The Poem

(Critical Guide to Poetry for Students)

“The Sturgeon,” written in free verse, consists of fifty-six lines, which are divided into five stanzas or verse paragraphs. The title bluntly states the apparent subject of the poem; as with other poem titles in this posthumous collection—“Wine,” “Suspenders,” “Lemonade,” “Letter,” and “Summer Fog,” for example—Raymond Carver does not force the title to mean anything. It simply names the object on which Carver decides to focus the poem.

The poem is written in the first person, and the speaker is the poet himself reminiscing about his father and the stories his father told him. The poem begins, however, with an objective description of a sturgeon. Unlike some of the more embellished nature poems by Marianne Moore or Elizabeth Bishop, Carver baldly describes the fish’s habitat, body, and habits: “the sturgeon is a bottom-feeder/ and can’t see well.” He continues, “The sturgeon/ lives aloneand takes/ 100 years getting around to its first mating.” This is not a baroque style to say the least; Carver’s words are as close to prose as poetry is likely to get.

The second stanza moves this description out of a timeless world into a specific moment in time with the description of a specific sturgeon. It seems the opening journalistic description was imitating or recalling “a sketchof its biography” of a nine-hundred-pound sturgeon the author and his father saw “winched up in a corner/ of the Agricultural...

(The entire section is 544 words.)

Forms and Devices

(Critical Guide to Poetry for Students)

Carver is known primarily as a brilliant short-story writer, although his poems are also well regarded by many. His poems owe much to the short-story genre, as is clearly evinced in “The Sturgeon.” The poet uses a plain style, with descriptive details that shy away from metaphor or simile, and a narrative to hold the work together. Carver also takes Wordsworth’s words about poetry quite literally: Wordsworth argued, in his 1800 preface to Lyrical Ballads, that poets should write in a “language really used by men” and that there should be no “essential difference between the language of prose and metrical composition.” Carver seems intent on blurring whatever norms or conventions separate the two genres. This poem reads in places as if it were a reference work; his use of figurative language in the poem—“Mosslike feelers hang down over/ the slumbrous lips”—occurs in the section in which he is apparently quoting from an unnamed source rather than being “poetic.”

One of the primary distinctions between a short story and this poem—besides the line breaks—is the fact that the narrator is Carver himself; this poem is not, he insists, fiction, although the fact that Carver cannot quite recall the events central to the poem slurs this distinction. The other central poetic technique used here is the juxtaposition of the simple, descriptive sections (parts 1 and 3) and the parts that are devoted to the capturing of memory (parts 2, 4, and 5). It is this juxtaposition that forces the reader to wonder about the point of joining together the story about the hanging fish, including “its biography—which my father read/ and then read aloud” and Carver’s silence about his feelings for his father. The reader is left wondering whether this poem is about grief, and, if so, where the true emotion lies.


(Critical Guide to Poetry for Students)

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Gallagher, Tess. Soul Barnacles: Ten More Years with Ray. Edited by Greg Simon. Ann Arbor: University of Michigan Press, 2000.

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