Lines 1–9

In the initial stanza, the speaker in Plath's poem sets the scene and describes the task of picking blackberries in a secluded forest near the ocean. The first line powerfully highlights the solitude of the location, stressing that “nobody” occupies the lane and repeating the word “nothing.” Plath uses personification to give the blackberries human-like qualities, effectively "populating" the scene with them. The berries are connected to the speaker’s thumb, compared to eyes, and they “squander” their juices. By compiling these details, Plath establishes an unusual yet captivating connection between the speaker and the blackberries, suggesting a “blood sisterhood” and that the berries “love” her. This stanza also introduces the image of a hook, found in the curves of the blackberry “alley” or lane. The sea is also mentioned, though it remains invisible at this point, located “somewhere at the end” of the lane. Throughout the poem, Plath expands on these images as the speaker becomes “hooked,” drawn along the winding path toward the mysterious and somewhat menacing sea.

Lines 10–18

In this section, Plath broadens the scene to incorporate the sky along with other living beings, such as birds and flies. Choughs, which are dark birds akin to crows, appear somewhat menacing and hint at death. Instead of merely being "black," they are described as "in black," as if they are wearing mourning attire. They are likened to "bits of burnt paper," resembling ashes scattered from a fire, and they caw in "protest" against an unspecified grievance. Their cries disrupt the tranquility of the setting, being the "only voice" present. The birds' black feathers echo the darkness of the berries and foreshadow the blackness of the flies mentioned in line 15. In that line, the speaker refers to a bush of overly ripe blackberries as "a bush of flies," implying both that the berries resemble flies and that the bush is literally swarming with them. Death is suggested here too, as the blackberries are portrayed as decaying and fly-covered. Thus, Plath connects the blackberries, choughs, and flies through their dark hues and deathly implications. Reflecting on lines 7 and 8, where the berries "bleed" on the speaker and form a "sisterhood" with her, the speaker becomes part of this network of connections. However, the allusion to death takes on a positive note with the mention of heaven in line 17. For the flies, at least, the blackberry field represents heaven. The "honey-feast" and possibly the "milkbottle" from line 9, evoke paradise described as "the land of milk and honey." Line 14, featuring the "high, green meadows" that "glow as if lit from within," conjures up an image of a beautiful, golden world. It's noteworthy that this is a natural world, separate from human presence.

The sea is mentioned again in this stanza, yet it remains enigmatic and remote—so far away that the speaker wonders if it will ever "appear at all." Nevertheless, the path once more "hooks" the speaker, pulling her toward the sea and away from the blackberries: "One more hook, and the berries and bushes end" (line 18).

Lines 19–27 In this stanza, a stark contrast is drawn between the blackberry fields and the seashore. Transitioning from an idyllic setting to a more unforgiving reality, the speaker is buffeted by the ocean wind. The wind "tunnels" at her and "slaps" her face. The hills she departs from are described as "sweet," reminiscent of the honeyed berries, while the sea ahead is salty. It's as if she’s being shepherded; the "blackberry alley" transforms into a "sheep path" that she follows between two hills. She finds herself...