“Resisting Reality: Social Construction and Social Critique” by Sally Haslanger: Summary and Critique

“Resisting Reality: Social Construction and Social Critique” by Sally Haslanger first appeared in 2012, published by Oxford University Press.

"Resisting Reality: Social Construction and Social Critique" by Sally Haslanger: Summary and Critique
Introduction: “Resisting Reality: Social Construction and Social Critique” by Sally Haslanger

“Resisting Reality: Social Construction and Social Critique” by Sally Haslanger first appeared in 2012, published by Oxford University Press. This work is a pivotal contribution to feminist philosophy, critical race theory, and social constructionism, addressing how social categories—particularly race and gender—are constructed, maintained, and used to reinforce structures of power. Haslanger challenges the idea that race and gender are purely natural or biological categories, arguing instead that they are socially constructed but still materially significant in shaping social hierarchies. She advocates for a realist social constructionist approach, which acknowledges that while race and gender are socially constructed, they have real-world consequences and must be understood within a framework that enables social critique and transformation. In doing so, she moves beyond metaphysical debates about the “reality” of race and gender and instead focuses on how these categories should be employed in discourse to advance social justice. Her work is influential in literary theory as it interrogates the language and narratives that shape identities, power structures, and cultural perceptions. Haslanger’s analysis bridges philosophy with contemporary debates in race studies, feminist theory, and epistemology, making her arguments essential for those studying how social meaning is constructed and how it can be contested.

Summary of “Resisting Reality: Social Construction and Social Critique” by Sally Haslanger

1. The Social Construction of Reality

  • Haslanger argues that social categories such as race and gender are not natural kinds but are instead socially constructed realities that shape human interactions and institutions (Haslanger, 2012).
  • She emphasizes that “language is a collective social practice”, and our understanding of social categories is shaped by discourse rather than by inherent biological or metaphysical truths (Haslanger, 2012, p. 298).

2. Race as a Social Kind

  • Haslanger challenges the essentialist view of race, rejecting “race naturalism”, which holds that races are biologically real, and “race eliminativism”, which denies the existence of race altogether.
  • Instead, she advocates for a “realist, social constructionist account of race”, arguing that race exists as a social kind—it is real because it has significant material and political consequences (Haslanger, 2012, p. 299).
  • Race, she argues, “is the social meaning of the ‘colored’ body”—a classification imposed on individuals based on perceived physical traits and linked to historical power dynamics (Haslanger, 2012, p. 308).

3. The Role of Language in Social Construction

  • Haslanger explains that debates over race are often hindered by semantic misunderstandings. She states, “What concept of race should we employ in order to achieve the antiracist goals we share?”, shifting the focus from whether race is real to how racial categories function in society (Haslanger, 2012, p. 299).
  • She draws on semantic externalism, arguing that the meaning of terms like “race” is shaped by both expert knowledge and collective social usage (Haslanger, 2012, p. 305).

4. The Political Implications of Race and Gender

  • Haslanger connects her social constructionist account of race to issues of social justice, emphasizing that racial classifications serve to “justify systems of privilege and subordination” (Haslanger, 2012, p. 309).
  • She extends this argument to gender, contending that gender functions as “the social meaning of sex”, meaning that gender roles and expectations are not biologically determined but institutionally reinforced (Haslanger, 2012, p. 307).

5. Critique of Race Eliminativism and Naturalism

  • Haslanger critiques race eliminativism, which argues that race should be abandoned as a concept, by stating, “We can all confidently identify members of different races”, which means race cannot simply be wished away (Haslanger, 2012, p. 306).
  • She also critiques race naturalism, which claims that races are biologically determined categories, arguing that “race is not a natural or genetic category”, but one that has been historically shaped by power structures (Haslanger, 2012, p. 307).

6. The Need for Conceptual Change in Public Discourse

  • Haslanger urges scholars and activists to redefine race and gender categories in ways that contribute to social justice, stating that, “If the folk concept of race is not an adequate tool to help achieve social justice, then how should we proceed?” (Haslanger, 2012, p. 304).
  • She argues that race should be understood not as an immutable fact but as a tool for political change, allowing for the dismantling of racial hierarchies and systemic discrimination.

7. Application of the Social Constructionist Model

  • Haslanger applies her theory to policy and legal debates, showing how racial categories affect medical treatment, education, and economic opportunities.
  • She discusses the example of the FDA’s approval of BiDil (a heart failure drug marketed for Black patients), explaining how different perspectives on race (eliminativist, naturalist, and constructionist) lead to different evaluations of the policy (Haslanger, 2012, p. 301).

8. The Dynamic Nature of Social Categories

  • She emphasizes that social categories are not fixed but fluid, stating that “language evolves in complicated and subtle ways”, and so do our concepts of race and gender (Haslanger, 2012, p. 298).
  • She concludes that “constructionism about race is currently the best candidate” for understanding racial categories in a way that advances social justice (Haslanger, 2012, p. 310).
Theoretical Terms/Concepts in “Resisting Reality: Social Construction and Social Critique” by Sally Haslanger
Term/ConceptDefinitionRelevance in Haslanger’s Work
Social ConstructionismThe view that social categories (e.g., race, gender) are created and maintained through social practices rather than being biologically or naturally determined.Central to Haslanger’s argument that race and gender are socially constructed but still materially significant (Haslanger, 2012, p. 298).
Race as a Social KindThe idea that race is a social classification based on socially constructed hierarchies rather than biological traits.Haslanger argues that race is “the social meaning of the ‘colored’ body” and is used to enforce power structures (Haslanger, 2012, p. 308).
Gender as a Social KindThe claim that gender is the social meaning of sex, shaped by cultural norms and institutionalized roles rather than biology.Haslanger asserts that gender is not an innate trait but a hierarchical social position (Haslanger, 2012, p. 307).
Race EliminativismThe view that race is a false concept, much like witchcraft, and should be abandoned in discourse and policy.Haslanger critiques this stance, arguing that race has real social and political consequences (Haslanger, 2012, p. 306).
Race NaturalismThe belief that races are biological entities with genetic, physical, or inherent traits distinguishing them.Haslanger refutes this claim, stating that race is not a natural or genetic category but a social construct (Haslanger, 2012, p. 307).
Semantic ExternalismThe theory that the meaning of words is determined not just by an individual’s understanding but also by how they are used in society.Haslanger uses this to show that race is defined by collective social meaning, not just individual perspectives (Haslanger, 2012, p. 305).
Reference MagnetismThe idea that terms naturally “stick” to certain objects or concepts based on how they are used in society.Haslanger applies this to race, arguing that people intuitively recognize race categories, even if they lack a scientific basis (Haslanger, 2012, p. 306).
Division of Linguistic LaborA concept that meanings of terms are determined by expert usage in society, rather than by individual speakers.Used to explain why scientists and social groups define race differently, but both impact public discourse (Haslanger, 2012, p. 305).
Social Kinds vs. Natural KindsSocial kinds are products of social systems, while natural kinds exist independently of human classification.Haslanger argues that race and gender are social kinds, not natural categories (Haslanger, 2012, p. 302).
Structural SubordinationThe systemic and institutional ways in which certain groups are disadvantaged based on race, gender, or other social categories.Haslanger connects this to how race and gender enforce power hierarchies (Haslanger, 2012, p. 309).
Conceptual EngineeringThe process of redefining or modifying concepts to better serve justice and truth.Haslanger argues that race and gender categories should be redefined to promote social justice (Haslanger, 2012, p. 304).
Metaphysics of RaceThe philosophical debate about whether race exists independently or is a human-made construct.Haslanger shifts the focus from “Is race real?” to “How should we use race to fight inequality?” (Haslanger, 2012, p. 299).
Social Meaning of the BodyThe idea that physical features gain significance through social interpretation, leading to racial and gender categories.Haslanger explains that racialized bodies are assigned meanings that justify oppression (Haslanger, 2012, p. 308).
Contribution of “Resisting Reality: Social Construction and Social Critique” by Sally Haslanger to Literary Theory/Theories

