We Remember Your Childhood Well Essay


This guide is written for students and teachers who are preparing for GCSE exams in English literature. It contains detailed studies of the poems by Carol Ann Duffy in the AQA Anthology, which is a set text for the AQA's GCSE syllabuses for English and English Literature Specification A, from the 2004 exam onwards.

The guide gives detailed readings of poems by Carol Ann Duffy, with ideas for study. For a general introduction to poetry in the Anthology with extensive guidance for students and teachers, then please see the Introduction to the Anthology by clicking on the link below. For a reading of some other poems by Ms. Duffy, in the previous Anthology, follow the links below:

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About the poet

Carol Ann Duffy was born on December 23 1955, in Glasgow, Scotland's largest city. Carol Ann was the eldest child, and had four brothers. She was brought up in Stafford, in the north midlands, where her father was a local councillor, a parliamentary candidate for the Labour Party in 1983 and manager of Stafford FC, an amateur football team. Carol Ann Duffy was educated at St. Austin Roman Catholic Primary School, St. Joseph's Convent School and Stafford Girls' High School. In 1974 she went Liverpool University, where she read philosophy.

She has worked as a freelance writer in London, after which she moved to live in Manchester, where she currently (2002) teaches creative writing at the Metropolitan University. Her first collection of poetry was Standing Female Nude (1985), followed by Selling Manhattan (1987), The Other Country (1990), Mean Time (1993), The World's Wife (1999) and The Feminine Gospels (2002). She has also written two English versions of Grimm's folk tales, and a pamphlet, A Woman's Guide to Gambling, which reflects her interest in betting.

Of her own writing she has said:

“I'm not interested, as a poet, in words like 'plash' - Seamus Heaney words, interesting words. I like to use simple words but in a complicated way.”

She has a daughter, Ella (born in 1995) and lives in Manchester with her partner, the novelist Jackie Kay. Carol Ann Duffy was awarded an OBE in 1995, and a CBE in 2002.

Havisham

This poem is a monologue spoken by Miss Havisham, a character in Dickens' Great Expectations. Jilted by her scheming fiancé, she continues to wear her wedding dress and sit amid the remains of her wedding breakfast for the rest of her life, while she plots revenge on all men. She hates her spinster state - of which her unmarried family name constantly reminds her (which may explain the choice of title for the poem).

She begins by telling the reader the cause of her troubles - her phrase “beloved sweetheart bastard” is a contradiction in terms (called an oxymoron). She tells us that she has prayed so hard (with eyes closed and hands pressed together) that her eyes have shrunk hard and her hands have sinews strong enough to strangle with - which fits her murderous wish for revenge. (Readers who know Dickens' novel well might think at this point about Miss Havisham's ward, Estella - her natural mother, Molly, strangled a rival, and has unusually strong hands.)

Miss Havisham is aware of her own stink - because she does not ever change her clothes nor wash. She stays in bed and screams in denial. At other times she looks and asks herself “who did this” to her? She sometimes dreams almost tenderly or erotically of her lost lover, but when she wakes the hatred and anger return. Thinking of how she “stabbed at the wedding cake” she now wants to work out her revenge on a “male corpse” - presumably that of her lover.

The poem is written in four stanzas which are unrhymed. Many of the lines run on, and the effect is like normal speech. The poet

  • uses many adjectives of colour - “green”, “puce”, “white” and “red” and
  • lists parts of the body “eyes”, “hands”, “tongue”, “mouth”, “ear” and “face”.

Sometimes the meaning is clear, but other lines are more open - and there are hints of violence in “strangle”, “bite”, “bang” and “stabbed”. It is not clear what exactly Miss Havisham would like to do on her “long slow honeymoon”, but we can be sure that it is not pleasant.

  • Why does the poet omit Miss Havisham's title and refer to her by her surname only?
  • Why does the poet write “spinster” on its own? What does Miss Havisham think about this word and its relevance to her?
  • What is the effect of “Nooooo” and “b-b-breaks”? Why are these words written in this way?
  • What is the meaning of the image of “a red balloon bursting”?
  • How far does the poet want us to sympathize with Miss Havisham?
  • Does the reader have to know about Great Expectations to understand the poem?
  • Does Miss Havisham have a fair view of men? What do you think of her view of being an unmarried woman?
  • Perhaps the most important part of the poem is the question “who did this/to me?” How far does the poem show that Miss Havisham is responsible for her own misery, and how far does it support her feelings of self-pity and her desire for revenge?

Don't go any further if you want to read Great Expectations without knowing the plot. If you don't mind finding out, then click here.

Elvis's Twin Sister

The poem has two subtitles. The first is a line from Elvis Presley's 1961 hit song Are You Lonesome Tonight? The second is a statement by the female singer Madonna.

Elvis Presley did not have a twin sister in reality but the sister whom Carol Ann Duffy imagines for him is very different from Madonna. Instead she is modest and simple, though with a cheerful character, rather like Elvis's public persona.

The poem plays on the humorous contrast between the life, manners and dress of the nun, and the flamboyance of rock and roll. For example, despite her nun's vow, Sister Presley swings her hips in the same way as Elvis, though perhaps without the same effect. She wears a habit and carries a rosary, but she also has the blue suede shoes immortalized by Elvis's 1956 rendition of the song of this name (written and first recorded by Carl Perkins). The Gregorian chant (sung unaccompanied) has simple melodies, like Elvis's songs, but is otherwise very different in its calm and gentle mood, and its Christian lyrics. In the early days of Rock and Roll, its critics called it the Devil's music.

