispoemwilldealwiththefairlyconventionalnotionsoflovewiththeconnotationsofflowers,heartsandromancewhichoneassociateswiththisword.However,thetraditionalideaassuggestedfromthetitleissubvertedfromtheverybeginningintheopeningline:‘Notaredroseorasatinheart.’andalsoinline12:‘notacutecardorakissogram’Byinsertinganegativeattheopeningofboththeselines,thespeakeriseffectivelydismissingtraditionalsymbolsofloveandinsteadpresentsanobjectthatismuchmoretruthfullyrepresentativeoflove.Intherepetitionoftheline‘Igiveyouanonion‘inline2andagaininline13,thepoetemphasisestheimportancethatthisgiftbeacceptedbytheirlover.Theuseoftheimperativecommands“Here“(line6)and‘Takeit‘(line18),furtherestablishestheforcefulcharacterofthespeaker.

Thegift,themetaphoricalonionisdescribedas“amoonwrappedinbrownpaper.”Thusalthoughinitiallypuzzlingandunconventional,theallusiontothemoondoesremindusofmoretraditionalnotionsofromance.The“brownpaper”refersbothtothetextureandcolouroftheouterlayeroftheonionaswellasremindingusthatrealromanticgiftsdonotneedtobeembellishedorconcealedwithinexpensivewrapping.Thespeakerisassertingthenthattheonionsymbolisesapositiveaspectoflovesinceitrepresentsrefreshinghonestyandoptimism,oftenexperiencedatthebeginningofarelationship.Theline‘Itpromiseslight’alsoindicatesthatthiswillbeanenrichingandfulfillingrelationshipforbothparties.Thistooconveystheoptimismandhopefulnessofloversembarkingonanewrelationship.

Thesimile‘likethecarefulundressingoflove’canbeinterpretedbothasareferencetothesexualaspectoftheirrelationshiploveandalsothegrowthoftheiremotionalbondwhichthepeelingawayofclothesandlayersofpersonalitymaybring.Theword‘careful’suggeststenderness,affection,warmthandsensitivitybetweentheloversastheygraduallyallowexternalbarrierstocomedownandexposetheirtrueselvestoeachother.

Stanza3

Thisverseopenswithonecommandingsinglewordline:‘Here.’Thefullstopandsolitarystanceemphasisestheforcefulpresentationofthegift.However,thisgiftalsobearsawarningthat‘Itwillblindyouwithtears’conveyingtherealisationthatthisrelationshipmayoccasionallycausepainandmakeyoucry,justasgettingtooclosetoachoppeduponioncanbringtearstoyoureyes.Indoingso,thespeakerremindsusthattheonion,justlikealover,canelicitpainanddistressaswellasloveandpassion.

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Anadditionalwarningintheformofanextendedmetaphorfollowswiththewords‘Itwillmakeyourreflectionawobblingphotoofgrief’.Thisemphasisesoncemorethevulnerabilityanddangeroneexposesthemselvestowhentheysubmitwhollyandcompletelytoaromanticrelationshipandremindsusofitsdestructivepotential.

Stanza4

Thisharshdisclosureisfurthersupportedbyasingleemphaticstatement:“Iamtryingtobetruthful”.Indoingso,thespeakerisperhapsattemptingtojustifyallthat’sbeensaidsofar,andcontinuestostressthedesireforhonestywithintherelationship.Throughthisopennessandfrankness,thespeakerisattemptingtostressthesignificanceoftruthfulnessandhonestyintheirrelationship.Beforethisline,thepersonahadspokenoftheirloveinmainlygentletermstoshowthesincerityoftheirfeelings,yetwhatfollowsfromthisisachangeintonetoonewhichappearstobemorebrutalandthreatening.Throughtheuseofthefirstperson,thepoetconveysthestrengthoffeelinginthespeakerintheirdesireforarelationshipwhichisbasedonhonesty.