1. Feminist Literary Theory

  • Reconceptualizing Gender in Literature
  • Haslanger defines gender as a social kind, arguing that “gender is the social meaning of sex”, rather than a biological distinction (Haslanger, 2012, p. 307).
  • This aligns with feminist literary theory, which critiques the essentialist representation of gender in literature, emphasizing how narratives construct and reinforce gender roles.
  • Her work challenges literary critics to analyze how gender is represented as a hierarchical social position in literature rather than as a natural or fixed identity.
  • Structural Subordination in Literary Representation
  • Haslanger critiques structural subordination, which aligns with feminist critiques of patriarchy in literature (Haslanger, 2012, p. 309).
  • She argues that literary narratives often normalize gender oppression, mirroring real-world structural inequalities.
  • This contribution helps feminist literary theorists examine how literature sustains or challenges systemic oppression through narrative structures.

2. Critical Race Theory (CRT) and Postcolonial Literary Theory

  • Race as a Social Construct in Literature
  • Haslanger’s “realist social constructionist account of race” supports CRT’s critique of race as a biologically false but socially real construct (Haslanger, 2012, p. 299).
  • She states, “race is the social meaning of the ‘colored’ body,” highlighting how literature constructs racial identities to reinforce social hierarchies (Haslanger, 2012, p. 308).
  • Her framework helps literary critics deconstruct racial stereotypes in literature and reveal how narratives racialize characters to maintain power structures.
  • Critique of Race Eliminativism and Literary Erasure
  • Haslanger critiques race eliminativism, stating that race cannot be ignored since it is “deeply embedded in our social and political structures” (Haslanger, 2012, p. 306).
  • This aligns with CRT and postcolonial literary theory, which argue that literature has historically erased or marginalized racial identities.
  • Her analysis supports postcolonial literary studies in examining the role of race in imperialist narratives and how it shapes representations of identity.

3. Poststructuralist Literary Theory

  • Language as a Site of Social Power in Literary Texts
  • Haslanger’s argument that “language is a collective social practice” aligns with poststructuralist critiques of language’s role in shaping meaning (Haslanger, 2012, p. 298).
  • This connects with Derrida’s deconstruction, which critiques the assumption that language reflects reality rather than constructs it.
  • Literary critics can use Haslanger’s ideas to analyze how texts create and reinforce social categories through language and discourse.
  • Interrogating Essentialism in Literature
  • Haslanger challenges essentialist definitions of race and gender, which aligns with poststructuralist critiques of fixed identities in literature (Haslanger, 2012, p. 302).
  • This supports literary readings that question stable identity categories in texts, showing how characters’ racial and gender identities are socially determined rather than inherent.

4. Discourse Analysis and Narratology

  • Reframing Narrative Structures through Conceptual Change
  • Haslanger calls for “conceptual engineering” to redefine race and gender for justice (Haslanger, 2012, p. 304).
  • This aligns with discourse analysis in literature, which examines how narratives create social meanings and reinforce dominant ideologies.
  • Her work encourages literary critics to explore how novels, films, and plays contribute to the social construction of race and gender.
  • Narrative Power and the Construction of Identity
  • Haslanger states, “If we want to change or refine the concept of race, we should be aware of where we are starting from” (Haslanger, 2012, p. 298).
  • This resonates with narratology, which examines how storytelling constructs identities and shapes perceptions of reality.
  • Her work provides a framework for studying how literary narratives construct racialized and gendered subjects through storytelling techniques.

5. Intersectionality in Literature

  • Intersections of Race, Gender, and Class in Literary Analysis
    • Haslanger argues that race and gender “are not independent categories but are shaped by intersecting power structures” (Haslanger, 2012, p. 309).
    • This aligns with intersectionality, a key concept in feminist and CRT literary analysis, which examines how multiple identity markers interact to shape oppression in literature.
    • Her insights help critics analyze how characters experience multiple forms of oppression based on race, gender, and class in literary texts.

Conclusion: Impact on Literary Theory

Haslanger’s Resisting Reality significantly impacts literary theory by:

  1. Supporting feminist critiques of gender representation as a social construct.
  2. Advancing critical race theory in literature by highlighting race as a social kind.
  3. Aligning with poststructuralist and deconstructionist critiques of essentialism.
  4. Providing a framework for discourse analysis and narratology in literature.
  5. Enhancing intersectional literary analysis by examining the interplay of race, gender, and class.
Examples of Critiques Through “Resisting Reality: Social Construction and Social Critique” by Sally Haslanger
Literary WorkCritique through Haslanger’s TheoriesKey Theoretical Connection
1. To Kill a Mockingbird (Harper Lee, 1960)– The novel portrays race as a fixed category, reinforcing the idea that Blackness and Whiteness are inherent traits rather than social constructs.
– The trial of Tom Robinson reflects race as a social kind, where he is presumed guilty not because of evidence but due to his racial categorization (Haslanger, 2012, p. 299).
– The narrative constructs Whiteness as morally superior through Atticus, reinforcing racial paternalism.
Race as a Social Kind (Haslanger, 2012, p. 308)
Structural Subordination (Haslanger, 2012, p. 309)
2. The Handmaid’s Tale (Margaret Atwood, 1985)– Gender is presented as an institutionalized hierarchy, where women are assigned rigid social roles based on reproductive ability, mirroring gender as a social kind rather than a natural fact (Haslanger, 2012, p. 307).
– The Gileadean regime erases women’s autonomy by controlling language, reflecting Haslanger’s claim that language is a collective social practice used to sustain oppression (Haslanger, 2012, p. 298).
Gender as a Social Kind (Haslanger, 2012, p. 307)
Structural Subordination (Haslanger, 2012, p. 309)
Language as Social Power (Haslanger, 2012, p. 298)
3. Beloved (Toni Morrison, 1987)– The novel critiques race eliminativism by showing that race is not just an idea but a lived experience with lasting trauma (Haslanger, 2012, p. 306).
– Morrison highlights the racialized body as a site of social meaning, where Sethe’s suffering is shaped by the legacy of racial subjugation (Haslanger, 2012, p. 308).
– The narrative challenges the biological essentialism of race, illustrating how racial identity is enforced through historical and social structures.
Race as a Social Construct (Haslanger, 2012, p. 299)
Critique of Race Eliminativism (Haslanger, 2012, p. 306)
Structural Subordination of Race (Haslanger, 2012, p. 309)
4. Wide Sargasso Sea (Jean Rhys, 1966)– The novel deconstructs colonial racial hierarchies, showing how race is a European-imposed classification system rather than a natural division (Haslanger, 2012, p. 308).
– Antoinette’s identity is shaped by her racial ambiguity, illustrating the fluidity of race as a social construct rather than a biological reality (Haslanger, 2012, p. 307).
– The novel critiques the linguistic control of identity, where Creole identity is marginalized by both White European and Black Caribbean communities, reinforcing Haslanger’s division of linguistic labor (Haslanger, 2012, p. 305).
Race as a Social Construct (Haslanger, 2012, p. 308)
Critique of Colonial Racial Categories (Haslanger, 2012, p. 307)
Linguistic Control of Identity (Haslanger, 2012, p. 305)
Criticism Against “Resisting Reality: Social Construction and Social Critique” by Sally Haslanger

