A Study Guide for Linda Pastan's "Ethics"
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A Study Guide for Linda Pastan's "Ethics" - Gale
1
Ethics
Linda Pastan
1981
Introduction
Ethics
appears in Linda Pastan’s sixth volume of poetry, Waiting for My Life (1981), a title that hints at the tensions for which the New York-born poet is best known: the challenges of living in that waiting
place between the magic and the tedium of the ordinary; between the artistic and the domestic life; between the rewards and the losses of aging and death. A kind of aesthetic ethic
itself emerges from the body of her poems, one proclaiming that simple language and images of the ordinary are especially capable of bearing mystery and of resisting easy answers.
Ethics
itself embodies this resistance. The poem takes shape first in a memory from school days and is then bridged, through images of frames and fire, to an understanding acquired in the poet’s older years. The question the ethics teacher poses so many years ago
is unanswerable partly because it is not real
; the students answer it half-heartedly,
at best. Having posed a hypothetical fire in a museum, the teacher wants the students to make a clear choice, between saving a Rembrandt painting / or an old woman who hadn’t many / years left anyhow.
The surprising answer for the poet arrives years later, in a real museum,
as the poet stands before a real Rembrandt.
Several readers have noted Pastan’s similarity to the nineteenth-century poet Emily Dickinson. Both share an ability to express complexity and mystery in the language of domestic life. However, unlike Dickinson, Pastan has struggled with the issues of raising children and being married. Pastan is a poet of the home even while she is clearly in the world. Meditation by the Stove
shows she has trained her eye on the realities of her own life:
… I have banked the fires of my body
into a small domestic flame for others