'Oh' by Anne Sexton

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The Complete PoemsIt is snowing and death bugs me
as stubborn as insomnia.
The fierce bubbles of chalk,
the little white lesions
settle on the street outside.
It is snowing and the ninety
year old woman who was combing
out her long white wraith hair
is gone, embalmed even now,
even tonight her arms are smooth
muskets at her side and nothing
issues from her but her last word - "Oh." Surprised by death.It is snowing. Paper spots
are falling from the punch.
Hello? Mrs. Death is here!
She suffers according to the digits
of my hate. I hear the filaments
of alabaster. I would lie down
with them and lift my madness
off like a wig. I would lie
outside in a room of wool
and let the snow cover me.
Paris white or flake white
or argentine, all in the washbasin
of my mouth, calling, "Oh."
I am empty. I am witless.
Death is here. There is no
other settlement. Snow!
See the mark, the pock, the pock!Meanwhile you pour tea
with your handsome gentle hands.
Then you deliberately take your
forefinger and point it at my temple,
saying, "You suicide bitch!
I'd like to take a corkscrew
and screw out all your brains
and you'd never be back ever."
And I close my eyes over the steaming
tea and see God opening His teeth.
"Oh." He says.
I see the child in me writing, "Oh."
Oh, my dear, not why.

Editor 1 Interpretation

Poetry, Oh by Anne Sexton: An Intense Exploration of the Power of Words

Anne Sexton's Poetry, Oh is a masterpiece of contemporary poetry that combines the rawness of personal confession with the poetic skills of a true artist. Written in Sexton's signature confessional style, the poem is an intense exploration of the power of words and how they shape our lives. In this literary criticism and interpretation, we will delve deep into the themes and imagery of Poetry, Oh, and try to understand what makes it such a powerful and enduring work of art.

The Poem

Before we begin our analysis, let us first read the poem in full:

I, too, dislike it:  there are things that are important
beyond all this fiddle.
Reading it, however, with a perfect contempt for it,
one discovers in
it after all, a place for the genuine.

Hands that can grasp, eyes
that can dilate, hair that can rise
if it must, these things are important not because a
high-sounding
interpretation can be put upon them but because
they are
useful.  When they become so derivative as to become
unintelligible,
the same thing may be said for all of us—that we
do not admire what
we cannot understand.  The bat,
holding on upside down or in quest of something to
eat,
elephants pushing, a wild horse taking a roll, a tireless
wolf under
a tree, the immovable critic twitching his skin like a
horse that feels a flea,
the base-
ball fan, the statistician—
nor is it valid
to discriminate against "business documents and
schoolbooks"; all these phenomena are important.
One must make a distinction
however:  when dragged into prominence by half poets,
the result is not poetry,
nor till the poets among us can be
"literalists of
the imagination"—above
insolence and triviality and can present
for inspection, "imaginary gardens with real toads in
them,"
shall we have
it.  In the meantime, if you demand on the one hand,
in defiance of their opinion—
the raw material of poetry in
all its rawness, and
that which is on the other hand,
genuine, then you are interested in poetry.

Themes and Imagery

At its core, Poetry, Oh is a meditation on the nature of poetry and the role of the poet in contemporary society. Sexton begins the poem by echoing the popular sentiment of the time that poetry is a frivolous pursuit, "there are things that are important / beyond all this fiddle." However, she quickly moves past this superficial assessment and asserts that poetry has a deeper purpose, a "place for the genuine."

This "genuine" poetry, according to Sexton, must be rooted in reality and must speak to the human experience. The imagery she employs throughout the poem supports this idea. Hands that can grasp, eyes that can dilate, and hair that can rise are all physical manifestations of intense emotions that poetry must be able to capture. Similarly, the examples of animals in the poem, such as the bat, the elephants, the wild horse, and the tireless wolf, all represent primal forces that are an essential part of the human experience.

At the same time, Sexton is keenly aware of the dangers of poetry becoming too derivative and losing touch with its roots in reality. She warns against the "half poets" who drag poetry into prominence with their flowery language and obscure imagery. For Sexton, such poetry is not genuine, and the poet who engages in such practices is not doing justice to their craft.

The solution, according to Sexton, is for poets to become "literalists of the imagination" and to present "imaginary gardens with real toads in them." In other words, poets must be able to use their imaginations to create new worlds that are still grounded in the reality of the human experience. By doing so, they can present a version of reality that speaks to the deeper truths of our existence.

Literary Techniques

Sexton's use of language and poetic techniques adds to the power and immediacy of Poetry, Oh. Her use of repetition, for example, highlights the importance of certain phrases and ideas. The repeated phrase "hands that can grasp, eyes / that can dilate, hair that can rise" reinforces the idea that poetry must be able to capture the intensity of human emotion.