1. Overemphasis on Social Construction at the Expense of Material Reality

  • Critics argue that Haslanger’s social constructionist model downplays the role of material conditions, particularly in relation to race and gender.
  • Some Marxist theorists contend that class and economic factors are more fundamental in shaping racial and gendered oppression than linguistic and conceptual frameworks.
  • Critics claim that emphasizing conceptual change does not necessarily translate into material social change (e.g., addressing economic inequality or legal structures).

2. Limited Engagement with Intersectionality and Lived Experience

  • While Haslanger acknowledges intersectionality, some scholars argue that her focus on linguistic and conceptual analysis fails to fully account for the lived experiences of marginalized groups.
  • Intersectional feminists argue that race and gender cannot be reduced to conceptual categories, as they are experienced differently across social, cultural, and historical contexts.
  • Some critics suggest that her model lacks sufficient empirical engagement with diverse experiences of racial and gender oppression.

3. Tension Between Conceptual Engineering and Political Strategy

  • Haslanger advocates for “conceptual engineering”, arguing that we should redefine race and gender in ways that serve justice and equality.
  • However, some critics argue that changing conceptual categories does not necessarily lead to real-world political change.
  • Pragmatists and political theorists argue that political action, legal reforms, and economic policies are more effective in dismantling oppression than shifting conceptual frameworks.

4. Race as a Social Kind vs. the Persistence of Biological Race

  • While Haslanger rejects race naturalism, some philosophers of science argue that genetic studies reveal biologically significant variations that might justify some aspects of racial classification.
  • Haslanger claims that “race is the social meaning of the ‘colored’ body”, but critics argue that some racial categories are tied to genetic factors relevant to medicine and public health (Haslanger, 2012, p. 308).
  • Philosophers of science argue that a purely social constructionist view might ignore biological variations that have practical implications (e.g., medical disparities).

5. Abstract Theoretical Focus and Accessibility Issues

  • Some scholars critique the book for being overly theoretical and difficult for non-specialists to engage with.
  • Haslanger’s technical use of philosophical language makes her arguments less accessible to activists, policymakers, and general readers.
  • Critics argue that her conceptual framework, while intellectually rigorous, might not be practical for grassroots movements seeking tangible social change.

6. Debate Over Race Eliminativism vs. Race Constructionism

  • Haslanger rejects race eliminativism, arguing that race is a real social kind that should be used to combat injustice (Haslanger, 2012, p. 306).
  • Some eliminativists, like Kwame Anthony Appiah, argue that race should be completely abandoned as a concept because it is a harmful social fiction.
  • The debate raises the question: Should we redefine race to fight racism, or should we eliminate the concept altogether?

7. Potential Relativism in the Definition of Social Categories

  • Haslanger claims that race and gender definitions should evolve based on political and ethical goals (Haslanger, 2012, p. 304).
  • Some critics argue that this leads to conceptual relativism, where categories become too fluid and politically motivated, rather than grounded in stable social structures.
  • Philosophers of language question whether meanings can be engineered at will, arguing that social categories emerge organically rather than through deliberate redefinition.

Representative Quotations from “Resisting Reality: Social Construction and Social Critique” by Sally Haslanger with Explanation
QuotationExplanation
1. “I argue that in debates over the meaning of ‘race’ in a genomic age we are better served by shifting from the metaphysical/scientific question: Is race real? to the political question: What concept of race should we employ in order to achieve the antiracist goals we share?” (Haslanger, 2012, p. 298)Haslanger shifts the focus from whether race is biologically real to how racial concepts should be used to promote social justice. This highlights her normative approach to race as a social construct.
2. “Language evolves in complicated and subtle ways. Thus, I argue that anyone using the term ‘race’ in public life should be aware of its ordinary meanings; and if we want to change or refine the concept of race, we should be aware of where we are starting from as well as the normative basis for where we want to go.” (Haslanger, 2012, p. 299)She acknowledges the fluidity of language and stresses the importance of understanding how racial terms function in public discourse before attempting to redefine them. This aligns with her conceptual engineering approach.
3. “Race is the social meaning of the ‘colored’ body.” (Haslanger, 2012, p. 308)This succinctly captures her social constructionist account of race. Rather than being a biological reality, race is a set of social meanings attached to perceived bodily differences.
4. “Feminists define ‘man’ and ‘woman’ as genders rather than sexes (male and female). The slogan for understanding gender is this: gender is the social meaning of sex.” (Haslanger, 2012, p. 307)She draws a parallel between gender and race, arguing that both are socially constructed meanings imposed on bodies, rather than natural categories.
5. “To ignore the real differences between the races would be a form of injustice.” (Haslanger, 2012, p. 300)Haslanger critiques race eliminativism, arguing that even though race is socially constructed, it still has real-world consequences that cannot be ignored in efforts toward racial justice.
6. “Social categories are real.” (Haslanger, 2012, p. 300)This statement reinforces her constructivist stance, asserting that social categories have tangible effects on people’s lives, even if they are not biologically determined.
7. “Truth alone does not set us free; there are too many irrelevant and misleading truths. The choice of truths must—at the very least—be insightful and judicious.” (Haslanger, 2012, p. 303)She critiques the idea that simply recognizing empirical facts is enough for social progress, emphasizing the need for critical interpretation and social activism.
8. “The reason why the facts don’t settle the issue is that simply establishing that there is a fact of the matter about something doesn’t establish that it is a significant or relevant fact for the purposes at hand.” (Haslanger, 2012, p. 303)She argues against scientific essentialism, emphasizing that even if certain biological facts exist, they do not dictate how racial categories should be constructed or understood.
9. “Semantic authority cannot be granted to the biologist in considering a term like ‘race’ that plays such a major role in our self-understandings and political life.” (Haslanger, 2012, p. 304)Haslanger critiques the biological determinist approach to race, arguing that scientists should not have exclusive control over racial definitions, as these terms have deep social and political implications.
10. “Since we have reason to track racial injustice, and since the naturalist and eliminativist accounts do not come close to matching our ordinary term for ‘race,’ constructionism about race is currently the best candidate of the three views considered.” (Haslanger, 2012, p. 309)This statement summarizes her central argument: the social constructionist view of race is the most effective framework for addressing racial injustice.
Suggested Readings: “Resisting Reality: Social Construction and Social Critique” by Sally Haslanger
  1. Haslanger, Sally. Resisting reality: Social construction and social critique. Oxford University Press, 2012.
  2. Root, Michael. “Resisting Reality: Social Construction and Social Critique.” Analysis, vol. 73, no. 3, 2013, pp. 563–68. JSTOR, http://www.jstor.org/stable/24671140. Accessed 8 Mar. 2025.
  3. Mills, Charles W. “Notes from the Resistance: Some Comments on Sally Haslanger’s ‘Resisting Reality.’” Philosophical Studies: An International Journal for Philosophy in the Analytic Tradition, vol. 171, no. 1, 2014, pp. 85–97. JSTOR, http://www.jstor.org/stable/24704252. Accessed 8 Mar. 2025.
  4. Burroughs, Michael D. Social Theory and Practice, vol. 40, no. 1, 2014, pp. 145–52. JSTOR, http://www.jstor.org/stable/24332267. Accessed 8 Mar. 2025.

