Classic and Contemporary Poetry: Explained

Anne Sexton’s "Doors, Doors, Doors: 2. Seamstress" is a poignant exploration of a mother’s difficult and resigned acceptance of her son's path, as well as the circumstances of her own life. The poem delves into themes of sacrifice, maternal love, and the inevitable choices one must make in life, often with no ideal options. Through the voice of the seamstress, Sexton captures the complexity of a mother’s emotions as she reflects on her son’s decisions, her own sacrifices, and the stark realities of her daily life.

The poem opens with the seamstress expressing her bewilderment: "I'm at pains to know what else I could have done / but move out of his parish, him being my son." This line immediately establishes the tension and helplessness the seamstress feels. The act of moving out of her son’s parish suggests a significant distance—both physical and emotional—that she has created between herself and her son, a distance that seems born out of necessity rather than desire.

The seamstress recounts her life, starting with the absence of her husband, who "left us to beat the Japs at Okinawa." This historical reference situates the poem in the context of World War II, a time when many families were fractured by the war. The "gold star up in the front window / beside the flag" is a symbol of her husband's service and sacrifice, a reminder of his absence and the burden she has had to carry alone. The mention of "Alterations" as what she knows and does speaks to her practical, hands-on nature—she is someone who mends and adjusts, both in her work and in her life, but also someone who has had to accept and adapt to changes beyond her control.

As the seamstress reflects on her son, we see a mother deeply concerned with his well-being, noting his childhood illnesses and her efforts to provide for him, "I paid for the clinic exam and a pack of lies." This line suggests that she has had to shield her son from harsh truths or perhaps face deceit herself in the medical care he received. Her observations about his "undersize" private parts reveal an intimate and almost painful awareness of his vulnerabilities, contrasting with her memories of his father, "that muscly old laugh he had." The father’s absence and the son’s physical frailty add to her sense of concern and responsibility.

Despite his physical shortcomings, her son is described as "as smart as a rooster," with neighbors predicting he would "go far" and "marry well." These expectations clash with the reality that he chose to "take the cloth," a decision that the seamstress tried to dissuade him from. Her plea, "You're all I got," reflects the depth of her attachment to him and her fear of losing him to the religious life. However, her efforts are in vain, as her son remains committed to his path, driven by a relentless faith: "Christ was a hornet inside his head." This metaphor powerfully conveys the intensity and inevitability of his religious calling, something that buzzes and stings, compelling him despite her wishes.

The seamstress’s resignation is palpable as she returns to her work, "I guess / I'd better stitch the zipper in this dress." This mundane task is symbolic of her acceptance of life’s demands, no matter how small or insignificant they may seem in the grander scheme of her struggles. The repetition of "I guess" underscores her uncertainty and the resigned tone with which she meets the challenges of her life.

Living in a boarding house, the seamstress is surrounded by other isolated figures, including an "old invalid" and a "young one" involved with a girl who "pretends she comes to use the John." These neighbors, like the seamstress, are depicted in a state of decline or deception, underscoring the theme of loneliness and the small, often pathetic ways people cope with their circumstances. The "old one with bad breath and his bed all mussed" still finds a way to engage with the young couple, "smiles and talks to them," despite his frailty, highlighting the persistence of human connection even in the most degraded situations.

The poem concludes with the seamstress’s reflection on her choices: "Sure as hell, what else could I have done / but pack up and move in here, him being my son?" This rhetorical question captures her sense of inevitability and the limited options available to her. Her decision to leave her son’s parish and move into this boarding house seems to be one of necessity, dictated by her son's choices and her own need for independence, even if it means living in diminished circumstances.

"Doors, Doors, Doors: 2. Seamstress" is a deeply moving exploration of maternal love, sacrifice, and the often harsh realities of life. Sexton’s portrayal of the seamstress is one of a woman who has faced considerable hardship and loss but who continues to persevere, finding solace in her work and in the small routines of daily life. The poem speaks to the universal experience of making difficult choices, the pain of letting go, and the quiet dignity that comes from carrying on despite life’s many disappointments.

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