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Dog Woman by Chris Abani
It’s like flying in your dreams, she said. You empty
Yourself out and just lift off. Soar. It’s like that.
Red. Red. Red.
Just that word. Sometimes.
Yang & Yin. Like twins tumbling through summer.
He, the rooster crowing sun; desperate—afraid—
As only men can be.
And Yin? Let’s say she has long hair—
No, that won’t work. If we are to believe
the ancient Chinese, she was a dog
howling moon.
When I counted out the pills, it was a slowing down.
Like the delay between when the car goes through
the dip and your stomach falls away—
And won’t stop.
Of course it was because she didn’t fit my mold.
So I punished her. And why? And why? And why?
You did it, I said. You did it.
Wouldn’t fill my world.
And eventually we all kill our mothers.
Their eyes a tenderness that doesn’t flinch
from it. Knowing. Eventually.
What else is there?
Paula’s paintings are real. The women thick, visceral,
like stubborn cliffs the sea cannot contain—or drown.
Or dogs. And such as these drove Homer to despair—
And his cry: Oh to see! To see! To see!
So Paula says: To be a dog woman is bestial is good.
Eating, snarling.
Utterly believable.
Gross.
Like when Cesaria Evora breaks your heart with a smile
all melancholy and sea and salt.
Assim ’m ta pidi mar
Pa ’l leva ’me pa ’me ca voeta
And it doesn’t matter that you don’t know what
the words mean. Some things are beyond that.
So. Tanya bought the record because Cesaria’s face
is beautiful with all the lost love of the world
and darker than the blue of the sun setting over the Atlantic.
It’s in the angle of light washing her hair
with sun into a puddle that catches in the throat
The wood deck creaks from the weight
of all that air and sun and silence
Water chuckling in the tiny fountain in the corner
holding up the song of wind chimes and flies
And it’s all here. Fire. Water. Stone. Wood.
All caught up in Yeats and the cuckoo
that wasn’t a real bird but cried
with all the agony of the desire for flight
hemmed by wooden wings, and springs and cogs.
I think.
Or looking for Rilke—
How the panther is like the rage
of a doll’s soul caught in the body: but
to say: under an open window, a violin
Accomplishment though is another matter—
Just ask Baudelaire and so I
thought I could do it.
Necromancer, necromancer, necromancer
make me a mate
only one of my ribs pray take.
So why won’t women fit into that space?
Is that why in the photograph David plays
an inflatable lyre? Does his smile make it all artifice?
But life is this and it will not
be contained. The Igbo say:
No one can outrun their shadow.
And this is good. This is hope.
Because, or maybe, we cannot outrun love.
To drive down a road, she said. Until it stops
at the edge of the sea. An ocean vast and immense,
she said. If you are lucky, she said. It fills you.
General Introduction
Chris Abani's "Dog Woman" is a deeply introspective and evocative poem that delves into themes of identity, femininity, and the intricate dynamics of human relationships. Through its fragmented narrative and vivid imagery, the poem explores the juxtaposition of strength and vulnerability, capturing the essence of what it means to be a "dog woman." Abani's language is rich with symbolism and cultural references, weaving a tapestry of emotions that resonate with universal human experiences.
Title
"Dog Woman"
The title "Dog Woman" sets the tone for the poem, suggesting a fusion of primal instincts and human complexity. It evokes the image of a woman who embodies both the loyalty and ferocity often associated with dogs, challenging societal norms and expectations.
Themes
1. Identity and Transformation
- "You empty / Yourself out and just lift off. Soar. It’s like that."
- The poem explores the fluid nature of identity, suggesting that transformation involves a process of shedding one's past self to achieve liberation and transcendence.
2. Femininity and Power
- "To be a dog woman is bestial is good. / Eating, snarling. / Utterly believable. / Gross."
- Abani portrays femininity as a source of raw, untamed power. The "dog woman" is both feared and revered for her primal strength, challenging conventional notions of female docility.
3. Conflict and Punishment
- "Of course it was because she didn’t fit my mold. / So I punished her. And why? And why? And why?"
- The poem delves into the conflict that arises when individuals fail to conform to societal molds, highlighting the destructive consequences of imposing rigid expectations on others.
4. Motherhood and Sacrifice
- "And eventually we all kill our mothers. / Their eyes a tenderness that doesn’t flinch / from it. Knowing. Eventually."
- This theme examines the inevitable sacrifices and emotional burdens of motherhood, suggesting a cycle of giving and taking that defines familial relationships.
5. Cultural Heritage and Continuity
- "The Igbo say: / No one can outrun their shadow. / And this is good. This is hope."
- Abani incorporates cultural references to emphasize the enduring nature of heritage and the importance of staying connected to one's roots, despite life's challenges.
Literary Devices
1. Imagery
- "Red. Red. Red."
- The repetition of "Red" creates a vivid, almost hypnotic image that evokes strong emotions and sensations, reinforcing the poem's themes of passion and intensity.
2. Symbolism
- "So Paula says: To be a dog woman is bestial is good. / Eating, snarling."
- The "dog woman" symbolizes the untamed and primal aspects of femininity, challenging societal norms and embracing raw, authentic power.
3. Metaphor
- "It’s like flying in your dreams, she said. You empty / Yourself out and just lift off. Soar."
- The metaphor of flying in dreams conveys a sense of liberation and transcendence, capturing the transformative experience of embracing one's true self.
4. Allusion
- "All caught up in Yeats and the cuckoo / that wasn’t a real bird but cried / with all the agony of the desire for flight."
- The reference to Yeats and the cuckoo bird adds depth to the poem, linking it to broader literary and philosophical ideas about longing and the human condition.
5. Juxtaposition
- "Yang & Yin. Like twins tumbling through summer. / He, the rooster crowing sun; desperate—afraid— / As only men can be."
- The contrast between Yang and Yin, rooster and dog, male and female, highlights the poem's exploration of dualities and the balance of opposing forces.
6. Personification
- "The wood deck creaks from the weight / of all that air and sun and silence."
- By attributing human-like qualities to the deck, air, and silence, Abani creates a vivid, sensory experience that immerses the reader in the poem's atmosphere.
Language and Mood
The language of "Dog Woman" is both lyrical and raw, oscillating between moments of poetic beauty and stark realism. The mood is reflective and introspective, with an undercurrent of tension and defiance. Abani's use of vivid imagery and rich symbolism creates a tapestry of emotions, inviting readers to explore the depths of the human psyche and the complexities of identity.
Context
Chris Abani, a Nigerian author and poet, often draws on his cultural heritage and personal experiences in his work. "Dog Woman" reflects his exploration of themes such as identity, power, and transformation, rooted in both African and universal contexts. The poem's references to Igbo culture and Chinese philosophy, along with allusions to Western literature, highlight Abani's diverse influences and his ability to weave multiple cultural threads into a cohesive narrative.
Conclusion
"Dog Woman" by Chris Abani is a powerful and evocative poem that delves into the complexities of identity, femininity, and human relationships. Through its rich imagery, symbolic language, and cultural references, the poem captures the essence of what it means to embrace one's true self and navigate the challenges of life. Abani's masterful use of literary devices and his introspective, reflective tone make "Dog Woman" a poignant exploration of the human condition, resonating with readers on a profound level.
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