10 Poems by Anne Sexton, Confessional Poet
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Anne Sexton (1928 – 1974) proclaimed that she was “the only confessional poet” some time before committing suicide at the age of forty-five. Her good friend Sylvia Plath, whose poetry stands squarely in the realm of the confessional movement, might have taken issue with that. But it’s undoubtedly true that from the time she started writing poetry as a way to recover from a mental breakdown, her writing and her inner life were joined.
From that synergy emerged a period of wild creativity that resulted in more than a dozen collections and a Pulitzer Prize. Here’s a sampling of 10 poems by Anne Sexton, a woman who was as complex and talented an artist and woman as they come.
45 Mercy Street
In my dream,
drilling into the marrow
of my entire bone,
my real dream,
I’m walking up and down Beacon Hill
searching for a street sign –
namely MERCY STREET.
I try the Back Bay.
And yet I know the number.
45 Mercy Street.
I know the stained-glass window
of the foyer,
the three flights of the house
with its parquet floors.
I know the furniture and
mother, grandmother, great-grandmother,
I know the cupboard of Spode
the boat of ice, solid silver,
where the butter sits in neat squares
like strange giant’s teeth
on the big mahogany table.
I know it well.
Where did you go?
45 Mercy Street,
kneeling in her whale-bone corset
and praying gently but fiercely
to the wash basin,
at five A.M.
dozing in her wiggy rocker,
grandfather taking a nap in the pantry,
grandmother pushing the bell for the downstairs maid,
and Nana rocking Mother with an oversized flower
on her forehead to cover the curl
of when she was good and when she was…
And where she was begat
and in a generation
the third she will beget,
with the stranger’s seed blooming
into the flower called Horrid.
I walk in a yellow dress
and a white pocketbook stuffed with cigarettes,
enough pills, my wallet, my keys,
and being twenty-eight, or is it forty-five?
I walk. I walk.
I hold matches at street signs
for it is dark,
as dark as the leathery dead
and I have lost my green Ford,
my house in the suburbs,
two little kids
sucked up like pollen by the bee in me
and a husband
who has wiped off his eyes
in order not to see my inside out
and I am walking and looking
and this is no dream
just my oily life
where the people are alibis
and the street is unfindable for an
Pull the shades down –
I don’t care!
Bolt the door, mercy,
erase the number,
rip down the street sign,
what can it matter,
what can it matter to this cheapskate
who wants to own the past
that went out on a dead ship
and left me only with paper?
I open my pocketbook,
as women do,
and fish swim back and forth
between the dollars and the lipstick.
I pick them out,
one by one
and throw them at the street signs,
and shoot my pocketbook
into the Charles River.
Next I pull the dream off
and slam into the cement wall
of the clumsy calendar
I live in,
and its hauled up
A Cruse Against Elegies
Oh, love, why do we argue like this?
I am tired of all your pious talk.
Also, I am tired of all the dead.
They refuse to listen,
so leave them alone.
Take your foot out of the graveyard,
they are busy being dead.
Everyone was always to blame:
the last empty fifth of booze,
the rusty nails and chicken feathers
that stuck in the mud on the back doorstep,
the worms that lived under the cat’s ear
and the thin-lipped preacher
who refused to call
except once on a flea-ridden day
when he came scuffing in through the yard
looking for a scapegoat.
I hid in the kitchen under the ragbag.
I refuse to remember the dead.
And the dead are bored with the whole thing.
But you – you go ahead,
go on, go on back down
into the graveyard,
lie down where you think their faces are;
talk back to your old bad dreams.
Anne Sexton pageon Amazon
Again And Again And Again
You said the anger would come back
just as the love did.
I have a black look I do not
like. It is a mask I try on.
I migrate toward it and its frog
sits on my lips and defecates.
It is old. It is also a pauper.
I have tried to keep it on a diet.
I give it no unction.
There is a good look that I wear
like a blood clot. I have
sewn it over my left breast.
I have made a vocation of it.
Lust has taken plant in it
and I have placed you and your
child at its milk tip.
Oh the blackness is murderous
and the milk tip is brimming
and each machine is working
and I will kiss you when
I cut up one dozen new men
and you will die somewhat,
again and again.
Menstruation at Forty
I was thinking of a son.
The womb is not a clock
nor a bell tolling,
but in the eleventh month of its life
I feel the November
of the body as well as of the calendar.
In two days it will be my birthday
and as always the earth is done with its harvest.
This time I hunt for death,
the night I lean toward,
the night I want.
