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The Complete Poems

Anne Sexton

A Note on the Text

This volume contains all the poems in the eight books that Anne Sexton sent to press in her lifetime, as well as the poems from the two collections prepared for publication after her death. A few poems written in the last year of her life are collected here for the first time.

For reasons of space, the stories originally included in The Book of Folly and in Words for Dr.Y. have not been republished here; nor has it been possible to include Kurt Vonnegut’s preface or Barbara Swan’s drawings for Transformations.

I would like to thank the many friends of Anne Sexton’s poetry who have contributed in so many ways over the years to both the creation and publication of her work.

Linda Gray Sexton

Contents

A Note on the Text

Publisher’s Note

How It Was: Maxine Kumin on Anne Sexton

TO BEDLAM AND PART WAY BACK (1960)

I

You, Doctor Martin

Kind Sir: These Woods

Torn Down from Glory Daily

Music Swims Back to Me

The Bells

Elizabeth Gone

Some Foreign Letters

The Kite

Said the Poet to the Analyst

Venus and the Ark

Her Kind

The Exorcists

Where I Live in This Honorable House of the Laurel Tree

Portrait of an Old Woman on the College Tavern Wall

The Farmer’s Wife

Funnel

The Expatriates

For Johnny Pole on the Forgotten Beach

Unknown Girl in the Maternity Ward

What’s That

The Moss of His Skin

Hutch

Noon Walk on the Asylum Lawn

Ringing the Bells

Lullaby

The Lost Ingredient

The Road Back

The Waiting Head

Elegy in the Classroom

A Story for Rose on the Midnight Flight to Boston

II

For John, Who Begs Me Not to Enquire Further

The Double Image

The Division of Parts

ALL MY PRETTY ONES (1962)

I

The Truth the Dead Know

All My Pretty Ones

Young

Lament

To a Friend Whose Work Has Come to Triumph

The Starry Night

Old Dwarf Heart

I Remember

The Operation

II

A Curse Against Elegies

The Abortion

With Mercy for the Greedy

For God While Sleeping

In the Deep Museum

Ghosts

III

The Fortress

IV

Old

The Hangman

Woman with Girdle

The House

Water

Wallflower

Housewife

Doors, Doors, Doors

V

Letter Written on a Ferry While Crossing Long Island Sound

From the Garden

Love Song for K. Owyne

Flight

For Eleanor Boylan Talking with God

The Black Art

Letter Written During a January Northeaster

LIVE OR DIE (1966)

Author’s Note

And One for My Dame

The Sun

Flee on Your Donkey

Three Green Windows

Somewhere in Africa

Imitations of Drowning

Mother and Jack and the Rain

Consorting with Angels

The Legend of the One-eyed Man

Love Song

Man and Wife

Those Times …

Two Sons

To Lose the Earth

Sylvia’s Death

Protestant Easter

For the Year of the Insane

Crossing the Atlantic

Walking in Paris

Menstruation at Forty

Christmas Eve

KE 6-8018

Wanting to Die

The Wedding Night

Little Girl, My String Bean, My Lovely Woman

A Little Uncomplicated Hymn

Your Face on the Dog’s Neck

Self in 1958

Suicide Note

In the Beach House

Cripples and Other Stories

Pain for a Daughter

The Addict

Live

LOVE POEMS (1969)

The Touch

The Kiss

The Breast

The Interrogation of the Man of Many Hearts

That Day

In Celebration of My Uterus

The Nude Swim

Song for a Red Nightgown

Loving the Killer

For My Lover, Returning to His Wife

The Break

It Is a Spring Afternoon

Just Once

Again and Again and Again

You All Know the Story of the Other Woman

Moon Song, Woman Song

The Ballad of the Lonely Masturbator

Barefoot

The Papa and Mama Dance

Now

Us

Mr. Mine

Song for a Lady

Knee Song

Eighteen Days Without You

TRANSFORMATIONS (1971)

