‘Spree‘ by Maxine Kumin dissects family dynamics and societal norms through vivid imagery and introspective reflections. The poem portrays the father’s imposing presence, the mother’s submission, and the speaker’s imaginative escapes. It delves into materialism’s allure and ethical dilemmas, showcasing extravagant bills and luxury items like an ermine muff.
Through the speaker’s internal struggles and realizations, the poem examines the performative nature of appearances and the father’s influential role in shaping the family’s circumstances, ultimately exploring the interplay between power, indulgence, and identity.
Summary
The poem ‘Spree‘ by Maxine Kumin delves into a family scene laden with tension and contrasts.
The poem begins with the father roaming restlessly in the upper hallway, his demeanor straddling the boundaries between untamed and domesticated. A palpable aura of indignant anger envelops him while the mother remains subservient at her writing desk. As an observant young child of eight, nine, or ten, the speaker acknowledges her father’s entitlement to rage and her mother’s inclination to resist, as evident from their dealings with department store bills from Wanamaker’s, Strawbridge’s, and Bonwit Teller, including the alluring Blum Store.
The father’s fury is likened to the ambiance of lively dinner parties and the effervescent daiquiris served on trays. Amidst this, his posture while carving prime ribs with a slightly inebriated air adds a peculiar charm. He captivates the other elegantly adorned Bonwit-bedecked wives, yet an essence of overripeness lingers. Meanwhile, the speaker adorns herself with her father’s broad cigar bands, an emblem of his world.
The noise of this scene overwhelms the speaker, and she retreats to her imaginative haven beneath her bed. Here, a secret golden and purple escalator transports her beneath the sea, where she indulges in intricate dances and encounters with princes and dukes. Amidst the extravagance, she, the unadorned one, grows increasingly sensitive to elegant details like stickpins and cravats, realizing that shopping itself is a performance akin to a costume ball.
She questions her father, pondering whether their monthly domestic dispute in the hallway could take on a fairytale guise with mice as footmen and a magical coach. The father’s extravagant gestures, such as procuring a Parisian ermine muff and other opulent accessories, contrast starkly with the fate of the animals sacrificed for luxury. The father’s role as the provider and enchanter, orchestrating opulence and indulgence, is evident.
In the end, the father’s dominion over finances and his ability to conjure luxury appear as an enchanting spell cast over the family’s life. The poem encapsulates the paradoxes of excess and fragility, power and submission, vividly painting a scene that merges domesticity with surrealism.
Structure and Form
‘Spree’ by Maxine Kumin employs a distinct free-verse structure, contributing to its fluidity and thematic emphasis. The five stanzas encompass varied line counts, providing a rhythmic progression mirroring the poem’s emotional trajectory.
The first, third, and fourth stanzas consist of twelve lines each, cultivating consistency in their expansion of ideas. In contrast, the second stanza comprises eight lines, creating a visual disruption that resonates with the poem’s themes of tension and unease. The fifth stanza, with its single line, serves as a resounding conclusion, enhancing its impact.
The absence of a discernible rhyming scheme aligns with the poem’s modernist approach, highlighting its focus on content over formal constraints. The poem’s enjambment propels the reader, echoing the father’s pacing and contributing to its rhythmic flow. This style mimics the intricacies of human thought and interaction, underscoring the dynamic family dynamics being explored.
The structural choices amplify the poem’s exploration of power dynamics and the complexities of family life. The first stanza introduces the scene, followed by the second stanza’s reflections on the father’s charm and the speaker’s emulation. The third stanza shifts to the speaker’s imaginative escapes, while the fourth delves into ethical quandaries. The final stanza serves as a striking summation, encapsulating the father’s influence.
The variation in stanza lengths is significant. The twelve-line stanzas provide room for in-depth explorations, whereas the single-line stanza creates a pause, underscoring the father’s control. The poem’s form supports its themes – the disruption in the eight-line stanza mirrors the inner turmoil, while the single-line conclusion reinforces paternal dominance.
Essentially, ‘Spree’ embraces a free-verse form, deliberately unfettered by rhyme schemes. Its structural choices – varying stanza lengths, enjambment, and the strategic use of a single-line stanza – synergize with its thematic nuances, enabling an unencumbered exploration of power dynamics, materialism, and personal identity within the family dynamic.
