“The Secretary Chant,” by the American writer Marge Piercy, is typical of this author’s work in many ways, particularly in its clearly feminist point of view. The poem is written in a simple, lucid, yet often whimsical style that emphasizes playful, bizarre, but in some ways depressing metaphors to suggest how secretaries often feel dehumanized. The humor of the poem contributes to the work’s success; a more strident, more obviously “propagandistic” tone probably would have been less effective. Instead, by displaying a sort of inventiveness that many readers will find witty, the speaker demonstrates the kind of intelligence that her job gives her little opportunity to express.
Significantly, the poem begins by emphasizing how the speaker’s body now seems comparable to an ever-lengthening series of lifeless objects. In fact, this focus on the body continues for much of the rest of the work; the speaker’s mind, heart, and soul are never explicitly mentioned, almost as if they no longer even exist. Her gifts of mind are implied, however, by the ever-lengthening list of metaphors she invents. If some of these strike some readers as strained or forced, perhaps that is part of the poem’s point: perhaps the speaker’s mind, deadened by monotonous work, struggles to be inventive without always quite succeeding. Either way—whether the metaphors are regarded as witty or as overdone—they imply something about the qualities of the speaker’s mind.
As the list of metaphors grows, the comparisons imply that the secretary is almost literally being consumed by her job. She is almost literally becoming the dead, inert things she works with. She is being absorbed by and into her merely professional environment, so that her being or self cannot easily be separated from her work. Her hips, for instance, are not merely like a desk: they “are a desk” (1; emphasis added). Rubber bands do not simply resemble her hair; instead, they “form” her hair (4; emphasis added). By using metaphors rather than similes, the speaker implies that she is losing any sense of independent identity. She is, in a very fundamental sense, being overtaken by, and totally possessed by, her job. Although the poem seems to suggest that this is a fate especially felt by female secretaries, many readers (such as the male factory workers or construction workers who were so common when this poem was written in the 1970s) have probably often felt the same way about their jobs as well. The poem, then, deals with feelings that transcend any particular time, place, job, or gender. Almost any reader can relate to some of the basic feelings this poem expresses.
Individually, the various...
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