Classic and Contemporary Poetry: Explained

Eleanor Wilner’s poem "Multiple Image, Retro-Girlhood '40s Style" delves into the commodification and exploitation of the Dionne Quintuplets, five identical sisters born in Canada in the 1930s. The poem is a rich tapestry of cultural references and personal reflections, intertwining the historical narrative with the poet’s own experiences and observations.

The poem opens with the image of the quintuplets on the cover of Life magazine, a symbol of their mass replication and public fascination. Wilner describes the quintuplets as a "freak show from that staid outpost, Canada," highlighting the media’s sensationalism and the public’s insatiable curiosity about these identical sisters. The quintuplets, named Annette, Emilie, Yvonne, Cécile, and Marie, became instant celebrities, their likenesses outselling even the Shirley Temple doll. They were constantly photographed and displayed, always dressed alike, a visual spectacle that fed the public’s appetite for novelty and uniformity.

Wilner contrasts the quintuplets' forced public image with the wild, untamed nature of the Canadian landscape, "hovering out there, above the dark Canadian woods." This juxtaposition underscores the unnatural and artificial nature of their celebrity status, imposed upon them by external forces. The quintuplets were taken from their parents and placed under the control of the state, who exploited them as tourist attractions and commercial commodities. The poet reflects on how the quintuplets were treated as interchangeable objects, much like the Dutch girl on the Old Dutch Cleanser can, representing an endless cycle of replication and commodification.

The poet’s personal connection to the quintuplets is woven into the narrative through her own childhood experiences of being dressed alike with her sister, reflecting societal expectations of girls to be "quiet, clean, and sweet." This personal anecdote deepens the emotional resonance of the poem, illustrating how the commodification of girlhood extends beyond the Dionne Quintuplets to a broader cultural phenomenon.

Wilner introduces a vivid dream sequence, where she envisions rescuing the quintuplets from a burning house. This dream symbolizes a desire to save them from their exploitation and the loss of their individual identities. The imagery of the burning house set stark against the white snow of Canada evokes a sense of urgency and danger, contrasting with the cold, clinical exploitation they faced in reality.

The poem concludes with a reflection on the quintuplets' later lives, marked by misery and obscurity after their public novelty faded. The poet imagines a trunk in an attic containing their bright raincoats, now relics of their past celebrity. These raincoats, described in jewel tones like Jell-O or LifeSavers, symbolize the fleeting and superficial nature of their fame. The game of sucking a LifeSaver until it shatters becomes a metaphor for their lives, full of momentary sweetness followed by sharp, painful reality.

Wilner’s poem is a poignant commentary on the exploitation of innocence and the cultural obsession with novelty and uniformity. Through rich imagery and personal reflection, she captures the tragic story of the Dionne Quintuplets, highlighting the human cost of their commodification and the enduring impact on their lives.

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