Themes
‘Spree’ by Maxine Kumin explores several interconnected themes that underpin the complex family dynamics and societal norms. One prominent theme is power dynamics within the family. The father’s pacing and imposing presence underscore his dominance, while the mother’s meekness reveals her submissive role. The bill disputes with various stores reflect tensions over financial authority, illustrating a struggle for control.
The poem also delves into the theme of materialism and excess. The references to high-end stores like Wanamaker’s, Strawbridge’s, and Bonwit Teller highlight a culture of opulence. The ermine muff and other luxury items symbolize material indulgence. The all plum-colored Blum Store suggests extravagance as well.
Gender roles and societal expectations are explored through the mother’s defiance and the father’s rage. The speaker, observing these roles, internalizes them – wearing her father’s cigar bands as a form of emulation.
The theme of escape and imagination is illustrated in the speaker’s retreat to a secret underwater realm. The dances and encounters with aristocratic figures provide an imaginative escape from the mundane.
Sacrifice and consequences emerge through the imagery of animals being killed for fashion. The ermine muff contrasts with the “twelve poor little things” whose lives were taken for it.
A deeper theme is the paradox of appearance and reality, evident in the father’s charm at parties while concealing a sense of overripeness underneath. The speaker’s realization that shopping is akin to a “costume ball” adds depth to this theme.
The cycle of life is implied through the father’s act of fishing down the well for fox furs, which suggests a grim fate for the animals.
Ultimately, the theme of paternal influence and control comes to the fore. The father’s power is symbolized by his authority over finances and his role as the provider of luxury. The final stanza underscores his spell-like influence.
Literary Devices
In ‘Spree,’ Maxine Kumin employs various literary devices to vividly convey the poem’s messages and emotions.
- Imagery: This is skillfully utilized to evoke sensory experiences, like the “smell of righteous wrath” hanging around the father, and the aroma of anger likened to “trays of frothy daiquiris.”
- Metaphors: These abound, shaping the themes. The father’s presence as a “large confined animal” highlights his imposing yet restricted nature. His carving knife flashing “a little drunkenly” serves as a metaphor for his charm’s unsteadiness. The speaker’s imaginary escapades serve as a form of extended metaphor, depicting her desires and yearnings.
- Symbolism: It is evident in the luxurious items, like the ermine muff, representing excess and societal status. The Blum Store’s “plum-colored” description suggests both richness and indulgence.
- Personification: This device imbues objects with life – the bill from stores is “held high,” implying accusation.
- Irony: It surfaces as the “plain one” wears her father’s ostentatious cigar bands as an ironic expression of her own identity.
- Allusion: Allusion to the pre-World-War-Two era situates the poem’s context and imbues it with historical depth.
- Enjambment: The enjambment across lines propels the reader, mirroring the father’s pacing and intensifying the poem’s rhythmic flow.
- Contrast: This is a key poetic technique. The juxtaposition of the father’s charm with his underlying weariness adds complexity.
- Anaphora: The anaphora in “the bill from” emphasizes the recurring financial disputes, underscoring their significance.
- Repetition: This is evident in the phrase “to keep my hands unseemly warm,” emphasizing the cost of luxury.
- Caesura: In the final single-lined stanza, the abruptness creates a stark caesura, underscoring the father’s control.
In conclusion, Maxine Kumin employs a rich tapestry of literary devices to paint a multi-layered picture that engages readers with the poem’s themes and emotions.
Detailed Analysis
Stanza One
My father paces the upstairs hall
a large confined animal
neither wild nor yet domesticated.
About him hangs the smell of righteous wrath.
My mother is meekly seated
at the escritoire. Rosy from my bath
age eight-nine-ten by now I understand
his right to roar, hers to defy
the bill from Wanamaker’s in his hand
the bill from Strawbridge’s held high
the bill from Bonwit Teller
and the all plum-colored Blum Store.
In the opening stanza of Maxine Kumin’s poem ‘Spree,’ the poet introduces themes of power dynamics, confinement, and societal expectations within a family setting. Through vivid imagery and carefully chosen language, Kumin conveys a nuanced message about the roles of the father and mother, as well as the palpable tension in their interactions.