It was in the womb all along.
I was thinking of a son …
You! The never acquired,
the never seeded or unfastened,
you of the genitals I feared,
the stalk and the puppy’s breath.
Will I give you my eyes or his?
Will you be the David or the Susan?
(Those two names I picked and listened for.)
Can you be the man your fathers are–
the leg muscles from Michelangelo,
hands from Yugoslavia
somewhere the peasant, Slavic and determined,
somewhere the survivor bulging with life–
and could it still be possible,
all this with Susan’s eyes?
All this without you–
two days gone in blood.
I myself will die without baptism,
a third daughter they didn’t bother.
My death will come on my name day.
What’s wrong with the name day?
It’s only an angel of the sun.
weaving a web over your own,
a thin and tangled poison.
My death from the wrists,
two name tags,
blood worn like a corsage
one on the left and one on the right–
It’s a warm room,
the place of the blood.
Leave the door open on its hinges!
Two days for your death
and two days until mine.
Love! That red disease–
year after year, David, you would make me wild!
David! Susan! David! David!
full and disheveled, hissing into the night,
never growing old,
waiting always for you on the porch …
year after year,
my carrot, my cabbage,
I would have possessed you before all women,
calling your name,
calling you mine.
Love Letter Written In A Burning Building
I am in a crate, the crate that was ours,
full of white shirts and salad greens,
the icebox knocking at our delectable knocks,
and I wore movies in my eyes,
and you wore eggs in your tunnel,
and we played sheets, sheets, sheets
all day, even in the bathtub like lunatics.
But today I set the bed afire
and smoke is filling the room,
it is getting hot enough for the walls to melt,
and the icebox, a gluey white tooth.
I have on a mask in order to write my last words,
and they are just for you, and I will place them
in the icebox saved for vodka and tomatoes,
and perhaps they will last.
The dog will not. Her spots will fall off.
The old letters will melt into a black bee.
The night gowns are already shredding
into paper, the yellow, the red, the purple.
The bed — well, the sheets have turned to gold —
hard, hard gold, and the mattress
is being kissed into a stone.
As for me, my dearest Foxxy,
my poems to you may or may not reach the icebox
and its hopeful eternity,
for isn’t yours enough?
The one where you name
my name right out in P.R.?
If my toes weren’t yielding to pitch
I’d tell the whole story —
not just the sheet story
but the belly-button story,
the pried-eyelid story,
the whiskey-sour-of-the-nipple story —
and shovel back our love where it belonged.
Despite my asbestos gloves,
the cough is filling me with black and a red powder seeps through my
our little crate goes down so publicly
and without meaning it, you see, meaning a solo act,
a cremation of the love,
but instead we seem to be going down right in the middle of a Russian
the flames making the sound of
the horse being beaten and beaten,
the whip is adoring its human triumph
while the flies wait, blow by blow,
straight from United Fruit, Inc.
More Than Myself
Not that it was beautiful,
but that, in the end, there was
a certain sense of order there;
something worth learning
in that narrow diary of my mind,
in the commonplaces of the asylum
where the cracked mirror
or my own selfish death
outstared me . . .
I tapped my own head;
it was glass, an inverted bowl.
It’s small thing
to rage inside your own bowl.
At first it was private.
Then it was more than myself.
The Fury Of Sunsets
cold is in the air,
an aura of ice
All day I’ve built
a lifetime and now
the sun sinks to
The horizon bleeds
and sucks its thumb.
The little red thumb
goes out of sight.
And I wonder about
this lifetime with myself,
this dream I’m living.
I could eat the sky
like an apple
but I’d rather
ask the first star:
why am I here?
why do I live in this house?
You always read about it:
the plumber with twelve children
who wins the Irish Sweepstakes.
From toilets to riches.
Or the nursemaid,
some luscious sweet from Denmark
who captures the oldest son’s heart.
From diapers to Dior.
Or a milkman who serves the wealthy,
eggs, cream, butter, yogurt, milk,
the white truck like an ambulance
who goes into real estate
and makes a pile.
From homogenized to martinis at lunch.
Or the charwoman
who is on the bus when it cracks up
and collects enough from the insurance.
From mops to Bonwit Teller.
the wife of a rich man was on her deathbed
and she said to her daughter Cinderella:
Be devout. Be good. Then I will smile
down from heaven in the seam of a cloud.
The man took another wife who had
two daughters, pretty enough
but with hearts like blackjacks.
Cinderella was their maid.