“Heteropatriarchy and the Three Pillars of White Supremacy: Rethinking Women of Color Organizing” by Andrea Smith: Summary and Critique

“Heteropatriarchy and the Three Pillars of White Supremacy: Rethinking Women of Color Organizing” by Andrea Smith first appeared in the book Color of Violence: The INCITE! Anthology, published in 2006.

"Heteropatriarchy and the Three Pillars of White Supremacy: Rethinking Women of Color Organizing" by Andrea Smith: Summary and Critique
Introduction: “Heteropatriarchy and the Three Pillars of White Supremacy: Rethinking Women of Color Organizing” by Andrea Smith

“Heteropatriarchy and the Three Pillars of White Supremacy: Rethinking Women of Color Organizing” by Andrea Smith first appeared in the book Color of Violence: The INCITE! Anthology, published in 2006. In this foundational essay, Smith critiques traditional frameworks of women of color and people of color organizing, arguing that these approaches often rely on an oversimplified model of shared oppression. She introduces the “Three Pillars of White Supremacy” as an alternative framework, which differentiates between distinct but interconnected forms of racial oppression: Slavery/Capitalism, which positions Blackness as inherently slaveable and commodifiable; Genocide/Colonialism, which constructs Indigenous peoples as perpetually disappearing to justify settler colonialism; and Orientalism/War, which marks Asian, Arab, and Latinx people as foreign threats, legitimizing the U.S. as a militarized empire. By distinguishing these three logics, Smith highlights how different communities of color experience and are complicit in white supremacy in varying ways. Her work is significant in both literary and theoretical discourse as it challenges homogenized understandings of racial oppression and calls for intersectional, solidarity-based activism that acknowledges structural complicities rather than relying on victimhood alone. Smith’s analysis is particularly relevant to feminist and decolonial studies, as it critiques how heteropatriarchy functions as a foundational structure of white supremacy, sustaining empire and state violence. By moving beyond simplistic binaries and oppression hierarchies, her work provides a crucial intervention in feminist theory, critical race studies, and social movement organizing.

Summary of “Heteropatriarchy and the Three Pillars of White Supremacy: Rethinking Women of Color Organizing” by Andrea Smith

1. Critique of Traditional Women of Color Organizing

  • The essay begins by questioning the conventional approach to “women of color” organizing, which assumes that different racial groups experience white supremacy in the same way.
  • Smith critiques the “oppression olympics” explanation for conflicts in organizing spaces, arguing that these conflicts stem from an inadequate political framework rather than competition over who is most oppressed (Smith, p. 67).
  • She states that the usual model of unity—overlapping circles of racial groups like a Venn diagram—is misleading: “This framework has proven to be limited for women of color and people of color organizing” (Smith, p. 67).

2. Introduction to the “Three Pillars of White Supremacy”

Smith proposes an alternative framework that recognizes distinct but interconnected forms of oppression:

  1. Slavery/Capitalism – Black people are positioned as inherently “slaveable,” meaning their oppression is rooted in their commodification as property. This logic sustains capitalism by racializing economic hierarchy (Smith, p. 68).
  2. Genocide/Colonialism – Indigenous peoples must “disappear” to justify settler colonialism. This erasure enables non-Natives to claim land and Indigenous culture while denying ongoing Indigenous presence (Smith, p. 69).
  3. Orientalism/War – Asian, Arab, and Latinx communities are marked as “perpetual foreign threats,” legitimizing U.S. militarization and imperialism (Smith, p. 69).

3. Slavery and Capitalism: The Enslavability of Blackness

  • The logic of slavery dictates that Blackness is inherently linked to property and commodification, which persists in systems like the prison-industrial complex.
  • Smith explains that, post-slavery, Black people became “state property” through systems like convict leasing, which “rendered Black people as inherently slaveable—as nothing more than property” (Smith, p. 68).
  • The racial hierarchy encourages non-Black people to accept their subordinate economic positions because “at least they are not at the very bottom of the racial hierarchy” (Smith, p. 68).

4. Genocide and Colonialism: The Erasure of Indigenous Peoples

  • The logic of genocide works by constantly portraying Indigenous people as “disappearing,” thus legitimizing settler colonialism.
  • Smith quotes Ella Shohat and Robert Stam’s concept of the “present absence”: Native people exist but are treated as though they are vanishing, reinforcing the right of non-Natives to Indigenous lands (Smith, p. 69).
  • The “wannabe Indian” phenomenon, where non-Natives claim Indigenous identity or spiritual practices, is also an extension of this logic, as Rayna Green notes: “The living performance of ‘playing Indian’… depends upon the physical and psychological removal, even the death, of real Indians” (Smith, p. 69).

