Classic and Contemporary Poetry: Explained

Anne Sexton's "For Mr. Death Who Stands With His Door Open" is a darkly humorous and deeply introspective exploration of mortality. The poem personifies Death as a character with whom the speaker has a complex, almost flirtatious relationship. Through vivid imagery, Sexton navigates the passage of time and the inevitability of death, ultimately expressing a desire for a slow, deliberate end that allows for reflection and acceptance.

The poem opens with the personification of Time as a figure that once seemed endless but is now "dim" and growing "short." Time is described as a seductive, playful presence—a "Nazi Mama" with a torch song, evoking both allure and menace. The comparison of Time to a "Nazi Mama" might reflect the oppressive, inescapable nature of time's passage, much like the historical horrors associated with the term. The playful, youthful activities mentioned—"piggley-witch and hoola-hoop," "dancing the jango"—contrast with the somber reality that time is running out.

The speaker reflects nostalgically on a period when Time seemed infinite: "Time was when time had time enough." During this period, the speaker experienced life fully, with the freedom of youth—swimming in the sea, enjoying simple pleasures without fear of death. This carefree past stands in stark contrast to the present, where the proximity of Death is undeniable.

Death, too, is personified, but in a multifaceted way. Initially, Death appears as a "sleek" figure, a kind of "Valentino"—a romanticized version of death, associated with the allure and charm of a silent film star. The speaker remembers this version of Death during a time when she was younger, more naïve, and perhaps more willing to flirt with the idea of mortality. However, despite Death's allure, the speaker notes that Death "never bent me back," suggesting that she was not yet ready to succumb to its charms.

As the poem progresses, Death's appearance and demeanor change. He becomes less of a romantic figure and more of a middle-aged, "lower-class" character, with a "beer belly" and a tendency to "expel gas." This depiction of Death as an unattractive, aging figure adds a layer of dark humor to the poem, as the speaker mocks Death's decline in the same way one might critique a former lover who has let himself go. The idea of lying down with this version of Death is repellent to the speaker, who cannot reconcile the earlier, seductive image of Death with the unappealing figure he has become.

The speaker also reflects on different experiences of death, acknowledging Death's various roles: "you were sleek, a kind of Valentino," and later, "you came to the ovens it was short," referring to the Holocaust, and "to the drowning man you were likewise kind." The reference to the Holocaust is particularly striking, as it underscores the varying degrees of suffering associated with different forms of death. The speaker also recalls a personal experience—"the baby I had to abort"—and how Death was "the nicest of all" in that instance, suggesting a sense of relief or mercy in the face of an impossible choice.

The poem culminates with the speaker's request for her own death: "let it be slow, let it be pantomime, this last peep show." Here, the speaker desires a drawn-out process, one that allows for reflection and preparation. The image of "trying on my black necessary trousseau" suggests that the speaker wants to approach death with a sense of ritual and readiness, treating it as a final act of dressing up or preparing for a significant event. This request for a slow, theatrical death contrasts with the abruptness or violence of other deaths mentioned earlier in the poem, emphasizing the speaker's desire for control and dignity in her final moments.

"For Mr. Death Who Stands With His Door Open" is a rich, layered poem that blends humor, nostalgia, and existential reflection. Through the personification of Time and Death, Sexton explores the inevitability of aging and mortality, as well as the different ways in which people confront or avoid the reality of death. The poem's tone shifts from playful to somber, ultimately revealing a deep-seated desire for a meaningful, controlled end—one that allows the speaker to face death on her own terms. Sexton's use of vivid imagery and her ability to infuse the poem with both wit and pathos make it a powerful meditation on the human condition and our relationship with the inevitable.

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