Classic and Contemporary Poetry: Explained

May Swenson?s "Women" is a sharply constructed critique of societal expectations surrounding gender roles and the objectification of women. Through a combination of fragmented imagery, spatial arrangement, and biting irony, Swenson explores how women have historically been positioned in relation to men, both as objects of utility and as symbols of subservience.

The poem’s visual form, with its staggered lines and cascading structure, mimics the precarious balance of the societal roles women are expected to uphold. The spacing suggests movement and stasis simultaneously, reflecting the tension between activity and passivity imposed on women. The fragmented appearance forces the reader to move carefully through the text, creating a deliberate pace that mirrors the constraints and expectations placed on women’s lives.

The opening lines juxtapose two metaphors for women: “pedestals” and “little horses.” Pedestals are inherently static, meant to elevate and display, serving as a foundation for something else—in this case, “the motions of men.” Swenson critiques the notion that women’s primary purpose is to support or uplift men, suggesting an existence devoid of agency or self-definition.

The second metaphor, "little horses," introduces a dynamic contrast. The description of “wooden / sweet / oldfashioned / painted / rocking / horses” evokes nostalgia and innocence, but the underlying imagery is deeply unsettling. These "horses" are not real; they are toys designed to be controlled, manipulated, and discarded when no longer needed. Swenson’s choice to equate women with inanimate objects reinforces the dehumanizing nature of such expectations.

The central stanza emphasizes the joy and utility extracted from women in this context. The phrase “the gladdest things in the toyroom” highlights the shallow satisfaction derived from treating women as objects of amusement or tools for emotional restoration. The alternating descriptors, “feelingly / and then / unfeelingly,” underscore the fickle and transactional nature of such interactions.

Swenson sharpens her critique as she examines the aftermath of this use: “To be / joyfully / rockingly / ridden until / the restored // egos dismount and the legs stride away.” Here, women’s role as emotional or psychological caretakers is made explicit. The metaphorical "riding" suggests both physical and emotional exploitation, culminating in the image of men walking away once their needs are met. This abandonment leaves women in a state of immobility, further emphasizing their disposability in this constructed dynamic.

The closing lines reiterate the expectations of passivity and compliance. Women are described as “Immobile,” “willing,” and “sweetlipped”—qualities that highlight their lack of autonomy. The poem ends with the directive, “women / should always / be waiting / pedestals / to men,” reinforcing the societal script while simultaneously critiquing its injustice.

The poem’s tone is layered with irony, as Swenson presents these roles in a matter-of-fact manner that underscores their absurdity. By embodying these expectations in exaggerated and almost grotesque metaphors, Swenson exposes their dehumanizing implications. The deliberate use of childlike imagery, such as rocking horses and toyrooms, further critiques the infantilization of women and the expectation that they remain eternally pleasing and subservient.

"Women" is a powerful exploration of gender roles and the ways in which women’s autonomy is constrained by societal expectations. Swenson’s innovative form and incisive language challenge readers to confront the objectification and commodification of women, while the poem’s layered irony invites reflection on how these patterns persist. It is both a critique of the past and a warning for the present, urging readers to consider the ways in which such narratives can be dismantled.

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