The stanza begins with a vivid visual and auditory image: “My father paces the upstairs hall.” The act of pacing suggests restlessness, possibly indicating the father’s internal turmoil. This motion also implies a sense of entrapment or confinement, emphasizing the theme of restriction. The subsequent description of him as a “large confined animal” is a striking metaphor that captures the paradox of his presence – a powerful figure constrained by circumstances or societal norms.
The phrase “neither wild nor yet domesticated” further develops this metaphor. The father’s behavior is positioned between two extremes, reflecting his struggle to navigate his role and emotions within the family structure. This line sets the tone for exploring the complexities of his character and emotions.
The mention of the “smell of righteous wrath” enveloping him brings forth a sensory dimension. The olfactory imagery adds a visceral quality, making his anger almost tangible. The choice of “righteous” suggests a moral justification for his anger, possibly implying his authority within the family.
The contrast between the father’s imposing presence and the mother’s “meekly seated” position at the escritoire creates a visual and emotional juxtaposition. Her submissive stance underscores the traditional gender roles of the time. The setting at the escritoire, a writing desk, hints at domestic duties and responsibilities typically associated with women during that era.
The speaker’s age progression from “eight-nine-ten” conveys a sense of growing awareness and understanding. This maturation is key to comprehending the power dynamics in the household. The subsequent lines, “his right to roar, hers to defy,” succinctly encapsulate the societal roles assigned to each parent. The verbs “roar” and “defy” are particularly evocative, conveying the father’s authority and the mother’s quiet resistance.
The stanza concludes with a list of bills from luxury stores – Wanamaker’s, Strawbridge’s, Bonwit Teller, and the “all plum-colored Blum Store.” This enumeration of high-end establishments underscores the theme of materialism and excess. The use of color, such as “plum-colored,” adds a visual richness, evoking opulence and indulgence.
In essence, the opening stanza of ‘Spree’ establishes a framework for exploring themes of power, confinement, gender roles, and materialism. Through the skillful use of metaphor, imagery, and vivid descriptions, Kumin sets the stage for a deeper exploration of the family dynamics and societal norms that shape the poem’s narrative.
Stanza Two
His anger smells like dinner parties
(…)
I wear his wide cigar bands on my fingers.
In the second stanza of ‘Spree,’ the poet delves deeper into the complexities of the father’s character and his interactions with the world around him. Through vivid sensory imagery, historical context, and symbolism, Kumin conveys a layered message about the father’s charm, excess, and underlying unease.
The stanza opens with a powerful olfactory image: “His anger smells like dinner parties.” This unusual comparison immediately engages the reader’s senses and prompts a deeper consideration of the father’s emotions. The linking of anger with social gatherings suggests a connection between his emotional turmoil and external appearances.
The subsequent comparison to “trays of frothy daiquiris” continues the sensory imagery, juxtaposing the effervescence of the cocktails with the simmering anger. This contrast creates a sense of unease, hinting at the father’s ability to mask his emotions with surface charm.
The reference to the “pre-World-War-Two prime” situates the stanza in a specific historical context, possibly highlighting the facade of prosperity and decadence often associated with that era. This context informs the portrayal of the father’s actions and interactions.
The description of the “standing ribs” and the father’s “carving knife” introduces a visceral symbolism of excess. The image of the carving knife flashing “a little drunkenly” suggests a lack of precision, indicating the father’s indulgent tendencies. This metaphorical carving of ribs echoes the extravagant lifestyle that might come at a cost.
The line “He charms all the other Bonwit-bedecked wives” underscores the father’s charisma and his ability to captivate his social circle. The adjective “Bonwit-bedecked” emphasizes opulence and luxury.
However, the stanza takes a subtle turn with the phrase “something overripe malingers.” This phrase suggests a sense of decay or excess that has lingered past its prime. It’s a hint that beneath the charm, something may be amiss or unsustainable.
The stanza’s conclusion – “I wear his wide cigar bands on my fingers” – introduces a personal perspective. This symbolic act of adorning oneself with his cigar bands showcases the speaker’s attempt to internalize her father’s persona, perhaps as an emblem of his power and influence.
