Classic and Contemporary Poetry: Explained

Anne Sexton's "Clothes" is a meditation on death, identity, and the significance of the ordinary objects that accompany us through life, particularly the clothes we wear. The poem is laced with dark humor and a sense of both resignation and defiance as the speaker contemplates what to wear for her final journey. By focusing on the seemingly mundane task of choosing clothes to die in, Sexton delves into deeper themes of self-perception, societal expectations, and the intimate connection between our physical selves and the experiences that shape us.

The poem opens with a directive: "Put on a clean shirt / before you die, some Russian said." This immediately sets a tone that is both pragmatic and ironic. The idea of putting on a clean shirt before death suggests a concern with appearance and propriety, even in the face of mortality. The speaker seems to mock this idea by listing the various stains—"no egg spots, no blood, / no sweat, no sperm"—that should be avoided, highlighting the futility of such concerns when death is imminent. This list, with its mix of bodily fluids and everyday messes, underscores the physicality of life and the ways in which our bodies betray us, even as we try to maintain an outward appearance of cleanliness and order.

The speaker addresses God directly, asking, "You want me clean, God, / so I'll try to comply." This line reflects a sense of obligation to meet divine or societal expectations, even in death. The mention of the hat she was married in, "White, broad, fake flowers in a tiny array," introduces the theme of nostalgia. The hat is described as "old-fashioned" and "as stylish as a bedbug," suggesting that it is out of date and perhaps a little ridiculous, but it holds sentimental value. The choice to die in something nostalgic reflects a desire to connect with the past, to find comfort in memories, even as the end approaches.

The speaker’s choice of clothing continues to reveal layers of her identity and life experiences. She considers taking her "painting shirt / washed over and over of course / spotted with every yellow kitchen I've painted." The painting shirt is a symbol of her role as a homemaker, someone who has created and maintained the spaces where family life unfolds. The kitchens, with their "family laughter and the soup," are imbued with warmth and the essence of domestic life. By asking God if she can "bring all [her] kitchens," the speaker expresses a wish to carry the meaningful parts of her life with her into death, to hold onto the moments that made life worth living.

The poem then shifts to more intimate items of clothing, each carrying its own significance. The speaker mentions a black bra, "the padded black one that my lover demeaned / when I took it off." This moment captures the vulnerability and insecurity that can accompany sexual intimacy, as well as the judgment that can come from others, even in such personal moments. The bra, a symbol of both sexuality and the pressures of conforming to certain ideals, is remembered not for its function but for the emotional impact of that judgment.

The speaker also reflects on her "maternity skirt of my ninth month," a garment associated with motherhood and the physical changes that come with it. The skirt is described as "a window for the love-belly / that let each baby pop out like an apple," a vivid and affectionate image of childbirth. The reference to the "water breaking in the restaurant" adds a touch of humor and realism, acknowledging the messiness and unpredictability of life. The speaker imagines dying in a "noisy house," surrounded by the chaos and vitality of family life, rather than in silence or solitude.

For underpants, the speaker chooses "white cotton, / the briefs of my childhood," which were dictated by her mother as appropriate for "nice girls." This choice reflects the lingering influence of her mother's values and the societal expectations imposed on women from a young age. The speaker acknowledges the rebellion in her choice of other colors—"the black, the red, the blue"—but ultimately, she is willing to die "like a nice girl," adhering to the norms she was raised with, even as she recognizes their limitations.

The poem closes with the speaker reflecting on her youthful self, "Being sixteen-in-the-pants," a phrase that captures the innocence and curiosity of adolescence. She imagines dying "full of questions," suggesting that even at the end of life, there remains a sense of wonder and uncertainty. This final line reinforces the theme of identity as something that is continually evolving, shaped by experiences, memories, and the clothes we wear—both literally and metaphorically.

In "Clothes," Sexton uses the mundane task of choosing an outfit for death as a way to explore the complexities of identity, memory, and the ways in which we are shaped by societal expectations. The poem is both a reflection on the past and an assertion of the self, with each piece of clothing symbolizing a different aspect of the speaker's life. Through her characteristic blend of humor, irony, and emotional depth, Sexton offers a meditation on the human condition that is as intimate as it is universal, reminding us that even in death, we are the sum of the lives we have lived.

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