Stanza5and6

HavingechoedtheopeningwithasinglelinerejectingmorestereotypicalValentine’sgiftsof‘acutecard’anda‘kissogram’,Stanza6thengoesontostresstheirinsistencethattheonionbeacceptedbytheirlover:‘Igiveyouanonion.’Thefullstopsignifiesapauseasthespeakerawaitstheirgifttobereceived.Asthepoemcontinuesintheline“Itsfiercekisswillstayonyourlips,”theloverisattemptingtoarticulatenotonlytheromantic,positiveaspectsoflovebititsmorenegative,darkerassociationsthroughthedeliberatewordchoiceof“fierce”Thereisalsothecontinuedallusiontothesensesthroughthetasteoftheonion,whichjustlikesomeromaticrelationshipsisstrong,unpleasantanddifficulttoerase.Similarlywhilstthewordchoiceof‘faithful’haspositiveconnotationsofatrustingsharedrelationship,thewordchoiceof‘possessive’signalsachangeintherelationshipasitsuggestsanelementofjealousy,distrust,controlandinsecurity.

InStanza7,Duffybuildstoapenultimateclimaxwiththespeakerbecomingevenmoreinsistentbyusingtheimperativecommandinthewords‘Takeit’.Thespeakerthenremindsusthattraditionalromanticrelationshipsusuallyculminateinmarriagewhichhereisconsideredtobesimilartoaconstrictingdeath.Shecomparesthecreamywhiteringsoftheonionwiththepreciousmetalplatinumloopsofawedding-ringwhichovertimewill,liketheonionrings,‘shrink’insize.Herethepoetisinferringthatmarriagerequiresanadjustmentwhichmayinfactrestrictapersonbothphysicallyaswellasemotionally,warningothersoftheconsequencesoffollowingconventionswhichcanbedestructive,diminutiveandevenunnecessarywhencomparedtofreeromanticlove.

Thefinalstanzabeginswiththesingleminorsentenceandpowerfuladjective‘Lethal’whichreinforcesthenotionofimminentdeathtoindividuality,wherealong-termunionispursued.The‘scent’fromthisrelationshiphaspositiveconnotationsofthepleasantsmellofperfume;echoingbacktothe‘fiercekiss’,reiteratingthefactthatthememoryofadeeprelationshipmaylast,evenlongaftertherelationshiphasended.Howeverthereisnodoubtthatevenwherepowerfulloveisverydifficulttoforget,itmayleadyouintodangeroussituationswherethefinaloutcomecouldbebrutalandviolentassuggestedbythefinalword‘knife’.Violenceisverymuchthreatenedbutisinkeepingwiththeprecedinghonestexaminationofarelationship,asjustlikeaknife,arelationshipcanbringmuchpainandsuffering.Aknifecanslicethroughanonionjustashonestlanguagecanincisivelyrevealthetruthconcerningalovingrelationship.

Themes

SimilartomostofthepoemsfromDuffy’sMeanTimecollection,thepoemValentinedealswiththoseinvolvedindamagedorirreconcilablerelationships.Thisalsoreflectedthegloomyatmosphereofthepoliticalclimateofthistime.InValentine,Duffyendsonawarningnotethatlovecanbe‘Lethal’andsolife-threatening,forcingthereadertoconfrontthenotionthatareallovebasedonhonestyandtruthfulnesscanbepainfulanddestructiveaswellasfulfillingandenriching.Theallusiontothenegativeaspectsofconventionalrelationshipssuggeststhatultimatelysuchrelationshipscanoftenberestrictivetotheindividual,whilealovewhichisfreefromsuchconstraintsisanidealworthpursuing.

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InMrsTilscher'sClass

Duffyexploresthethemeofchildhoodandgrowingupinthispoem.Shedescribesthejoysofprimaryschoolbeforethechildrenareexposedtoamorefrighteningadultworld.