The Gold Key

Snow White and the Seven Dwarfs

The White Snake

Rumpelstiltskin

The Little Peasant

Godfather Death

Rapunzel

Iron Hans

Cinderella

One-Eye, Two-Eyes, Three-Eyes

The Wonderful Musician

Red Riding Hood

The Maiden Without Hands

The Twelve Dancing Princesses

The Frog Prince

Hansel and Gretel

Briar Rose (Sleeping Beauty)

THE BOOK OF FOLLY (1972)

I. THIRTY POEMS

The Ambition Bird

The Doctor of the Heart

Oh

Sweeney

Mother and Daughter

The Wifebeater

The Firebombers

The One-Legged Man

The Assassin

Going Gone

Anna Who Was Mad

The Hex

Dreaming the Breasts

The Red Shoes

The Other

The Silence

The Hoarder

Killing the Spring

The Death of the Fathers

1. Oysters

2. How We Danced

3. The Boat

4. Santa

5. Friends

6. Begat

Angels of the Love Affair

1. Angel of Fire and Genitals

2. Angel of Clean Sheets

3. Angel of Flight and Sleigh Bells

4. Angel of Hope and Calendars

5. Angel of Blizzards and Blackouts

6. Angel of Beach Houses and Picnics

II. THE JESUS PAPERS

Jesus Suckles

Jesus Awake

Jesus Asleep

Jesus Raises Up the Harlot

Jesus Cooks

Jesus Summons Forth

Jesus Dies

Jesus Unborn

The Author of the Jesus Papers Speaks

THE DEATH NOTEBOOKS (1974)

Gods

Making a Living

For Mr. Death Who Stands with His Door Open

Faustus and I

The Death Baby

1. Dreams

2. The Dy-dee Doll

3. Seven Times

4. Madonna

5. Max

6. Baby

Rats Live on No Evil Star

Grandfather, Your Wound

Baby Picture

The Furies

The Fury of Beautiful Bones

The Fury of Hating Eyes

The Fury of Guitars and Sopranos

The Fury of Earth

The Fury of Jewels and Coal

The Fury of Cooks

The Fury of Cocks

The Fury of Abandonment

The Fury of Overshoes

The Fury of Rain Storms

The Fury of Flowers and Worms

The Fury of God’s Good-bye

The Fury of Sundays

The Fury of Sunsets

The Fury of Sunrises

Praying on a 707

Clothes

Mary’s Song

God’s Backside

Jesus Walking

Hurry Up Please It’s Time

O Ye Tongues

First Psalm

Second Psalm

Third Psalm

Fourth Psalm

Fifth Psalm

Sixth Psalm

Seventh Psalm

Eighth Psalm

Ninth Psalm

Tenth Psalm

THE AWFUL ROWING TOWARD GOD (1975)

Rowing

The Civil War

The Children

Two Hands

The Room of My Life

The Witch’s Life

The Earth Falls Down

Courage

Riding the Elevator into the Sky

When Man Enters Woman

The Fish That Walked

The Fallen Angels

The Earth

After Auschwitz

The Poet of Ignorance

The Sermon of the Twelve Acknowledgments

The Evil Eye

The Dead Heart

The Play

The Sickness Unto Death

Locked Doors

The Evil Seekers

The Wall

Is It True?

Welcome Morning

Jesus, the Actor, Plays the Holy Ghost

The God-Monger

What the Bird with the Human Head Knew

The Fire Thief

The Big Heart

Words

Mothers

Doctors

Frenzy

Snow

Small Wire

The Saints Come Marching In

Not So. Not So.

