Classic and Contemporary Poetry: Explained

"May 30th" by Anne Sexton presents a vivid portrayal of domestic life through a surreal, yet grounded lens. The poem oscillates between the mundane and the absurd, using imagery that is both familiar and unsettling to convey a sense of uneasy normalcy. Sexton's characteristic dark humor is on display as she navigates themes of death, domesticity, and existential anxiety.

The poem opens with a plea to God, "Don't look now, God, we're all right." This line immediately establishes a tone of cautious optimism, a reassurance that things are fine—at least for the moment. However, the invocation of God hints at underlying fears, as if the speaker is hoping to avoid divine scrutiny that might disrupt this fragile balance. The reference to "all the suicides" eating Black Bean Soup introduces an element of dark humor, suggesting that even those who have faced the ultimate despair are now engaged in a simple, comforting act. The soup, a humble dish, contrasts sharply with the heavy theme of suicide, creating a jarring but effective juxtaposition.

The imagery continues with the Dalmatian, described as "our turnip, our spotted parasite," snoozing in her chair. The dog, likened to a turnip, a rooted vegetable, and a parasite, evokes a sense of comfort mixed with unease. The dog is a benign presence, yet the choice of words implies a relationship that is both nurturing and burdensome. This duality extends to the description of the trees as "a group of green girls [that] wiggle at every window." The trees are personified as playful, youthful girls, but their incessant movement at the windows hints at an intrusion into the domestic space, a reminder of the life and vitality outside that contrasts with the stasis inside.

The poem's middle section is filled with strange, almost grotesque images: "a sea bird, all nude and intimate, comes in low," and "the big fat sugar sits in a chamber pot." The sea bird's nudity and intimacy suggest vulnerability, while the sugar in a chamber pot—a container associated with waste—adds an element of discomfort. This image of sweetness in a place of waste could symbolize the contamination of what is pure or desirable by the realities of life. The "Blue Fish [that] vomit up their hooks" in the freezer presents another unsettling image, one that blurs the line between life and death, consumption and expulsion. The fish, symbols of sustenance, are shown in an act of rejection, reinforcing the poem's undercurrent of unease.

As the poem moves into its final lines, the focus shifts to the marriage between the speaker and her partner, which "twists, holds firm, a sailor's knot." This metaphor suggests a relationship that is both strong and complicated, one that is bound tightly yet requires careful maintenance to avoid unraveling. The reference to a political argument—blaming the economy on Roosevelt and Truman versus Ike and Nixon—highlights the human tendency to find fault, even in moments of connection. The argument, though rooted in history, is ultimately futile, as the speaker concludes, "Both wrong. Both human." This acknowledgment of fallibility underscores the poem's exploration of the fragile nature of human existence.

The closing lines, "Please God, we're all right here. Please leave us alone. / Don't send death in his fat red suit and his ho-ho baritone," return to the initial plea for protection. The personification of death as a jolly, Santa Claus-like figure in a "fat red suit" adds a layer of irony and absurdity to the poem. The speaker is asking for a reprieve from the inevitable, hoping to maintain the precarious equilibrium of domestic life without the intrusion of death.

In "May 30th," Sexton masterfully blends the ordinary with the bizarre, using sharp, evocative imagery to explore the tension between comfort and fear, life and death. The poem captures the quiet desperation of holding onto normalcy in a world where the unexpected can upend everything in an instant. Through her unique voice, Sexton invites readers to confront the absurdities of existence and the ever-present shadow of mortality, all while clinging to the small, fragile moments of peace.

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