Classic and Contemporary Poetry: Explained

Carolyn Kizer's "Pro Femina: Two" is a nuanced exploration of the independent woman's struggle for balance between societal expectations and personal autonomy. The poem captures the multifaceted experiences of women as they navigate roles imposed by tradition and modernity, blending critique with irony and empathy.

The poem begins by addressing the concept of the “Independent Woman” and the paradoxical nature of her independence: “Independent but maimed.” Kizer portrays the physical and emotional toll of this independence through vivid imagery: “observe the exigent neckties / Choking violet writers; the sad slacks of stipple-faced matrons; / Indigo intellectuals, crop-haired and callus-toed.” These descriptions highlight the sacrifices and compromises women make to assert their independence, often at the cost of their comfort and well-being.

Kizer critiques the societal pressure on women to compete for male attention, a race often won by those who conform to traditional standards of beauty: “aced out by full-time beauties / In the race for a male.” This competition leads many women to retreat into “drabness, bad manners, / And sleeping with manuscripts.” The phrase “sleeping with manuscripts” evokes the image of women finding solace in their work, yet also suggests a form of self-imposed exile from the social and romantic spheres.

The poet acknowledges the tension between the desire for independence and the need for companionship and care: “But we need dependency, cosseting, and well-treatment. / So do men sometimes. Why don’t they admit it?” This candid admission underscores the universal human need for support and affection, challenging the notion that independence equates to emotional self-sufficiency.

Kizer vividly describes the societal expectations that bind women to traditional roles: “Knitting booties and brows, tartars or termagants, ancient / Fertility symbols, chained to our cycle.” Despite advancements in hygiene and personal care, women remain constrained by societal norms and physical expectations. The poet humorously critiques these constraints, noting the “ingenious constructions” that “hold coiffures in a breeze” and the “fool heels” that hobble them.

The poem contrasts the elaborate and restrictive attire of women with the “uniform drabness” of men’s clothing, designed for “self-forgetfulness.” This comparison highlights the societal focus on women’s appearances, which keeps them “in thrall to ourselves, concerned with our surfaces.” Kizer's observation about men’s clothing emphasizes the relative freedom men have from constant self-scrutiny.

Kizer advises women to occasionally “forget yourself” and see the consequences: “Up the creek, alone with your talent, sans everything else.” This line underscores the risk of prioritizing independence and personal achievement at the expense of social connections and support. The poet sarcastically suggests waiting for menopause to “catch up on your reading,” pointing to the absurdity of postponing personal fulfillment until later in life.

The poem concludes with a powerful invocation to women’s intellectual and creative potential: “So primp, preen, prink, pluck, and prize your flesh, / All posturings! All ravishment! All sensibility! / Meanwhile, have you used your mind today?” Kizer challenges women to transcend superficial concerns and tap into their intellectual and creative capacities. The reference to Athena, the Greek goddess of wisdom, who sprang fully grown from Zeus’s head, serves as a metaphor for women’s potential to create and assert their identities independently of societal expectations.

“Pro Femina: Two” by Carolyn Kizer is a rich and layered exploration of the challenges faced by independent women. Through sharp critique, vivid imagery, and a blend of irony and empathy, Kizer captures the complexities of balancing societal expectations with personal autonomy, ultimately advocating for the intellectual and creative empowerment of women.