The World's Wife

Last updated

The World's Wife
Carol Ann Duffy.jpg
AuthorCarol Ann Duffy
CountryUnited Kingdom
LanguageEnglish
GenrePoetry
PublisherAnvil Press Poetry
Publication date
1999
ISBN 9780571199952
Preceded byMeeting Midnight 
Followed byTime's Tidings: Greeting the 21st Century 

The World's Wife is a collection of poetry by Carol Ann Duffy, originally published in the UK in 1999 by both Picador [1] and Anvil Press Poetry [2] and later published in the United States by Faber and Faber in 2000. [3]

Contents

Duffy's poems in The World's Wife focus on either well known female figures or fictional counterparts to well known male figures. The themes of the poems focus on the complexities of gender relations, the roles of women, and the often ill treatment of women through fictional, biblical, mythical, and historical contexts. Duffy often also makes modern day references in her poems in order to connect the different settings together into a cohesive collection and also highlight how the ill treatment towards women has endured through all the different contexts and into the modern era.

Background

The World's Wife is Carol Ann Duffy's fifth collection of poetry. Her previous collection, Standing Female Nude, is tied to romantic and amorous themes, while her collection The Other Country takes a more indifferent approach to love; The World's Wife continues this progression in that it critiques male figures, masculinity, and heterosexual love to instead focus on forgotten or neglected female figures. [4]

Duffy's works are described as being feminist poetry and are known for being "love poems that often take the form of monologues" [5] and for using "conversational language" [6] that is accessible to average readers.The World's Wife continues these recognizable trends of Duffy's writing; "the monologue, for which Duffy has become justifiably famous, provides the ideal vehicle for the most immediate, dramatic and arresting perspectives of a host of characters whose opinions are often" ignored. [7] While Duffy still makes use of the monologue form in The World's Wife, her works in this collection are described as being a type of hybrid in that they have the "authority of a ballad – a legend being told, a larger-than-life figure that belongs in myth as well as history." [8]

Duffy speaks of her collections by saying "I wanted to use history and myth and popular culture and elements from cinema and literature, but also to anchor it in a deeply personal soil and make an entertainment, [...] It was fun to juggle around with and there were times when I sat laughing as I was writing" [9]

At the time of its publication, in 1999, Duffy was being "seriously considered for the position" [5] of the United Kingdom's poet laureate, but was ultimately not chosen; she would later become poet laureate in 2009. [10] She stated that her choice to accept the position of poet laureate was "only because, since its inception in the 17th century, no woman had previously held the post." [6]

Themes

Duffy's collection focuses on the unheard perspective of female counterparts of famously known male figures; it "gives a voice to the wives of famous and infamous 'great men' of world literature and civilization". [11] She tackles issues surrounding marriage, sex, love, motherhood, etc., i.e. the "typical" roles of women, as detailed through the experiences of famous characters. Through her poems, she is trying to "subvert classical traditions of the male (voyeur) poet and female muse" [4] and instead turns the focus to female characters who are telling their own side of the story. She takes the cliche roles of women and presents it as a "snare in which they are entangled. It is as if they are forced to live a life as stereotype: the bored wife, the neglected wife, or the woman rejected in favour of a younger model." [12] Duffy's poems make a point about "the way expectations and conventions, or the stories we hear and tell, may be erroneous. Such poems ask the reader to pause for a moment, to rethink their lazy assumptions, to look again at what they think they knew" [13]

Antony Rowland argues that her poems are distinct in that they are placed in a setting of "postmodernity" and "lovers who struggle to formulate their alienation amongst modern, urban cityscape" and that this may be why the texts frame love as an "oppressive terror rather than erotic release." [4] While Duffy's poems still "sparkle with wit, intelligence and an impressive lightness of touch, [they also] draw on some weighty emotional experiences: loneliness, jealousy, self-loathing, desire, the fierceness of a mother's love." [9]

Duffy often makes use of dramatic monologue for her collection; "She is famed for her dramatic monologues, which combine compassion, rhythmic verve and an astonishing gift for ventriloquism, and for her tender, lyrical love poems. This collection brings both genres together in the form of masks which, she says, gave her the freedom to explore intensely personal experiences." [9] But she also strays from this form to reflect the subject of the poem when needed. In "Anne Hathaway," Duffy "picks the sonnet [...] she relishes taking on the competition of the biggest literary word-slinger of them all, [Shakespeare], on his own territory." [14] The poem "Mrs. Darwin" also reflects its subject matter in that it uses a journal entry form, reminiscent of Darwin's original journal entries.

Duffy's poetry is also recognizable for its use of rhyme, "not only end-rhymes, but off-rhymes, hidden rhymes, half-rhymes, ghost rhymes, deliberate near-misses that hit the mark." [8] Duffy employs different rhyming techniques to mirror the subject of the poem.

