Classic and Contemporary Poetry: Explained

In "Bestiary U.S.A.: Raccoon," Anne Sexton crafts a playful yet probing exploration of the raccoon, using the animal as a vehicle to delve into themes of disguise, identity, and the nature of appearances. The poem is light-hearted on the surface, but beneath its whimsical tone lies a deeper reflection on the nature of the raccoon and, by extension, the human condition.

The poem opens with a direct question to the raccoon: "Coon, why did you come to this dance / with a mask on?" This question immediately draws attention to the raccoon's most distinctive feature—its masked face, which naturally lends itself to a sense of mystery and deception. The raccoon, often seen as a trickster or a thief in folklore, is here imagined as a participant in a dance, a social event where appearances are everything. The mask becomes a symbol of hidden identities, a theme that resonates with the human experience of concealing one's true self behind a façade.

Sexton then compares the raccoon to other potential attendees of the dance: "Why not the tin man / and his rainbow girl? Why not Racine, / his hair marcelled down to his chest?" These references, to characters both real and fictional, suggest a variety of identities the raccoon could have adopted, each with its own set of implications. The Tin Man from "The Wizard of Oz" is a character in search of a heart, representing a quest for emotional fulfillment, while Racine, the French playwright, symbolizes high culture and sophistication. By asking why the raccoon did not choose these personas, Sexton hints at the arbitrariness of the raccoon's chosen identity, as well as the myriad possibilities for self-presentation available to all creatures.

The poem continues with more whimsical imagery: "Why not come as a stomach digesting / its worms?" This grotesque suggestion emphasizes the absurdity of the raccoon's disguise and perhaps points to the animal's scavenging nature, as raccoons are often seen rifling through garbage for food. The question underscores the tension between what is seen on the surface—the raccoon's masked, cunning appearance—and the more primal, animalistic reality of its existence.

Sexton then describes the raccoon with a mix of curiosity and admiration: "Why you little fellow / with your ears at attention and your / nose poking up like a microphone?" The raccoon's alertness and inquisitive nature are highlighted here, with its nose likened to a microphone, suggesting that the raccoon is not just an observer but an active participant in its environment, perhaps even a commentator on the world around it. This metaphor adds a layer of complexity to the raccoon, portraying it as a creature that is both aware and communicative, even if its language is one that humans might not fully understand.

The poem's tone shifts slightly as Sexton addresses the raccoon more directly: "You whig emblem, you woman chaser, / why do you dance over the wide lawn tonight / clanging the garbage pail like great silver bells?" The term "whig emblem" might be an allusion to the raccoon's traditional association with political cartoons, where it was sometimes used to represent sly or crafty characters. The label "woman chaser" adds a humorous, anthropomorphic touch, suggesting the raccoon as a flirtatious or mischievous figure.

The final image of the raccoon "clanging the garbage pail like great silver bells" ties the poem back to the animal's scavenging nature while also elevating its actions to something almost celebratory. The raccoon's rummaging through trash becomes a kind of music, a nocturnal dance that is both disruptive and joyful. This act, which might be seen as merely survivalist, is reframed as a form of expression, a way for the raccoon to assert its presence in the world.

"Bestiary U.S.A.: Raccoon" is a poem that invites readers to reconsider the raccoon not just as an animal but as a symbol of the hidden, the disguised, and the performative aspects of life. Sexton's playful tone masks deeper questions about identity, perception, and the ways in which creatures—human or otherwise—navigate their environments. Through the figure of the raccoon, Sexton explores the tension between appearance and reality, and the ways in which we all, in our own ways, dance through life with our masks on.

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