Featured Poem: Morning Song by Sylvia Plath

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(Due to copyright issues, I won’t be posting the poem. But click here to view “Morning Song” in its entirety.)

Sylvia Plath is one of the finest poets the world has ever seen. There is this incredible, almost unnerving frankness and viciousness to her works. She had a way of squeezing every drop out of life at every instance and skillfully capturing passing notions and emotions. She’d weave them into beautiful and oftentimes jarring tapestries of poetry and stark reality. For many readers, myself included, her finely penned confessions/poems possess a magnetic pull. We are drawn into her world just as effectively as we are asked to examine ours.

In Morning Song, Plath captures the burgeoning love of a mother for her newborn. The poem, written shortly after her own child’s birth, speaks of how mother and child start off almost as if they were strangers before inevitably developing a connection that binds them for life.

Note how in the poem, she addresses her child as if she were speaking to another adult. There is no cooing, no profuse proclamations of a life-changing love—nothing to intimate the cosmic connection between them, at least at first.

In the first line, she even likens the child to a “fat gold watch.” Although the watch was set into motion by love, the ticking watch can also be seen as a reminder of a person’s mortality.  To be specific, if not the death of the person, the demise of the self. The third stanza reads:

“I am no more your mother

Than the cloud that distills a mirror to reflect its own slow

Effacement at the wind’s hand.”

Interesting use of the word effacement, which in medical terms refer to the thinning of the cervix in preparation for the child’s delivery. But attach the word ‘self’ to effacement, and what you have is the deliberate act of taking the background, almost as if allowing the self to fade away, much like how condensation dissipates into thin air. Again, a ticking clock and effacement at the wind’s hand.

Take into consideration that from a purely evolutionary perspective—strictly gene’s eye level—the purpose of gene carriers is to ensure the continuation of their respective genetic lines, i.e. man must “go forth and multiply.”

And while, historically speaking, “securing heirs” was a weight carried by both men and women, there’s no arguing that women were left to shoulder the brunt of that weight. Go back less than a century to Plath’s own time and a large section of society still thought that a woman’s primary purpose was to bear children and rear them. Women were already working then, but the concept of ‘family first’ for women wasn’t so much a suggestion as it was an accepted rule.

Now, Sylvia Plath was a woman with grand literary ambitions and while motherhood was something she welcomed completely, when faced with the newness of the situation, it must have given her a bit of a pause. Motherhood was a jump into the uncertain, which carried with it great joy and tremendous challenges.

On the second stanza, she describes the parents’ reaction to the baby’s arrival—

“Our voices echo, magnifying your arrival. New statue.

In a drafty museum your nakedness

Shadows our safety. We stand round blankly as walls.”

There it is, the pause. A sense of detachment. Strangers meeting for the first time. And yet, towards the end, the poem changes its tune quite drastically to show a mother’s devotion to her child. Plath speaks of waking to listen to her child’s breathing. She talks of how:

“One cry, and I stumble from bed, cow-heavy and floral

In my Victorian nightgown.”

Those words transform the persona from a watchful observer to a dedicated and loving mother.

Now, in my humble opinion, what makes Morning Song timeless is how it challenges the traditional idea that all women react the same way to motherhood. While ideally, it would be love at first sight between mother and newborn—that their bond is present and sealed after the final push—it’s not an always case. Sometimes it takes a while for that bond to be established. And that’s okay. Sometimes going through that journey of getting to know and arriving to love their children is just a journey some of the best mothers have had to undertake.

Featured Poem: Pursuit by Sylvia Plath

black panther

Pursuit  is probably the most erotic poem from Sylvia Plath. It was written almost immediately after the great poetess met her handsome husband-to-be, the poet, Ted Hughes. The poem presents the image of the persona (Plath) as being the prey of this powerful, irresistible, and ultimately destructive panther (Hughes).

To see herself as a type of prey to the biggest seducer of Cambridge (1), and to acknowledge the possibility of destruction under the hands (paws?) of this powerful predator is very telling of the gut-pull, the incredible attraction between two of the world’s greatest Literary minds. Plath knows the danger of this attraction, which is why the persona in this piece attempts to run, to bolt each door behind her—all the while knowing that running is futile.

There is also that fear of becoming one of the ‘charred and ravened women,’ which she describes in the poem. But despite this knowledge, this fear, she too is drawn to the panther. Her blood ‘quickens, gonging in (her) ears.’ That, perhaps, shows how the magnetic pull between them is beyond the persona’s control.