Overview

Thepoemexploresayoungchildgrowingupwithinanurturingprimaryschoolenvironment.MrsTilscher,fromthepoem'stitle,isportrayedasalovingteacherwhohasaprofoundeffectonherpupils.ThispoemisdrawnfromDuffy'sownexperience.MrsTilscherwasarealteacherandthereforetheuseofthepersonalpronoun'you'placesherbackintothepast,assherecallsherpositivememoriesofschool.Italsoenablesthereadertoidentifywithherexperience,drawingthemintothepoem.Duffyusesdifferenttimesofyeartorepresentthestagesinthechild'sjourneytowardsadolescence.

Duffyconjuresaclassroomfromthepast,bymentioning"chalk"anda"skittleofmilk".ThereferencetoBradyandHindley,the‘MoorsMurderers’serialkillers,setsthepoeminthe1960s,setsthepoemataroundthe1950s/1960s,astheywouldhavefeaturedgreatlyinthenewsduringthistime.ThedelightofMrsTilscher'sClassseemstoprotectthechildrenfromtheinsalubriousoutsideworld,butitdoesnotlastforever.Thechildrengrowandmovetowardsadolescence,wheretheyexperiencenewfeelingsandsensations,andultimatelyleaveMrsTilscherbehind.

Formandstructure

Thepoemtakestheformoffourstanzas.Thefirsttwohaveaneveneightlines.Theydescribethepositiveatmosphereoftheprimaryschoolclassroom.Stanzasthreeandfourintroducethethemeofchangeandgrowingup.Eachhassevenlines,whichperhapsreflectsthedestabilisingnatureofadolescence.

Stanzaoneintroducesanidyllicprimaryclassroom.Thespeakerisspellboundbyherteacherwhomakeslearninganadventure.Itendsonanoteofhappinesswiththelaughingschoolbell,callingthelessonsandthestanzatoaclose.

Instanzatwo,Duffycontinuestoportraythesamewonderfulenvironmentofaclassroom,comparingittoasweetshop.However,shejuxtaposesthehorrorsoftheexternalworld(byincludingthenamesofBradyandHindley)withthealmostmagicaldescriptionsoftheclassrooms.

Structurally,whilethesenamesshockthereader,theyhavelittleimpactontherestoftheverse,astheyareenclosedwithinlinesofpositivedescription.But,likethe"smudge"theyleavebehind,theydoremindusthattheinnocenceandjoyofchildhoodisprecariousthing.

Duffyintroducesaturningpointinstanzathree.ThetimeisEaster,whenintheChristiancalendarChristroseagain.Itisatimeofgrowthandnewbeginnings.Anditisappositelyatthispointthatthechildspeakerlearnshowshewasborn.Itisinterestingthatthisstanzatakesplaceoutsidetheclassroom,asifthisgrowthcouldnothappeninthecomfortingbubbleMrsTilschercreated.

Thefinalstanzadescribesthechild'ssexualawakening,assheexperiencesunfamiliarfeelingsandnolongerfindstheanswerswithMrsTilscher.Significantly,thepoemendswiththespeakerleavingtheschoolgatesperhapstoembarkonthenextstageinherlife.

Stanzaone

Theuseofthepersonalpronoun'you'opensthepoem.ThepoemisautobiographicalandDuffyseemstobeaddressingherselfandherownmemories.Butthesubjectmatterisuniversalandinvitesthereadertoremembertheirownexperienceofprimaryschool.Theeffectimmediatelyinvolvesthereaderinthischild'sexperience.Wearegoingonajourneyupthe"BlueNile"withthespeakerwhoisfullyengagedinMrsTilscher'slesson.

Thispoemisfullofsensesandwebeginwiththevisual'blue'oftheriver,followedbythesoundoftheteacher"chanting"thenames"Tana.Ethiopia.Khartoum.Aswan."Theminorsentenceshereevoketheteacher

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droppingtheseforeignnamesintotheyoungchild'simaginationsothattheywillfollowherontheadventureoflearning.Duffyconveysthesenseofwonderandexcitementofayoungchild.Then,stillwithMrsTilscher,theclasshastheirmilk-somethingallprimarychildrenwereprovidedwithforfreeatthetime.Duffydescribesthemilkbeingina"skittle"”.Thissuggeststheshapeofbottlebutalsosuggestsplayingagame.