The Rowing Endeth

POSTHUMOUSLY PUBLISHED WORK

45 MERCY STREET (1976)

Editor’s Note

I. BEGINNING THE HEGIRA

45 Mercy Street

Talking to Sheep

The Falling Dolls

The Money Swing

Food

The Child Bearers

The Taker

The Risk

Praying to Big Jack

Red Roses

The Shout

Keeping the City

II. BESTIARY U.S.A.

Bat

Hog

Porcupine

Hornet

Star-Nosed Mole

Snail

Lobster

Snake

Moose

Sheep

Cockroach

Raccoon

Seal

Earthworm

Whale

Horse

June Bug

Gull

III. THE DIVORCE PAPERS

Where It Was At Back Then

The Wedlock

Landscape Winter

Despair

Divorce

Waking Alone

Bayonet

The Wedding Ring Dance

When the Glass of My Body Broke

The Break Away

The Stand-Ins

The Love Plant

Killing the Love

The Red Dance

The Inventory of Goodbye

The Lost Lie

End, Middle, Beginning

IV. EATING THE LEFTOVERS

Cigarettes and Whiskey and Wild, Wild Women

The Passion of the Mad Rabbit

The Angel Food Dogs

Leaves That talk

Daddy Warbucks

Divorce, Thy Name Is Woman

The Fierceness of Female

The Big Boots of Pain

Demon

The Sea Corpse

There You Were

The Consecrating Mother

WORDS FOR DR. Y. (1978)

Editor’s Note

I. LETTERS TO DR. Y. (1960–1970)

II. POEMS 1971–1973

Buying the Whore

To Like, To Love

The Surgeon

Speaking Bitterness

Telephone

Yellow

The Death King

The Errand

The Twelve-Thousand-Day Honeymoon

III. SCORPIO, BAD SPIDER, DIE: THE HOROSCOPE POEMS

Madame Arrives in the Mail

January 1st

January 19th

January 24th

February 3rd

February 4th

February 11th

February 17th

February 20th

February 21st

March 4th

March 7th

May 30th

August 8th

August 17th

LAST POEMS

Admonitions to a Special Person

In Excelsis

Uses

As It Was Written

Lessons in Hunger

Love Letter Written in a Burning Building

Index of Titles

About the Author

PUBLISHER’S NOTE

Long before they were ever written down, poems were organized in lines. Since the invention of the printing press, readers have become increasingly conscious of looking at poems, rather than hearing them, but the function of the poetic line remains primarily sonic. Whether a poem is written in meter or in free verse, the lines introduce some kind of pattern into the ongoing syntax of the poem’s sentences; the lines make us experience those sentences differently. Reading a prose poem, we feel the strategic absence of line.

But precisely because we’ve become so used to looking at poems, the function of line can be hard to describe. As James Longenbach writes in The Art of the Poetic Line, Line has no identity except in relation to other elements in the poem, especially the syntax of the poem’s sentences. It is not an abstract concept, and its qualities cannot be described generally or schematically. It cannot be associated reliably with the way we speak or breathe. Nor can its function be understood merely from its visual appearance on the page. Printed books altered our relationship to poetry by allowing us to see the lines more readily. What new challenges do electronic reading devices pose?

In a printed book, the width of the page and the size of the type are fixed. Usually, because the page is wide enough and the type small enough, a line of poetry fits comfortably on the page: What you see is what you’re supposed to hear as a unit of sound. Sometimes, however, a long line may exceed the width of the page; the line continues, indented just below the beginning of the line. Readers of printed books have become accustomed to this convention, even if it may on some occasions seem ambiguous—particularly when some of the lines of a poem are already indented from the left-hand margin of the page.

But unlike a printed book, which is stable, an ebook is a shape-shifter. Electronic type may be reflowed across a galaxy of applications and interfaces, across a variety of screens, from phone to tablet to computer. And because the reader of an ebook is empowered to change the size of the type, a poem’s original lineation may seem to be altered in many different ways. As the size of the type increases, the likelihood of any given line running over increases.

Our typesetting standard for poetry is designed to register that when a line of poetry exceeds the width of the screen, the resulting run-over line should be indented, as it might be in a printed book. Take a look at John Ashbery’s Disclaimer as it appears in two different type sizes.