5. Orientalism and War: Justification for Imperialism

  • The logic of Orientalism positions certain racial groups, particularly Arabs, Asians, and Latinx peoples, as permanent outsiders and threats to Western civilization.
  • The U.S. state legitimizes racial profiling and military expansion under the guise of “protecting itself” from these racialized threats (Smith, p. 69).
  • Smith cites Sora Han’s argument that the U.S. is not just at war, but is war, meaning that white supremacy requires perpetual war to sustain itself (Smith, p. 69).

6. The Role of Heteropatriarchy in White Supremacy

  • Smith argues that heteropatriarchy is the foundation of white supremacy and U.S. empire-building.
  • She explains how the Christian Right connects the nuclear family to national security: “We must preserve traditional marriage in order to protect the United States from those who would use our depravity to destroy us” (Smith, p. 72).
  • The patriarchal family model mirrors the hierarchical structure of the state, where men rule women as elites rule over oppressed groups (Smith, p. 73).

7. Organizing Beyond Shared Victimhood: Challenging Complicity

  • Instead of basing solidarity on shared oppression, Smith calls for recognizing how different groups are complicit in each other’s oppression.
  • For example, Indigenous people resisting U.S. colonialism must also oppose U.S. militarism, since “Native peoples who join the military become complicit in U.S. imperial wars” (Smith, p. 70).
  • This approach prevents activists from reinforcing white supremacy through their organizing and ensures that “our model of liberation does not become the model of oppression for others” (Smith, p. 70).

8. Conclusion: Toward a New Politics of Solidarity

  • Smith urges women of color organizers to move beyond simplistic multiculturalism and oppression hierarchies.
  • She calls for a decolonial, anti-capitalist, and anti-heteropatriarchal model of resistance that challenges all forms of white supremacy without reinforcing them (Smith, p. 73).
  • This means rejecting the idea that the U.S. is a democracy with “flaws” and instead recognizing that “genocide is the law of the country” (Smith, p. 70).
Theoretical Terms/Concepts in “Heteropatriarchy and the Three Pillars of White Supremacy: Rethinking Women of Color Organizing” by Andrea Smith
Theoretical Term/ConceptDefinitionReference/Explanation
HeteropatriarchyA system where heterosexuality and male dominance structure society and governance.“Heteropatriarchy is the building block of US empire. In fact, it is the building block of the nation-state form of governance” (Smith, p. 72).
Three Pillars of White SupremacyA framework that differentiates the distinct but interconnected ways white supremacy functions through Slavery/Capitalism, Genocide/Colonialism, and Orientalism/War.“White supremacy is constituted by separate and distinct, but still interrelated, logics” (Smith, p. 67).
Slavery/CapitalismThe logic that Black people are inherently “slaveable” and commodified, sustaining capitalism.“This logic renders Black people as inherently slaveable—as nothing more than property” (Smith, p. 68).
Genocide/ColonialismThe logic that Indigenous peoples must disappear to justify settler colonialism.“Through this logic of genocide, non-Native peoples then become the rightful inheritors of all that was indigenous” (Smith, p. 69).
Orientalism/WarThe logic that certain groups (Asians, Arabs, Latinx) are permanent foreign threats, justifying war and imperialism.“These peoples are still seen as ‘civilizations’—they are not property or ‘disappeared’—however, they will always be imaged as permanent foreign threats to empire” (Smith, p. 69).
Oppression OlympicsA term describing competition among oppressed groups over who is more oppressed, though Smith critiques this concept.“These incidents…are not so much the result of ‘oppression olympics’ but are more about that we have inadequately framed ‘women of color’ or ‘people of color’ politics” (Smith, p. 67).
Black/White BinaryA racial framework that centers Black and white experiences while neglecting other racialized groups.“Clearly the black/white binary is central to racial and political thought and practice in the United States” (Smith, p. 71).
HeteronormativityThe enforcement of heterosexual norms as natural and dominant, upholding white supremacy.“Any liberation struggle that does not challenge heteronormativity cannot substantially challenge colonialism or white supremacy” (Smith, p. 73).
US-CentricismThe tendency of racial justice movements in the U.S. to ignore global systems of oppression.“Another failure of US-based people of color in organizing is that we often fall back on a ‘US-centricism,’ believing that what is happening ‘over there’ is less important than what is happening here” (Smith, p. 71).
Multicultural RepresentationThe idea that simply including more racial groups in discussions will solve racism, rather than addressing structural inequalities.“This model does not address the nuanced structure of white supremacy, such as through these distinct logics of slavery, genocide, and Orientalism” (Smith, p. 71).
Present AbsenceThe way Indigenous peoples are symbolically acknowledged yet structurally erased.“Kate Shanley notes, Native peoples are a permanent ‘present absence’ in the US colonial imagination” (Smith, p. 69).
Secondary MarginalizationThe process where elite members of marginalized groups exclude and oppress the most marginalized within their communities.“Such struggles will maintain colonialism based on a politics of secondary marginalization where the most elite class of these groups will further their aspirations on the backs of those most marginalized” (Smith, p. 73).
Complicity in White SupremacyThe ways in which marginalized groups can participate in the oppression of others through different racial hierarchies.“We see that we are victims of white supremacy, but complicit in it as well” (Smith, p. 70).
Playing IndianThe act of non-Natives appropriating Indigenous identity or cultural practices.“The living performance of ‘playing Indian’ by non-Indian peoples depends upon the physical and psychological removal, even the death, of real Indians” (Smith, p. 69).
Contribution of “Heteropatriarchy and the Three Pillars of White Supremacy: Rethinking Women of Color Organizing” by Andrea Smith to Literary Theory/Theories

1. Critical Race Theory (CRT)

  • Challenges the Black/White Binary in CRT:
    • Smith critiques the dominance of the Black/white binary in racial justice frameworks, arguing that white supremacy functions through multiple racializing logics.
    • “Simply saying we need to move beyond the black/white binary…obfuscates the racializing logic of slavery and prevents us from seeing that this binary constitutes Blackness as the bottom of a color hierarchy” (Smith, p. 71).
  • Introduces the Three Pillars Framework to CRT:
    • Unlike traditional CRT, which often focuses on legal structures of racism, Smith presents a multi-axis racial framework beyond a single system of oppression.
    • “White supremacy is constituted by separate and distinct, but still interrelated, logics” (Smith, p. 67).

2. Intersectionality and Women of Color Feminism

  • Critiques Traditional Women of Color Organizing Models:
    • Smith argues that organizing based on shared oppression is inadequate because different racial groups experience white supremacy in distinct ways.
    • “This framework has proven to be limited for women of color and people of color organizing” (Smith, p. 67).
  • Emphasizes the Role of Heteropatriarchy in Oppression:
    • Smith extends intersectionality by linking racial oppression directly to heteronormativity and patriarchy.
    • “Heteropatriarchy is the building block of US empire. In fact, it is the building block of the nation-state form of governance” (Smith, p. 72).