Astheclassmoveon,thelessononEgyptisclearedfromtheboard:“thechalkyPyramidsrubbedintodust”.Theuseofthepassiveheregivestheactionmagicalconnotations.WeassumeitisMrsTilscherwhoerasesthewonderofpyramidsthatshejustcreatedinordertomoveontothenextlesson.Theword"dust"conveyschalkdustbutalsoimpliesthattothechildtheywerereal.Thisimageisthefirstsuggestionofthepassingoftimeandofsomethingendingandbeinglost.

Theopeningofthewindowwithapoleprovidesaspecificdetailofschoollifethatkeepsthepoemfeelingreal.Upuntilnowthepoemhasalltakenplaceintheclassroomandtheimagination.HereforthefirsttimeDuffysuggeststheideaofthewiderworldoutside.

Thestanzaendswiththeclosingoftheschoolday:“Thelaughofabellswungbyarunningchild”.Duffypersonifiesthebell,projectingthechild'slaughterontoit,whichcreatesahappyatmosphere.Theenergyin"swung"and"running"alsoworktoestablishanupliftingandcarefreeworld,wherechildrenarefreetogrowandfindthemselveswithinanurturingsetting.

Stanzatwo

Thisstanzabeginswithanindisputableshortsentence:“Thiswasbetterthanhome”.Theimplicationhereisthatperhapsthechild’slifeathomeisuninspiringanddoesnothavethe"Enthrallingbooks"thatfilltheclassroom."Enthralling"tellsusthespeakeriseasilyabsorbedbyliterature.

Theuseofthesimile:“Theclassroomglowedlikeasweetshop”isveryeffective,assweetshopsareplacesfullofcolourandwonderforchildren;theyoffertemptationanddelight.Thecomparisonthereforesuggeststhattheclassroomisfullofthingstotriggerthechildren'sinterestandimagination.

Theminorsentences"Sugarpaper.Colouredshapes."extendthisidea.Duffycreatesalistingeffecthereasifsheisdocumentingthesurroundings.Thesearesimplethings,buttheyareenoughtotransportthechildintoamagicalworld,justaMrsTilscherlistedplacesalongtheNileinStanzaone.

Juxtaposedwiththispositiveandsecureenvironmentisthementionofaverydifferentsideoflife.IanBradyandMyraHindleywereserialkillerswhowereactiveintheearly1960s.Thereferencehereisparticularlyhardhittingastheirvictimswerechildren.The‘MoorsMurderers'blackandwhiteimages,whichappearedinnewspapers,contraststarklywiththecolourfulsweetshopclassroom.

Thepowerofthislovingenvironmentissuchthatthesefigurescanalmostbewipedaway,reducedtoa"smudge"onthepage.ThechildreninMrsTilscher'sclasscannotbeharmed.Andyet,shecannoteraseevilcompletely.Itsmarkisstillthereonthepagesthatinformtheirlives.

Butnomatter.Whatconcernsthechildisthe"goodgoldstar"leftalmostasifafairyhadputittherebytheirname.Thenanothersensoryline:"Thescentofapencilslowly,carefully,shaved."Theadverbshereprolongtheline,mimickingtheslowactofsharpeningapencil,auniversalmemoryofchildhood.

Thepersonificationofsoundonceagainclosesthisstanza.Xylophonesarecommoninprimaryschoolsand"nonsense"impliesthatwhoeverisplayingitisyoungandhasn’tmasteredityet.Thisisfine,however,astheexperiencesoundsfunandappealing.

