*TW: suicide
August 29th
I turned Four today.
Blew out the
bright white light, again.
This time it’s a celebration.
I tried my best
to blow it out once
Four years ago.
But I couldn’t finish it.
I guess, I’m no good at it.
Dad didn’t raise a
quitter. But I never
saw anything through.
The glass of my mirror,
where oceans look like eyes
that almost saw to
my demise.
This water’s contaminated,
polluted,
with messages in bottles
signed by The Captain himself.
I am controlled by the
Moon,
whose tears
created a monsoon
inside of a land-boat.
The sea is roughing.
The wind is howling.
‘I almost killed myself.’
The Moon stays quiet.
I’m sorry,
Mom.
I wish you hadn’t
found out this way.
I’m sorry, Sylvia.
And Anne.
I wish you hadn’t.
The Captain of the Coast Guards
in his crisp white uniform
wanted to warm people about me.
So, he put out
orange and white
life vests and buoys,
signs of a storm.
Beware. Beware.
Two Small Stars saved me.
Bathed me.
Made me
remember I had to
pick them up from school.
So, I couldn’t die that day.
First, I had to
return the Stars to their Moon.
Reflection:
“August 29th” is a personal response poem to Sylvia Plath’s “Lady Lazarus.” I was heavily inspired by her more structured form, rhythm, and autonomous theme, as well as her courage to be so human and raw while writing about her struggle with suicide.
“Lady Lazarus” is written in structured stanzas consisting of three lines each. One can interpret this structure to be representative of the poem being about her third time attempting to end her life, which she calls “Number Three” (417). Her consistency of form can also be viewed as indicative of her repeated attempts all together. I also find it to be in reference to the fact that she was thirty when she wrote the poem, which she mentions on line 20 (417). The use of form to represent age as well as suicidal attempts inspired by choice to create a poem of four lines for each stanza. This is meant to keep with Plath’s idea of consistency and represents the fact that the speaker in “August 29th” is writing the piece four years from the day they struggled with suicide. In addition, Plath’s form requires sentences to flow into the next stanza, providing a relaxed, flowing pace. This was a common practice among many confessionalism poets, which provides their readers with a sense of casual conversation (Nelson 34). This was another reason I chose to feature structured stanzas that move the reader down the page in conversation, as opposed to a more free-verse form that can come across as talking at the reader.
Along with form, Plath’s rhythm also is emulated in my poem. Plath writes, “grave cave ate,” emphasizing the long vowel ‘a’ (417). This also adds to her use of repetition to allude to the repeated act of attempting to commit suicide. Furthermore, she emphasizes the vowel sound three times, hinting at it being her third time. I wanted to draw upon this technique when I write, “bright white light.” Both instances of repeated vowels create a faster pace, once again pushing the reader along. Similarly, Plath rhymes in some her stanzas. For example, she writes, “I turn and burn. / Do not think I underestimate your concern” (419). I also chose to place some rhymes in “August 29th” through the words “moon” and “monsoon.” This technique was to catch the readers’ attention, but also to create what Nelson says is a “relaxed,” more conversational tone and feel that comes along with rhyme and iambic pentameter (34).
Lastly, I decided to include a reference to a doctor, which was inspired by the theme of autonomy that so many confessionalism poets chose to speak upon (Nelson 41). Plath’s reference to “Herr Doktor” parallels her psychiatrist or doctor who helped her after her attempt with the Germans. We know that this is meant to be negative because she makes a reference to Nazis and then refers to herself as having a face of “Jew linen” (417). I do this in the reference to “the Captain” who signed the message in a bottle and the Coast Guard who employs orange and white life vests (which alludes to prescription bottles). This was my attempt at casting prescribing doctors in a similar light as Plath did.
As I said in class, I really appreciate this poem. I love the intense quality that comes through the sound patterning and alternating sharp and open sounds that you borrow from Splath. It creates a haunting quality. I also appreciate the density of the images here–especially the reference to prescription bottles. I also love this image:
The glass of my mirror,
where oceans look like eyes
that almost saw to
my demise
And I love double meanings of “with you hadn’t” in these stanzas:
I’m sorry,
Mom.
I wish you hadn’t
found out this way.
I’m sorry, Sylvia.
And Anne.
I wish you hadn’t.
And of course I love how you turn away from Plath in your conclusion, which brings us back powerfully and authentically to life in that striking image of returning the stars to their moon. This emerges powerfully against the precision and pointedness (and almost coldness) that you adapt from Plath. It seems a crucial transformation.
Thanks again for sharing this with us!