Each of these versions of the poem has the same number of lines: the number that Ashbery intended. But if you look at the second, third, and fifth lines of the second stanza in the right-hand version of Disclaimer, you’ll see the automatic indent; in the fifth line, for instance, the word ahead drops down and is indented. The automatic indent not only makes poems easier to read electronically; it also helps to retain the rhythmic shape of the line—the unit of sound—as the poet intended it. And to preserve the integrity of the line, words are never broken or hyphenated when the line must run over. Reading Disclaimer on the screen, you can be sure that the phrase you pause before the little bridge, sigh, and turn ahead is a complete line, while the phrase you pause before the little bridge, sight, and turn is not.

Open Road has developed an electronic typesetting standard for poetry that ensures the clearest possible marking of both line breaks and stanza breaks, while at the same time handling the built-in function for resizing and reflowing text that all ereading devices possess. The first step is the appropriate semantic markup of the text, in which the formal elements distinguishing a poem, including lines, stanzas, and degrees of indentation, are tagged. Next, a style sheet that reads these tags must be designed, so that the formal elements of the poems are always displayed consistently. For instance, the style sheet reads the tags marking lines that the author himself has indented; should that indented line exceed the character capacity of a screen, the run-over part of the line will be indented further, and all such runovers will look the same. This combination of appropriate coding choices and style sheets makes it easy to display poems with complex indentations, no matter if the lines are metered or free, end-stopped or enjambed.

Ultimately, there may be no way to account for every single variation in the way in which the lines of a poem are disposed visually on an electronic reading device, just as rare variations may challenge the conventions of the printed page, but with rigorous quality assessment and scrupulous proofreading, nearly every poem can be set electronically in accordance with its author’s intention. And in some regards, electronic typesetting increases our capacity to transcribe a poem accurately: In a printed book, there may be no way to distinguish a stanza break from a page break, but with an ereader, one has only to resize the text in question to discover if a break at the bottom of a page is intentional or accidental.

Our goal in bringing out poetry in fully reflowable digital editions is to honor the sanctity of line and stanza as meticulously as possible—to allow readers to feel assured that the way the lines appear on the screen is an accurate embodiment of the way the author wants the lines to sound. Ever since poems began to be written down, the manner in which they ought to be written down has seemed equivocal; ambiguities have always resulted. By taking advantage of the technologies available in our time, our goal is to deliver a more satisfying reading experience than ever before.

How It Was

Maxine Kumin on Anne Sexton

Anne Sexton as I remember her on our first meeting in the late winter of 1957, tall, blue-eyed, stunningly slim, her carefully coifed dark hair decorated with flowers, her face skillfully made up, looked every inch the fashion model. And indeed she had briefly modeled for the Hart Agency in Boston. Earrings and bracelets, French perfume, high heels, matching lip and fingernail gloss bedecked her, all intimidating sophistications in the chalk-and-wet-overshoes atmosphere of the Boston Center for Adult Education, where we were enrolled in John Holmes’s poetry workshop. Poetry—we were both ambitious beginners—and proximity—we lived in the same suburb—brought us together. As intimate friends and professional allies, we remained intensely committed to one another’s writing and well-being to the day of her death in the fall of 1974.

The facts of Anne Sexton’s troubled and chaotic life are well known; no other American poet in our time has cried aloud publicly so many private details. While the frankness of these revelations attracted many readers, especially women, who identified strongly with the female aspect of the poems, a number of poets and critics—for the most part, although not exclusively, male—took offense. For Louis Simpson, writing in Harper’s Magazine, Menstruation at Forty was the straw that broke this camel’s back. And years before he wrote his best-selling novel, Deliverance, which centers on a graphic scene of homosexual rape, James Dickey, writing in the New York Times Book Review, excoriated the poems in All My Pretty Ones, saying It would be hard to find a writer who dwells more insistently on the pathetic and disgusting aspects of bodily experience … In a terse eulogy Robert Lowell declared, with considerable ambivalence it would seem, For a book or two, she grew more powerful. Then writing was too easy or too hard for her. She became meager and exaggerated. Many of her most embarrassing poems would have been fascinating if someone had put them in quotes, as the presentation of some character, not the author. Sexton’s work rapidly became a point of contention over which opposing factions dueled in print, at literary gatherings, and in the fastnesses of the college classroom.