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Stanzathree

Thisstanzaintroducesthethemeofchange:“OvertheEasterterm,theinkytadpoleschanged/fromcommasintoexclamationmarks”.ItistheEasterterm,atimeofgrowthandregeneration.Duffysignalsthiswiththemixedmetaphorthatlinksdevelopingfrogstowriting.Themetaphorhereisinkeepingwiththeschoolsetting,butalsothemovefromtheinsignificant"comma"tothebolder(andtaller)"exclamation"skillfullyreflectsthealteredatmospherewithintheplayground.Theexclamationmarkalsoanticipatestheshockthechildfeelswhensheistoldhowshewasborn.Thetadpolessuggestsexualreproductionaswellasdevelopmentandgrowth.

Thegrowingchildrenaredescribedthroughthefrogs"jumpingandcroakingawayfromthelunchqueue"–"croaking"couldimplytheirvoicesbreaking.Insteadofgoldstarsandcolouredpaperwenowhavea"dunce"anda"roughboy"takingchargeandcausinghavoc.Thefeelingisthechildnarratorisexposed.Sheisnolongerintheprotectiveclassroom,butoutsidelearningaboutthefactsoflife.

Herfirstreactionisanger:"Youkickedhim".Theshortsentencehereevokesherdisbeliefandperhapsherfearoftheunknown.

Theuseof"appalled”parenthesisplacesthewordinthemiddleoftheline:“stared/atyourparents,appalled,whenyougotbackhome”,addingemphasistoherhorrorasherfamiliarandsafeworlddisintegratesinfrontofhereyes.

Stanzafour

Bythefinalstanza,wehavereachedthesummer:“ThatfeverishJuly,theairtastedofelectricity”.School,andthispartofchildhoodiscomingtoanend.

Theweatherissignificantlyhot.Theword"feverish"conveystheflustered,agitatedmood.Theelectricitymetaphorextendsthis.Itimpliesthereisanewenergyandexcitementfuellingthechildren.Butitalsosuggeststhethreatoflighteningandstorms,suggestingthedifficulttimeofadolescence.

Thelaughingbellfromstanzaonehasbecomea"tangiblealarm",astateofstressandexcitementthatthechildperceivesinphysicalterms."alarm"alsosuggestsawarningofwhatisahead.Thechildisnow"alwaysuntidy,hot,fractious"andwecaninferfromthisthattheyareexperiencingthebeginningofpuberty.Duffyusespatheticfallacytomakethispointclearwhenshedescribesthistakingplaceundera"heavysexysky",whichsuggeststhatastormisbuilding."heavy"alsosuggeststheburdenoftheirnewknowledgeandemotions,while"sexy"referstotheirsexualawakening.

Thistime,whenthechildgoestoMrsTilscherforhelpandsecurityitisnolongerthere:“MrsTilschersmiles,/thenturnedaway”.Thelinebreakisdeliberateheretomimicthenewdivisionbetweenteacherandpupil.Insteadofamagicalworld,sheisgivenherreport.MrsTilscher'srolehasbecomematteroffactandordinary.

Thepoemendswiththechildsymbolicallyrunningoutoftheschoolgates"impatienttobegrown".Thefearandalarmhastranslatedintoanurgetoexperiencelife,leavingMrsTilscher'sclassroombehindher.

Duffyusespatheticfallacyonceagaintoclosethepoem:“theskysplitopenintoathunderstorm”.Thisillustratestheimpactthatgrowinguphasonachild–itcanbefullofdramaandstrongemotions.ThereisalsoanimplicationthatthereisdangerouttherebeyondMrsTilshcher'ssafehavenandthatthechildisracingintoaworldthat,despiteitsexcitement,willdolittletoprotecther.

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Themes

Childhood

Duffyconveysachildhoodidyllinthefirsttwostanzas.Theclassroomisaplaceofcolour,safety,learning,delight.Allelementsofahappychildhood.Inthesecondtwostanzas,thechildisexposedtotheoutsideworldandtheknowledgethisbrings.

