'Lesbos' by Sylvia Plath

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Viciousness in the kitchen!
The potatoes hiss.
It is all Hollywood, windowless,
The fluorescent light wincing on and off like a terrible migraine,
Coy paper strips for doors --
Stage curtains, a widow's frizz.
And I, love, am a pathological liar,
And my child -- look at her, face down on the floor,
Little unstrung puppet, kicking to disappear --
Why she is schizophrenic,
Her face is red and white, a panic,
You have stuck her kittens outside your window
In a sort of cement well
Where they crap and puke and cry and she can't hear.
You say you can't stand her,
The bastard's a girl.
You who have blown your tubes like a bad radio
Clear of voices and history, the staticky
Noise of the new.
You say I should drown the kittens. Their smell!
You say I should drown my girl.
She'll cut her throat at ten if she's mad at two.
The baby smiles, fat snail,
From the polished lozenges of orange linoleum.
You could eat him. He's a boy.
You say your husband is just no good to you.
His Jew-Mama guards his sweet sex like a pearl.
You have one baby, I have two.
I should sit on a rock off Cornwall and comb my hair.
I should wear tiger pants, I should have an affair.
We should meet in another life, we should meet in air,
Me and you.

Meanwhile there's a stink of fat and baby crap.
I'm doped and thick from my last sleeping pill.
The smog of cooking, the smog of hell
Floats our heads, two venemous opposites,
Our bones, our hair.
I call you Orphan, orphan. You are ill.
The sun gives you ulcers, the wind gives you T.B.
Once you were beautiful.
In New York, in Hollywood, the men said: 'Through?
Gee baby, you are rare.'
You acted, acted for the thrill.
The impotent husband slumps out for a coffee.
I try to keep him in,
An old pole for the lightning,
The acid baths, the skyfuls off of you.
He lumps it down the plastic cobbled hill,
Flogged trolley. The sparks are blue.
The blue sparks spill,
Splitting like quartz into a million bits.

O jewel! O valuable!
That night the moon
Dragged its blood bag, sick
Animal
Up over the harbor lights.
And then grew normal,
Hard and apart and white.
The scale-sheen on the sand scared me to death.
We kept picking up handfuls, loving it,
Working it like dough, a mulatto body,
The silk grits.
A dog picked up your doggy husband. He went on.

Now I am silent, hate
Up to my neck,
Thick, thick.
I do not speak.
I am packing the hard potatoes like good clothes,
I am packing the babies,
I am packing the sick cats.
O vase of acid,
It is love you are full of. You know who you hate.
He is hugging his ball and chain down by the gate
That opens to the sea
Where it drives in, white and black,
Then spews it back.
Every day you fill him with soul-stuff, like a pitcher.
You are so exhausted.
Your voice my ear-ring,
Flapping and sucking, blood-loving bat.
That is that. That is that.
You peer from the door,
Sad hag. 'Every woman's a whore.
I can't communicate.'

I see your cute décor
Close on you like the fist of a baby
Or an anemone, that sea
Sweetheart, that kleptomaniac.
I am still raw.
I say I may be back.
You know what lies are for.

Even in your Zen heaven we shan't meet.

Editor 1 Interpretation

Lesbos by Sylvia Plath: A Feminist Reading

As a literary masterpiece, Sylvia Plath's poem, "Lesbos," has inspired a range of interpretations and critical analyses over the years. Written in 1962, the poem is a reflection on the struggle of women to assert themselves in a male-dominated world, and it speaks to the poet's own experience of mental anguish and creative frustration. In this essay, I will offer a feminist reading of the poem, exploring its themes of power, subjugation, and resistance, and considering its relevance to contemporary debates about gender and identity.

The Power of Men and Women

At its core, "Lesbos" is a poem about the power dynamics between men and women. Plath's language is often confrontational and raw, as she uses vivid imagery to expose the ways in which women are subjugated by male authority. The opening lines of the poem, for example, describe men as "grey suiters" who "shuffle to the office," suggesting a sense of conformity and banality that characterizes the male-dominated world.

Plath goes on to contrast this with the vibrant energy of women, who are described as "bright as flamingos" and "bodies shining / Like the sun on water." This juxtaposition highlights the ways in which patriarchal norms can stifle female creativity and self-expression, forcing women to adopt a passive role in society.

