Duffy notes - full set new poems
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1 The Poet –Carol Ann Duffy Carol Ann Duffy was the eldest sister to four brothers who were born into a working class, catholic family, in Glasgow in 1955. She moved to Stafford when she was six, where her aspirations to become a writer were encouraged by her education, with her earlier poems being published whilst at school. Her father worked as an electrical fitter. His position as a Trade Unionist and involvement in attempting to become a Labour Councillor in Stafford gave her an insight into politics. Duffy went on to study philosophy at Liverpool University from 1974 to 1977, before working for Granada Television and then in the early 80s becoming a freelance writer in London, whilst also working as a writer in residence in East End Schools. In 1985 she became a full-time writer and has written a number of plays, along with her poetry collections, for which she has received numerous awards. She went on to become Professor of Creative Writing at Manchester Metropolitan University. She is also currently Britain’s first woman Poet Laureate, for which she was appointed in 2009. She is also a mother to her only daughter. War Photographer Overview Duffy was inspired to write this poem through her friendship with someone who was a war photographer. She was especially intrigued by the peculiar challenge faced by these people whose job requires them to record terrible, horrific events without being able to help them directly. Duffy perhaps shares an affinity with these photo journalists; while they use the medium of photography to convey certain truths about the human condition, she uses words and language to do the same job. Throughout the poem, Duffy provokes her reader to consider their own response when confronted with the photographs that we regularly see in our newspaper supplements and why so many of us have become desensitized to these images. By viewing this issue from the perspective of the photographer, she also reveals the difficulties of such an occupation. By the end of the poem, it is clear our subject straddles two vastly different worlds yet increasingly feels he belongs to neither. Form and Structure The poem is laid out in 4 regular 6 line stanzas, with each stanza ending in a rhyming couplet. This structure is interesting since its very rigid order contrasts with the chaotic, disturbing images described in the poem. This organisation mirrors the actions of the photographer, who lays out his films in “ordered rows”, as though in doing so he can in some way help to restore order to this chaotic world. The poem moves through a series of observations in the first three stanzas to a conclusion of sorts in the fourth. The style is almost clinical and matter of fact, perhaps to imitate the clinical approach required by people in this line of work to allow them to do their job under extreme pressure. Unlike the readers of the newspaper he works for, this sense of distance is a necessary requirement for the photographer. Unsurprisingly, in a poem that is so focused on the images of human suffering, Duffy concentrates on the sense of sight throughout the poem and the final image is almost like a photograph itself, depicting the journalist surveying the landscape and its inhabitants below “impassively” as he travels to his next assignment. Stanza One Summary and Analysis The poem opens in the intimate, tranquil setting of the poet’s darkroom. He is compared to a priest and there is a definite sense of ritual in the way he develops his film. He sets out the film: “spools of suffering” in “ordered rows”, perhaps in an attempt to restore order to the chaotic images contained within them. He handles them with the same respect with which a priest would prepare for communion and there is a definite spirituality to this process. This religious imagery is effective in not only conveying the dedication the photographer feels towards his occupation but also because, like a priest he too is exposed often to death and suffering. The “red light” of the darkroom has connotations of the light that burns continuously in catholic churches to symbolise the presence of Christ and also of blood – a sight that he must be all too familiar with. Aside from the function of the
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Transcript of Duffy notes - full set new poems
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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.