The sister identifies the convent with Elvis's home, Graceland. In this case the wordplay is not really Carol Ann Duffy's invention - Elvis chose the name Graceland because of his own Christian belief. Her exclamation “Lawdy” is a popular version of “Praise the Lord”.

Perhaps the biggest difference between sister and brother, though, is that, among the sisters of the convent, no one is ever “lonesome” - and it is a long time since she “walked/down Lonely Street/towards Heartbreak Hotel”. (This is another reference to Elvis's music - he recorded Heartbreak Hotel in 1956. Elvis is listed as co-writer of this and many of his other hits, but did not really write it. His manager, Colonel Tom Parker, insisted that Elvis have his name added so that he would receive writing royalties.)

The form of the poem is quite regular - five line stanzas with occasional rhymes. Sometimes these are quite amusing as when Duffy uses the Southern sound of “y'all” to rhyme with “soul” and “rock and roll”. The references to the song lyrics give it an air of authenticity - though this is quite lightly done (Elvis has a huge catalogue that the poet might be tempted to raid.)

The poem is a light-hearted exploration of ideas of fame, friendship and family. It begs the question whether it is better to have been Elvis (or even Madonna) or his sister - is fame better than modest contentment, great wealth better than friends?

  • Do you agree with Madonna's claim? Or is Elvis in a different class from her?
  • Is Elvis's sister (as imagined in the poem) a more attractive person than she would be if she were a big star like him?
  • What do you think of the of the poem? How well does Carol Ann Duffy (a Scot living in England) create a sense of a speaker from the southern USA? (Elvis was born in Mississippi and grew up in Tennessee.)
  • How does Carol Ann Duffy make use of Elvis's song titles and lyrics in the poem?
  • Is the poem comic or serious? Do you like it or not?

Pascha nostrum immolatus est is the name of a Latin hymn - of the kind called Gregorian chant, after Pope Gregory I (50-604 AD). The chant takes its title from a line in St. Paul's first letter to the Corinthians, in the Vulgate Latin version translated by St. Jerome. In English, it means, “Our passover is sacrificed” - St. Paul uses the phrase to refer, not to the Jewish festival of Passover (when each family would kill a lamb) but to Jesus, who was killed at the Passover feast, which we now celebrate as Easter. A modern translation gives this as: “Our paschal [Easter] lamb, Christ, has been sacrificed.”

Anne Hathaway

Anne Hathaway (1556-1623) was a real woman - famous for being the wife of William Shakespeare. (We do know some things about her - she was nine years older than her husband, but outlived him by seven years. They married in 1582, when Anne was already pregnant, and had three children together. Although Shakespeare spent many years working in London, he made frequent visits to their home in Stratford-upon-Avon.)

In the poem Anne sees her relationship with Shakespeare in terms of his own writing. She uses the sonnet form (though she does not follow all the conventions of rhyme or metre) which Shakespeare favoured. She suggests that as lovers they were as inventive as Shakespeare was in his dramatic poetry - and their bed might contain “forests, castles, torchlight”, “clifftops” and “seas where he would dive for pearls”. These images are very obviously erotic, and Ms. Duffy no doubt expects the reader to interpret them in a sexual sense. Where Shakespeare's words were” shooting stars” (blazing in glory across the sky) for her there was the more down-to-earth consequence of “kisses/on these lips”.

She also finds in the dramatist's technique of “rhyme...echo...assonance” a metaphor for his physical contact - a “verb” (action) which danced in the centre of her “noun”. Though the best bed was reserved for the guests, they only dribbled “prose” (inferior pleasure) while she and her lover, on the second best bed enjoyed the best of “Romance/and drama”. The language here has obvious connotations of sexual intercourse - we can guess what his verb and her noun are and what the one is doing in the other, while the guests' “dribbling” suggests a less successful erotic encounter.

The poem relies on double meanings very like those we find in Shakespeare's own work. It gives a voice to someone of whom history has recorded little. The language is strictly too modern to be spoken by the historical Anne Hathaway (especially the word order and the meanings) but the lexicon (vocabulary) is not obviously anachronistic - that is, most of the words here could have been spoken by the real Anne Hathaway, though not quite with these meanings and probably not in this order.

  • What does this poem say about the nature of imagination?
  • Explain, in your own words, how the central image of the “second best bed” works in the poem.
  • How well does the poet adapt the sonnet form here?
  • In what ways does this poem appeal to the senses?
  • Is this poem more about Anne or her husband, or is it about them both, as a couple?
  • Does this poem change the way you think of William Shakespeare?

Salome

The real story behind this poem is found in the New Testament books of Matthew (Chapter 14.6-11) and Mark (6.22-28), and took place about AD 30. The historical Salome was a daughter of Herodias and Philip (he was one of the ruling family in Palestine). She danced before the ruler, Herod Antipas (Philip's half-brother and her uncle), who promised to grant any request she might make. John the Baptist had condemned Herodias because of her affair (as would now call it) with Herod, who had put him in prison. Prompted by her mother, Salome asked for the head of John and at once he was executed. The name of Salome is not used in the gospels but is known from the Jewish historian Josephus. Oscar Wilde wrote a play about Salome, in which she is presented as in love with John the Baptist; the play ends with her being executed on Herod's orders.