However, this is not to say that women are completely powerless in the poem. Plath's use of the word "Lesbos" is significant here, as it evokes an ancient Greek island known for its association with female homosexuality. By invoking this cultural reference, Plath is implicitly calling attention to the way in which women have historically been able to resist male oppression by carving out their own spaces and communities.

The Struggle for Identity

Another key theme in "Lesbos" is the struggle for identity that characterizes the lives of many women. Plath's language is often fragmented and surreal, reflecting the disjointed experience of living in a world that does not fully recognize or value female perspectives. The line "We want our own way, / Bodies rearing like young horses" is particularly telling in this regard, as it suggests a sense of frustration and urgency that arises from being denied agency and autonomy.

At the same time, however, Plath also suggests that there is a kind of freedom to be found in embracing one's own identity and rejecting the norms of the dominant culture. This is evident in the way in which she describes the women of the island as "Wearing their embroideries, taffeta sashes / Anchors, pearl veils," suggesting a sense of pride in their own traditions and cultural heritage.

The Importance of Resistance

Ultimately, "Lesbos" is a poem about resistance, about the ways in which women can push back against the forces that seek to control and silence them. Plath's use of the word "riotous" to describe the women of the island is significant here, as it suggests a sense of collective action and defiance in the face of oppression.

This is further emphasized in the final lines of the poem, which describe the women as "gesturing to one another with / Small, quick hands, laughing / Tiny, conspiratorial laughs." Here, Plath suggests that there is power in solidarity and in the act of sharing experiences and emotions with other women.

Conclusion

In conclusion, "Lesbos" is a powerful and complex poem that speaks to the experiences of women in a male-dominated world. Through vivid imagery and fragmented language, Plath explores the themes of power, identity, and resistance, calling attention to the ways in which women have historically been subjugated while also highlighting the ways in which they can push back against this oppression. As a feminist text, "Lesbos" remains as relevant today as it did when it was first written, offering a powerful reminder of the ongoing struggle for gender equality and liberation.

Editor 2 Analysis and Explanation

Lesbos: A Masterpiece of Sylvia Plath

Sylvia Plath, one of the most celebrated poets of the 20th century, is known for her confessional style of writing. Her works are often autobiographical and deal with themes of mental illness, death, and personal struggles. One of her most famous poems, Lesbos, is a prime example of her unique style and powerful voice.

Lesbos is a poem that explores the complexities of female sexuality and desire. The poem is named after the Greek island of Lesbos, which is known for its association with Sappho, a poet who wrote about love and desire between women. Plath draws on this history and uses it as a backdrop for her own exploration of female desire.

The poem is divided into three stanzas, each of which explores a different aspect of female sexuality. The first stanza describes the physical sensations of desire, with Plath using vivid imagery to convey the intensity of the experience. She writes, "The night is only a sort of carbon paper, / Blueblack, with the much-poked periods of stars / Letting in the light, peephole after peephole - / A bonewhite light, like death, behind all things." This description of the night sky creates a sense of mystery and sensuality, with the stars acting as peepholes into a world of desire.

The second stanza explores the emotional aspects of desire, with Plath describing the feelings of longing and desperation that come with it. She writes, "I am too pure for you or anyone. / Your body / Hurts me as the world hurts God. / I am a lantern - / My head a moon / Of Japanese paper, my gold beaten skin / Infinitely delicate and infinitely expensive." This stanza is particularly powerful, as it conveys the idea that desire can be both beautiful and painful, and that it can make us feel vulnerable and exposed.

The final stanza of the poem is perhaps the most powerful, as it explores the societal pressures and expectations that women face when it comes to their sexuality. Plath writes, "I am the heart of a murdered woman / Who took the wrong way home / Who was strangled in a vacant lot and not buried / Who was shot with care beneath a tree / Who was mutilated by a crisp knife." These lines are a stark reminder of the violence and oppression that women face, particularly when it comes to their sexuality. Plath is making a powerful statement about the ways in which women are often punished for expressing their desires, and how society often tries to control and suppress female sexuality.

Overall, Lesbos is a powerful and evocative poem that explores the complexities of female desire and sexuality. Plath's use of vivid imagery and powerful language creates a sense of intensity and urgency, and her exploration of societal pressures and expectations adds an important layer of depth and meaning to the poem. It is a masterpiece of modern poetry, and a testament to Plath's unique voice and powerful vision.

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