Themes and Meanings (Masterplots II: Poetry, Revised Edition)
Famously reticent about her personal life both on and off the page, Bishop’s speaker in “Filling Station” watches the father, the sons, and the family dog, although she herself remains unseen. Voyeurism, however, is not only the province of the speaker. By the poem’s close the reader turns an eye on the speaker, who has revealed something of herself through her choice of recorded detail. In a rich, multilayered exploration of this theme, the watcher becomes the watched, and Bishop’s readers are encouraged to step outside the poem and consider whose eye is fixed on them.
Meticulously spatial and deductive, the poem repeatedly posits the order that is the poet’s process against the disorder in the messy, “oil-soaked” world of the family that, the speaker jokes, perhaps even oils the begonia instead of watering it. The theme of order allows this “little” filling station to function as a microcosm of the created world. An ordering hand, unseen but capable and beneficent, embroidered the doily, waters the plant, and arranges the rows of cans, as the poem notes, but also presumably nurtures-or fills—the father, the “saucy” sons, and even the family dog. Reasoning backwards from fact, there is evidence that the hand is a mother’s; however, she is identified only as a “somebody.” Her tasks, ordering and beautifying, are the tasks of creation ascribed to God, but Bishop was a confirmed atheist whose private theology would be...
(The entire section is 520 words.)
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