Either Carol Ann Duffy does not know the history well, or she deliberately takes liberties. The head on the pillow is no part of the real story of Salome, but appears to have been stolen from the feature film, The Godfather, where a character wakes to find on the pillow beside him, the head of his prize racehorse. (In the film, this is a threat, and it works - the horse owner does what he had hitherto refused to do.)

In the poem it appears that Salome has become a serial remover of heads. She tells us that she'd “done it before” (presumably in the case of John the Baptist) and that she would “doubtless...do it again”. Having woken up with a severed head on the pillow, she cannot even remember the owner's name. So she calls for the maid has breakfast, and decides to “clean up” her life. As part of this regime, she decides to get rid of her lover - and the poem ends as she pulls back the sheets “sticky” with blood, to find “his head on a platter”. (Both Matthew and Mark say that John the Baptist's head was brought to Salome on a platter. For many generations of readers the platter was the most memorable and gruesome detail in the story.)

Ms. Duffy introduces all sorts of contemporary details into the poem, such as toast and butter and cigarettes, as well as modern attitudes, like a decision to get fit and “turf out” a lover. We also find very contemporary slang - like “booze”, “fags” and “ain't life a bitch”. But the basic idea of the cold and murderous woman is an old one - the Bible shows Herodias (rather than Salome) as being like this; later tradition suggests that Salome was to become like her mother.

The black humour of the poem is well served by the style - especially the piling up of rhymes: “lighter, laughter, flatter, pewter, Peter” and so on. This becomes especially manic in:

“...as for the latter
it was time to turf out the blighter,
the beater or biter”

The poem may also raise some serious questions:

  • Is there anything about Salome that makes her a good rôle model for women?
  • What kind of world makes women become like Salome and behave as she does?
  • How far is this really a very modern kind of story?
  • How does Salome's outlook compare with Miss Havisham's?
  • Does the poet, in your view, agree with Salome's view that life is “a bitch”? Does Salome think this, or is she making an ironic statement of sympathy for her latest victim?
  • Few women kill their lovers. But perhaps some think of doing so at times. How far, in your view, does this poem give an honest account of a common fantasy?

Before You Were Mine

This poem is quite difficult to follow for two reasons. First, it moves very freely between the and different times in the , which is frequently referred to in the present tense. Second, because the title suggests romantic love but the poem is about mother and daughter. The poem is written as if spoken by Carol Ann Duffy to her mother, whose name is Marilyn. The poem comes from Mean Time (1993). On first reading, you might think that the “I” in the poem is a lover, but various details in the third and fourth stanzas identify the speaker as the poet. Younger readers (which include most GCSE students) may be puzzled by the way in which, once her child is born, the mother no longer goes out dancing with her friends. In 1950s Glasgow this would not have been remotely possible. Even if she could have afforded it (which is doubtful) a woman with children was expected to stay at home and look after them. Going out would be a rare luxury, no longer a regular occurrence. Motherhood was seen as a serious duty, especially among Roman Catholics.

“I'm ten years away” is confusing (does “away” mean before this or yet to come?) but the second stanza's “I'm not here yet” shows us that the scene at the start of the poem comes before the birth of the poet. Duffy imagines a scene she can only know from her mother's or other people's accounts of it. Marilyn, Carol Ann Duffy's mother, stands laughing with her friends on a Glasgow street corner. Thinking of the wind on the street and her mother's name suggests to Duffy the image of Marilyn Monroe with her skirt blown up by an air vent (a famous scene in the film The Seven Year Itch). She recalls her mother as young and similarly glamorous, the “polka-dot dress” locating this scene in the past.

Duffy contrasts the young woman's romantic fantasies with the reality of motherhood which will come ten years later: “The thought of me doesn't occur/in...the fizzy, movie tomorrows/ the right walk home could bring...”

In the third stanza Duffy suggests that her birth and her “loud, possessive yell” marked the end of her mother's happiest times. There is some poignancy as she recalls her child's fascination with her mother's “high-heeled red shoes”, putting her hands in them. The shoes are “relics” because they are no longer worn for going out. The “ghost” suggests that her mother is now dead, but may just indicate that the younger Marilyn is only seen in the imagination, as she “clatters...over George Square”. The verb here tells us that she is wearing her high-heeled shoes. The image recalls her mother's courting days. Duffy addresses her as if she is her mother's parent, asking whose are the love bites on her neck, and calling her “sweetheart”. The question and the endearment suggest a parent speaking to a child - a of what we might expect. “I see you, clear as scent” deliberately mixes the senses (the technical name for this is synaesthesia), to show how a familiar smell can trigger a most vivid recollection.

In the last stanza Duffy recalls another touching memory - the mother who no longer dances teaching the dance steps to her child, on their “way home from Mass” - as if having fun after fulfilling her religious duties with her daughter. The dance (the Cha cha cha!) places this in the past: it seems glamorous again now but would have been deeply unfashionable when the poet was in her teens. “Stamping stars” suggests a contrast between the child's or her mother's (“sensible”) walking shoes, with hobnails that strike sparks and the delicate but impractical red high heels. And why is it the “wrong pavement"? Presumably the wrong one for her mother to dance on - she should be “winking in Portobello” or in the centre of Glasgow, where she would go to dance as a young woman. Or perhaps the “right” pavement was not in Scotland at all but some even more glamorous location, Hollywood perhaps, to which the mother aspired.