And of course, there is that telling second line: “One day I’ll have my death of him.” Self-fulfilling prophecy? That is still debatable. The way I read it, it is Plath’s acknowledgement of the depths of her emotions for Hughes.

 

Pursuit

By Sylvia Plath

 Dans le fond des forêts votre image me suit.

RACINE

There is a panther stalks me down:

One day I’ll have my death of him;

His greed has set the woods aflame,

He prowls more lordly than the sun.

Most soft, most suavely glides that step,

Advancing always at my back;

From gaunt hemlock, rooks croak havoc:

The hunt is on, and sprung the trap.

Flayed by thorns I trek the rocks,

Haggard through the hot white noon.

Along red network of his veins

What fires run, what craving wakes?

Insatiate, he ransacks the land

Condemned by our ancestral fault,

Crying: blood, let blood be spilt;

Meat must glut his mouth’s raw wound.

Keen the rending teeth and sweet

The singeing fury of his fur;

His kisses parch, each paw’s a briar,

Doom consummates that appetite.

In the wake of this fierce cat,

Kindled like torches for his joy,

Charred and ravened women lie,

Become his starving body’s bait.

Now hills hatch menace, spawning shade;

Midnight cloaks the sultry grove;

The black marauder, hauled by love

On fluent haunches, keeps my speed.

Behind snarled thickets of my eyes

Lurks the lithe one; in dreams’ ambush

Bright those claws that mar the flesh

And hungry, hungry, those taut thighs.

His ardor snares me, lights the trees,

And I run flaring in my skin;

What lull, what cool can lap me in

When burns and brands that yellow gaze?

I hurl my heart to halt his pace,

To quench his thirst I squander blood;

He eats, and still his need seeks food,

Compels a total sacrifice.

His voice waylays me, spells a trance,

The gutted forest falls to ash;

Appalled by secret want, I rush

From such assault of radiance.

Entering the tower of my fears,

I shut my doors on that dark guilt,

I bolt the door, each door I bolt.

Blood quickens, gonging in my ears:

The panther’s tread is on the stairs,

Coming up and up the stairs.

Note: ‘Biggest seducer in Cambridge’ came from the book, ‘Her Husband’ by Diane Middlebrook.

 Image: wallpapers.free-review.net

February 11, 2013: Remembering Sylvia Plath

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Fifty years ago today, in the wee hours of the morning, Sylvia Plath brought bread and milk to her sleeping children. She opened their window and closed the door, carefully stuffing towels into the cracks—separating her children from her final, decisive act. She did the same with the kitchen door, carefully, methodically carrying out the operation with the same precision she used in choosing the words to flesh out her worn soul. The oven’s gas taps were turned on, a cloth was placed inside the oven. She laid her head onto the cloth and waited for death to claim her.

THAT is the image of Plath in pop culture. The brilliant poetess who died too soon, head in the oven and children bawling in the next room. THAT image continues to cast its massive shadow on Sylvia Plath’s (and consequently, Ted Hughes’s) exceptional works. It has become almost impossible to separate this tragedy from her poetry, and yet, it is this same tragedy that one must transcend to completely understand her genius. Sylvia Plath is often regarded as one of the most well-known Confessional Poets in the last century. And yet for many, she is simply the mad writer who stuck her head in the oven to die.

So while today may be Sylvia Plath’s 50th death anniversary, for me, I’ll use it to mark the start of my year of celebrating Plath. This year, I plan to go over her works and post poem analyses and reviews. I shall try to see each poem, short story, essay, or novel with a fresh and unbiased eye—hopefully, picking up a thing or two in the process. I end this post with a quote from Plath:

 

“I saw my life branching out before me like the green fig tree in the story. From the tip of every branch, like a fat purple fig, a wonderful future beckoned and winked. One fig was a husband and a happy home and children, and another fig was a famous poet and another fig was a brilliant professor, and another fig was Ee Gee, the amazing editor, and another fig was Europe and Africa and South America, and another fig was Constantin and Socrates and Attila and a pack of other lovers with queer names and offbeat professions, and another fig was an Olympic lady crew champion, and beyond and above these figs were many more figs I couldn’t quite make out. I saw myself sitting in the crotch of this fig tree, starving to death, just because I couldn’t make up my mind which of the figs I would choose. I wanted each and every one of them, but choosing one meant losing all the rest, and, as I sat there, unable to decide, the figs began to wrinkle and go black, and, one by one, they plopped to the ground at my feet.” – from The Bell Jar