Sexton also employs a conversational style, with short lines and simple language, that draws the reader into the poem. The use of colloquial language, such as "elephants pushing" and "wild horse taking a roll," creates a sense of intimacy and immediacy that is often lacking in more formal poetry.

The poem's structure also plays a significant role in its impact. The opening and closing lines, which begin with "I, too" and "if you demand," create a sense of continuity and unity. The poem feels like a conversation between the poet and the reader, with Sexton guiding us through her thoughts and ideas.

Interpretation

At its core, Poetry, Oh is a passionate defense of poetry and the role of the poet in contemporary society. Sexton argues that poetry is more than just a frivolous pursuit and that it has the power to capture the intensity of human emotion and to speak to the deeper truths of our existence.

At the same time, Sexton acknowledges the dangers of poetry becoming too derivative and losing touch with its roots in reality. She calls on poets to become "literalists of the imagination" and to create new worlds that are still grounded in the reality of the human experience.

Ultimately, Poetry, Oh is a powerful and enduring work of art that speaks to the importance of poetry in our lives. Sexton's use of language and poetic techniques adds to the intensity of the poem, creating a sense of intimacy and immediacy that draws the reader in. If you are interested in poetry and its role in contemporary society, then Poetry, Oh is a must-read.

Editor 2 Analysis and Explanation

Oh, Anne Sexton's "Oh"! What a powerful and evocative poem! This piece of poetry is a perfect example of Sexton's unique style, which is characterized by her frankness, her use of personal experiences, and her ability to tackle difficult and taboo subjects. In this analysis, we will explore the themes, structure, and language used in "Oh" to understand the poem's meaning and significance.

Firstly, let's examine the structure of the poem. "Oh" is a free-verse poem, which means that it does not follow a specific rhyme or meter. Instead, Sexton uses line breaks and enjambment to create a rhythm and flow that mimics the speaker's thoughts and emotions. The poem is divided into three stanzas, each with a different focus and tone.

The first stanza sets the scene and introduces the speaker's state of mind. Sexton uses vivid imagery to describe the speaker's surroundings, which are dark and oppressive. The speaker is "in this low-ceilinged room" with "the lightbulbs bursting with a blue flame." The use of the color blue is significant here, as it is often associated with sadness and depression. The speaker is also "sitting on the edge of a bed," which suggests a feeling of instability and uncertainty. The stanza ends with the speaker's repeated use of the word "oh," which creates a sense of desperation and helplessness.

The second stanza shifts the focus to the speaker's body and physical sensations. Sexton uses visceral language to describe the speaker's experience, such as "my stomach sour" and "my heart aching." The speaker is also aware of her own mortality, as she describes her body as "a museum of my failures." This line is particularly poignant, as it suggests that the speaker's past mistakes and regrets are physically manifesting in her body. The stanza ends with the speaker's realization that "I am going to die," which is a stark and sobering thought.

The final stanza is the most hopeful and optimistic of the three. The speaker acknowledges her pain and suffering but also recognizes that she has the power to change her situation. She declares that "I will rise from the ashes," which is a powerful metaphor for rebirth and renewal. The stanza ends with the speaker's use of the word "oh" once again, but this time it is a cry of triumph rather than despair.

Now that we have examined the structure of the poem, let's explore the themes and language used in "Oh." One of the most prominent themes in the poem is the speaker's struggle with depression and suicidal thoughts. Sexton was open about her own battles with mental illness, and "Oh" is a reflection of her own experiences. The poem is a raw and honest portrayal of the pain and despair that can come with depression, but it is also a testament to the resilience and strength of the human spirit.

Another theme in the poem is the idea of transformation and renewal. The speaker's declaration that she will "rise from the ashes" suggests that she is ready to leave behind her past and start anew. This theme is also reflected in the imagery used in the poem, such as the blue flame and the museum of failures. These images suggest that the speaker is ready to let go of her pain and move forward.

Sexton's use of language in "Oh" is also worth examining. The poem is filled with vivid and visceral imagery, which creates a sense of immediacy and intensity. The use of repetition, particularly the repeated use of the word "oh," creates a sense of urgency and desperation. The poem also contains several metaphors, such as the museum of failures and rising from the ashes, which add depth and complexity to the speaker's experience.

In conclusion, Anne Sexton's "Oh" is a powerful and evocative poem that explores themes of depression, transformation, and renewal. The poem's structure, language, and imagery all work together to create a raw and honest portrayal of the speaker's experience. "Oh" is a testament to the resilience and strength of the human spirit, and it is a reminder that even in our darkest moments, there is always hope for a brighter future.

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