This is an unusual and very generous poem. Carol Ann Duffy recognizes the sacrifice her mother made in bringing her up, and celebrates her brief period of glamour and hope and possibility. It also touches on the universal theme of the brevity (shortness) of happiness. (This is sometimes expressed by the Latin phrase carpe diem - “seize the day”). The form of the poem is conventional: blank verse (unrhymed pentameters) stanzas, all of five lines. A few lines run on, but most end with a pause at a punctuation mark. Note the frequent switches from past to present both in chronology and in the tenses of verbs - the confusion here seems to be intended, as if for the poet past and present are equally real and vivid. The language is very tender: the poet addresses her mother like a lover or her own child: “Marilyn...sweetheart...before you were mine” (repeated) and “I wanted the bold girl”. What is most striking is what is missing: there is no direct reference to Marilyn as the poet's mother.

It is an account of a real mother, doing her best in tough circumstances and making sacrifices for her daughter. There are trust and generosity here, so that the poem is light years away from the suspicious and unhealthy atmosphere of We Remember Your Childhood Well.

  • What picture does this poem give of the relationship between mother and daughter?
  • Do you find anything interesting in the way the poet presents the parent and her child here? Who is caring for whom?
  • How does this poem explore time - and the relation of the past and present?
  • Parents often give up their own aspirations because of their obligations to their children. Is this true of the situation in Before You Were Mine? Do parents still make such sacrifices, or have we become more selfish in our attitudes and behaviour?

We Remember Your Childhood Well

This is a poem about . The speaker appears to be a mother or father (it does not matter which, as this parent speaks for both of them) reassuring a now grown-up child that he or she had a happy childhood. The reassurances are not convincing, as if there is something to hide - but the poem also makes us think of the real fears that parents have, that they will be accused later of some kind of cruelty or deprivation - so they have assembled a record of evidence (“pictures” and “facts”) to refute the child's memories. The child does not speak in the poem, but we do see his or her viewpoint, since the parent is denying or refuting things of which the child has evidently accused the parents.

The poem has a clear formal structure - the three-line stanzas have a loose rhyme scheme (“moors/door”, “tune/boom”, “fear/tears” and occasionally an internal rhyme “occur/blur”). The irregular metre is interrupted by many pauses, creating a slow and rather jerky rhythm as of disconnected statements.

The most obvious unifying feature is the way each stanza opens with a (a declarative) in a complete short sentence or main clause: “Nobody hurt you”, “Your questions were answered”, “Nobody forced you”, “What you recall are impressions” and “Nobody sent you away”. The last stanza also opens with a short sentence - but this time it is a : “What does it matter now?”

The poem explores the gap between and . In almost every case the parent does not dispute that something occurred that the child thought was bad. But the parent claims that the child has misunderstood things or remembered them not quite as they were. Partly the explanation for this is that the child's recollections are subjective “impressions” - which are mistaken or false memories.

The parent's reassurance is unconvincing, for various reasons - such as the way he or she shifts ground: “That didn't occur. You couldn't sing anyway, cared less” or the way the parent claims to know the child's own feelings better than he or she ever did - “you wanted to go that day. Begged” and “people/You seemed to like”.

The ending of the poem is very harrowing - it appears that the child blames the parents for ruining his or her life, while they deny this: “nobody...laid you wide open for Hell.”

Not all families are like the one shown in the poem - and perhaps young people (most of whom may not yet be parents) will see things from the viewpoint of the child whose parent speaks here. But the poem challenges us all, if we are to be parents, to find ways to give the right mixture of freedom and discipline. The poem gives a harsh and cynical view of what childhood may be at its worst - we get a more positive view in Ms. Duffy's In Mrs. Tilscher's Class (not in the Anthology) and Before You Were Mine. It is far removed from the view or parental love for children in William Blake's Songs of Innocence, but close to the harshest of his Songs of Experience.

  • How does this poem present the ideas of and ?
  • Which, as shown in the poem, is worse - the parents' (past) treatment of their child, or their continuing (present) denial of the truth of what happened?
  • Does this poem support the idea that parents are really “older ” than children?
  • How might this poem help real parents to be better in caring for children?
  • What view of childhood does the poem present? How does this compare with other poems in the Anthology?

Education for Leisure

This powerful poem explores the mind of a disturbed person, who is planning murder. We do not know if the speaker is male or female, though this barely seems to matter. What we do know is that he (or she) has a powerful sense of his own importance, and a greater sense of grievance that no one else notices him. The poem contrasts the speaker's deluded belief in his own abilities with the real genius that is . We do not know if the poem is based on any real person, though it has echoes of the true story of the young American woman who shot dead several of her classmates, and when asked about her reasons answered, “I don't like Mondays” (an episode that inspired the Boomtown Rats' rock song with this title). There may be an allusion to this in the first stanza, where the would-be killer says the day is “ordinary” and “a sort of grey with boredom stirring...”

The speaker informs us that he is going to kill “something. Anything” - who or what seems irrelevant, so long as the gesture is dramatic enough and gains the world's attention, because the speaker wishes not to be “ignored” any longer, and would like to “play God”.

