Classic and Contemporary Poetry: Explained

Alicia Suskin Ostriker’s "Propaganda Poem: Maybe for Some Young Mamas" is a layered and confrontational exploration of motherhood, choice, and the societal expectations that surround them. The poem is structured as a dialogue, both literal and figurative, between the speaker and a group of young women in a classroom, challenging the prevailing attitudes toward motherhood in a feminist context.

The poem opens with the speaker reflecting on a classroom experience where she read her old pregnancy poem to a group of young women, only to find that they perceived it as "ugly." This moment sets the stage for the poem's central conflict: the tension between the speaker's reverence for motherhood and the young women's rejection of it. The speaker’s reaction—laughing despite the icy reception—signals her resilience and her determination to engage with the complexities of the topic, even in the face of hostility.

The first section of the poem addresses these "young girls in a classroom," whose "smooth skins like paper not yet written on" symbolize their youth and potential. The speaker, a more experienced woman, feels a distance from these young women, who seem disconnected from the idea of motherhood. She tries to convey that giving birth and raising a child is a profound and transformative experience—"you are born when you give birth / to a baby you start over." In this view, motherhood is not just a biological act but a spiritual and emotional rebirth.

Ostriker's speaker presents motherhood as a unique and sacred connection—"better than sex, that bitter honey"—suggesting that the bond between mother and child offers a purity and depth of feeling that other relationships cannot match. The imagery of a "pear tree blossom" and "leafy hands" evokes a sense of natural beauty and innocence, emphasizing the idea that a baby is "the most perfect human thing you can ever touch." This section of the poem is a passionate defense of motherhood as a source of profound joy and fulfillment.

However, the young women in the classroom are resistant to this message. They are "shuddering" at the thought of the "burden the responsibility / the disgusting mess of children." The speaker observes their desire for freedom and independence, contrasting it with what she sees as the ultimate fulfillment that comes with being a "whole mama." The young women's rejection of motherhood, in the speaker’s view, is rooted in a fear of losing autonomy and being consumed by the demands of parenthood.

In the second section, the poem shifts to a more realistic and gritty portrayal of motherhood. The speaker acknowledges the many challenges and sacrifices that come with raising children: "That they limit your liberty, of course, / entirely. That they limit your cash. That they limit your sleep." Here, motherhood is depicted as an exhausting and often thankless task, filled with moments of frustration, fatigue, and despair. The speaker does not shy away from the darker aspects of motherhood, describing how "your life peeling away from you like layers of cellophane" as you care for a sick child. This section serves as a counterpoint to the idealized vision of motherhood presented earlier, offering a more nuanced and honest perspective.

Yet, despite these hardships, the speaker continues to advocate for motherhood, challenging the young women to consider the unique power and joy that comes with it. She questions the societal norms that dictate what is acceptable for women, arguing that "a woman is acceptable if she is / weak" but that the true power of a woman, especially when "close to a child," is something society struggles to accept.

The final section, titled "What Actually," is a reflection on the societal pressures and ideologies surrounding motherhood. Ostriker critiques the "ideological lockstep" that forces women into predefined roles, whether as mothers or as liberated feminists. The speaker reflects on her own experience, noting how the expectations around marriage and motherhood have changed over time, from being seen as natural and inevitable to being viewed as patriarchal constructs.

In this section, the speaker also recounts the stories of different women, each with their own struggles and choices regarding motherhood. These anecdotes illustrate the diverse experiences of women, highlighting the fact that there is no single, correct path. The poem ends with a call for women to embrace their choices, whatever they may be, and to understand that "only the life that hoards and coffins itself is already dead." This closing line suggests that it is the act of living fully, whether through motherhood or other means, that gives life its meaning.

"Propaganda Poem: Maybe for Some Young Mamas" is a powerful exploration of the complexities of motherhood, choice, and the societal expectations that shape women's lives. Through its layered structure and confrontational tone, the poem challenges both the romanticization and the rejection of motherhood, urging women to find their own paths and to embrace the power and joy that come with living authentically.

Copyright (c) 2025 PoetryExplorer

Discover our Poem Explanations and Poet Analyses!

Other Poems of Interest...