DuffymentionsBradyandHindley,theinfamousMoorsMurderers,buttheyare"faded"inthepositiveworldMrsTilschercreates.Thisconveyshowinchildhoodthehorrorsoftheadultworldoftendonothaveanimpact,asitisatimeofinnocenceandmakebelieve.Itisalsoshort-livedasthesecondhalfofthepoemconfirmswhenthechildrenbegintogrowup.

Change/growingup

Thepoemchartsthespeakermovingfromchildhoodtoearlyadolescence.Thesecure,innocentworldofMrsTilscher'sclassisinterruptedbytheoutsideworld.A"roughboy"tellsherhowshewasbornandgivesherknowledgesheisnotreadyfor.

ThefinalstanzadepictsasexualawakeningasMrsTilscher'turnsaway',leavingthechildtoexplorehernewfeelingsindependently.Sheisgrowingupandcannotgobacktoherchildhoodofinnocenceandsafetyanymore.Shehastomoveforward,pushthelimitsandhandlethestormthatloomsonthehorizon.

Comparisons

ThispoemwouldpairwellwithOriginallyasbothexplorechildhoodandgrowingup.WhileInMrsTilscher'sClassfocussesonthejoyofprimaryschoolthatiscloselyfollowedbyadolescence,Originallylooksattheimpactofphysicallymovingcountryasachildandhavingtofitinaswellasmovingfromchildhoodintoadulthood.

Thebothalsodealwithpowerfulmemories.Intermsoflanguagetoconjureplace,theuseofsensesandtheportrayalofcharacter,youcouldalsopairitwithalmostalloftheotherpoems.

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TheWayMyMotherSpeaksOverview

Inthispoemthepoet/personaisonatrainthat"goesdownEngland".Thejourneyisbothliteralandmetaphorical,ashereDuffyisconcernedwiththetransitionbetweenchildhoodandadulthood,fromdependencetoindependence,fromseeingherselfasbeingcloselytiedtohermothertothenformingherownidentity.LikeOriginallyandInMrsTilscher'sClass,Duffyexploreshowchangecausesconflictingemotions,whichiswhythispoemisfullofcontradictionsandcontrasts.

Thepoem'stitlecouldimply"theway"hermotherspeaksintermsofheruseofdialectandsetexpressions,butitmightalsosuggestthemannerinwhichhermother’swordscometoher–theyareboundupwithherownthinkingandbreathing–theyarepartofherbeing.

Thepoemendsonanoteofoptimisminsistingthatyoucanbe"free"butalsostillconnectedtoyourbackgroundandfamily.

Formandstructure

Thepoemtakestheformofanopeningfive-linestanzafollowedbytwostanzasofninelines.Inthefirststanza,shedescribesrepeatinghermother’swordsinherheadandunderherbreath.Thissuggeststhattheyareboundupwithherownself.

Thisunionbetweenmotheranddaughterisemphasisedbythebrevityofthestanzaandtheinclusionofthetwowomeninit.Thenexttwostanzasthen,couldrepresentthe'journey'orthedifferentstagesaheadofthespeakerinbecominganadult,whichsheembarkson,equippedwiththecloseconnectionshehadwithhermother.

Duffyalsousesrhythmandrhymethroughoutthispoemtogreateffect.Therepetitionofhermother'sexpressionscreatetherhythmofthetrainineachstanzatoremindusthatsheisonajourney.Theuseofhalfrhyme"head"and"breath","think"and"silent"alsoworktoholdeachstanzatogether.Therearealsostrongerrhymessuchas"moving"and"evening".Theseconnectthewords,inthiscaseimplyingthatthismomentintimeisoneoftransition.

Stanzaone

Duffywritesinthefirstpersonandthereaderisimmediatelydrawnintoherpersonalthoughtsandfeelings.Shelinksherselfwithhermotherinasentencethatmixes"herphrases"with"myself"and"myhead"."Her"ispossessivesuggestingthewordsbelongtohermotherbutthefacttheyarein“myhead”clearlyshowsadeepandpersonalbond.

