‘Feminine Gospels’ is more about the problems of the modern world than
it is about feminism. To what extent do you agree?
Carol Ann Duffy’s ‘Feminine Gospels,’ does focus on the current issues,
however, as the title suggests it is inherently ‘feminine.’ The majority of
the poems explore the female experience, and how ‘problems of the
modern world’ affect women. Perhaps, Duffy aims to convey that feminism
is a political, social and cultural problem and this intersectionality means
it cannot be separated from ‘problems of the modern world.’
For example, in ‘The Woman who Shopped’ Duffy explores over
consumerism, capitalism and how this intersects with the exploitation of
women. The title could imply the poem acts as a kind of fable, or a moral
warning, this is emphasised shortly after with the mention of ‘an apple,
red,’ which is a possible Biblical allusion to original sin within the Garden
of Eden. Duffy uses a mix of syndetic and asyndetic listing throughout the
poem, which throws the pace out of control – a possible reflection of the
female subject’s increasing mania as her gluttony and consumerist
behaviour spirals into further extremes. ‘Wanted a wedding, a wedding
dress, groom,’ suggests values such as love, and the wish for a union or
relationship have been superseded by material objects such as ‘a wedding
dress,’ and the status symbol and show of financial wealth of ‘a wedding.’
Possibly, Duffy comments on the problem of the changing psyche of
modern society, placing superficial, material values over genuine human
connection. ‘The lights from the shops ran like paint in the rain,’ shows
metaphorically the woman’s vision is blurred, as she becomes distorted
from reality. Duffy creates a dark mood, as the woman grasps for
fulfilment within capitalist constructs – yet appears never truly satisfied,
not in control of her own endless desires. Finally, graphic, bodily imagery
shows the women has sold her whole self to capitalism ‘credit cards
swiped themselves in her blood.’ This suggests perhaps, it is the woman,
a consumer, perpetuating capitalism, who is the instrument of her own
destruction. The jarring, violent ending of ‘crowds’ queuing ‘overnight at
her cunt,’ is a final image of the grave consequences of a gluttonous
Western society. The woman’s body is no longer her own, merely an object
to fulfil others wants and the transformative metaphor implies she has
been utterly exploited by a patriarchal society that worships capitalism.
Overall, in ‘The Woman who Shopped’ Duffy not only explores ‘problems
of the modern world,’ (namely the evil of capitalism) yet also how these
problems are simultaneously perpetuated by the exploitation of women.
Similarly, in ‘Loud’ Duffy comments on a ‘modern world’ filled with
violence, war and hatred – and how misogyny contributes to these
problems. In ‘Loud’ modern society seems to focus and celebrate trivial
it is about feminism. To what extent do you agree?
Carol Ann Duffy’s ‘Feminine Gospels,’ does focus on the current issues,
however, as the title suggests it is inherently ‘feminine.’ The majority of
the poems explore the female experience, and how ‘problems of the
modern world’ affect women. Perhaps, Duffy aims to convey that feminism
is a political, social and cultural problem and this intersectionality means
it cannot be separated from ‘problems of the modern world.’
For example, in ‘The Woman who Shopped’ Duffy explores over
consumerism, capitalism and how this intersects with the exploitation of
women. The title could imply the poem acts as a kind of fable, or a moral
warning, this is emphasised shortly after with the mention of ‘an apple,
red,’ which is a possible Biblical allusion to original sin within the Garden
of Eden. Duffy uses a mix of syndetic and asyndetic listing throughout the
poem, which throws the pace out of control – a possible reflection of the
female subject’s increasing mania as her gluttony and consumerist
behaviour spirals into further extremes. ‘Wanted a wedding, a wedding
dress, groom,’ suggests values such as love, and the wish for a union or
relationship have been superseded by material objects such as ‘a wedding
dress,’ and the status symbol and show of financial wealth of ‘a wedding.’
Possibly, Duffy comments on the problem of the changing psyche of
modern society, placing superficial, material values over genuine human
connection. ‘The lights from the shops ran like paint in the rain,’ shows
metaphorically the woman’s vision is blurred, as she becomes distorted
from reality. Duffy creates a dark mood, as the woman grasps for
fulfilment within capitalist constructs – yet appears never truly satisfied,
not in control of her own endless desires. Finally, graphic, bodily imagery
shows the women has sold her whole self to capitalism ‘credit cards
swiped themselves in her blood.’ This suggests perhaps, it is the woman,
a consumer, perpetuating capitalism, who is the instrument of her own
destruction. The jarring, violent ending of ‘crowds’ queuing ‘overnight at
her cunt,’ is a final image of the grave consequences of a gluttonous
Western society. The woman’s body is no longer her own, merely an object
to fulfil others wants and the transformative metaphor implies she has
been utterly exploited by a patriarchal society that worships capitalism.
Overall, in ‘The Woman who Shopped’ Duffy not only explores ‘problems
of the modern world,’ (namely the evil of capitalism) yet also how these
problems are simultaneously perpetuated by the exploitation of women.
Similarly, in ‘Loud’ Duffy comments on a ‘modern world’ filled with
violence, war and hatred – and how misogyny contributes to these
problems. In ‘Loud’ modern society seems to focus and celebrate trivial
