Classic and Contemporary Poetry: Explained

Anne Sexton’s poem "The Taker" captures a moment of profound transition, blending the quiet, domestic imagery of a home with the deep emotional undercurrents of a life-changing event. Through the lens of Sexton’s characteristic surrealism and keen observational detail, the poem explores themes of loss, innocence, and the inexorable passage of time. The title itself, "The Taker," suggests an unseen force that claims something from the speaker or the speaker’s world, setting the tone for a narrative that is both personal and universal.

The poem begins with the line, "While the house was away / and the curtains were baby-sitting," immediately personifying the house and its objects, giving them a life of their own. The notion that the house could be "away" while the curtains are left "baby-sitting" evokes a sense of absence and guardianship, as though the inanimate world has taken on roles typically filled by people. This anthropomorphism sets the stage for the surreal atmosphere that permeates the poem, where everyday objects become silent witnesses to significant events.

As the poem progresses, the reader learns of a "crossing over," a phrase that often connotes death or a significant transition. However, the poem’s imagery suggests something more complex than mere mortality. The "pitiless rugs" and the "grandfather clock" that "went on with its knitting" emphasize the indifference of the physical world to human experiences. Life continues in its mundane routines—the clock keeps time, the rugs remain passive—despite the emotional weight of the moment. The disposal "vomited up chives and clover," an almost grotesque image that reflects the intrusion of the natural, chaotic world into the domestic sphere, further emphasizing the dissonance between the environment and the emotional upheaval occurring within it.

The poem then shifts focus to the idea of a performance: "The house became a stage where you played / on the night, my string bean, that you were made." Here, Sexton introduces the figure of "string bean," a term of endearment that likely refers to a daughter or young girl. The idea that she was "made" on this night hints at a coming-of-age or a loss of innocence, possibly even her conception or the consummation of a relationship. The house as a stage underscores the performative aspect of life’s milestones, where private moments are acted out against the backdrop of an indifferent world.

"Our song, Melancholy Baby, could not / be heard. Goodnight Moon was outgrown, / and two fireflies died unnoticed." These lines suggest a shift from childhood to adulthood, as the familiar comforts of childhood—songs, bedtime stories—are left behind. The death of the fireflies, creatures often associated with fleeting beauty and childhood wonder, goes unnoticed, mirroring the quiet passing of innocence. The image of the "moth [lying] down in the jelly pot" adds to this sense of small, unnoticed deaths, of the everyday tragedies that accompany the larger transitions in life.

In the next lines, the poem’s focus returns to the figure of "string bean," who "lay down in her wedding bed." The wedding bed, a symbol of union and the beginning of a new chapter, contrasts with the earlier images of loss and decay. Her "heart went out on a train to meet him," a metaphor that conveys the emotional and physical journey she undertakes in this moment of union. The train, often a symbol of transition and passage, underscores the irrevocable nature of this moment—once embarked upon, the journey cannot be undone.

The poem concludes with a poignant image of blessing: "and her mother blessed her, / as best she could, / limb to limb." The mother’s blessing, though given "as best she could," suggests an understanding of the profound change her daughter is undergoing. The phrase "limb to limb" evokes the physicality of this transition, as well as the deep, embodied connection between mother and daughter. This blessing is both an acknowledgment of loss—the daughter is leaving childhood behind—and a hope for her future.

In "The Taker," Anne Sexton weaves a narrative that is rich with symbolism and emotional depth. The poem’s structure, which shifts between the surreal and the concrete, mirrors the disorientation and complexity of life’s major transitions. Sexton’s use of domestic imagery, such as the house, the clock, and the wedding bed, grounds the poem in the everyday, even as it explores profound themes of loss, innocence, and the passage of time. The title, "The Taker," encapsulates the sense of something being claimed—whether it is innocence, time, or life itself—leaving behind a world that continues, indifferent and unchanged.

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