As he kills a fly casually, he recalls doing “that at school. Shakespeare”. What he recalls, vaguely, is Gloucester's speech in Act 4, Scene 1 of Shakespeare's tragedy, King Lear. Gloucester, blinded by his enemies, is thinking of his son (who at this moment stands before him, pretending to be a madman and beggar). He says: “As flies to wanton boys are we to the gods/They kill us for their sport...” Gloucester takes the killing of flies as a for casual suffering that falls on men. The speaker here does it literally, but he also thinks of killing literally. Gloucester's speech is a cruelty, not a it - and the speaker in the poem seems to have missed the point of King Lear, which commends humanity and rebukes cruelty and violence. He thinks Shakespeare's play is not in the language he speaks, and notes that the fly is also now “in another language” - at least no longer in the world of the living. His comment on Shakespeare is true but not in the way he intends - of course King Lear is written in English, but its values are wholly alien to him. He commits the common error of stupid people in supposing that an author approves of the things his characters do. In reading the poem, we should not fall into the same error - Carol Ann Duffy does not want us to admire this speaker.

Mention of Shakespeare prompts the boast that he is a “genius” who could “be anything at all, with half the chance”. But we see that he has no idea of creativity. As soon as he claims that he can “change the world” he limits this to “something's world”. He kills the goldfish and notes that the budgie is frightened (how does a budgerigar panic?) while the cat, supposedly as a recognition of his “genius” has “hidden itself”. Almost as an aside the speaker tells us that he is unemployed, and goes into town “for signing on”.

Finally, as there “is nothing left to kill”, he phones a radio talk show to assert his genius - but is cut off by the presenter. So he goes out with a bread knife. The poem has been presented as a first-person monologue throughout, but ends by addressing the reader as if he or she were the first human victim - “I touch your arm”.

The poem's title seems - we see that the speaker's education has done him little good. It has not enabled him to find work, nor to cope with the boredom of enforced “leisure”. But this may not be the fault of the school and teachers - if the response to King Lear is anything to go by (remembering a metaphor to justify the violence against which it was meant to be a protest).

The poem is in five stanzas, each of four lines (quatrains). They are unrhymed and the metre is not regular, though many lines are in the form known as Alexandrine (six iambic feet). The lines are mostly end stopped, and every stanza concludes with a full stop.

The egotism of the speaker appears in the repeated use of “I” - can you count how many times “I”, “me” and “my” appear?

Apart from the reference to King Lear, there is an even more sinister allusion that follows the flushing of the goldfish “down the bog”. The speaker tells us: “I see that it is good” - an obvious echo of the creation story in Genesis. After each day's work of creation, we read that: “God saw that it was good”. We know that the sick character here wishes to “play God”, but he can only destroy where God and Shakespeare create.

The poem shows us the prelude to violence, but does not describe any violence against a real human being - the ending hints at this. Perhaps what happens next depends on the choice of victim, as well as things we do not know - whether the speaker has the strength and speed to harm the victim, or even whether he or she has the resolution to kill. But perhaps this person does not much resolution, since he or she seems not to care about others' feelings or even to be capable of connecting with other people.

And this may make us think about what else the poem does tell us:

  • Does this person live alone?
  • Is he the son or daughter of people who are out at work?
  • Is he or she the usual keeper of these endangered pets?

The poem may seem mildly humorous on a first reading - if you study it in school, then some people may laugh when reading the poem or listening to a reading. The cat's hiding, the budgie's panicking and the shameless account of flushing the goldfish “down the bog” may make us smirk. But it is not a poem that still seems funny after repeated readings. It can be seen as a cautionary tale about what happens to those who have nothing to do, and tire of waiting for other people to give them a living or some kind of recognition, that they have not earned.

As an explanation of how criminal violence happens, the poem is clear enough and quite convincing. Carol Ann Duffy portrays a character we may recognize from fiction and from real-life reports. It has much in common with Stealing, though the criminal there, while very unsympathetic still seems vaguely in touch with other people. The speaker here lacks the criminal experience and low cunning of the thief in Stealing. He is a weaker character by far, but less predictable.

  • Do you find this poem comical or scary (or something else) ?
  • What is your view of the speaker in the poem?
  • Do you assume, as you read the poem, that the speaker is male or female? Are there any clues? Does it make any difference to how we read it?
  • What strikes you about the use of pronouns in this poem? (Words like “I” and “me” and “you”.)
  • Does the reader agree with the speaker's claim that it is “an ordinary day”?
  • What is your view of the speaker's claim to “breathe out talent” and to be a “genius”?
  • Why is the title of this poem appropriate (or not) in your opinion?

Stealing

This poem (based on a real event) is written in the first person. The speaker in it is very obviously not the poet. Carol Ann Duffy writes sympathetically in that she tries to understand this anti-social character, but he is not at all likeable. What she shows is not so much an intelligent criminal but someone for whom theft is just a response to boredom. Throughout the poem are hints at constructive pursuits (making a snowman) and artistic objects (a guitar, a bust of Shakespeare). The thief steals and destroys but cannot anything.

The speaker is apparently relating his various thefts, perhaps to a police officer, perhaps to a social worker or probation officer. He realizes at the end of the poem that the person he is speaking to (like the poet and the reader of the poem, perhaps) cannot understand his outlook: “You don't understand a word I'm saying” doesn't refer to his words literally, so much as the he expresses. The poem is rather bleak, as if anti-social behaviour is almost inevitable. The speaker sees the consequences of his actions but has no compassion for his victims.