And yet the ground for Sexton’s confessional poems had been well prepared. In 1956, Allen Ginsberg’s Howl had declaimed:

I saw the best minds of my generation destroyed by madness, starving hysterical naked

… on the granite steps of

the madhouse with shaven heads and harlequin speech of

suicide, demanding instantaneous lobotomy,

and who were given instead the concrete void of insulin metrasol

electricity hydrotherapy psychotherapy occupational therapy

pingpong & amnesia …

At the time Sexton began to work in the confessional mode, W. D. Snodgrass had already published his prize-winning collection, Heart’s Needle, which included details of his divorce and custody struggle. Sylvia Plath and Robert Lowell were hammering out their own autobiographical accounts of alienation, despair, anomie, and madness. John Berryman, deceiving no one, charmingly protested in a prefatory note that the Henry of The Dream Songs is essentially about an imaginary character (not the poet, not me) … who has suffered an irreversible loss and talks about himself sometimes in the first person, sometimes in the third, sometimes even in the second … The use of le moi was being cultivated in fashionable literary journals everywhere. It seems curious that the major and by far most vitriolic expressions of outrage were reserved for Sexton.

Someone once said that we have art in order not to die of the truth, a dictum we might neatly apply to Sexton’s perspectives. To Hayden Carruth, the poems raise the never-solved problem of what literature really is, where you draw the line between art and documentary.

While Louise Bogan and Joyce Carol Oates for the most part appraise Sexton favorably, Mona Van Duyn finds Sexton’s delineation of femaleness so fanatical that it makes one wonder, even after many years of being one, what a woman is … Muriel Rukeyser, who sees the issue as survival, piece by piece of the body, step by step of poetic experience, and even more the life entire …, finds much to praise, for instance singling out In Celebration of My Uterus as one of the few poems in which a woman has come to the fact as symbol, the center after many years of silence and taboo.

Over and over in the critical literature dealing with the body of Sexton’s work, we find these diametrical oppositions. The intimate details divulged in Sexton’s poetry enchanted or repelled with equal passion. In addition to the strong feelings Anne’s work aroused, there was the undeniable fact of her physical beauty. Her presence on the platform dazzled with its staginess, its props of water glass, cigarettes, and ashtray. She used pregnant pauses, husky whispers, pseudoshouts to calculated effect. A Sexton audience might hiss its displeasure or deliver a standing ovation. It did not doze off during a reading.

Anne basked in the attention she attracted, partly because it was antithetical to an earlier generation’s view of the woman writer as poetess, and partly because she was flattered by and enjoyed the adoration of her public. But behind the glamorously garbed woman lurked a terrified and homely child, cowed from the cradle onward, it seemed, by the indifference and cruelties of her world. Her parents, she was convinced, had not wanted her to be born. Her sisters, she alleged, competed against and won out over her. Her teachers, unable to rouse the slumbering intelligence from its hiding place, treated her with impatience and anger. Anne’s counterphobic response to rejection and admonishment was always to defy, dare, press, contravene. Thus the frightened little girl became a flamboyant and provocative woman; the timid child who skulked in closets burst forth as an exhibitionist declaiming with her own rock group; the intensely private individual bared her liver to the eagle in public readings where almost invariably there was standing room only.

