| Collection
Introduction (2) | The Other Country, 1990
Explores different views of childhood, from the perspectives of both parent and child
Although the inspiration for the poem may have included a few reminiscences of past conversations, it cannot be assumed to be an autobiographical poem – she writes for general relevance and universality |
| Subject (3) | Duffy concentrates on the diverse views of childhood and the friction that results between parents and children
Although the parents may remember the facts (C.R to title), the interpretation of those facts is another matter altogether and is where the clash emerges
The focus of the poem is no longer a child but rather someone in their late teens confronting their parents about the decision they made in their childhood |
| Form (3) | Six tercets
Series of denials, 'nobody' is used six times
Although the poem displays a conversation, only one side is being portrayed (that of the authoritative parent) |
| Theme (4) | The poem tackles ways in which a child’s upbringing is affected by the parents’ efforts to do the right thing; ‘we did what was best’
Duffy presents the idea of real and imagined mistreatment of the child, who feels wronged by their parents, but is met with denial and dismissive responses
Parents often feel the need to hide the truth from their children and resort to overprotective behaviour
Parental fallability is explored as they deny the reality of the child's fears - this ultimately strips their other denials of any credence
- Memory
- Betrayal |
| Motifs (3) | "The bad man on the moors was only a movie you saw"
- This might be autobiographical; Duffy was around 10 when Ian Brady and Myra Hindley were arrested (might be a potent memory as she also refers to them in 'In Mrs Tilscher's Class'
"there was none but yourself to blame if it ended in tears"
"the whole thing is inside your head" |
| Diction; Pronouns (2)
Lexical fields
Nouns
Verbs
Onomatopoeia
Kennings (2) | 'We' - collective voice; the parent speaking on behalf of both of them
Consistent mention of 'you' implies a shift of blame; 'You chose the dress', 'What you recall are impressions', 'We have the facts'
'turned off the light', 'locked the door' (pictorial) - family life; universal situation
Abstract - 'blur'; the haziness of the memories and the unsound base for the parents' denials
'hurt', 'forced' - the child holds the parents accountable for any pain endured (these claims are ignored)
'Boom. Boom. Boom' - patronising
'skidmarks of sin'
'open for Hell' (religious - suggest a Catholic upbringing); the reader wonders whether scaring a child into obedience is ideal |
| Imagery; Pictorial (2)
Associational | "The moment's a blur, a 'Film Fun' laughing itself to death in the coal fire"; the parents hack on the child's dreams which are being ridiculed
- The contradictory nature of 'laughing' and 'death' suggest an illogical reasoning on behalf of the parents; reason is outgunned by authority
"smiling, and waving, younger"; the parents believe that happiness is guaranteed in childhood
- Duffy parallels this with "older and wiser than you, bigger"; they believe age and authority makes them infallible in their decisions
"the secret police of your childhood"; presumably what the child is accusing their parents of being (implying stifling and strict methods) |
| Rhythm (4) | Run-on lines without the use of conventional upper-case letters is typical of Duffy’s style, and creates a fast-flowing rhythm
The urge to defend oneself is captured in this idea of quick responses
There is balance between a fast tempo (in the parents’ explanations) with a slower rhythm in the negations; 'Nobody hurt you'
Slow tempo is created through stresses, giving denials a strong, commanding effect |
| Rhyme (2) | Distantly approximate rhyme is present in 'fear' and 'tears'
The occasional deployment of rhyme gives the poem a jarring, erratic rhythm – adds to the uncomfortable feel |
| Tone (2)
Mood | Duffy passes slight judgement on the parents for their ways of bringing up the child
Having appeared so self-assured throughout, the collective persona seems to admit an element of guilt; 'what does it matter now?' – it isn’t complete acknowledgment but suggests a partial acceptance of the truth in the child’s allegations
The atmosphere is uncomfortable and even irritating as the parents deflect the child’s questions |
| Conclusion | The strength of the poem lies in what is not said rather than what is – the reader probably is able to formulate their own questions which they might have even felt towards their own parents (universal) |
