Confessional Poetry
I have done it again.
One year in every ten
I manage it –
A sort of walking miracle, my skin
Bright as a Nazi lampshade,
My right foot
A paperweight,
My face featureless, fine
Jew linen.
This excerpt comes from the poem “Lady Lazarus” by Sylvia Plath, one of the most famous – and infamous – poets of the 20th century. Many of Plath’s poems, such as this one, belong to a particular school of poetry known as Confessional Poetry. With a distinct style all their own, Plath and her fellow Confessional poets will be forever remembered for their brutal honesty, emotionality, and the personal quality of their poems.
Confessional poetry emerged in the late 1950’s and early 1960’s, and was identified by its use of the personal pronoun “I”. At the time, T.S. Eliot and other poets were advocating an impersonal style in their poetry, and a detached loss of connection with the reader. Confessional poetry emerged partly as a reaction to this train of thought; rather, the Confessional poets originated their school on the idea of themselves as unique individuals bringing something personal and distinctive to readers. The rise of this brand of poetry also coincided with the notorious political and social changes that occurred at the same time, and much of this was reflected in the poems. These changes allowed the Confessional poets to explore issues in their work that had previously been taboo, and had never been discussed before in such a public forum, such as abortions, divorces, mental disorders, and suicide. Moreover, these poets were able to use their real lives as “inspiration” for their art, giving it an intimate diar...
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...r white, middle class backgrounds, and are also highly educated, prompting some critics to claim that this style of poetry is merely a bunch of whiney middle-class white folk, complaining about their miserable lives. Others wonder if the use of “I” excludes some readers rather than forming an intimate connection. Still others believe that confessional poetry is almost a method of false advertising: they point to evidence that some of the poets may have actually exaggerated their true life events to make for a more interesting read, and that the use of the autobiographical style makes for a false sense of connection with the reader. As with any style of poetry, the merits of Confessional poetry are often passionately debated, but the fact remains that these poets maintain a powerful and significant influence over poetry and other works about poetry to this day.
Sociologists often employ intersectionality theory to describe and explain facets of human interactions. This particular methodology operates on the notion that sociologically defining characteristics, such as that of race, gender, and class, are not independent of one another but function simultaneously to determine our individual social experiences. This is evident in poetry as well. The combination of one poet’s work that expresses issues on class with another poet’s work that voices issues on race, and so forth, can be analyzed through a literary lens, and collectively embody the sociological intersectionality theory.
American poetry, unlike other nations’ poetry, is still in the nascent stage because of the absence of a history in comparison to other nations’ poetry humming with matured voices. Nevertheless, in the past century, American poetry has received the recognition it deserves from the creative poetic compositions of Walt Whitman, who has been called “the father of American poetry.” His dynamic style and uncommon content is well exhibited in his famous poem “Song of Myself,” giving a direction to the American writers of posterity. In addition, his distinct use of the line and breath has had a huge impression on the compositions of a number of poets, especially on the works of the present-day poet Allen Ginsberg, whose debatable poem “Howl” reverberates with the traits of Whitman’s poetry. Nevertheless, while the form and content of “Howl” may have been impressed by “Song of Myself,” Ginsberg’s poem expresses a change from Whitman’s use of the line, his first-person recital, and his vision of America. As Whitman’s seamless lines are open-ended, speaking the voice of a universal speaker presenting a positive outlook of America, Ginsberg’s poem, on the contrary, uses long lines that end inward to present the uneasiness and madness that feature the vision of America that Ginsberg exhibits through the voice of a prophetic speaker.
In her poem entitled “The Poet with His Face in His Hands,” Mary Oliver utilizes the voice of her work’s speaker to dismiss and belittle those poets who focus on their own misery in their writings. Although the poem models itself a scolding, Oliver wrote the work as a poem with the purpose of delivering an argument against the usage of depressing, personal subject matters for poetry. Oliver’s intention is to dissuade her fellow poets from promoting misery and personal mistakes in their works, and she accomplishes this task through her speaker’s diction and tone, the imagery, setting, and mood created within the content of the poem itself, and the incorporation of such persuasive structures as enjambment and juxtaposition to bolster the poem’s
Poetry’s role is evaluated according to what extent it mirrors, shapes and is reshaped by historical events. In the mid-19th century, some critics viewed poetry as “an expression of the poet’s personality, a manifestation of the poet’s intuition and of the social and historical context which shaped him” ( Preminger, Warnke, Hardison 511). Analysis of the historical, social, political and cultural events at a certain time helps the reader fully grasp a given work. The historical approach is necessary in order for given allusions to be situated in their social, political and cultural background. In order to escape intentional fallacy, a poet should relate his work to universal
A phenomenal writer’s work generates a powerful bond between their words and the reader. This is factual of Sylvia Plath’s poetry. It contains universal, timeless themes of depression and death that, in these dejected days, many people can relate to. Sylvia Plath was a confessional poet whose oppressive life led to her relatable story. She wrote many astonishing poems, such as “cut”, “Among the Narcissi”, and “A Birthday Present” that all chronicle and showcase her struggle for a release from the suppressed world she subsisted in, a world that many remain to live in today. Sylvia Plath’s poetry narrates both her distinct, individual story and yet universal tale of a woman who searches for a way out of her depressed state of mind.