Born Anne Gray Harvey in 1928, she attended public school in Wellesley, Massachusetts, spent two years at Rogers Hall preparatory school, and then one year at Garland Junior College in Boston. A few months shy of her twentieth birthday, she eloped with Alfred Muller Sexton II (nicknamed Kayo), enrolled in a Hart Agency modeling course, and lived briefly in Baltimore and San Francisco while her husband served in the Navy. In 1953, she returned to Massachusetts, where Linda Gray Sexton was born.

The first breakdown, diagnosed as postpartum depression, occurred in 1954, the same year her beloved great-aunt Anna Ladd Dingley, the Nana of the poems, died. She took refuge in Westwood Lodge, a private neuropsychiatric hospital that was frequently to serve as her sanctuary when the voices that urged her to die reached an insistent pitch. Its director, Dr. Martha Brunner-Orne, figured in Anne’s life as a benevolent but disciplinary mother, who would not permit this troubled daughter to kill herself.

Nevertheless, seven months after her second child, Joyce Ladd Sexton, was born in 1955, Anne suffered a second crisis and was hospitalized. The children were sent to live with her husband’s parents; and while they were separated from her, she attempted suicide on her birthday, November 9, 1956. This was the first of several episodes, or at least the first that was openly acknowledged. Frequently, these attempts occurred around Anne’s birthday, a time of year she came increasingly to dread. Dr. Martin Orne, Brunner-Orne’s son, was the young psychiatrist at Glenside Hospital who attended Anne during this siege and treated her for the next seven years. After administering a series of diagnostic tests, he presented his patient with her scores, objective evidence that, despite the disapproving naysayers from her past, she was highly intelligent. Her associative gifts suggested that she ought to return to the writing of poetry, something she had shown a deft talent for during secondary school. It was at Orne’s insistence that Anne enrolled in the Holmes workshop.

You, Dr. Martin came directly out of that experience, as did so many of the poems in her first collection, To Bedlam and Part Way Back. On a snowy Sunday afternoon early in 1957, she drove to my house to ask me to look at something. Did she dare present it in class? Could it be called a poem? It was Music Swims Back to Me, her first breakaway from adolescent lyrics in rhyming iambic pentameter.

Years later, when it seemed to her that all else in her life had failed—marriage, the succor of children, the grace of friendship, the promised land to which psychotherapy held the key—she turned to God, with a kind of stubborn absolutism that was missing from the Protestantism of her inheritance. The God she wanted was a sure thing, an Old Testament avenger admonishing his Chosen People, an authoritarian yet forgiving Father decked out in sacrament and ceremony. An elderly, sympathetic priest she called on—accosted might be a better word—patiently explained that he could not make her a Catholic by fiat, nor could he administer the sacrament (the last rites) she longed for. But in his native wisdom he said a saving thing to her, said the magic and simple words that kept her alive at least a year beyond her time and made The Awful Rowing Toward God a possibility. God is in your typewriter, he told her.

I cite these two examples to indicate the influence that figures of authority had over Anne’s life in the most elemental sense; first the psychiatrist and then the priest put an imprimatur on poetry as salvation, as a worthy goal in itself. I am convinced that poetry kept Anne alive for the eighteen years of her creative endeavors. When everything else soured; when a succession of therapists deserted her for whatever good, poor, or personal reasons; when intimates lost interest or could not fulfill all the roles they were asked to play; when a series of catastrophes and physical illnesses assaulted her, the making of poems remained her one constant. To use her own metaphor, out of used furniture [she made] a tree. Without this rich, rescuing obsession I feel certain she would have succeeded in committing suicide in response to one of the dozen impulses that beset her during the period between 1957 and 1974.

