(November 9, 1928, Newton, Massachusetts–October 4, 1974, Weston, Massachusetts)
My Personal Blog: Sooner or Later

  1. psychotherapy:

Description:
In 1956, Anne Sexton was admitted into a mental hospital for post-partum depression, where she met Dr. Martin Orne, a young psychiatrist who treated her for the next eight years. In that time Sexton would blossom into a world-famous poet, best known for her “confessional” poems dealing with personal subjects not often represented in poetry at that time: mental illness, depression, suicide, sex, abortion, women’s bodies, and the ordinary lives of mothers and housewives. Orne audiotaped the last three years of her therapy to facilitate her ability to remember their sessions. The final six months of these tapes are the focus of this book.
In An Accident of Hope, Dawn Skorczewski links the content of the therapy with poetry excerpts, offering a rare perspective on the artist’s experience and creative process. We can see Sexton attempting to make sense of her life and therapy and to sustain her confidence as a major poet, while struggling with the impending loss of Orne, who was moving elsewhere. Skorczewski’s study provides an intimate, in-depth view of the therapy of a psychologically tortured yet immensely creative woman, during a period of emerging feminism and cultural change. Tracing the mutual development of the poet and the therapist during their years together, the author explores the tension between the classical therapeutic setting as practiced in the early 1960s and contemporary relational and developmental concepts in psychoanalysis, just then beginning to emerge.
An Accident of Hope also raises broader questions about the nature of healing in psychotherapy. The poet and therapist we encounter in these sessions present complex and conflicted images of the therapeutic and creative process. Orne, equal parts honesty and hesitancy, works to bolster Sexton’s self-image and maintain that she is more than the sum of her poetry. Sexton, working against a tendency to hide from her most painful feelings, valiantly pushes to tell the truth in therapy, while her poems invite the readers to see another side of the story.
Just as Orne kept the audiotapes so that one day they might help others who suffer, An Accident of Hope tells the story of a therapy but moves beyond it. By offering a glimpse into the past, the present is open for reappraisal, both of Sexton herself and the legacy of psychoanalytic treatment.

    psychotherapy:

    Description:

    In 1956, Anne Sexton was admitted into a mental hospital for post-partum depression, where she met Dr. Martin Orne, a young psychiatrist who treated her for the next eight years. In that time Sexton would blossom into a world-famous poet, best known for her “confessional” poems dealing with personal subjects not often represented in poetry at that time: mental illness, depression, suicide, sex, abortion, women’s bodies, and the ordinary lives of mothers and housewives. Orne audiotaped the last three years of her therapy to facilitate her ability to remember their sessions. The final six months of these tapes are the focus of this book.

    In An Accident of Hope, Dawn Skorczewski links the content of the therapy with poetry excerpts, offering a rare perspective on the artist’s experience and creative process. We can see Sexton attempting to make sense of her life and therapy and to sustain her confidence as a major poet, while struggling with the impending loss of Orne, who was moving elsewhere. Skorczewski’s study provides an intimate, in-depth view of the therapy of a psychologically tortured yet immensely creative woman, during a period of emerging feminism and cultural change. Tracing the mutual development of the poet and the therapist during their years together, the author explores the tension between the classical therapeutic setting as practiced in the early 1960s and contemporary relational and developmental concepts in psychoanalysis, just then beginning to emerge.

    An Accident of Hope also raises broader questions about the nature of healing in psychotherapy. The poet and therapist we encounter in these sessions present complex and conflicted images of the therapeutic and creative process. Orne, equal parts honesty and hesitancy, works to bolster Sexton’s self-image and maintain that she is more than the sum of her poetry. Sexton, working against a tendency to hide from her most painful feelings, valiantly pushes to tell the truth in therapy, while her poems invite the readers to see another side of the story.

    Just as Orne kept the audiotapes so that one day they might help others who suffer, An Accident of Hope tells the story of a therapy but moves beyond it. By offering a glimpse into the past, the present is open for reappraisal, both of Sexton herself and the legacy of psychoanalytic treatment.

  2. There they are
    drooping over the breakfast plates,
    angel-like,
    folding in their sad wing,
    animal sad,
    and only the night before
    there they were
    playing the banjo.
    Once more the day’s light comes
    with its immense sun,
    its mother trucks,
    its engines of amputation.
    Whereas last night
    the cock knew its way home,
    as stiff as a hammer,
    battering in with all
    its awful power.
    That theater.
    Today it is tender,
    a small bird,
    as soft as a baby’s hand.
    She is the house.
    He is the steeple.
    When they fuck they are God.
    When they break away they are God.
    When they snore they are God.
    In the morning they butter the toast.
    They don’t say much.
    They are still God.
    All the cocks of the world are God,
    blooming, blooming, blooming
    into the sweet blood of woman.
    The Fury of Cocks
    Anne Sexton (via monarchfly)

    (Source: emonarch10)

  3. dirtyteeth:

    December 18th 

    Anne Sexton

    For Buffalo

    (via dirtyteeth-deactivated20120509)

  4. (Source: lifeasiknowshit)

  5. Hai detto che la rabbia sarebbe tornata
    proprio come l’amore

    Ho una sembianza nera che non
    mi piace. È una maschera, me la provo.
    Migro verso lei e la sua rana
    s’accovaccia sulle mie labbra e defeca.
    È una vecchia, è anche povera.
    Ho provato a tenerla a dieta.
    Non le dò l’estrema unzione.