Essentially, it is in this second stanza that Kumin conveys how the father’s charm masks underlying tensions and excesses. The juxtaposition of charm and unease, along with the speaker’s personal involvement, adds depth to the poem’s exploration of societal expectations and individual identities.
Stanza Three
Oh God it is so noisy!
(…)
a kind of costume ball.
In the third stanza, the poet shifts the focus to the speaker’s internal world and her yearnings for escape and transformation. Through imaginative and symbolic language, Kumin conveys the theme of the speaker’s desire for liberation from societal constraints and her awareness of the performative nature of appearances.
The stanza begins with an exclamation, “Oh God it is so noisy!” This exclamation suggests a sense of overwhelm, reflecting the speaker’s internal turmoil amidst the external commotion. This sentiment can be seen as a response to the loud societal expectations and the discord within the family.
The imagery of “Under my bed a secret stair” evokes a sense of hidden possibilities, implying a private escape route from the cacophony of the external world. This secret stair becomes a metaphor for the speaker’s inner desires and imagination.
The “gold and purple escalator” that “takes me nightly down under the sea” introduces an element of fantasy and surrealism. This escalator, adorned in regal colors, becomes a symbol of opulence and transformation, transporting the speaker to an enchanting underwater realm.
The stanza continues with the phrase “Such dancings, such carryings on,” highlighting the immersive experience of the speaker’s imaginary escapades. The engagement with aristocratic figures like the “prince of this-or-that” and the “duke of ne’er-do-well” mirrors the societal expectations present in the real world.
The speaker’s self-perception as “the plain one, a size too large to tell” reflects her sense of inadequacy and mismatch with societal norms. This internal struggle is emphasized by the phrase “grow tremulous at stickpin and cravat,” suggesting a heightened sensitivity to the trappings of materialism and luxury.
The image of the speaker in “toe shoes and tutu suddenly” portrays a sudden transformation into a dancer, symbolizing the yearning for grace and elegance. This transformation also aligns with the theme of escape and reinvention.
The realization that “shopping is an art form” and “a kind of costume ball” adds a layer of depth to the stanza. It highlights the performative nature of consumerism and societal roles, reinforcing the idea that appearances can be masks worn in a grand theatrical production.
In essence, the third stanza of ‘Spree’ delves into the speaker’s internal realm, capturing her desire for escape, transformation, and an alternative reality. Through imaginative and symbolic language, Kumin crafts a vivid depiction of the speaker’s yearnings while also commenting on the superficiality and performative aspects of societal expectations.
Stanza Four
Papá, would we so humbly come
(…)
velvet evening capes, what else befell?
In the fourth stanza of the poem, Kumin engages with themes of power, luxury, and sacrifice. Through the use of vivid imagery, dialogue, and reflective questions, Kumin presents a contemplative and critical perspective on the excesses of materialism and the consequences of indulgence.
The stanza opens with a rhetorical question, “Papá, would we so humbly come,” addressing the father directly and framing the subsequent contemplation as a conversation. This engagement with the father signifies a shift in tone as the speaker reflects on the father’s actions.
The mention of the “scene in the upstairs hall” on the “first of every month” hints at a recurring ritual, potentially related to financial discussions or confrontations. The regularity of this event emphasizes its significance in the family’s dynamics.
The father’s choice of “mice for footmen” introduces a fantastical and whimsical element. This image contrasts with the seriousness of financial discussions and adds a touch of surrealism to the stanza.
The imagery of “the coach and four” is symbolic of opulence and extravagance, suggesting the father’s penchant for grand displays of wealth and status. The act of “clapping” to summon the coach underscores his power to orchestrate such displays.
The father’s decision to send to Paris for an “ermine muff” is emblematic of his pursuit of luxury and ostentation. The ermine muff is a status symbol that proclaims affluence. However, the stanza takes a poignant turn as the speaker reflects on the cost: “To think twelve poor little things had their heads chopped off.” This frank statement confronts the reader with the consequences of luxury and the ethical implications of such extravagance.
