Gender Representation and Sexuality in Gwendolyn Brooks’ “Anniad”

1235 Words3 Pages

In “The Anniad,” an epic poem from Gwendolyn Brooks’ collection Annie Allen, Brooks puts the reader into the mind of a young woman—probably Annie—awaiting her sexual “awakening.” Through the motifs of gender representation and sexuality, Brooks portrays Annie in an unusually complex way. The reader sees her as an insecure young woman, but also as a temptress and seductress. These descriptions are also troubled by the fact that she is initially depicted as a virgin. This multilateral characterization is a departure from other works in which women are presented within a limited “box,” so to speak, yet, at the same time, Annie seems to be a combination of different stereotypes about women.
The poem begins with a physical description of the female protagonist, emphasizing her arrival at the peak of her womanhood: “Think of ripe and rompabout/All her harvest buttoned in/All her ornaments untried” (Brooks, 3.1-3). These lines conjure an image of a young woman who has attained full physical maturity and has yet to experience a man’s touch. Such an image is further established by her “waiting for the paladin…/Who shall rub her secrets out/And behold the hinted bride” (Brooks, 3.4-7). The phrase “rub her secrets out” alludes to the mythological genie, who will grant any three wishes with just the rub of a lamp. Here, Annie is placed in the position of a willing submissive who will fulfill her partner’s every sexual desire. When this partner does appear, it is with a gentle, yet dominant demeanor.
With this entrance, the reader encounters the “man of tan,” who at first appears to stake a claim to Annie’s body, taking advantage of her rapid ascent to womanhood. Brooks compares this growth spurt to the emergence of springti...

... middle of paper ...

... with autumn (Brooks, p. 25). This metaphor represents the relationship between Annie and her “tan man,” and is ultimately foreshadowing his death. The seasons of winter and spring depict Annie’s initial reserved and timid manner and her general air of excited expectation (Brooks, p. 19). Summer represents the heat and passion, which were present during intimate moments. Finally, autumn refers to the death of Annie’s partner (Brooks, pgs. 28-29). Similar images of death and decay are found on page 29: “Fuchsias gone or gripped or gray, /All hay-colored that was green” (Brooks, 42. 2-3) and “Think of almost thoroughly/Derelict and dim and done…/Kissing in her kitchenette/The minuets of memory” (Brooks, 43. 1-2, 6-7). The dying plants and images of neglect illustrate that, contrary to our belief, Annie was, in fact, in love and she now grieves for her lost partner.

More about Gender Representation and Sexuality in Gwendolyn Brooks’ “Anniad”

Open Document