    C’è un bell’aspetto che indosso
    come un grumo di sangue.
    Me lo sono cucito sul seno sinistro.
    Ne ho fatto una vocazione.
    La lussuria si è piantata in esso
    e io ho accostato te e il tuo
    bambino allo sbocco del latte.

    Oh la nerezza è assassina
    e il colmo del latte trabocca
    e tutto il meccanismo mi funziona
    ed io ti bacerò quando
    avrò fatto a pezzetti un’altra dozzina di uomini
    e tu morirai un po’,
    ancora, ancora.

    — Anne Sexton, ANCORA, ANCORA, ANCORA (via dissolvenza)

    (via pooryorickproductions-deactivat)

  6. furyofsunsets:

You were so ahead of your time

    furyofsunsets:

    You were so ahead of your time

  7. You always read about it:
    the plumber with the twelve children
    who wins the Irish Sweepstakes.
    From toilets to riches.
    That story.


    Or the nursemaid,
    some luscious sweet from Denmark
    who captures the oldest son’s heart.
    from diapers to Dior.
    That story.


    Or a milkman who serves the wealthy,
    eggs, cream, butter, yogurt, milk,
    the white truck like an ambulance
    who goes into real estate
    and makes a pile.
    From homogenized to martinis at lunch.


    Or the charwoman
    who is on the bus when it cracks up
    and collects enough from the insurance.
    From mops to Bonwit Teller.
    That story.


    Once
    the wife of a rich man was on her deathbed
    and she said to her daughter Cinderella:
    Be devout. Be good. Then I will smile
    down from heaven in the seam of a cloud.
    The man took another wife who had
    two daughters, pretty enough
    but with hearts like blackjacks.
    Cinderella was their maid.
    She slept on the sooty hearth each night
    and walked around looking like Al Jolson.
    Her father brought presents home from town,
    jewels and gowns for the other women
    but the twig of a tree for Cinderella.
    She planted that twig on her mother’s grave
    and it grew to a tree where a white dove sat.
    Whenever she wished for anything the dove
    would drop it like an egg upon the ground.
    The bird is important, my dears, so heed him.


    Next came the ball, as you all know.
    It was a marriage market.
    The prince was looking for a wife.
    All but Cinderella were preparing
    and gussying up for the event.
    Cinderella begged to go too.
    Her stepmother threw a dish of lentils
    into the cinders and said: Pick them
    up in an hour and you shall go.
    The white dove brought all his friends;
    all the warm wings of the fatherland came,
    and picked up the lentils in a jiffy.
    No, Cinderella, said the stepmother,
    you have no clothes and cannot dance.
    That’s the way with stepmothers.


    Cinderella went to the tree at the grave
    and cried forth like a gospel singer:
    Mama! Mama! My turtledove,
    send me to the prince’s ball!
    The bird dropped down a golden dress
    and delicate little slippers.
    Rather a large package for a simple bird.
    So she went. Which is no surprise.
    Her stepmother and sisters didn’t
    recognize her without her cinder face
    and the prince took her hand on the spot
    and danced with no other the whole day.

    As nightfall came she thought she’d better
    get home. The prince walked her home
    and she disappeared into the pigeon house
    and although the prince took an axe and broke
    it open she was gone. Back to her cinders.
    These events repeated themselves for three days.
    However on the third day the prince
    covered the palace steps with cobbler’s wax
    and Cinderella’s gold shoe stuck upon it.
    Now he would find whom the shoe fit
    and find his strange dancing girl for keeps.
    He went to their house and the two sisters
    were delighted because they had lovely feet.
    The eldest went into a room to try the slipper on
    but her big toe got in the way so she simply
    sliced it off and put on the slipper.
    The prince rode away with her until the white dove
    told him to look at the blood pouring forth.
    That is the way with amputations.
    They just don’t heal up like a wish.
    The other sister cut off her heel
    but the blood told as blood will.
    The prince was getting tired.
    He began to feel like a shoe salesman.
    But he gave it one last try.
    This time Cinderella fit into the shoe
    like a love letter into its envelope.

    At the wedding ceremony
    the two sisters came to curry favor
    and the white dove pecked their eyes out.
    Two hollow spots were left
    like soup spoons.

    Cinderella and the prince
    lived, they say, happily ever after,
    like two dolls in a museum case
    never bothered by diapers or dust,
    never arguing over the timing of an egg,
    never telling the same story twice,
    never getting a middle-aged spread,
    their darling smiles pasted on for eternity.
    Regular Bobbsey Twins.
    That story.

    — Anne Sexton, Cinderella (via brieana90)
  8. sissysuicide:

I find it serendipitous that I found these two books at the same time in one of the many cabinets at home. One is the original Grimm’s Tales, while the other is Anne Sexton’s reimagining of these stories. I find Kurt Vonnegut’s introduction to Sexton’s book apt, too, for both collections:
“She domesticates my terror, examines it and describes it, teaches it some tricks which will amuse me, then lets it gallop wild in my forest once more.”

    sissysuicide:

    I find it serendipitous that I found these two books at the same time in one of the many cabinets at home. One is the original Grimm’s Tales, while the other is Anne Sexton’s reimagining of these stories. I find Kurt Vonnegut’s introduction to Sexton’s book apt, too, for both collections:

    “She domesticates my terror, examines it and describes it, teaches it some tricks which will amuse me, then lets it gallop wild in my forest once more.”

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