Classic and Contemporary Poetry: Explained

Anne Sexton’s poem "Self in 1958" presents a haunting exploration of identity, alienation, and the suffocating expectations of societal roles. The poem, written during a time when Sexton was grappling with her mental health and the pressures of being a suburban housewife, employs the metaphor of a "plaster doll" to articulate the profound disconnection between the speaker's inner self and the external world. Through stark imagery and a tone of quiet despair, Sexton examines the dehumanizing effects of conforming to rigid societal norms and the loss of authentic selfhood.

The poem opens with a direct question: "What is reality?" This question immediately sets the tone for the existential inquiry that follows. The speaker identifies herself as a "plaster doll," an object rather than a person, symbolizing the loss of agency and individuality. The doll’s eyes "cut open without landfall or nightfall," suggesting a gaze that is both mechanical and lifeless, devoid of true perception or emotional depth. The phrase "shellacked and grinning" evokes a sense of artificiality, as if the speaker is trapped behind a glossy, unyielding surface that prevents genuine connection with the world.

Sexton’s use of the phrase "approximately an I. Magnin transplant" furthers this sense of alienation. I. Magnin was a luxury department store, and the reference to a "transplant" suggests that the speaker feels like a product, a fabricated entity designed to fit into a specific, consumer-driven ideal. The speaker’s physical attributes—her "black angel" hair, "nylon legs," and "luminous arms"—are described as components of a manufactured identity, highlighting the artificiality of her existence.

The poem’s setting—a "doll's house"—serves as a metaphor for the confined and controlled life the speaker leads. The house, with its "four chairs," "counterfeit table," and "flat roof," is a miniature, sterile environment that offers little comfort or freedom. The "big front door" suggests an entryway to the outside world, but the speaker remains trapped within this constricted space. The "iron bed" and "cardboard floor" further emphasize the bleakness of her surroundings, as if her life is constructed from cheap, unfeeling materials that offer no warmth or security.

Sexton poignantly captures the speaker's sense of being manipulated and objectified: "Someone plays with me, / plants me in the all-electric kitchen." Here, the speaker is reduced to a mere object of someone else’s will, placed and moved like a toy in a setting that is emblematic of the domestic sphere. The reference to "Mrs. Rombauer" likely alludes to Irma S. Rombauer, the author of "The Joy of Cooking", a staple in American households. This reference underscores the pressure on women in the 1950s to conform to domestic ideals and the hollow fulfillment that often accompanied these roles.

The speaker's internal struggle is further highlighted by her awareness of the disparity between how others perceive her and her true self: "They think I am me!" This exclamation reveals the deep frustration of being misrecognized and misunderstood. The warmth that others offer is dismissed as "not a friend," indicating that the speaker finds no comfort or authenticity in the relationships around her. Instead, she is "walled in solid by their noise," overwhelmed and suffocated by the external expectations that define her existence.

The poem culminates in a poignant reflection on the nature of reality for the "synthetic doll." The speaker questions what reality means for someone who is expected to "smile," "shift gears," and "spring the doors open in a wholesome disorder." These actions are all indicative of the performative aspects of the roles imposed on her—roles that demand cheerfulness, adaptability, and a facade of contentment. However, the speaker reveals her profound despair, admitting that she "would cry" if she "could remember how" and if she "had the tears." This final admission of emotional paralysis underscores the depth of her alienation and the loss of her authentic self.

In "Self in 1958," Anne Sexton masterfully conveys the inner turmoil of a woman trapped in the roles society has imposed on her. Through the metaphor of the plaster doll, Sexton explores the tension between the public self and the private self, the reality imposed by societal norms and the internal reality of the individual. The poem serves as a powerful critique of the dehumanizing effects of conforming to rigid expectations and the existential crisis that arises from the loss of one’s true identity.

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