Classic and Contemporary Poetry: Explained

"Fanny," part four of Carolyn Kizer's "Pro Femina," is an evocative and deeply personal narrative, capturing the relentless and consuming life of Fanny Stevenson in Samoa. The poem intertwines her experiences of planting and cultivating the land with her emotional and relational struggles, particularly with her husband, the writer Robert Louis Stevenson. Through vivid imagery and meticulous detail, Kizer paints a portrait of a woman whose life is defined by both her labor and her love, set against the backdrop of an exotic yet challenging environment.

The poem begins with Fanny immersed in her agricultural endeavors, describing her initial efforts to establish a life in Samoa: "At Samoa, hardly unpacked, I commenced planting, / When I’d opened the chicken crates, built the Cochins a coop." This opening sets the stage for a life of ceaseless toil and dedication to the land. The arrival of Reverend Mr. Claxton, finding her "covered with mud, / My clothes torn, my hair in a wad, my bare feet bleeding," underscores the physical demands and the often unglamorous reality of her work.

Fanny's commitment to planting is relentless, driven by necessity and a passion for creation. Her interactions with visitors, such as the priest and Mr. Carruthers, highlight her determination and the importance of her agricultural efforts: "Carruthers gave me mint root and grenadilla / Like a bouquet; he delivered a load of trees." These moments reflect her resourcefulness and the collaborative spirit required to thrive in such an environment.

Throughout the poem, Kizer deftly weaves Fanny's personal reflections and emotions with her descriptions of planting. Her husband's dismissive remark, calling her a peasant, deeply wounds her: "Louis has called me a peasant. How I brooded! / Confided it to you, diary, then crossed it out." This insult touches on her sense of identity and worth, juxtaposing her self-perception as a creator and caretaker with his derogatory view. Despite this, she finds solace and fulfillment in her gardening: "My heart melts over a bed of young peas. A blossom / On the rose tree is like a poem by my son."

The poem also captures the social and political tensions of the time. Fanny observes the lack of effort among the natives and colonials, the gossip and political discussions that dominate their lives: "The bars are crowded with amateur politicians, / Office-seekers I named the earwig consul and king." These observations provide a broader context for her personal struggles, situating her experiences within the larger colonial and cultural landscape.

As the narrative progresses, Fanny's health and the challenges of life in Samoa take their toll. She suffers from various ailments, endures natural disasters, and faces the impending threat of war: "Sometimes, when planting, a strange subterranean rumble / —Volcanic?—vexes the earth beneath this peasant haunch." These hardships are compounded by her husband's illness and eventual death, adding layers of grief and loss to her story.

The poem reaches its emotional climax with the death of Robert Louis Stevenson: "Later: At six, Louis helped with the mayonnaise, / When he put both hands to his head, said, 'Oh, what a pain! / Do I look strange?' I said no, not wanting to frighten him. / He was never conscious again. In two hours he died." This moment is rendered with a stark simplicity that heightens its impact, capturing the suddenness and finality of his passing. The communal effort to dig his grave reflects the deep respect and connection he had with the local people.

In the poem's concluding lines, Fanny contemplates her future, resolving to leave Samoa and live a nomadic life: "I will leave here as soon as I can, and never return, / Except to be buried beside him." Her declaration to continue gardening, albeit without the specific plants that marked her time in Samoa, signifies a continuation of her identity and passion, even as she moves away from the place that shaped so much of her life.

"Fanny" is a richly detailed and emotionally resonant portrayal of a woman's resilience, creativity, and the complex interplay of her personal and relational life within the context of a challenging environment. Kizer's masterful use of imagery and narrative structure brings Fanny Stevenson’s story to life, offering a poignant reflection on the themes of labor, love, loss, and the enduring human spirit.

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