The phrase “to keep my hands unseemly warm” underscores the irony of sacrificing lives for comfort and vanity. The word “unseemly” implies that the speaker recognizes the dissonance between opulence and morality.
The metaphor of “fishing down the well” evokes a sense of depth and the idea of seeking hidden treasures. The acquisition of “fox furs, hats with peacock plumes, velvet evening capes” further exemplifies the father’s indulgence in expensive items.
The stanza’s ending phrase, “What else befell?” suggests a reflective pause. This query invites the reader to consider the broader implications of the father’s actions beyond mere acquisitions, encouraging introspection about the ethical ramifications of conspicuous consumption.
The fourth stanza basically delves into the father’s pursuit of luxury and its consequences. Through imagery, dialogue, and reflective questions, Kumin invites readers to consider the ethical dimensions of materialism, highlighting the sacrifices made for opulence and the broader impact of such choices.
Stanza Five
You paid the bills, Papá. You cast the spell.
In the final single-lined stanza of Maxine Kumin’s poem ‘Spree,’ the poet offers a succinct yet powerful conclusion that encapsulates the central themes of the poem. Through a direct address and the use of metaphor, Kumin conveys a message about paternal authority, influence, and the consequences of materialism.
The stanza opens with a direct address to the father, “You paid the bills, Papá.” This straightforward statement acknowledges the father’s role as the provider and decision-maker in financial matters. This line serves as a reminder of his authority within the family dynamic.
The use of the verb “paid” highlights the practical aspect of the father’s involvement in managing the family’s financial obligations. This emphasizes his position as the one who controls the resources and makes important financial decisions.
The second part of the line, “You cast the spell,” introduces a metaphor that adds a layer of complexity to the stanza. Here, the act of paying the bills is metaphorically equated to casting a spell. This suggests that the father’s financial actions hold a kind of enchantment or influence over the family’s circumstances.
The choice of the word “spell” is significant. It implies a sense of magic or manipulation, suggesting that the father’s financial decisions not only determine the family’s financial status but also shape their perceptions, priorities, and even identities.
This metaphor can also be interpreted as a commentary on the allure and entrancement of materialism. The “spell” suggests that the pursuit of luxury and excess can be captivating, leading individuals to become entrapped in a cycle of consumption.
The brevity of the stanza and the absence of elaboration contribute to its impact. This concise statement serves as a summation of the poem’s themes – power dynamics, materialism, gender roles, and sacrifice – while also highlighting the overarching influence of the father’s financial control.
The single-lined stanza five of ‘Spree’ encapsulates the poem’s message about paternal authority, the enchantment of materialism, and the influence of financial decisions on the family’s identity and circumstances. Through direct language and a metaphorical comparison, Kumin underscores the complex dynamics at play within the family and society at large.
FAQs
The poet is interested in the subject matter of the title ‘Spree’ to explore themes of power, materialism, and societal roles within a family context, shedding light on the complexities of relationships, desires, and the consequences of indulgence.
The tone in ‘Spree’ is a mix of contemplative reflection and critical observation as the poet delves into the emotions and dynamics of the family, addressing societal norms and their impact.
The term ‘Spree’ carries a double meaning in the poem. It refers to both a period of indulgence and extravagance (often referred to as a “shopping spree”) as well as the concept of being caught up in a cycle of consumption and materialism.
The poem triggers a range of emotions in its readers, including empathy for the speaker’s perspective on familial dynamics, a sense of discomfort or unease regarding the consequences of luxury and indulgence, and a reflective consideration of the societal roles and expectations depicted in the poem.
Similar Poetry
Readers who have enjoyed this poem by Maxine Kumin might wish to explore these other poems:
- ‘Bells for John Whiteside’s Daughter’ by John Crowe Ransom is an elegy for Whiteside’s daughter, a young girl who passed away suddenly. It’s unclear why she died, but the speaker spends the bass majority of this poem depicting her lively and playful life.
- ‘Ballad of Birmingham’ by Dudley Randall is a moving narrative of the last moments of a little girl murdered in a church bombing.
- ‘Afterglow’ by Helen Lowrie Marshall is a popular funeral poem. It describes a speaker’s hope that they’re remembered fondly and warmly.
