Living in Sin by Adrienne Rich: Of Simplicity and Brevity Essay

Poetry has turned off a lot of people Because of its confusing nature and interjection of difficult-to understand symbolisms, poems have been disregarded by many. Yet what most people do not know is that the landscape of poetry has changed tremendously in the past years. Contemporary poets have realized that their works should no longer include flowery words and deep allegories to be beautiful – that in fact, the poems that eventually become popular are those marked with simplicity and brevity and those that posses the ability to touch the readers’ hearts. If one is to get reacquainted with poetry, Adrienne Rich’s Living in Sin is a good place to start. This particular poem talks of something that is very common nowadays – domestic partnership without the grace of marriage. But the â€Å"sin† Rich referred to in the title does not point to the seemingly sinful relationship of living together but was more a tirade on how people can sometimes persuade themselves about staying in a relationship even when the ‘expectations’ on the particular relationship have not been met. Living in Sin tells how a woman has realized that living with the person she loves is not all â€Å"A plate of pears, / a piano with a Persian shawl, a cat / stalking the picturesque amusing mouse† and that there is indeed â€Å"dust upon the furniture of love†. In Living in Sin, Rich describes how a relationship is something that one needs to work at. This poem is the best one to pick up when trying to re-embrace poetry because it differs greatly from those written under the pens of 15th and 16th Century poets. Revolving around a present-day issue, Living in Sin is sure to be easily understood by new readers. Most of the people nowadays can surely relate to the fact that certain aspects of a relationship can be disillusioning. Almost anyone who enters a relationship do so armed with certain positive expectancies that are – sadly – not met as the relationship progresses. By painting images of boredom (â€Å"†¦he, with a yawn, / sounded a dozen notes upon the keyboard, / declared it out of tune†¦Ã¢â‚¬ ) and disappointment (â€Å"she, jeered by the minor demons, / pulled back the sheets and made the bed and found / a towel to dust the table-top, / and let the coffee-pot boil over on the stove.†), Rich successfully communicates her message. Rich’s successful telling of her message can be attributed to her ability of steering clear from highfalutin words and hard-to-imagine imagery. In fact, Living in Sin is marked by simple words and symbolisms that are common to everyone. The language that Rich used in this particular poem is something that we all understand. These are just more reasons to actually pick up and enjoy this particular poem. Yet the good points of Living in Sin do not end there. This particular poem is also armed with only a few lines. Rich employed just 26 lines and a mere 196 words in conveying her message yet those numbers have been enough to transfer Rich’s messages to the readers. Undeniably, no other literary piece can achieve such feat but poetry. Living in Sin – and poems in general – are lovable in that one need not go through lots of word tangles to feel exactly what the author wants him/her to feel. True enough, poems of old are pretty hard to understand, talking about things that most modern-day people can no longer relate to. Yet as with everything, poets have changed and have taken to voicing out topics that are close to today’s readers’ hearts. Adrienne Rich is but one of those poets who have successfully mastered combining relatable subjects with easy-to-grasp symbols and language in her poetry. And reading one of her more popular poems, Living in Sin, will surely convince this generation that poems should be given a chance because, contrary to popular belief, they are beautiful literary pieces that are worth reading.