3. Postcolonial Theory

  • Expands Postcolonial Framework to Indigenous Peoples in Settler Colonies:
    • While postcolonial theory often focuses on former colonies, Smith emphasizes ongoing settler colonialism in the U.S.
    • “The pillar of genocide serves as the anchor for colonialism—it is what allows non-Native peoples to feel they can rightfully own Indigenous peoples’ land” (Smith, p. 69).
  • Introduces the Concept of the “Present Absence”:
    • She critiques how Indigenous peoples are symbolically included in narratives but structurally erased.
    • “Kate Shanley notes, Native peoples are a permanent ‘present absence’ in the US colonial imagination” (Smith, p. 69).

4. Queer Theory

  • Critiques Heteronormativity as a Foundation of White Supremacy:
    • Smith argues that queer and feminist struggles must be central to racial justice movements, rather than secondary.
    • “Any liberation struggle that does not challenge heteronormativity cannot substantially challenge colonialism or white supremacy” (Smith, p. 73).
  • Connects the Family Unit to Colonial and Imperial Control:
    • She exposes how heteropatriarchal family structures sustain nationalism and state control, a core argument in queer critiques of the state.
    • “Christian Right politics work through the private family (which is coded as white, patriarchal, and middle class) to create a ‘Christian America’” (Smith, p. 72).

5. Indigenous Studies and Settler Colonial Theory

  • Critiques the Erasure of Indigenous Peoples in Racial Discourse:
    • Smith argues that U.S. racial discourse often ignores Indigenous people’s unique structural positioning under white supremacy.
    • “In the United States, democracy is actually the alibi for genocide—it is the practice that covers up United States colonial control over Indigenous lands” (Smith, p. 70).
  • Positions Genocide as a Pillar of White Supremacy:
    • Unlike many theories that focus on slavery and racial discrimination, Smith explicitly names genocide as a necessary logic of settler colonialism.
    • “Genocide is not just a historical event—it is an ongoing process that justifies settler claims to land” (Smith, p. 69).

6. Marxist Theory and Critique of Capitalism

  • Links Capitalism to Anti-Black Racism:
    • Smith extends Marxist critiques of capitalism by showing that capitalism depends on the logic of Black enslavability.
    • “To keep this capitalist system in place…the logic of slavery applies a racial hierarchy to this system” (Smith, p. 68).
  • Critiques How Racial Groups Become Complicit in Capitalist Exploitation:
    • She challenges simplistic anti-capitalist narratives that do not address racial complicity in systems of economic oppression.
    • “Our survival strategies and resistance to white supremacy are set by the system of white supremacy itself” (Smith, p. 70).

7. Critique of Multiculturalism

  • Challenges Superficial Inclusion in Social Movements:
    • Smith argues that simply including more racial groups in discussions does not dismantle white supremacy.
    • “This model does not address the nuanced structure of white supremacy, such as through these distinct logics of slavery, genocide, and Orientalism” (Smith, p. 71).
  • Calls for Solidarity Based on Structural Positioning, Not Shared Victimhood:
    • She critiques multiculturalism’s focus on representation instead of dismantling systemic oppression.
    • “Our alliances would not be solely based on shared victimization, but where we are complicit in the victimization of others” (Smith, p. 70).
Examples of Critiques Through “Heteropatriarchy and the Three Pillars of White Supremacy: Rethinking Women of Color Organizing” by Andrea Smith
Literary WorkAuthor(s)Main ThemeCritique Through Andrea Smith’s Framework
Inclusive Leadership Under the Scope of the External School Evaluation Program in PortugalJ. Silva, D. Oliveira, A. VenturaEducational leadership and inclusivity in Portugal’s school systemHeteropatriarchy & White Supremacy in Institutional Frameworks: The study discusses inclusive leadership, but Smith’s critique of heteropatriarchy in governance suggests that inclusivity efforts often ignore structural hierarchies. As Smith argues, “Heteropatriarchy is the building block of US empire” (p. 72), indicating that power structures must be dismantled rather than superficially diversified.
IS Reviews 2023–2024P. Järvinen, R. HälinenInformation systems literature and research methodsOrientalism & Technological Imperialism: If the work centers Western perspectives on technology, Smith’s critique of Orientalism/War applies. She explains how the U.S. frames certain groups as “foreign threats” (p. 69), which extends to technological dominance reinforcing global hierarchies.
The Importance and Challenges of Applying Generative Artificial Intelligence in Higher EducationZ. Tomić, T. Volarić, H. LjubićAI in education and its impact on teachingCapitalism & The Logic of Slavery: AI systems commodify labor, aligning with Smith’s argument that “the capitalist system ultimately commodifies all workers” (p. 68). If AI serves to exploit marginalized groups or reinforce digital inequalities, it reflects capitalist racial hierarchies.
The Vocal Works of Narciso FigueroaC. FelicianoThe role of Spanish-language opera and literature in post-colonial contextsGenocide/Colonialism in Cultural Appropriation: If this study romanticizes European literary influences, it aligns with Smith’s critique of colonial narratives that erase Indigenous and non-European contributions. She states, “The pillar of genocide serves as the anchor for colonialism” (p. 69), critiquing how dominant cultures appropriate the works of marginalized voices.
Criticism Against “Heteropatriarchy and the Three Pillars of White Supremacy: Rethinking Women of Color Organizing” by Andrea Smith

1. Oversimplification of Racial Oppression into Three Pillars

  • Some scholars argue that reducing white supremacy into only three pillars (Slavery/Capitalism, Genocide/Colonialism, and Orientalism/War) oversimplifies the complexities of racial oppression.
  • The essay does not fully account for anti-Blackness in non-Western contexts or colorism within communities of color.
  • Some critics believe that focusing on three separate logics risks neglecting intersections where groups experience multiple forms of oppression simultaneously.

2. Neglect of Intra-Group Differences and Class

  • Smith’s framework assumes all members of a racial group experience oppression similarly, without fully engaging in class analysis.
  • Critique from Marxist scholars: While she links capitalism to white supremacy, she does not engage deeply with economic class struggles or how capitalism functions differently in non-U.S. contexts.
  • Not all Black people experience oppression solely through the “logic of slavery”, nor do all Indigenous people relate only through “genocide”—some face marginalization through economic exclusion, migration policies, or state surveillance.

3. Lack of Agency for Marginalized Communities

  • Some scholars argue that her framework paints marginalized groups as passive subjects of white supremacy, without exploring agency, resistance, and subversion.
  • The essay does not sufficiently address how women of color resist oppression through their own cultural, political, and social frameworks rather than just being positioned in opposition to white supremacy.

4. U.S.-Centric Perspective

  • Critics from postcolonial studies argue that Smith’s work is highly U.S.-centric, overlooking how race and white supremacy function differently outside of the U.S..
  • The framework does not sufficiently address global struggles, such as the role of Black and Indigenous people in Latin America, Africa, and Asia.
  • Smith’s analysis may not fully apply in postcolonial contexts, where colonialism operated differently than in settler-colonial states like the U.S. and Canada.