Jeanette Winterson explains this through the example of the poem "The Devil's Wife," she states: "I flew in my chains over the wood where we'd buried / the doll. I know it was me who was there. / I know I carried the spade. I know I was covered in mud. / But I cannot remember how or when or precisely where."

"The complacent end-rhymes of lines two and four are taunted by the askew “buried” and “carried”, and made sinister by the pagan sacrifice embedded in “wood” and “mud” with the ancient “wude” and “daub” sitting behind the rhyme. Repetition of “I know”, three times in four lines, works as a locked rhyme – lethally right for a mind that can never escape itself or be set free by others; a mind that belongs to Myra Hindley." [8]

Winterson also states that "The title of The World’s Wife is both a tacit understanding that it’s (still) a man’s world, and a joke on the world’s most popular dedication: To My Wife." [8] Libby Hudson echoes this sentiment when she states "a feminist poet must [...] wrestle with words that essentially reflect the patriarchal culture which shaped them [...] the very title used for this collection may be said to indicate that this is the case, referring as it does to a commonplace expression ('the world and his wife') which seems to show women as only tangentially related to the world they live in." [12]

Reviews

The Antioch Review described Duffy's collection as one that fused "form ingenuity and social concern in insightful, exuberant dramatic monologues." [15]

Reviewers from Publishers Weekly, felt that despite Duffy's work being "rife with clever twist," [16] it is a subject that has been done before by other writers and "one imagines these characters would've come a longer way by now." [16]

The Independent describes Duffy's poetry as one that is "famed for fierce feminism and uncompromising social satire" [9] something that The World's Wife continues, but that it is also "playful and extremely funny look at history, myths and legends through the eyes of the invisible wives." [9]

The Herald states that "although all of the poems are fun, lighthearted rhymes they portray an excellent message of feminism and add a novel twist to all the stories we already know" [17]

Adaptions

Duffy's poems have been adapted into a stage show and an opera.

Awards

Duffy has won previous awards for her other collections of poetry. This particular collection, The World's Wife, did not win any awards but was shortlisted for two.

Poems

Duffy's book "explores contemporary and historical scenes from surprising and unexpected viewpoints. Written from the perspective of the wives of famous and often infamous men." [15]

Each poem is inspired by an existing fictional, mythical, biblical, or historical figure, most often a male figure, to which Duffy creates a female counterpart.

Related Research Articles

<span class="mw-page-title-main">Sylvia Plath</span> American poet and writer (1932–1963)

Sylvia Plath was an American poet, novelist, and short story writer. She is credited with advancing the genre of confessional poetry and is best known for two of her published collections, The Colossus and Other Poems (1960) and Ariel (1965), as well as The Bell Jar, a semi-autobiographical novel published shortly before her suicide in 1963. The Collected Poems was published in 1981, which included previously unpublished works. For this collection Plath was awarded a Pulitzer Prize in Poetry in 1982, making her the fourth to receive this honour posthumously.

<span class="mw-page-title-main">Ted Hughes</span> English poet and childrens writer (1930–1998)

Edward James Hughes was an English poet, translator, and children's writer. Critics frequently rank him as one of the best poets of his generation and one of the twentieth century's greatest writers. He was appointed Poet Laureate in 1984 and held the office until his death. In 2008 The Times ranked Hughes fourth on its list of "The 50 greatest British writers since 1945".

<span class="mw-page-title-main">Wisława Szymborska</span> Polish poet and Nobel laureate (1923–2012)

Maria Wisława Anna Szymborska was a Polish poet, essayist, translator, and recipient of the 1996 Nobel Prize in Literature. Born in Prowent, she resided in Kraków until the end of her life. In Poland, Szymborska's books have reached sales rivaling prominent prose authors', though she wrote in a poem, "Some Like Poetry", that "perhaps" two in a thousand people like poetry.

<span class="mw-page-title-main">Christina Rossetti</span> English poet (1830–1894)

Christina Georgina Rossetti was an English writer of romantic, devotional and children's poems, including "Goblin Market" and "Remember". She also wrote the words of two Christmas carols well known in Britain: "In the Bleak Midwinter", later set by Gustav Holst, Katherine Kennicott Davis, and Harold Darke, and "Love Came Down at Christmas", also set by Darke and other composers. She was a sister of the artist and poet Dante Gabriel Rossetti and features in several of his paintings.

<span class="mw-page-title-main">Carol Ann Duffy</span> Scottish poet and playwright

Dame Carol Ann Duffy is a Scottish poet and playwright. She is a professor of contemporary poetry at Manchester Metropolitan University, and was appointed Poet Laureate in May 2009, resigning in 2019. She was the first female poet, the first Scottish-born poet and the first openly lesbian poet to hold the Poet Laureate position.