Duffyissayingthewordsquietlytoherself:“undertheshallowsofmybreath”.Shallowbreathingsuggestsanxiety-sheisnervousonthisjourney.Perhapssheisrepeatinghermother’swordstocomfortherself.Theword"shallows"hasconnotationsofwaterandperhapsrecallsthesoundwavesthemselvesmergingwiththepoet'sownbreathing.Thisimpliesthathermother'ssayingsareintegraltoherveryexistence.

Theybecome"restfulshapesmoving,"whichsuggeststhedaughterissoothedbythem.Thislinksthewordswiththejourney.Thelinerelatestothejourneytakingplace,asscenesandlandscapesthatarestillorrestingseemtomovewhenviewedfromatrain."restful"and"moving"isacontradictionwhichperhapslinkstothefactthatonatrainyouseemtobestillwhiletherestoftheworldracespastyou.

AlthoughitisDuffywhoisonajourney,thisseemslikeamomentofstillnessandreflectionwhileitistheworldthatchangesaroundher."Moving"canalsobeseeninanothersense,suggestingthepoet’sfeelings-thephrasesandjourneyareemotionallymoving.

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JustasDuffyhaslinkedhermother’swordswithwhatsheseesthroughthewindow,nowsheusesarepeatingphrasetosuggestthesoundofthetrain:“Thedayandever.Thedayandever”.Therepetitionmimicstherhythmofthetravellingtrain.Italsosuggeststhepoetrepeatingthewordstoherself,calmingherself.Italicsstresstheimportanceofthephraseandshowthatthisisadirectquotation-oneofthemother’sphrases.Theuseof"ever"attheendofphrasereferstoeternity,asifthisjourneywilllastherwholelifeandthisconnectionwithhermotherwillalwaysbethere.

Stanzatwo

Inthisstanza,Duffyrefersinmoredetailtothetrainjourney.Shesetsthetime"thisslowevening"andtheplace"goesdownEngland".Theuseof"this"tellsusthatthisisaveryspecifictimeDuffyisreferringto,possibly“Theday”fromhermother’sphrase.Thejourneyseemstobetakingforever.Theeveningis"slow"suggestingthattimeitselfhasstretched,andthatshehasthechancetothinkandreflect.Thetrainis"browsing"alsohasanunrushed,leisurelyfeeltoit.Moreover,theuseoflongvowelsoundsin"slow","goesdown"and"browsing"slowsthepaceofthewordsaddingtotheunhurriedmood.

HereDuffyusesanothercontrastbetweenthecolours"blue"and"grey"toreflectbotharealandametaphoricalchange.Themovefrombluetogreyreflectsthechangefromdaytonightonthiseveningjourney.Italsorepresentsthemovefromchildtoadult.The"tooblue"couldrepresentchildhood,asithasconnotationsofsunshineandhappiness–theuseof"too"alsomakesusthinkofthephrase"toogoodtobetrue",asifwealwayslookatouryouthwithrose-tintedspectacles.The"coolgrey"suggeststheuncertaintyofbecominganadult.Lifeisbecomingdarker.

"Browsing"suggeststhatthetrainhasn’tquitedecidedwhereitisgoing-thepoetisnotsureofherdestination.Thiscouldreflecttheideaofayoungpersonleavinghome,tryingthingsoutandlookingforanewplaceinlife.Thefactthatsheisstilltryingtofind"therightsky"impliesthatsheisyettofindawayoflifethatsuitsher.

Again,inthisstanza,hermother'svoiceemerges:“Whatlikeisit”.Duffyintroducesanotherofherphrasesandagaintheuseofitalicstellsusthisishermotherspeaking.Asbefore,thephraserepeatsandsuggeststhesoundsofthetrain.Duffysaysthatthesewordscometoherwhenshe'thinks',whichconveysthatherinnervoiceislinkedtohermother's.Thesephrasesrepeatthemselvesinherhead.Sheisnotspeakingthemoutloud.Thisshowsjusthowmuchofaneffecthermotherhadonherdevelopment:sheisstillwithinherthoughtprocesses.