Sexton’s progress in Holmes’s workshop in 1957 was meteoric. In short order her poems were accepted for publication in The New Yorker, Harper’s Magazine, and the Saturday Review. Sam Albert was in that class, and Ruth Soter, the friend to whom With Mercy for the Greedy is dedicated. Through Holmes, we met George Starbuck at the New England Poetry Club. A year later, five of us joined together to form a workshop of our own—an arrangement that lasted until Holmes’s untimely death from cancer in 1962. During this period, all of us wrote and revised prolifically, competitively, as if all the wolves of the world were at our backs. Our sessions were jagged, intense, often angry, but also loving. As Holmes’s letters from this period make abundantly clear, he decried the confessional direction Anne’s poems were taking, while at the same time acknowledging her talent. Her compulsion to deal with such then-taboo material as suicide, madness, and abortion assaulted his sensibilities and triggered his own defenses. Convinced that the relationship would harm my own work, he warned me to resist becoming involved with Anne. It was the only advice he gave me that I rejected, and at some psychic cost. Anne and I both regarded Holmes as an academic father. In desperate rebuttal, Anne wrote For John, Who Begs Me Not to Enquire Further. A hesitant, sensitive exploration of their differences, the poem seeks to make peace between them.

Virtually every poem in the Bedlam book came under scrutiny during this period, as did many of the poems in All My Pretty Ones. There was no more determined reviser than Sexton, who would willingly push a poem through twenty or more drafts. She had an unparalleled tenacity in those early days and only abandoned a failed poem with regret, if not downright anger, after dozens of attempts to make it come right. It was awesome the way she could arrive at our bimonthly sessions with three, four, even five new and complicated poems. She was never meek about it, but she did listen, and she did respect the counsel of others. She gave generous help to her colleagues, and she required, demanded, insisted on generous response.

As a result of this experience, Anne came to believe in the value of the workshop. She loved growing in this way, and she urged the method on her students at Boston University, Colgate, Oberlin, and in other workshops she conducted from time to time.

During the workshop years, we began to communicate more and more frequently by telephone. Since there were no message units involved in the basic monthly phone-company fee—the figure I remember is seven dollars—we had a second phone line installed in our suburban homes so that we could talk at will. For years we conducted our own mini-workshops by phone, a working method that does much to train the ear to hear line breaks, internal rhymes, intentional or unwanted musical devices, and so forth. We did this so comfortably and over such an extended period of time that indeed when we met we were somewhat shy of each other’s poems as they appeared on the page. I can remember often saying "Oh, so that’s what it looks like," of a poem I had heard and visualized through half-a-dozen revisions.

Over the years, Anne’s lines shortened, her line breaks became, I. think, more unpredictable, and her imagery grew increasingly surreal. Initially, however, she worked quite strictly in traditional forms, believing in the value of their rigor as a forcing agent, believing that the hardest truths would come to light if they were made to fit a stanzaic pattern, a rhyme scheme, a prevailing meter. She strove to use rhyme unexpectedly but always aptly. Even the most unusual rhyme, she felt, must never obtrude on the sense of the line, nor must the normal word order, the easy tone of vernacular speech, be wrenched solely to save a rhyme.

The impetus for creation usually came when Anne directly invoked the muse at her desk. Here, she read favorite poems of other poets—most frequently Neruda—and played certain evocative records over and over. One I remember for its throaty string section was Respighi’s Pines of Rome. Music acted in some way to free her to create, and she often turned the volume up loud enough to drown out all other sounds.

But for all the sought-after and hard-won poems Anne wrote—in this connection, I recall the arduous struggle to complete The Operation, All My Pretty Ones, Flee on Your Donkey—a number were almost totally given ones. Riding the Elevator into the Sky, in The Awful Rowing, is an example. The newspaper article referred to in the opening stanza suggested the poem; the poem itself came quite cleanly and easily, as if written out in the air beforehand and then transcribed onto the page with very few alterations. Similarly arrived at, Letter Written on a Ferry While Crossing Long Island Sound began at the instant Anne sighted the nuns on an actual crossing. The poem was written much as it now appears on the page, except for minor skirmishes required to effect the closure in each stanza. Young and I Remember were also achieved almost without effort. But because Anne wanted to open All My Pretty Ones with a terse elegy for her parents, one shorn of all autobiographical detail, The Truth the Dead Know went through innumerable revisions before arriving at its final form, an a b a b rhyme scheme that allows little room for pyrotechnics.