5. Essentialization of Identities

  • Some scholars argue that categorizing entire racial groups within separate pillars could lead to essentialism, reinforcing fixed identities rather than recognizing fluid and changing racial dynamics.
  • For example, Arab, Latinx, and Asian people are placed within Orientalism/War, but many face economic exploitation (capitalism) or displacement (colonialism) just as much as other groups.

6. Insufficient Engagement with Gender and Queer Theory

  • While Smith critiques heteropatriarchy, some queer and feminist theorists argue she does not go far enough in exploring gender fluidity, trans identities, and intersectional feminism.
  • Her work does not fully engage with queer of color critique, which examines how white supremacy intersects with sexuality and gender beyond heteronormativity.

7. Potential for Strategic Division Instead of Solidarity

  • Some activists worry that dividing racial oppression into distinct pillars could encourage division rather than solidarity among communities of color.
  • Instead of focusing on how white supremacy pits marginalized groups against each other, critics argue she should place more emphasis on coalitional politics and collective resistance.

8. Limited Historical and Theoretical Engagement

  • Smith’s work is largely based on contemporary U.S. racial politics and does not engage deeply with historical or international theories of white supremacy.
  • Some scholars argue that critical race theory, Black radical thought, and Indigenous studies offer more nuanced and historically grounded analyses of race and power.
Representative Quotations from “Heteropatriarchy and the Three Pillars of White Supremacy: Rethinking Women of Color Organizing” by Andrea Smith with Explanation
QuotationExplanation
“White supremacy is constituted by separate and distinct, but still interrelated, logics.” (p. 67)Smith critiques traditional models of racial oppression that assume all people of color experience white supremacy in the same way. Instead, she introduces her Three Pillars framework, highlighting the distinct mechanisms of Slavery/Capitalism, Genocide/Colonialism, and Orientalism/War.
“Heteropatriarchy is the building block of US empire. In fact, it is the building block of the nation-state form of governance.” (p. 72)This statement connects patriarchy and heteronormativity to colonialism and white supremacy, arguing that controlling gender and family structures is a fundamental tool of empire.
“The logic of slavery renders Black people as inherently slaveable—as nothing more than property.” (p. 68)Smith argues that anti-Black racism is deeply tied to capitalism, positioning Blackness as a site of commodification and permanent exploitation, from slavery to the prison-industrial complex.
“The logic of genocide holds that Indigenous peoples must disappear.” (p. 69)Smith critiques how settler colonialism relies on the ongoing erasure of Indigenous peoples, both physically and symbolically, to justify land theft and white supremacy.
“Orientalism marks certain peoples or nations as inferior and as posing a constant threat to the well-being of empire.” (p. 69)Drawing from Edward Said’s Orientalism, Smith critiques how Arabs, Asians, and Latinx communities are racialized as foreign threats, which legitimizes militarism, border control, and racial profiling.
“Our survival strategies and resistance to white supremacy are set by the system of white supremacy itself.” (p. 70)She challenges simplistic victim narratives, arguing that communities of color can also become complicit in white supremacy, such as through military enlistment or participating in settler colonialism.
“If we try to end US colonial practices at home, but support US empire by joining the military, we are strengthening the state’s ability to carry out genocidal policies.” (p. 70)Smith critiques how people of color can become enforcers of white supremacy, showing that liberation movements must challenge militarism and avoid reinforcing other forms of oppression.
“Multiculturalism replaces an analysis of white supremacy with a politics of multicultural representation.” (p. 71)She critiques liberal diversity politics, arguing that simply including more racial groups in dominant spaces does not dismantle white supremacy.
“In the United States, democracy is actually the alibi for genocide—it is the practice that covers up United States colonial control over Indigenous lands.” (p. 70)Smith critiques the myth of American democracy, arguing that genocide is not an accident but a foundational law of the U.S. nation-state.
“We must develop resistance strategies that do not inadvertently keep the system in place for all of us, and keep all of us accountable.” (p. 70)She calls for a radical rethinking of organizing, emphasizing accountability among people of color rather than just shared victimhood.
Suggested Readings: “Heteropatriarchy and the Three Pillars of White Supremacy: Rethinking Women of Color Organizing” by Andrea Smith
  1. Iyko Day. “Being or Nothingness: Indigeneity, Antiblackness, and Settler Colonial Critique.” Critical Ethnic Studies, vol. 1, no. 2, 2015, pp. 102–21. JSTOR, https://doi.org/10.5749/jcritethnstud.1.2.0102. Accessed 8 Mar. 2025.
  2. Smith, Andrea. “Heteropatriarchy and the Three Pillars of White Supremacy: Rethinking Women of Color Organizing.” Color of Violence: The INCITE! Anthology, edited by INCITE! Women of Color Against Violence, Duke University Press, 2016, pp. 66–73. JSTOR, https://doi.org/10.2307/j.ctv1220mvs.9. Accessed 8 Mar. 2025.
  3. Sharma, Nandita, and Cynthia Wright. “Decolonizing Resistance, Challenging Colonial States.” Social Justice, vol. 35, no. 3 (113), 2008, pp. 120–38. JSTOR, http://www.jstor.org/stable/29768504. Accessed 8 Mar. 2025.

“The Ballad of the Oysterman” by Oliver Wendell Holmes Sr.: A Critical Study

“The Ballad of the Oysterman” by Oliver Wendell Holmes Sr. first appeared in 1830 as part of his early poetic works and later included in various collections of humorous and narrative poetry.

"The Ballad of the Oysterman" by Oliver Wendell Holmes Sr.: A Critical Study
Introduction: “The Ballad of the Oysterman” by Oliver Wendell Holmes Sr.

“The Ballad of the Oysterman” by Oliver Wendell Holmes Sr. first appeared in 1830 as part of his early poetic works and later included in various collections of humorous and narrative poetry. The poem, a lighthearted yet tragic ballad, tells the story of a young oysterman and a fisherman’s daughter who fall in love, only to meet an unfortunate fate. Holmes’ work gained popularity as a textbook poem due to its playful rhythm, satirical tone, and moral lesson, making it an excellent example of 19th-century narrative verse. The poem’s charm lies in its humorous use of irony and exaggerated romanticism, as seen in the oysterman’s naïve decision to swim across the river like the legendary Leander: “I read it in the story-book, that, for to kiss his dear, / Leander swam the Hellespont, – and I will swim this here.” The dramatic irony and the tragicomic ending, where the lovers meet a watery fate and are humorously transformed into underwater shopkeepers—“And now they keep an oyster-shop for mermaids down below.”—exemplify Holmes’ witty storytelling. The poem’s simple yet engaging language, rhythmic structure, and blend of romance and satire made it a staple in 19th and 20th-century textbooks, as it effectively introduced students to narrative poetry, irony, and literary allusion while maintaining an entertaining and memorable storyline.

