Deconstructing Anne Stevenson’s “The Man in the Wind”: A Study in Existential Resonance
Anne Stevenson’s “The Man in the Wind” is a deceptively simple poem, yet profoundly resonant. it’s a work that invites – and rewards – close reading, grappling with themes of perception, power, and the very nature of existence. As a seasoned poetry scholar,I’ll guide you through its layers,exploring its allusions,sonic landscape,and enduring relevance.
A Shifting Figure: Initial Impressions
The poem opens with a striking image: a figure emerging from the wind, described as existing “without meaning or being.” This immediatly establishes a sense of ambiguity. Is this a literal presence, or a projection of the speaker’s internal state? Stevenson masterfully leaves this open to interpretation, creating a space for your own engagement with the poem.
Echoes of Chekhov and beyond
Interestingly,the “black monk” imagery in the first stanza draws a compelling parallel to Chekhov’s short story of the same name. In Chekhov’s tale, a delusional protagonist is convinced of his genius by a mysterious, black-clad figure. stevenson subtly nods to this, suggesting the potential for self-deception and the allure of fabricated realities.
Though, the poem quickly moves beyond this single allusion. Stevenson finds the “black monk” a somewhat inadequate personification of the wind itself. She also rejects interpretations rooted in political power dynamics, despite initial imagery hinting at abuse and control – the “white face under the streetlight” and the sounds of “torture.” Ultimately, the poem transcends these specific readings, aiming for something more worldwide.
The Wind as Internal Landscape
The second stanza marks a crucial shift. The poem’s rhythm mimics a pause, a moment of stillness where external noise gives way to internal thought. Here, the “man in the wind” becomes a representation of the self – your own “anger” and ”fear” manifesting as the wind rises again. This is a powerful move, internalizing the external force and suggesting that the true tempest lies within.
A Masterclass in Sound and Structure
Stevenson’s poetic technique is especially noteworthy. She employs:
* Sparing Rhyme: Creating a sense of naturalness and avoiding predictability.
* Assonance: The repetition of vowel sounds,weaving a subtle musicality throughout the poem.
* Lineation: The varying lengths of lines mirroring the breath, and the ebb and flow of thought.
This careful construction reinforces the poem’s central theme: the interconnectedness of nature and the human mind. The poem’s structure itself feels like the wind – unpredictable, yet possessing an underlying rhythm.
Resonance with arnold and Existential Dread
The poem’s crescendo of sound – “…a roar, a continuous roar” – is brilliantly evocative. It’s reminiscent of Matthew Arnold’s “melancholy, long withdrawing roar” of the Sea of Faith in “Dover Beach.” Both poems tap into a sense of loss and the erosion of conventional belief systems.
Stevenson’s wind, however, goes further. compared to “waves where there is no shore,” it shrinks the human timescale, dismantling notions of beginnings and endings. It’s a terrifyingly “uncreative” force, leaving us face-to-face with the vastness and indifference of existence.
Beyond the Personal: Political Context and Universal themes
While “The Man in the Wind” can be read as a response to the political climate of early 1980s Britain (where Stevenson had recently moved from the US), its scope is far broader. It’s a meditation on the human condition, exploring our vulnerability, our capacity for self-deception, and our struggle to find meaning in a seemingly meaningless world.
Anne Stevenson: A Legacy of Insight
Anne Stevenson (1933-2020) was a highly respected poet and critic. Her work consistently demonstrates a keen intellect and a profound sensitivity to the complexities of human experience. You can explore more of her poetry and critical writings on the Bloodaxe Books website. Her *Collected
