Classic and Contemporary Poetry: Explained

Anne Sexton’s "February 21st" explores the disintegration of a marriage, capturing the tension, violence, and emotional turmoil that characterize a relationship on the brink of collapse. The poem uses stark, vivid imagery and a confessional tone to delve into the speaker’s internal struggle, as she reflects on the facade of happiness contrasted with the underlying conflict. The juxtaposition of a photograph symbolizing unity with the reality of a "divorce" that has taken place over the last week forms the emotional core of the poem.

The opening line, "The day is favorable for teamwork," introduces an ironic contrast that runs through the poem. The idea of teamwork suggests collaboration and harmony, yet the poem quickly reveals that the reality of the speaker’s relationship is far from that ideal. The photograph, which "sits on my desk" and depicts a moment where the speaker and her husband "smile at each other," symbolizes the public image of their marriage—a union that appears strong and affectionate. However, the photograph "lay unkissed all week," indicating a growing emotional distance and neglect.

The phrase "That photograph walked up the aisle / for the twenty-three years we've been wed" encapsulates the history and duration of their marriage. The image of the photograph "walking up the aisle" personifies the picture as a witness or emblem of their marriage vows, which have carried them through time "onward into Carolina, cheek to cheek." This reference to the South, and perhaps the Southern tradition of enduring marriages, hints at the societal and personal pressures to maintain the appearance of a happy union.

However, the poem shifts dramatically as the speaker describes her husband as a "mad hammer, man of force," introducing a sense of violence and domination within the relationship. The mention of "This last week has been our divorce" suggests that, although not legally separated, the couple has experienced a profound emotional rift, akin to a divorce. The sudden, stark nature of this realization contrasts sharply with the earlier images of unity and partnership.

The speaker then declares, "I'm not a war baby. I'm a baby / at war." This line plays on the idea of being a "war baby," typically a child born during wartime, but instead, the speaker describes herself as an innocent, vulnerable figure caught in the midst of an ongoing conflict. The imagery of "Thumbs grow into my throat" conveys a sense of suffocation and oppression, as if the speaker is being choked by the very force that should be supporting her. The violence continues with "I wear slaps like a spot of rouge," a chilling image that equates physical abuse with the superficial application of makeup, suggesting that the pain is being masked or normalized within the relationship.

The speaker then asks, "Woodsman, who made me into your tree? / Drowner, who made me into your boat?" These metaphors highlight the ways in which the speaker has been objectified and used by her husband. The "Woodsman" who turns the speaker into a "tree" implies a process of transformation through force, shaping her into something static and rooted, while the "Drowner" who turns her into a "boat" suggests a relationship where she is used as a vessel, subject to the control and direction of another. These lines underscore the speaker’s loss of agency and the manipulation she has endured.

The poem then moves to a more introspective tone as the speaker confesses, "Lover, I feel a darkness, I feel a fugue / come over us." The term "fugue" evokes a sense of disorientation and loss of identity, often associated with a dissociative state. This "darkness" that the speaker feels signals the deepening emotional and psychological crisis within the marriage, as the couple spirals further into conflict and estrangement.

The poem closes with a return to the photograph, which "sits over my desk" as a silent witness to the ongoing turmoil. The final image of "we dance the karate, the mad burlesque" captures the absurdity and violence of their relationship, where what should be a dance of partnership has become a combative and grotesque performance. The use of "karate" suggests physical aggression, while "mad burlesque" implies a distorted, exaggerated portrayal of their life together, as if their marriage has devolved into a parody of what it once was.

"February 21st" is a powerful reflection on the breakdown of a marriage, marked by themes of violence, loss of identity, and the gap between appearances and reality. Through vivid and unsettling imagery, Sexton captures the speaker’s sense of entrapment and the emotional toll of a relationship that has turned from love to conflict. The poem’s confessional tone and its exploration of the darker aspects of marriage make it a poignant meditation on the complexities of human relationships and the sometimes painful truths that lie beneath the surface.

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