The Poem (Masterplots II: Poetry, Revised Edition)
“Like Walking to the Drug Store, When I Get Out” is a letter in free verse with eight stanzas and a short, cryptic “PS.” The title of the poem is also the final line in stanza 6 and is a statement of the utter nonchalance with which the writer of the “letter” regards his impulse to violence, even murder. Although initially a confusing phrase, the title becomes a nugget of clarity when it appears within the poem. The speaker is a prison inmate, a convicted child molester, who writes a letter to the “famous” author Joyce Carol Oates, threatening her (indeed all unimprisoned, free persons) with vicious murder: “I’d just grab a baseball bat and I’d beat you/ till your brains leaked out.” The chilling aspect of the inmate’s harangue is his insistence that he “wouldn’t feel a thing.” It would be “just like walking to the drug store.”
The poem is written in the first person in the voice of an obviously male sociopath. Clearly obsessed, deeply paranoid, and intensely bitter, the prisoner has time on his hands and vitriol in his pen. He has written to Oates five times previously, and, although he promises this letter is the last, it is quickly clear to the reader that he is an obsessed fan. He has seen Oates’s picture in the paper in Iowa City, the location of a federal penitentiary where the reader may assume the letter writer has been imprisoned for the last “6 years.” It is intriguing that, in fact, Oates the poet...
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Forms and Devices (Masterplots II: Poetry, Revised Edition)
It is ironic that a poem such as “Like Walking to the Drug Store, When I Get Out” appears in a collection of poems Oates titles Tenderness. The poem is the antithesis of tenderness: It sits on the edge of violence for eight stanzas, each line a taut threat spit out between the clenched teeth of the angry prisoner who writes the letter. The poem begins with the salutation of a traditional letter, “Dear Joyce Carol.” The writer assumes familiarity in using Oates’s first names but, interestingly, does not sign his own name at the end of the letter. The reader must conclude that something prevents his signature, perhaps latent fear or embarrassment, or that perhaps the poet omits it intentionally. It could be anyone. Through this omission, Oates may be indicating that all people experience extreme states of mind; taking responsibility for them is terribly difficult. The prisoner’s bravado is not strong enough to allow him to reveal his identity. He is, like many of Oates’s characters, trapped by his circumstances.
He is, quite literally, in prison, but he is also imprisoned by his unfulfilled need. The lines of the poem vibrate with his frustration that his story will not be told, that he will not “make his mark.” His primary regret is not his crimes but that his crimes have not made him famous. The matter-of-fact diction, profanity, spelling errors, and awkward constructions contribute to the realism of the poem. The hyperbolic...
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Bibliography (Masterplots II: Poetry, Revised Edition)
Bender, Eileen Teper. Joyce Carol Oates: Artist in Residence. Bloomington: Indiana University Press, 1987.
Bloom, Harold, ed. Modern Critical Views: Joyce Carol Oates. New York: Chelsea House, 1987.
Cologne-Brookes, Gavin. Dark Eyes on America: The Novels of Joyce Carol Oates. Baton Rouge: Louisiana State University Press, 2005.
Creighton, Joanne V. Joyce Carol Oates: Novels of the Middle Years. New York: Twayne, 1992.
Daly, Brenda O. Lavish Self-Divisions: The Novels of Joyce Carol Oates. Jackson: University Press of Mississippi, 1996.
Johnson, Greg. Invisible Writer: A Biography of Joyce Carol Oates. New York: Dutton, 1998.
Johnson, Greg. Understanding Joyce Carol Oates. Columbia: University of South Carolina Press, 1987.
Wagner-Martin, Linda, ed. Critical Essays on Joyce Carol Oates. Boston: G. K. Hall, 1979.
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