The thief begins as if repeating a question someone has asked him, to identify the “most unusual” things he has stolen. The poet's admiration of the snowman is the closest he comes to affection, but he cares more for this object than the living human children who have made it. And he wants what has already been made - he cannot see for himself how to make his own snowman. The thief is morally confused - he sees “not taking what you want” as “giving in”, as if you might as well be dead as accept conventional morality. But he alienates us by saying that he enjoyed taking the snowman because he knew that the theft would upset the children. “Life's tough” is said as if to justify this. The sequel comes when the thief tries to reassemble the snowman. Not surprisingly (snow is not a permanent material) “he didn't look the same”, so the thief attacks him. All he is left with is “lumps of snow”. This could almost be a metaphor for the self-defeating nature of his thefts.

The thief tells us boastfully he “sometimes” steals things he doesn't need, yet it seems that he steals what he and . He breaks in out of curiosity, “to have a look” but does not understand what he sees. He is pathetic, as he seems anxious to make a mark of some kind, whether leaving “a mess” or steaming up mirrors with his breath. He casually mentions how he might “pinch” a camera - it is worth little to him, but much to those whose memories it has recorded.

The final stanza seems more honest. The bravado has gone and the thief's real motivation emerges - boredom, which comes from his inability to make or do anything which gives pleasure. The theft of the guitar is typically self-deceiving. He thinks he “might/learn to play” but the reader knows this will not happen - it takes time and patience. Stealing the “bust of Shakespeare” also seems ironic to the reader. The thief takes an image of perhaps the greatest creative talent the world has ever seen - but without any sense of what it stands for, or of the riches of Shakespeare's drama. The final line, which recalls the poem's conversational opening, is very apt: it as if the speaker has sensed not just that the person he is speaking to is disturbed by his confession but also that the reader of the poem doesn't “understand” him.

This poem is colloquial but the speaking voice here is very distinct. Sometimes the speaker uses striking images (“a mucky ghost”) and some unlikely vocabulary (“he looked magnificent”) but he also uses clichés (“Life's tough”). Single words are written as sentences (“Mirrors...Again...Boredom”). The metre of the poem is loose but some lines are true pentameters (“He didn't look the same. I took a run...”). Mostly the lines are not end-stopped: the breaks for punctuation are in the middles of lines, to create the effect of improvised natural speech. The speaker is trying to explain his actions, but condemns himself out of his own mouth.

If we compare him to the speaker in Education for Leisure it is hard to say which is more dislikeable. This one is more sane and predictable - he is a serial offender, but perhaps poses little risk to people's life and limb. The character in Education for Leisure is far less in control of his or her actions and may well be insane. It is interesting, too, to note that both of these characters refer to Shakespeare.

  • How does this poem create a sense of a person speaking?
  • What does the reader think of this character? Does his explanation of why he does what he does make us like him more or less?
  • Is this person like the speaker in Education for Leisure, or different, in your view?
  • The speaker recommends “taking/what you want”. Does the whole poem lead you to agree with this attitude?
  • What might the last line of the poem mean? Can we read it in more than one way?
  • The whole poem seems to be spoken by the thief. Does the poet find any way to help us as readers to form our own independent opinion of this character?

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Presentation on theme: "Carol Ann DuffY."— Presentation transcript:

1 Carol Ann DuffY

2 We remember your childhood well
Think about the title.The poem is a dramatic monologue:The speaker sounds very much on the defensive: clearly the grown-up child has complained about something or asked an awkward question. The parent insists that the child was brought up well and was loved

3 IOC Interactive oral commentary at the church
You will choose a poem randomlyYou will have 20 minutes to prepare your commentary in a quiet roomYou will be escorted to my room and sit across the table from me and talk for 8 minutes about the poem.Commentary needs to be formal, organized and reveal how well you are able to identify poetic features and how they support the poet’s purpose.

4 I will give you a minute warning to wrap it up.
I will ask some follow up questions and we have a short 2 minute discussion on the poemThen we transition to a ten minute discussion on either Lear or SL. (Again I go down a list of questions and where you are when you walk in is what I ask.

5 Carol Ann Duffy

6 Born on December 23 1955, in Glasgow, Scotland's largest city.
Attended Liverpool University

7 The first female, Scottish Poet Laureate in the role's 400 year history,
Accepted position in 2009“the queen of modern British poetry"

8 "The beginning of a poem is always a moment of tiny revelation, a new way of seeing something, which almost simultaneously attracts language to it - and then the impulse is to catch that with a pen and paper.” Carol Duffy

9 Education for Leisure

10 Dramatic Situation Dramatic monologue
Speaker is a young adolescent male who is bored and tired of being ignored, overlooked. He wants attention in the worst way…by committing Violence, playing god, causing destruction and fear as a means of feeling powerful.Speaking to the readerTone is sinister: Today I am going to kill somethingTone is also ironic: contrast between the speaker’s view of himself and reality.

11 Structure Regular lined verses Poem moves from a threat to action
Five stanzas - four lines eachPoem moves from a threat to actionBuilds tension with escalating images of violenceSyntax: Short “jabbing” sentences. …Why?Other lines that are more lyricalLine 4Last line

12 STRUCTURE Punctuation Use of end stops and enjambment. Title?
Ironic. Leisure of the unemployed, the drop outs, the underclass. Time on their hands because they have either dropped out of school or have been expelled.