She slept on the sooty hearth each night
and walked around looking like Al Jolson.
Her father brought presents home from town,
jewels and gowns for the other women
but the twig of a tree for Cinderella.
She planted that twig on her mother’s grave
and it grew to a tree where a white dove sat.
Whenever she wished for anything the dove
would drop it like an egg upon the ground.
The bird is important, my dears, so heed him.
Next came the ball, as you all know.
It was a marriage market.
The prince was looking for a wife.
All but Cinderella were preparing
and gussying up for the big event.
Cinderella begged to go too.
Her stepmother threw a dish of lentils
into the cinders and said: Pick them
up in an hour and you shall go.
The white dove brought all his friends;
all the warm wings of the fatherland came,
and picked up the lentils in a jiffy.
No, Cinderella, said the stepmother,
you have no clothes and cannot dance.
That’s the way with stepmothers.
Cinderella went to the tree at the grave
and cried forth like a gospel singer:
Mama! Mama! My turtledove,
send me to the prince’s ball!
The bird dropped down a golden dress
and delicate little gold slippers.
Rather a large package for a simple bird.
So she went. Which is no surprise.
Her stepmother and sisters didn’t
recognize her without her cinder face
and the prince took her hand on the spot
and danced with no other the whole day.
As nightfall came she thought she’d better
get home. The prince walked her home
and she disappeared into the pigeon house
and although the prince took an axe and broke
it open she was gone. Back to her cinders.
These events repeated themselves for three days.
However on the third day the prince
covered the palace steps with cobbler’s wax
and Cinderella’s gold shoe stuck upon it.
Now he would find whom the shoe fit
and find his strange dancing girl for keeps.
He went to their house and the two sisters
were delighted because they had lovely feet.
The eldest went into a room to try the slipper on
but her big toe got in the way so she simply
sliced it off and put on the slipper.
The prince rode away with her until the white dove
told him to look at the blood pouring forth.
That is the way with amputations.
The don’t just heal up like a wish.
The other sister cut off her heel
but the blood told as blood will.
The prince was getting tired.
He began to feel like a shoe salesman.
But he gave it one last try.
This time Cinderella fit into the shoe
like a love letter into its envelope.
At the wedding ceremony
the two sisters came to curry favor
and the white dove pecked their eyes out.
Two hollow spots were left
like soup spoons.
Cinderella and the prince
lived, they say, happily ever after,
like two dolls in a museum case
never bothered by diapers or dust,
never arguing over the timing of an egg,
never telling the same story twice,
never getting a middle-aged spread,
their darling smiles pasted on for eternity.
Regular Bobbsey Twins.
Loving me with my shoes off
means loving my long brown legs,
sweet dears, as good as spoons;
and my feet, those two children
let out to play naked. Intricate nubs,
my toes. No longer bound.
And what’s more, see toenails and
all ten stages, root by root.
All spirited and wild, this little
piggy went to market and this little piggy
stayed. Long brown legs and long brown toes.
Further up, my darling, the woman
is calling her secrets, little houses,
little tongues that tell you.
There is no one else but us
in this house on the land spit.
The sea wears a bell in its navel.
And I’m your barefoot wench for a
whole week. Do you care for salami?
No. You’d rather not have a scotch?
No. You don’t really drink. You do
drink me. The gulls kill fish,
crying out like three-year-olds.
The surf’s a narcotic, calling out,
I am, I am, I am
all night long. Barefoot,
I drum up and down your back.
In the morning I run from door to door
of the cabin playing chase me.
Now you grab me by the ankles.
Now you work your way up the legs
and come to pierce me at my hunger mark.
Tommy is three and when he’s bad
his mother dances with him.
She puts on the record,
“Red Roses for a Blue Lady”
and throws him across the room.
she never laid a hand on him.
He gets red roses in different places,
the head, that time he was as sleepy as a river,
the back, that time he was a broken scarecrow,
the arm like a diamond had bitten it,
the leg, twisted like a licorice stick,
all the dance they did together,
Blue Lady and Tommy.
You fell, she said, just remember you fell.
I fell, is all he told the doctors
in the big hospital. A nice lady came
and asked him questions but because
he didn’t want to be sent away he said, I fell.
He never said anything else although he could talk fine.
He never told about the music
or how she’d sing and shout
holding him up and throwing him.
He pretends he is her ball.
He tries to fold up and bounce
but he squashes like fruit.
For he loves Blue Lady and the spots
of red roses he gives her.
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