The poetry of Brian Turner, Charlotte Mew, and T. S. Eliot all turned poetry from the status of great to world re-making; they transformed the poetry of their era to poetry that could be read decades later yet still have a profound impact on its audience. I believe that world making lies in a poet’s ability to take any situation, any speaker, and any context that is personally important to them, and create a poem that deeply affects its audience--one with the ability to completely transcribe emotion from a text to the heart.
It is a way to crucially engage oneself in setting the stage for new interventions and connections. She also emphasized that she personally viewed poetry as the embodiment of one’s personal experiences, and she challenged what the white, European males have imbued in society, as she declared, “I speak here of poetry as the revelation or distillation of experience, not the sterile word play that, too often, the white fathers distorted the word poetry to mean — in order to cover their desperate wish for imagination without insight.”
Marianne Moore’s most popular poem, which is also her most ambiguously titled poem, is called “Poetry.” In this poem Moore decisively strayed away from her conventional writing style of contrariety and the bizarre, but it does seem to share other characteristics of her earlier poetry. Moore’s apparent purpose in writing “Poetry” was to criticize the present social outlook on the entire idea of poetry, to come up with a universal definition of poetry and of genuine poetry, and ultimately to convince those who dislike poetry of its benefits. She attempted to present this criticism and definition by means of blatant irony, and even though she desperately wants to describe the seemingly trivial activity of poetry, she fails to provide a definition that is not caught up in the negative.
"Sylvia Plath poem written two weeks before she died reveals 'disturbed' state of mind." The Telegraph. Telegraph Media Group, 30 Apr. 2013. Web. 1 June 2014.
When Sylvia Plath was told her father died at the tender age of nine, she bitterly said, “I’ll never speak to God again.” In her brief but indispensable writing career, Plath distinguished herself in the poetical realm with her body of work that includes but is not limited to poems, short stories, and one semi-autobiographical novel. Her legacy lives on through her dark themes laden with powerful images such as the moon and skulls, while a father-type figure acts as a significant force either as a central antagonistic power or an influential shadow looming in the background. Brooding thoughts and despondent emotion overcome the reader when faced with one of Plath’s numerous works such as “Daddy,” “The Colossus,” and “Lady Lazarus.” Sometimes straightforward in understanding, Plath’s works contain intermittently placed, unique choices in diction like “mule bray, pig-grunt” throughout her works. On February 11, 1963, Plath was found with her head placed in her kitchen oven (death by carbon monoxide), yet she continues to resonate with people to this day; is it because we are able to relate to her melancholy and heartache? Or because of our sickening-interest in her suicide and the events that led to it? Maybe it is both. Because of her father’s death at a young age, Sylvia Plath’s poems underlies a theme regarding her suicidal demise and victimization at the hands of a patriarchal society, particularly from her husband, Ted Hughes, and late father, Otto Plath.
Overall, the imagery that Plath creates is framed by her diction and is used to convey her emotions toward all relationships and probably even her own marriage to Ted Hughes, who had rude, disorderly habits. Even the structure of the poem is strict in appearance as each stanza ends with a period and consists of exactly six lines. In addition, the persona of the poem is very detached and realistic, so much that it is hard to distinguish between her and Plath, herself. However, Plath insinuates that the woman actually wants love deep down, but finds the complexity and unpredictability of love to be frightening. As a result, she settles for solitude as a defense against her underlying fear.
The Modernist era of poetry, like all reactionary movements, was directed, influenced, and determined by the events preceding it. The gradual shift away from the romanticized writing of the Victorian Era served as a litmus test for the values, and the shape of poetry to come. Adopting this same idea, William Carlos Williams concentrated his poetry in redirecting the course of Modernist writing, continuing a break from the past in more ways than he saw being done, particularly by T.S. Eliot, an American born poet living abroad. Eliot’s monumental poem, The Waste Land, was a historically rooted, worldly conscious work that was brought on by the effects of World War One. The implementation of literary allusions versus imagination was one point that Williams attacked Eliot over, but was Williams completely in stride with his own guidelines? Looking closely at Williams’s reactionary poem to The Waste Land, Spring and All, we can question whether or not he followed the expectations he anticipated of Modernist work; the attempts to construct new art in the midst of a world undergoing sweeping changes.
It [penis envy] is to be interpreted as a defensive protecting the woman from the political, economic, social, and cultural condition that is hers at the same time that it prevents from contributing effectively to the transformation of allotted fate. “Penis envy” translates woman’s resentment and jealousy at being deprived the advantages …“autonomy”, “freedom”, “power”, and so on; … it also expresses her resentment at having been largely excluded, as she has been for centuries, from political, social, and cultural responsibilities. (51)
This list of qualities that define the greatest poet maintain that the poet does not know “pettiness or triviality” which creates an image in which the actions and work of the writer is defined through it’s importance in the subjects that are presented within their works. Whitman’s act of categorization creates a definition of the poet that portrays him as being wholly good and possessing the most important qualities that can be found in an individual. This is broadened to describe the American poet specifically in that they are known for their “generosity, affection, and for encouraging competitors” which reinforces the argument that they represent the icon of moral uprightness in