13 Language Colloquial diction, slang direct address at end
Connotation of the word “genius”We usually associate the word with creativity, but here word is used with irony. Not as bright as he thinks. Irony of a poor education. “God”: association of omnipresent being who created the world, but here used to show how speaker takes joy in destruction: “I see that it is good.” Capable only of destruction, not creation

14 Language Imagery: Grey with boredom [day] Pavements Glitter:
Interesting contrast. Glitter with what?(blood, something to do?)

15 language Allusion to Gloucester’s line in King Lear.(WHY?)
Image of fly being squashedAnother Language. ( death vs language of art)Ironic humor to show discrepancy between speaker’s egotistical view of himself and our view of him.

16 Musical Devices? Unrhymed free verse
Non-metrical (pattern of stressed and unstressed syllables.)Except for some Iambic meter in lyrical lines (line 4 and last line) (yearning)Flat, plodding rhythm…reinforces the monotony of his life.

17 Thesis Duffy uses______________,___________,
and__________________to show_________________________.Duffy uses colloquial diction, allusions to God, and a threatening tone to dramatize the increasingly violent actions of a frustrated and disenfranchised youth.

18 War PhotographerFrom Duffy’s first collection: Standing Female Nude 1985

19 Warm upTake your commentary and either read it to partner, or tell them what you discovered about the poem.If you were not here on Friday, read the poem on your own and write down your first impressions of it. What is it about? Identify two most significant poetic features.

20 War PhotographerThe poem comes from Duffy’s friendship with Don McCullin and Philip Jones Griffiths, two well-respected stills photographers who specialised in war photography.Duffy is fascinated by what makes someone do such a job and how they feel about being in situations where a choice often has to be made between recording horrific events, and helping.

21 Vietnam War

22

23 Vietnam

24 Iraq, 2005

25 Iran, 1979

26 War Photographer Terms:
Alliteration: repetition of (usually) consonant sounds at the beginning of a sentence. Big Bad BearConnotation: the emotional association we have with a word.Caesura: a pause within a line of poetry. Used for dramatic effect, or to create tension, surpriseDiction: word choice (contributes to tone)Imagery: use of figurative language to create images in mind of reader

27 Make notes on the structure of the first verse
In his darkroom he is finally alonewith spools of suffering set out in ordered rows.The only light is red and softly glows,as though this were a church and hea priest preparing to intone a Mass.Belfast. Beirut. Phnom Penh. All flesh is grass.Is this continued throughout? Why?

28 Structure 4 stanzas 6 lines per stanza
Regular rhyme scheme – ABBCDD, etc.WHY?Imposes order in the chaos of warLike the photographer – order with the photos, making sense of the chaos

29 Imagery Four groups…underline and analyze images in assigned stanza.
how do they support topic & theme of poem?First by selfDiscuss with group-class

30 In his darkroom he is finally alone
with spools of suffering set out in ordered rows.The only light is red and softly glows,as though this were a church and hea priest preparing to intone a Mass.Belfast. Beirut. Phnom Penh. All flesh is grass.

31 In his darkroom he is finally alone
with spools of suffering set out in ordered rows.The only light is red and softly glows,as though this were a church and hea priest preparing to atone a Mass.Belfast. Beirut. Phnom Penh. All flesh is grass.

32 alliteration – what is the effect?
Contrast to what?alliteration – what is the effect?What are the connotations of the colours?In his darkroom he is finally alonewith spools of suffering set out in ordered rows.The only light is red and softly glows,as though this were a church and hea priest preparing to atone a Mass.Belfast. Beirut. Phnom Penh. All flesh is grass.regularity/order – reflects structureSuggestion of graves/bodiesLitany of horror; what is the effect of the caesura?Simile – reverence and devotion to the picturesIsaiah 40:6 – shortness of life

33 He has a job to do. Solutions slop in trays
beneath his hands which did not tremble thenthough seem to now. Rural England. Home againto ordinary pain which simple weather can dispel,to fields which don’t explode beneath the feetof running children in nightmare heat.

34 Why did they not tremble then? Why now?
Ambiguity – chemicals/solutions to warImplies carelessnessHe has a job to do. Solutions slop in traysbeneath his hands which did not tremble thenthough seem to now. Rural England. Home againto ordinary pain which simple weather can dispel,to fields which don’t explode beneath the feetof running children in nightmare heat.Why did they not tremble then? Why now?Suggests idyllic lifeContrast: barefoot children running in grass for fun/those running from war – end of innocence and, possibly, life.True meaning to the poem - contrastCannot compare to pain of war

35 Something is happening. A stranger’s features
faintly start to twist before his eyes,a half-formed ghost. He remembers the criesof this man’s wife, how he sought approvalWithout words to do what someone mustand how the blood stained into foreign dust.