<span class="mw-page-title-main">Simon Armitage</span> English poet (born 1963)

Simon Robert Armitage is an English poet, playwright, musician and novelist. He was appointed Poet Laureate on 10 May 2019. He is professor of poetry at the University of Leeds.

<span class="mw-page-title-main">Andrew Motion</span> English poet and writer (born 1952)

Sir Andrew Motion is an English poet, novelist, and biographer, who was Poet Laureate from 1999 to 2009. During the period of his laureateship, Motion founded the Poetry Archive, an online resource of poems and audio recordings of poets reading their own work. In 2012, he became President of the Campaign to Protect Rural England, taking over from Bill Bryson.

Wendy Cope is a contemporary English poet. She read history at St Hilda's College, Oxford. She now lives in Ely, Cambridgeshire, with her husband, the poet Lachlan Mackinnon.

<span class="mw-page-title-main">Patience Agbabi</span> British poet and performer (born 1965)

Patience Agbabi FRSL is a British poet and performer who emphasizes the spoken word. Although her poetry hits hard in addressing contemporary themes, it often makes use of formal constraints, including traditional poetic forms. She has described herself as "bicultural" and bisexual. Issues of racial and gender identity feature in her poetry. She is celebrated "for paying equal homage to literature and performance" and for work that "moves fluidly and nimbly between cultures, dialects, voices; between page and stage." In 2017, she was elected a Fellow of the Royal Society of Literature.

<span class="mw-page-title-main">Alice Meynell</span>

Alice Christiana Gertrude Meynell was a British writer, editor, critic, and suffragist, now remembered mainly as a poet.

The T. S. Eliot Prize for Poetry is a prize that was, for many years, awarded by the Poetry Book Society (UK) to "the best collection of new verse in English first published in the UK or the Republic of Ireland" in any particular year. The Prize was inaugurated in 1993 in celebration of the Poetry Book Society's 40th birthday and in honour of its founding poet, T. S. Eliot. Since its inception, the prize money was donated by Eliot's widow, Mrs Valerie Eliot and more recently it has been given by the T. S. Eliot Estate.

<span class="mw-page-title-main">Ruth Padel</span> British poet, novelist and non-fiction author

Ruth Sophia Padel FRSL FZS is a British poet, novelist and non-fiction author, known for her poetic explorations of migration, both animal and human, and her involvement with classical music, wildlife conservation and Greece, ancient and modern. She is Trustee for conservation charity New Networks for Nature, has served on the board of the Zoological Society of London and was Professor of Poetry at King's College London from 2013 to 2022.

<span class="mw-page-title-main">Jackie Kay</span> Scottish poet, novelist and non-fiction writer (born 1961)

Jacqueline Margaret Kay,, is a Scottish poet, playwright, and novelist, known for her works Other Lovers (1993), Trumpet (1998) and Red Dust Road (2011). Kay has won many awards, including the Somerset Maugham Award in 1994, the Guardian Fiction Prize in 1998 and the Scottish Mortgage Investment Trust Book of the Year Award in 2011.

<span class="mw-page-title-main">Imtiaz Dharker</span> Pakistan-born British poet, artist, and video film maker

Imtiaz Dharker is a Pakistan-born British poet, artist, and video film maker. She won the Queen's Gold Medal for her English poetry and was appointed Chancellor of Newcastle University from January 2020.

Nationality words link to articles with information on the nation's poetry or literature.

<span class="mw-page-title-main">Last Post (poem)</span> 2009 poem by Carol Ann Duffy

"Last Post" is a poem written by Carol Ann Duffy, the Poet Laureate of the United Kingdom, in 2009. It was commissioned by the BBC to mark the deaths of Henry Allingham and Harry Patch, two of the last three surviving British veterans from the First World War, and was first broadcast on the BBC Radio 4 programme Today on 30 July 2009, the date of Allingham's funeral.

"Education for Leisure" is a poem by Poet Laureate Carol Ann Duffy which explores the mind of a person who is planning to commit a murder. Until 2008 the poem was studied at GCSE level in England and Wales as part of the AQA Anthology, a collection of poems by modern poets such as Duffy and Seamus Heaney.

<i>Little Red Cap</i> (poem)

"The Little Red Cap" is a poem by Carol Ann Duffy published by Picador as a part of her 1999 collection of poetry titled The World's Wife. The book consists of poems that are based on old stories and tales in which she reshapes in terms of modern day culture. Duffy is known for her trait to take previous stories, tales, etc. and change them into her own "What you can do as a poet is take on a story and make it new" she once said to Barry Wood in an interview. Duffy's Little Red Cap is a great model of her style of poetry in the collection. The World's Wife was created based on stories of heroes that were an inspiration to her. Duffy also believed that these tales and stories did not interpret the truth. Duffy's belief in feminist literary criticism is apparent as she believed that in order to find the truth, the female character was to be dominant. Most of Duffy's poetry has feminist interest. She found that the original Little Red Cap fairy tale was an example of feminism in both fairy tales and English literature. She then found a personal connection within the original story line to help form a dominant female character in her writing.

