Living in Sin
Authored by a poet
She had thought the studio would keep itself
no dust upon the furniture of love
Half heresy, to wish the taps less vocal
the pains relieved of grime. A plate of pears,
a piano with a Persian shawl, a cat
stalking the picturesque amusing mouse
had risen at his urging.
Not that at five each separate star would writhe
under the mailman’s tramp; that morning light
so coldly would delineate the scraps
of last night’s cheese and three sepulchral bottles;
that on the kitchen shelf among the saucers
a pair of beetle-eyes would fix her own—
enjoy from some village in the moldings . . .
Meanwhile, he, with a yawn,
sounded a dozen notes upon the keyboard,
declared it out of tune, shrugged at the mirror,
rubbed at his beard, went out for cigarettes;
while she, jeered by the minor demons,
pulled back the sheets and made the bed and found
a towel to dust the tabletop,
and let the coffee-pot boil over on the stove.
By evening she was back in love again
though not so wholly but throughout the night
she woke sometimes to feel the daylight coming
like a relentless milkman up the stairs.
Summary of “Living in Sin”
- The Poem’s Essence: “Living in Sin,” first appeared in the 1974 collection, Poems: Selected and New. This poem delves into the complexities of a domestic partnership, challenging idealized notions of love and revealing the often‑unseen realities of everyday life. It is a poignant exploration of expectations versus experience within an intimate relationship.
- A Representative of Reality: The poem portrays a couple cohabitating, and through the speaker’s voice we witness the gradual erosion of initial romantic fantasies. Initially she imagines a self‑sustaining domesticity, a studio apartment that maintains itself effortlessly. This idyllic vision contrasts sharply with the mundane tasks and subtle disappointments that fill her days. The speaker’s internal struggle centers on reconciling the dream of a perfect union with the reality of shared space, unspoken needs, and the pervasive weight of domesticity.
- Major Themes: Central to “Living in Sin” are themes of love, expectation versus reality, and the often‑unequal division of labor within a relationship. The poem doesn’t present a grand, dramatic conflict, but rather a quiet, internal struggle with disillusionment. The poet masterfully illustrates how the small, seemingly insignificant moments can reveal deeper truths about a relationship’s health and the unspoken compromises that shape it.
Analysis of Literary Devices in “Living in Sin”
The poem employs a range of literary devices to enhance its meaning and emotional impact. These devices work together to create a nuanced portrait of a relationship grappling with the weight of reality.
- Imagery: The poem is rich in evocative imagery. Consider the opening lines: “She had thought the studio would keep itself / no dust upon the furniture of love.” This image not only establishes the speaker’s initial fantasy but also subtly hints at the potential for neglect and decay. The recurring images of food (“plate of pears,” “scraps of last night’s cheese”) and domestic objects (“piano,” “kitchen shelf”) ground the poem in the tangible realities of everyday life.
- Metaphor: The “furniture of love” is a powerful metaphor representing the idealized framework the speaker initially constructs for her relationship. As the poem progresses, this framework begins to crumble, revealing the imperfections beneath. The image of the “relentless milkman” at the poem’s conclusion serves as a metaphor for the inescapable demands of daily life, intruding upon the speaker’s fleeting moments of reconnection with her partner.
- Personification: The poet skillfully personifies inanimate objects, giving them human qualities. Note the line, “Not that at five each separate star would writhe / under the mailman’s tramp.” This personification imbues the stars with a sense of suffering, mirroring the speaker’s own internal struggles.
- Symbolism: The poem is imbued with symbolism. The seemingly mundane act of letting the “coffee‑pot boil over on the stove” symbolizes the speaker’s passive resignation and her inability to exert control over her circumstances. The “beetle‑eyes” peering from the kitchen shelf can be interpreted as symbols of decay, neglect, or even the speaker’s own sense of being watched and judged.
- Enjambment: The poet’s frequent use of enjambment—the continuation of a sentence or phrase from one line to the next without a pause—creates a sense of fluidity and momentum. This technique mirrors the relentless passage of time and the speaker’s inability to escape the cycle of domesticity. For example: “By evening she was back in love again
though not so wholly but throughout the night.”
Analysis of Poetic Devices in “Living in Sin”
Beyond literary devices, the poet’s masterful use of poetic techniques further elevates the poem’s artistry. These elements contribute to the poem’s unique voice and emotional resonance.
- Free Verse: “Living in Sin” is written in free verse, meaning it does not adhere to a strict rhyme scheme or metrical pattern. This freedom allows the poet to prioritize natural language and create a conversational tone, making the poem feel intimate and immediate.
- Diction and Tone: The poet’s choice of words (diction) is precise and evocative. She avoids overly sentimental language, opting instead for a cool, detached tone that underscores the speaker’s disillusionment. This restraint amplifies the poem’s emotional impact.
- Repetition: Subtle repetition of certain images and phrases reinforces key themes and creates a sense of cyclical monotony. Notice the recurring focus on domestic tasks and the speaker’s fleeting moments of connection with her partner.
- Juxtaposition: The poet skillfully juxtaposes idealized visions of love with the harsh realities of everyday life. This contrast highlights the gap between expectation and experience, deepening the poem’s emotional complexity.
Quotes to be Used
The lines from “Living in Sin” are useful to use as a quote while talking about the struggle people make in love, expectation versus reality and the quiet desperation within domestic life.
“She had thought the studio would keep itself
no dust upon the furniture of love
Half heresy, to wish the taps less vocal
the pains relieved of grime.”
“Not that at five each separate star would writhe
under the mailman’s tramp; that morning light
so coldly would delineate the scraps”
“By evening she was back in love again
though not so wholly but throughout the night
she woke sometimes to feel the daylight coming
like a relentless milkman up the stairs.”