Classic and Contemporary Poetry: Explained

Alicia Suskin Ostriker's poem "In the Forty-Fifth Year of Marriage It Goes On" offers a deeply introspective and tender reflection on the complexities of a long-term marriage, blending humor, realism, and poignant admiration. The poem navigates the landscape of a relationship that has endured through decades, capturing both the mundane routines and the profound emotional connections that define a life shared over time. Ostriker’s use of vivid imagery, cultural references, and rich metaphors creates a layered narrative that speaks to the endurance and evolving nature of love and companionship.

The poem begins with a modest declaration: "I would never say I feel like a million dollars, but I whistle / While I work." This opening sets a tone of contentment mixed with a touch of self-deprecating humor, suggesting that while the speaker may not feel exuberantly wealthy in the metaphorical sense, there is a quiet satisfaction in the routine of daily life. The speaker’s indifference to material wealth, combined with a history of "ecstasies / And anguishes," hints at a life richly lived, filled with highs and lows, and a readiness for whatever comes next.

Ostriker introduces a series of similes to convey the various roles and emotions the speaker experiences within the marriage. The comparison to a "trucker, living this American life" evokes a sense of independence and resilience, yet also loneliness, as the trucker moves "fast but lonely" across the landscape. This image captures the isolation that can sometimes accompany long relationships, where partners, though together, may feel separate in their individual journeys. The image of a "mailman who faithfully visits each door" suggests the dutiful, persistent nature of maintaining a marriage, while the "mermaid out of water" reflects feelings of displacement or being out of one's element. The "blind woman" waiting in the dark symbolizes moments of uncertainty or vulnerability, yet these emotions are counterbalanced by the warmth and affection the speaker feels when imagining their partner’s face.

The poem takes a tender turn as the speaker imagines the reunion with their partner, likening the rush of emotions to "children when a father returns from a trip." The detailed description of each child’s reaction—ranging from the exuberant to the serene—mirrors the different facets of the speaker's own feelings toward their partner. The mother's continued work in the kitchen, responding with a simple "no" when asked if something is wrong, subtly underscores the complexities of marriage—where love and care often coexist with unspoken tensions and unresolved emotions.

The speaker then shifts focus to a contemplation of their partner's physical appearance, finding beauty in the aging process. The comparison of their face to art from different centuries—initially "eighteenth century" with its smooth, resistant surfaces, now "more nineteenth century expressive, more Rodin, more Thomas Eakins"—reflects a deep appreciation for the character and expressiveness that age has brought. This admiration extends to other parts of the partner's body, with the speaker noting how the "legs" and "hands" seem to have grown "more shapely, more like Rembrandt." These comparisons to great artists emphasize the speaker's view of their partner as a work of art, continuously evolving and deepening in beauty over time.

The poem also touches on the unspoken elements of the marriage—the "sorrow, anger, and jealousy in the pantry / Sitting uselessly on the shelf for decades." This metaphor suggests that while negative emotions have been present, they have not been allowed to dominate or define the relationship. The speaker acknowledges the challenges and "horrible cobwebs" that may reside in the "basement" or "attic" of the marriage, symbolizing the darker, less pleasant aspects of a long-term relationship. Yet, the poem ultimately celebrates the "cord not easily broken," recognizing both its strength and the occasional feeling that it "seems a noose."

In the latter part of the poem, the speaker reflects on their partner’s "beauty, bravely cresting in your sixties," noting the influence of their partner’s parents, who have perhaps "lent your clay / Some excess excellence for me to appreciate." This acknowledgment of inherited traits and the inevitable passage of time leads to a contemplation of mortality, with the speaker recognizing that they "will have to leave ere long." The references to "Ecclesiastes" and the phrase "the eye is not filled with seeing" invoke a biblical perspective, suggesting that despite the richness of life and love, there remains a longing or incompleteness that even the passage of time cannot fully satisfy.

"In the Forty-Fifth Year of Marriage It Goes On" is a meditation on the endurance and evolution of love within the framework of a long-term relationship. Through its honest portrayal of the complexities and rewards of marriage, the poem captures the deep emotional currents that flow beneath the surface of daily life, celebrating the beauty that persists and grows even as time advances. Ostriker’s skillful use of imagery and metaphor invites readers to reflect on their own experiences of love, aging, and the enduring bonds that tie us to those we cherish.

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