36 Ambiguous: Literal – developing the photo. Figurative – person in pain
Something is happening. A stranger’s featuresfaintly start to twist before his eyes,a half-formed ghost. He remembers the criesof this man’s wife, how he sought approvalWithout words to do what someone mustand how the blood stained into foreign dust.Photographer’s dilemma – has a job to do.Metaphor – 1. image on photo, 2. death

37 A hundred agonies in black-and-white
from which his editor will pick out five or sixfor Sunday’s supplement. The reader’s eyeballs prickwith tears between the bath and pre-lunch beers.From the aeroplane he stares impassively at whereHe earns his living and they do not care

38 Suggests they are used for entertainment
PhotoGood/evilTruth/liesTrivialises; we are only moved momentarilyContrast to war zoneA hundred agonies in black-and-whitefrom which his editor will pick out five or sixfor Sunday’s supplement. The reader’s eyeballs prickwith tears between the bath and pre-lunch beers.From the aeroplane he stares impassively at whereHe earns his living and they do not care.En route to another assignment; poem is cyclical; unceasing warsChooses photos to suit the article; don’t convey the full horror of warWho are they?Suggests they are used for entertainment

39 Discussion PointsHow do you think this photographer feels about their job? Pride or guilt?How do you think Duffy feels towards the newspaper editors?What does Duffy seem to be suggesting about the way the readers react to seeing these images?What is Duffy trying to point out about life in Britain compared to Beirut etc?Themes?

40 DictionWhich words or phrases seem significant in contributing to the tone of the poem?For example alone…in first stanzaSuggests isolation, detachment.

41 Theme?Effects of warShows trauma caused by witnessing tragedy, horrors of war.Juxtaposition of photographer’s inner conflict, (being impassive, objective among such horror) and the public’s fleeting interest and lack of concern for such events..

42 Group ThesisHow does author +verb+ lit. feature+ verb+lit. effect + why.War PhotographerDuffy uses________, ______, and ______ to reveal_______________.Write it down and share with class. turn it in.

43 Thesis exampleDuffy uses a regular rhyme scheme, a shifting tone, and the contrasting imagery of war and rural England to reveal the cyclical nature of conflict and the impassivity that some feel toward others’ suffering.

44 termsColloquialism: in a conversational manner that may include slang:Connotations: emotional association a reader has for a certain word:God …. in Education it has a – connotation not as creator but destroyer.Alliteration: repetition of consonant sounds at beginning of sentences;Assonance: repetition of same vowel sound: open, broken; remembered, tenderedConsonance: identical consonant sound at end of word preceded by different vowel:Home, same, breath, worth

45 Dramatic Situation?

46 Conflict?There is a lot of tension between the speaker and listener. We get the impression that the listener is not given much chance to speak - or, if they do, that it is ignored

47 As readers, we cannot be sure whose memory is more accurate - the parents' or the child's.
Is the child exaggerating about the horrors that appear to have taken place? Or are the parents guiltily trying to convince themselves that they didn't happen?

48 StructureThe poem consists of six stanzas of three lines, each of roughly the same length.Each stanza begins with a statement that denies what the child believes to have happened - 'Nobody hurt you'

49 LanguageThere are many frightening ideas in the poem that are suggested but not developed:"The bad man on the moors" (line 2),a door being locked (line 3),the child being "sent ... away" (line 13).definite sense of fear on the part of the child."skidmarks of sin" (line 16) are and what is meant by “laid you wide open for Hell" (line 17).

50 violent verbs -'hurt, argued, forced, begged' - which add to the sense of danger.

51 Onomatopoeia is used to describe the voices, "Boom. Boom. Boom
Onomatopoeia is used to describe the voices, "Boom. Boom. Boom. We associate a booming sound with explosions and bombs,It is ironic that the parent uses the metaphor "called the tune" (line 10) to indicate the control they had over the child, when the 'music' produced was so violent.

52 theme "the secret police of your childhood”
Poem about memory, childhood, truth lies.A parent trying to soft peddle a difficult childhood?

53 For Tomorrow Commentary on Standing Female Nude
Socratic Seminar Ticket 10 pts.I am collecting both.

54 Stealing: central questions
Why does Duffy use a contrast of colloquial and poetic diction? What is the effect?Discuss the central image of the snowman in the poem. How does Duffy use it?

55 Colloquialism: in a conversational manner that may include slang:
Connotations: emotional association a reader has for a certain word:Alliteration: repetition of consonant sounds at beginning of sentences;Assonance: repetition of same vowel sound: open, broken; remembered, tendered

56 Stealing Dramatic Situation? Dramatic Monologue Angry tone
Speaker? Who is he talking to?

57 Structure 5-5lined regular verse. Unrhymed and irregular in meter.
Begins and ends with question.Nothing unusual about syntaxStanzas control the poem…keep it from spilling over. Contains the energy

58 Language Slang: “Better off dead.” One word sentences
Lyrical lines: “A tall white mute/beneth the winter moon.” Why?Sharp violent verbs: piercing my gutSlice of ice. Why?

59 language Metaphor: snowman, Why significant?
Simile: “ a mind as cold as the slice of ice within my own brain.Caesuras in the middle of the lines. Why effective

60 Musical devicesInternal rhyme: “I started with the head/ better off deadSlice of iceAlliteration: ripped out in ragsRepetition: Again. Again.Assonance: mute, moon, mats, mind:

61 For Monday Shooting Stars
Annotate poem. Use different colors highlighters or pencils. If you don’t have that use boxes, circles and underlines.One color for imagesOne color for diction (words that seem carefully chosen for effectPunctuationWrite a working Thesis at the bottom or top of page.. Don’t write a commentary until after we discuss it on Monday

62 Standing Female NudeTitle Poem of her first Collection of poetry: Standing Female Nude1985

63 PicassoStanding Female Nude

64 The Grand Nude; 1908Gorges Braque

65 Who has more power in this poem?
What is Duffy saying about art?

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