Showing 231 - 238 of 238 annotations tagged with the keyword "Father-Daughter Relationship"
Summary:Paul Muldoon is one of Ireland's most prominent poets. He is a poet's poet, celebrating language, Irish culture and Ireland in almost every word. In "Footling", "Sonogram" (the preceding poem), and "The Birth" --all from his latest collection, The Annals of Chile--Muldoon is apparently chronicling the recent growth of his family in a poetic triptych of power and inventiveness. "Footling" describes the seeming reluctance of the poet's daughter to venture forth and breach the "great sea-wall" in order to "take a header" into the great "ground swell (italicized) of life." See this database for annotations of Sonogram and The Birth.
Summary:Virginia (Olivia de Havilland) marries Robert (Mark Stevens), but she soon becomes profoundly disturbed and her caring husband sends her to a psychiatric hospital. Using Freudian techniques combined with physical modalities of electroshock and isolation, her psychiatrist (Leo Genn) leads her to overcome her amnesia and to understand that her illness is the result of unresolved yet misplaced feelings of guilt over a boyfriend and her father. Just before Virginia is happily restored to Robert, the asylum patients are gathered together at a hospital party where they sing of their yearning for home.
The narrator of this poem seems to be starving herself to death to be with her father who has died recently. She talks of " . . . flirting with my father, / his cadaver the only body this thin / I have seen--I am walking around like his corpse . . . . " Her eating disorder may be a form of grieving. She has lost her will to live.
Summary:This is the first of three poems (all annotated in this database) chronicling events that culminate in the arrival of the poet's new daughter. The second, Footling, relates her in utero reluctance to sally forth; the last, The Birth, is a verbal Fourth of July celebrating the birth of Dorothy Aoife Korelitz Muldoon. "Sonogram" is a three-stanza, eight-line image of the sonogram and the images it suggests. It reminds one of Pound's famous Metro poem for its sheer economy and pictorial power.
The narrator has experienced an epiphany in which she can understand objectively, even forgive, her father’s abusive behavior toward her. She has seen in her mind’s eye her father as a child, in the bleak household where "something was / not given to you, or something was / taken from you . . . "; she wishes that the love she feels for her father now could have nurtured him as a child and saved him from becoming an alcoholic adult who mistreated his family.
The narrator observes how her dying father is changing as he dies. She experiences the process as if she were giving cosmic birth to him,
and as if she could protect him in the safety of her womb.
This dead body is to be treated with respect, not to be left alone or to be donated to the anatomy lab, or for organ transplantation. For the narrator, there is little difference between this body of her dead father and the unconscious body she remembers from so much of her childhood. She cannot make the distinction emotionally between the dead and the living father, " . . . this was the one I had known anyway, / this man made of rich substance."
A powerful lament over a father’s wasted life, and the "purgatory" of living in a household dominated by alcoholism and marital discord. Strong and graphic language weaves a complex web of conflicting emotions: hatred and self-hatred, scorn and pity, condemnation and forgiveness.