Classic and Contemporary Poetry: Explained

"I Called Him Comfort, Fr. Letters to Dr. Y" by Anne Sexton is a harrowing and complex exploration of betrayal, guilt, and the struggle for power within the framework of religious morality. Sexton's vivid imagery and stark language capture the tension between sacred and profane, creating a dialogue that is as much about inner turmoil as it is about the relationship between the speaker and her "Comfort," who perhaps should have been named "Preacher."

The poem opens with the speaker reflecting on the misnaming of "Comfort," suggesting that the true nature of this figure was more aligned with that of a "Preacher." The term "Comfort" implies a sense of safety, reassurance, and support, but this figure instead embodies judgment, condemnation, and a twisted sense of righteousness. The coastal setting, typically associated with peace and introspection, becomes the backdrop for a spiritual and psychological struggle, where the Bible is used as a weapon rather than a source of solace.

The Preacher's incessant reading of the Bible to "prove" the speaker's sinfulness points to the oppressive nature of religious dogma when wielded without compassion. Sexton uses the act of reading the Bible not as an avenue to enlightenment but as a means of reinforcing guilt and control. The reference to the Preacher being "betrayed" at night evokes the imagery of Christ's betrayal by Judas, setting the stage for the poem's exploration of betrayal in both personal and spiritual contexts.

The "Judas-kiss" becomes a potent symbol of this betrayal—a gesture that signifies both intimacy and treachery. This kiss, however, is mutual, binding both the speaker and the Preacher in a cycle of sin and shame. The "red lock" that holds them in place suggests that their connection is one of blood and violence, an inescapable bond forged in pain and guilt. The image of the speaker giving the Preacher a drink from her cup further solidifies this communion of suffering, where the act of sharing is tainted by the whispered word "Rape," a brutal acknowledgment of the violence at the core of their relationship.

The Preacher's self-hatred is evident in his actions, as he sucks on the speaker's wrist, drawing blood like a vampire. This act, symbolic of consuming life force, is marred by his guilt and awareness of the sinfulness of his desires. His murmur, "God will see. God will see," reveals his fear of divine judgment, yet it is the speaker's response—"To hell with God!"—that marks the turning point in the poem. This defiant declaration rejects the authority of a God who is perceived as indifferent or even complicit in the suffering inflicted by religious doctrine.

The dialogue between the speaker and the Preacher intensifies as they grapple with concepts of truth, belief, and hypocrisy. The speaker's assertion that "God is only mocked by believers" challenges the sincerity of the Preacher's faith, suggesting that his obsession with truth is itself a form of deceit. The final exchange, where the Preacher expresses his love for truth and the speaker retorts that such concern is the domain of liars, underscores the poem's theme of duplicity and the moral ambiguity of those who claim to uphold righteousness.

The poem concludes with a striking image of God, not as an omnipotent judge, but as a bored, indifferent figure who turns away from the drama unfolding below. Sexton's portrayal of God as an "opium eater" who "slept" serves as a powerful critique of religious institutions that fail to provide genuine comfort or guidance. This God is detached, uninterested in the human suffering that is so often justified in his name.

"I Called Him Comfort, Fr. Letters to Dr. Y" is a deeply unsettling poem that confronts the reader with uncomfortable truths about the nature of sin, guilt, and the misuse of religious authority. Sexton's raw language and vivid imagery evoke the sense of being trapped in a relationship where love, faith, and betrayal are inextricably linked, leaving the reader to ponder the cost of such entanglements on the human soul.

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