For a time, it seemed that psychiatrists all over the country were referring their patients to Anne’s work, as if it could provide the balm in Gilead for every troubled person. Even though it comforted and nurtured her to know that her poems reached beyond the usual sphere of belles lettres, she felt considerable ambivalence about her subject matter. Accused of exhibitionism, she was determined only to be more flamboyant; nevertheless, the strict Puritan hiding inside her suffered and grieved over the label of confessional poet. For instance, when she wrote Cripples and Other Stories (in Live or Die), a poem that almost totally occurred on the page in an hour’s time, she crumpled it up and tossed it into the wastebasket as if in embarrassment. Together we fished it out and saved it, working to make the tone more consistent and to smooth out some of the rhythmically crude spots. Into this sort of mechanical task Anne always flung herself gladly.

The results were often doubly effective. I remember, for instance, how in The Operation she worked to achieve through rhyme and the shaping of the poem’s three parts a direct rendition of the actual experience. The retardation of rhyming sounds in those short, rather sharply end-stopped lines, in the first section, for example (leaf, straw, lawn: car, thief, house, upon), add to the force of metaphor in the poem—the historic thief, the Humpty-Dumpty, and so on. Or, to take another poem, Faustus and I, in The Death Notebooks, was headed for the discard pile. It was a free-verse poem at the outset and had what seemed to me a malevolently flippant tone. Often when stymied for a more articulate response to one of her poems I disliked, I suggested, Why don’t you pound it into form? And often the experiment worked. In the case of the Faustus poem, the suggestion was useful because the rhyme scheme gave the subject a dignity it demanded and because the repetitive pounding elicited a level of language, of metaphor, that Anne had not quite reached in the earlier version.

Sexton had an almost mystical faith in the found word image, as well as in metaphor by mistake, by typo, or by misapprehension. She would fight hard to keep an image, a line, a word usage, but if I was just as dogged in my conviction that the line didn’t work, was sentimental or mawkish, that the word was ill-suited or the image trite, she would capitulate—unless she was totally convinced of her own rightness. Then there was no shaking her. Trusting each other’s critical sense, we learned not to go past the unshakable core, not to trespass on style or voice.

Untrammeled by a traditional education in Donne, Milton, Yeats, Eliot, and Pound, Anne was able to strike out alone, like Conrad’s secret sharer, for a new destiny. She was grim about her lost years, her lack of a college degree; she read omnivorously and quite innocently whatever came to hand and enticed her, forming her own independent, quirky, and incisive judgments.

Searching for solutions to the depressive episodes that beset her with dismaying periodicity, Anne read widely in the popular psychiatric texts of the time: interpretations of Freud, Theodore Reik, Philip Rieff, Helena Deutsch, Erik Erikson,’ Bruno Bettelheim. During a summer-school course with Philip Rahv, she encountered the works of Dostoevski, Kafka, and Thomas Mann. These were succeeded by the novels of Saul Bellow, Philip Roth, and Kurt Vonnegut. But above all else, she was attracted to the fairy tales of Andersen and Grimm, which her beloved Nana had read to her when she was a child. They were for her, perhaps, what Bible stories and Greek myths had been for other writers. At the same time that she was being entertained and drawn into closer contact with a kind of collective unconscious, she was searching the fairy tales for psychological parallels. Quite unaware at first of the direction she was taking, she composed the first few transformations that comprise the book of that name. The book evolved very much at my urging, and gathered momentum as it grew. It struck me that Anne’s poems based on fairy tales went one step further than contemporary poets’ translations from languages they did not themselves read but apprehended through a third party. Their poems were adaptations; hers were transformations.

Thematically, Anne’s concern in Transformations was a logical extension of the material