Classic and Contemporary Poetry: Explained

Anne Sexton's poem "You All Know the Story of the Other Woman" is a stark and unsettling exploration of the dynamics between a man and his mistress, captured through the lens of a clandestine and ultimately dehumanizing relationship. With its blend of vivid metaphor and abrupt, almost clinical descriptions, the poem delves into the emotional and physical realities of being "the other woman," a role marked by transience, objectification, and the absence of genuine connection.

The poem begins by describing the setting as "a little Walden," evoking Henry David Thoreau's retreat into nature to live deliberately and simply. However, this idyllic image is immediately undercut by the context—this "Walden" is not a place of spiritual renewal but rather a secretive and isolated "breathbed," where the woman is reduced to her physicality and her role in a temporary affair. The word "breathbed" combines the ideas of life ("breath") and sexual intimacy ("bed"), suggesting that her existence in this relationship is limited to these fleeting moments.

The man's departure is described in almost mechanical terms: "his body takes off and flies, / flies straight as an arrow." The repetition of "flies" emphasizes the speed and detachment with which he leaves, as if his departure is inevitable and routine. The arrow metaphor suggests a directness and purpose in his leaving, further underscoring the lack of emotional involvement or lingering affection.

The poem then shifts to a more critical tone with the observation, "But it's a bad translation. / Daylight is nobody's friend." The "bad translation" implies a distortion or misinterpretation of the situation, possibly hinting at the way the woman might be romanticizing or misunderstanding her role in the affair. The arrival of daylight, which "is nobody's friend," brings with it the harsh reality of the situation. The light of day exposes the truth and the cold, transactional nature of their encounters, stripping away any illusions of intimacy or significance.

God's entrance "like a landlord" who "flashes on his brassy lamp" introduces a sense of authority and judgment. The comparison of God to a landlord suggests a figure who is indifferent and focused on maintaining order rather than offering compassion or understanding. The "brassy lamp" symbolizes the unforgiving light of reality, revealing the woman's diminished state after the man leaves—she is "just so-so," reduced to a mere shadow of herself in the harsh light of day.

The description of the man "put[ting] his bones back on, / turning the clock back an hour" further emphasizes the routine nature of his departure. The imagery of him putting his bones back on suggests that he is returning to his normal life, reassembling himself after the affair, as if he sheds a different identity when with her. The act of turning the clock back an hour implies a desire to erase or undo the time spent with her, reinforcing the transient and inconsequential nature of their relationship.

The woman's understanding of "flesh, that skin balloon" captures the physical and temporary nature of their encounters. The "skin balloon" metaphor suggests the fragility and emptiness of their connection, where the body is merely a vessel for momentary pleasure. The reference to "the boards, / the roof, the removable roof" adds to the sense of impermanence, as if their encounters take place in a structure that can easily be dismantled and forgotten.

The line "She is his selection, part time" underscores her role as something chosen at will, an object of temporary desire rather than a person of value. The use of "part time" highlights the sporadic and limited nature of their interactions, emphasizing that she is not a central part of his life, but rather a convenience.

The poem concludes with a vivid and dehumanizing image: "when it is over he places her, / like a phone, back on the hook." This final simile crystallizes the transactional and impersonal nature of their relationship. The woman is compared to an object, something functional that is used and then put away when no longer needed. The act of placing her "back on the hook" suggests that she is silenced, dismissed, and left waiting until she is needed again, further emphasizing her lack of agency and the profound power imbalance in their relationship.

"You All Know the Story of the Other Woman" by Anne Sexton is a poignant and brutally honest examination of the role of the mistress in a clandestine affair. Through its use of stark imagery and metaphor, the poem captures the dehumanizing effects of being treated as a mere object of desire, highlighting the emotional emptiness and disposability that often accompany such relationships. Sexton’s portrayal of the "other woman" is one of profound isolation and unfulfilled longing, offering a critique of the ways in which women can be reduced to mere instruments of pleasure in the eyes of those who exploit their vulnerability.

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