Therelationshipbetweeninternalandexternaldialogueisexploredfurtherintheline:“Nothingissilent.Nothingisnotsilent.”Heretherepetitionof"nothing"connectsthetwoshortsentences.Thedoublenegativeinthesecondimpliesthat,whatdoesn'texistinthehereandnow(yourmemories,yourpast)stillhasavoiceinyourhead.Itstillhasinfluence.

Stanzathree

Thisstanzabeginswith"Onlytonight"whichassertsthatthistransition,thisjourneyisasingularexperience.Sheexpressescontradictory,uncertainemotions:“Iamhappyandsad.”.Perhapssheissadtobeleavinghermotherbehindorevenmourningtheendofherchildhood.Butsheisalsopositiveaboutwhatthefutureholdsforherandthatfactshestillhasthisconnectionwithherpasttotakewithher.Shecomparesherfeelingstothoseofmovingfromchildhoodtoadulthoodtothechangeofseasons.Itisthe"endofsummer"whichlinksbacktoherswitchingthe"tooblue"skyfor"coolgrey".

Thedelightandinnocenceofchildhoodisending.Shealludestothearchetypalimageofachildbythefrogpond,butthistimeitisa"green,eroticpond".Thereisaslightcontradictionhereas"green"hasconnotationsofnaivetywhile"erotic"connotesamoreadulttheme.Thisjuxtapositioncouldreflecttheinnocentchildcomingfacetofacewiththewiderworld.

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Perhapsbecauseofthis,shereturnstohermother'sphrases"Thedayandever",repeatingthemlikeacomfortingmantra.Nomatterwhatshehastoconfront,shehashermother'svoicewithinher,givingherstrength.

Thusthepoemconcludeswith:“Iamhomesick,free,inlovewiththewaymymotherspeaks”.Theselinesunitesomeofthecontradictionsfromearlierinthepoem.Sheis"homesick"forherchildhood,herpast,hermother,butshealsofeels"free"toestablishhernewidentity,tostrideforward,tocontinuetravelling"downEngland"andfurther.Thelinebreakjustafter"inlove"leavesithangingforamoment,asifsheis"inlove"withlife,alovewhichwasgiventoherearlierbyhermother.Thefinallinethenconfirmsthis.Itreturnstothetitleandtellsusthatsheispleasedtohavesuchabondwithherpast.Shelovesthatinthis"slowevening"hermother'svoicecomesbacktoherandwillcontinuetodosofor"ever.

Themes

Change/growingup

Thereferencetothechildbythefrogpondisaneffectivewayofportrayingtheactofgrowingup.Thispoemdescribesatransitionbetweenanostalgiaforyouthandananticipationofwhat'sahead.Duffyusesthetrainjourneytosignifythis.Sherepeatshermother'sphraseswhichhaveobviouslybeenwithhersinceshewasachild.Thisimpliesthe'child-in-her'isstillpresent.Herreferencetothechildbythefrogpondisaneffectivewayofportrayingtheactofgrowingup,butheroverallmessageisthatwestillkeepholdofthatpartofourselveswhowassocloselynurturedbyaparent.Westillrememberourmother'swords.

Relationships

TherelationshipbetweenDuffyandhermotherispoignantlyhandledinthispoem.Thepoetrecallshermother'sexpressionswithfondness.Theyarepartofher.Shehearstheminherthoughtsand"undertheshallowsofmybreath."Attheendshesayssheis"homesick"forherchildhood,whichsheremembersinapositivelight.Shereferstoher"love"forhermother'swords,asifsheisstillcomfortedbythem.

Comparisons

ThispoemwouldconnectwellwithOriginallyasbothexplorethetransitionbetweenchildhoodandadulthoodasajourneyor'emigration'.Theideaofmovingfromabrightlycoloured,protectiveenvironment,andanurturingfemalefigure,toamoregreyer,morethreateningfutureissharedwithInMrsTilscher’sClass.