Elizabeth Lefroy is a British poet.

<i>Rapture</i> (poetry collection)

Rapture is a collection of poetry written by the Scottish poet Carol Ann Duffy, the British poet laureate from 2009 to 2019. It marks her 37th work of poetry and has been described as "intensely personal, emotional and elegiac, and markedly different from Duffy’s other works" by the British Council. Rapture was first published in 2005 in the UK by Picador, and in 2013 in the US, by Farrar, Straus, and Giroux.

References

  1. "The world's wife : poems / Carol Ann Duffy". The British Library. Retrieved 24 June 2019.
  2. "The world's wife / Carol Ann Duffy. - British Library". explore.bl.uk. Retrieved 3 April 2019.
  3. https://lccn.loc.gov/99087010 Duffy, Carol Ann. The world's wife : poems / Carol Ann Duffy. 1st ed. New York : Faber and Faber, 2000. 76 p.; 22 cm. PR6054.U38 W6 2000 ISBN   0571199852 (alk. paper)
  4. 1 2 3 Rowland, Antony (Autumn 2001). "Love and Masculinity in the Poetry of Carol Ann Duffy". English: The Journal of the English Association. 50 (198): 199–217. doi: 10.1093/english/50.198.199 via MLA International Bibliography.
  5. 1 2 "Carol Ann Duffy". Poetry Foundation. 8 April 2019. Retrieved 9 April 2019.
  6. 1 2 "Carol Ann Duffy | British poet". Encyclopedia Britannica. Retrieved 9 April 2019.
  7. Smyth, Gerry, and Jo Croft, eds. (2006). Our house: the representation of domestic space in modern culture. Rodopi.{{cite book}}: |last= has generic name (help)CS1 maint: multiple names: authors list (link)
  8. 1 2 3 4 Winterson, Jeanette (17 January 2015). "Jeanette Winterson on the poetry of Carol Ann Duffy – of course it's political". The Guardian. ISSN   0261-3077 . Retrieved 9 April 2019.
  9. 1 2 3 4 5 Patterson, Christina (2 October 1999). "Carol Ann Duffy: Street-wise heroines at home" . Independent. Archived from the original on 7 May 2022.
  10. "List of poets laureate of Britain". Encyclopedia Britannica. Retrieved 9 April 2019.
  11. Plate, Liedeke (2010). Transforming memories in contemporary women's writing. Springer.
  12. 1 2 Hudson, Libby (2007). "'An axe to a willow to see how it wept': the creative use of cliche and the commonplace in Carol Ann Duffy's The World's Wife is analysed by Libby Hudson". The English Review. 18 (2): 38+ via Literature Resource Center.
  13. Gill, Jo (2007). Women's poetry. Edinburgh University Press.
  14. Boyd, Brian (2012). Why Lyrics Last. Harvard University Press.
  15. 1 2 Satterfield, Jane (2001). "Reviewed Work: The World's Wife by Carol Ann Duffy". The Antioch Review. 59 (1): 123–124 via JSTOR.
  16. 1 2 Zaleski, Jeff (17 April 2000). ""The World's Wife" Review". Publishers Weekly. 247 (16): 73 via ABI/INFORM Collection.
  17. Mclaughlin, Gemma E. (10 November 2018). "Children's book review: The World's Wife- Carol Ann Duffy". The Herald.
  18. "Linda Marlowe On ... Playing The World's Wife | WhatsOnStage". www.whatsonstage.com. Retrieved 8 April 2019.
  19. Gardner, Lyn (21 August 2009). "The World's Wife | Theatre review". The Guardian. ISSN   0261-3077 . Retrieved 8 April 2019.
  20. Kellaway, Kate (24 January 2010). "The World's Wife | Theatre review". The Observer. ISSN   0029-7712 . Retrieved 8 April 2019.
  21. "Interview: Tom Green - M Magazine". M magazine: PRS for Music online magazine. 12 October 2017. Retrieved 8 April 2019.
  22. "The World's Wife poetry becomes a chamber opera". Art Scene in Wales. 10 October 2017. Retrieved 8 April 2019.
  23. "Forward Alumni | Forward Arts Foundation". www.forwardartsfoundation.org. Retrieved 22 April 2019.
  24. "Carcanet Press - The World's Wife". www.carcanet.co.uk. Retrieved 22 April 2019.