Classic and Contemporary Poetry: Explained

Alicia Suskin Ostriker's poem "Frowning at Emily" is a reflection on the discomfort and misunderstanding that often accompanies the works of poets who explore dark and unsettling themes, specifically referencing Emily Dickinson. The poem explores the tension between societal expectations of normalcy and the poetic exploration of themes like death, madness, and suffering. Through a conversational tone and a layered narrative, Ostriker captures the unease of those who encounter Dickinson's work and the defense that must often be made for such explorations.

The poem opens with a striking image: "The entire room was frowning at Emily." This immediately sets the tone, indicating a collective disapproval or confusion directed at Emily Dickinson, whose work often delved into themes that many might find unsettling. The line "They wanted to know if she was crazy or what" underscores the judgmental attitude of the group, as if writing about such dark subjects is inherently abnormal or indicative of mental instability. The use of the phrase "or what" adds a casual, almost dismissive tone, highlighting how easily people might label or misunderstand someone who does not conform to their expectations.

Ostriker captures the discomfort that Dickinson's work evokes with the line "It disturbed them she wrote so many poems / About death madness suffering." This disturbance arises not just from the content of the poems, but from the sheer volume of work on these subjects, suggesting that Dickinson’s preoccupation with such themes is what sets her apart—and, in the eyes of some, marks her as different or even "crazy." The repetition of "death madness suffering" emphasizes the weight of these themes and the extent to which they dominate Dickinson's poetry, creating a sense of unease among those who might prefer lighter or more conventional topics.

However, rather than voicing their discomfort directly, the people in the room are "too polite to complain," a line that reveals the social etiquette that prevents open criticism. This politeness, however, does not erase their discomfort, and so the speaker—presumably Ostriker herself—feels compelled to "make a speech about it." This speech becomes a defense of Dickinson's work and, by extension, of any artist who chooses to explore difficult or taboo subjects.

In her speech, the speaker presents "two basic / Approaches to life": one that seeks to protect oneself and avoid harm ("damage control") and another that embraces all experiences, regardless of the consequences. This dichotomy is central to the poem, as it contrasts the cautious, protective mindset of the majority with the fearless, all-encompassing approach of poets like Dickinson. The phrase "we cover our rear ends don’t we" adds a colloquial, almost humorous touch, highlighting the everyday nature of this self-protective behavior.

The speaker admits to "making this up," which introduces a layer of self-awareness and irony. This confession suggests that the explanation given is not a fixed truth but rather a constructed narrative meant to bridge the gap between Dickinson’s approach to life and the more conventional mindset of the audience. Despite this, the narrative resonates with at least one person in the room—a boy who grins and says "cool" under his breath. This moment of connection is significant because it shows that, while many might not understand or appreciate Dickinson's work, there are always those who do, often because they, too, have a different perspective or a more open-minded approach to life.

The boy is described as someone who "had four years of Latin / In high school and loved Virgil," suggesting that his appreciation of Dickinson’s work comes from a deeper engagement with literature and an understanding of classical themes of fate, suffering, and the human condition. His reaction, though subtle, represents a validation of the speaker's defense of Dickinson, reinforcing the idea that the exploration of difficult themes is not only valid but also valuable.

The poem concludes with a rhetorical question: "But hell, we’re grateful for whatever comes, / Aren’t we." This closing line encapsulates the speaker's philosophy, which aligns with Dickinson’s approach to life and poetry. It suggests a willingness to embrace all aspects of life, including the darker ones, and a recognition that these experiences, however uncomfortable, contribute to a fuller understanding of existence.

"Frowning at Emily" is a nuanced reflection on the challenges faced by artists who push the boundaries of conventional subject matter. Through a blend of humor, irony, and sincerity, Ostriker defends the importance of confronting difficult themes and challenges the reader to reconsider their own approach to life and art. The poem serves as both a tribute to Emily Dickinson and a broader commentary on the often uneasy relationship between society and those who dare to explore the depths of the human experience.

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