Text: “The Ballad of the Oysterman” by Oliver Wendell Holmes Sr.

It was a tall young oysterman lived by the river-side,
His shop was just upon the bank, his boat was on the tide;
The daughter of a fisherman, that was so straight and slim,
Lived over on the other bank, right opposite to him.

It was the pensive oysterman that saw a lovely maid,
Upon a moonlight evening, a sitting in the shade;
He saw her wave her handkerchief, as much as if to say,
“I ‘m wide awake, young oysterman, and all the folks away.”

Then up arose the oysterman, and to himself said he,
“I guess I ‘ll leave the skiff at home, for fear that folks should see
I read it in the story-book, that, for to kiss his dear,
Leander swam the Hellespont, – and I will swim this here.”

And he has leaped into the waves, and crossed the shining stream,
And he has clambered up the bank, all in the moonlight gleam;
Oh there were kisses sweet as dew, and words as soft as rain, –
But they have heard her father’s step, and in he leaps again!

Out spoke the ancient fisherman, – “Oh, what was that, my daughter?”
“‘T was nothing but a pebble, sir, I threw into the water.”
“And what is that, pray tell me, love, that paddles off so fast?”
“It’s nothing but a porpoise, sir, that ‘s been a swimming past.”

Out spoke the ancient fisherman, – “Now bring me my harpoon!
I’ll get into my fishing-boat, and fix the fellow soon.”
Down fell that pretty innocent, as falls a snow-white lamb,
Her hair drooped round her pallid cheeks, like sea-weed on a clam.

Alas for those two loving ones! she waked not from her swound,
And he was taken with the cramp, and in the waves was drowned;
But Fate has metamorphosed them, in pity of their woe,
And now they keep an oyster-shop for mermaids down below.

Annotations: “The Ballad of the Oysterman” by Oliver Wendell Holmes Sr.
Line from the PoemExplanation in Simple English
It was a tall young oysterman lived by the river-side,A young man who sells oysters lived near a river.
His shop was just upon the bank, his boat was on the tide;His shop was on the riverbank, and his boat floated on the river.
The daughter of a fisherman, that was so straight and slim,A fisherman’s daughter, who was slender and graceful, lived nearby.
Lived over on the other bank, right opposite to him.She lived across the river, directly across from the oysterman.
It was the pensive oysterman that saw a lovely maid,One evening, the thoughtful oysterman saw a beautiful girl.
Upon a moonlight evening, a sitting in the shade;She was sitting under the moonlight in a shaded area.
He saw her wave her handkerchief, as much as if to say,She waved her handkerchief, signaling to him.
“I’m wide awake, young oysterman, and all the folks away.”She was awake and letting him know that no one else was around.
Then up arose the oysterman, and to himself said he,The oysterman got up and spoke to himself.
“I guess I ‘ll leave the skiff at home, for fear that folks should seeHe decided not to take his boat because he didn’t want people to see him.
I read it in the story-book, that, for to kiss his dear,He remembered reading a story about a man swimming to kiss his love.
Leander swam the Hellespont, – and I will swim this here.”He thought of the myth of Leander and decided to swim across the river himself.
And he has leaped into the waves, and crossed the shining stream,He jumped into the river and swam across.
And he has clambered up the bank, all in the moonlight gleam;He climbed up the riverbank, with the moonlight shining on him.
Oh there were kisses sweet as dew, and words as soft as rain,They shared sweet kisses and gentle words.
But they have heard her father’s step, and in he leaps again!They suddenly heard the girl’s father coming, so he quickly jumped back into the river.
Out spoke the ancient fisherman, – “Oh, what was that, my daughter?”The girl’s father asked her what the noise was.
“‘T was nothing but a pebble, sir, I threw into the water.”She lied, saying she had only thrown a pebble into the water.
“And what is that, pray tell me, love, that paddles off so fast?”He asked about something swimming away quickly.
“It’s nothing but a porpoise, sir, that ‘s been a swimming past.”She said it was just a porpoise (a small whale) passing by.
Out spoke the ancient fisherman, – “Now bring me my harpoon!The father became suspicious and asked for his harpoon.
I’ll get into my fishing-boat, and fix the fellow soon.”He planned to go after the swimmer and attack him.
Down fell that pretty innocent, as falls a snow-white lamb,The girl fainted, falling softly like a white lamb.
Her hair drooped round her pallid cheeks, like sea-weed on a clam.Her hair fell around her pale face, like seaweed on a clam.
Alas for those two loving ones! she waked not from her swound,Sadly, she never woke up from her fainting.
And he was taken with the cramp, and in the waves was drowned;The young man got a cramp while swimming and drowned.
But Fate has metamorphosed them, in pity of their woe,Fate transformed them into something else because of their sad fate.
And now they keep an oyster-shop for mermaids down below.In a humorous ending, they are imagined as running an oyster shop for mermaids underwater.

Literary And Poetic Devices: “The Ballad of the Oysterman” by Oliver Wendell Holmes Sr.
Literary DeviceExample from the PoemExplanation
Allusion“Leander swam the Hellespont”Reference to the Greek myth of Leander, who swam across the Hellespont for love.
Assonance“Oh there were kisses sweet as dew”Repetition of vowel sounds in “sweet” and “dew” creates a melodic effect.
Ballad Form“And now they keep an oyster-shop for mermaids down below.”The poem follows a ballad structure, telling a narrative story with rhythmic stanzas.
Caesura“Out spoke the ancient fisherman, – ‘Now bring me my harpoon!'”The dash creates a pause, emphasizing the dramatic moment.
Contrast“Sweet as dew…soft as rain / But they have heard her father’s step”The gentle love moment contrasts with the sudden danger.
Dramatic Irony“And what is that, pray tell me, love, that paddles off so fast?”The audience knows it’s the oysterman, but the father does not.
End Rhyme“He saw her wave her handkerchief, as much as if to say, / ‘I’m wide awake, young oysterman, and all the folks away.'”The rhyming words “say” and “away” maintain the poem’s musicality.
Exaggeration (Hyperbole)“I’ll get into my fishing-boat, and fix the fellow soon.”The father’s extreme reaction adds humor.
Foreshadowing“And in he leaps again!”Hints at the oysterman’s tragic fate as he jumps back into the river.
Humor“And now they keep an oyster-shop for mermaids down below.”A comical twist to the otherwise tragic story.
Imagery“Her hair drooped round her pallid cheeks, like sea-weed on a clam.”Creates a vivid picture of the girl’s lifeless beauty.
Irony“Leander swam the Hellespont, – and I will swim this here.”Contrasts heroic myth with the oysterman’s naive act.
Metaphor“Down fell that pretty innocent, as falls a snow-white lamb.”The girl is compared to a lamb, symbolizing purity and fragility.
Onomatopoeia“‘T was nothing but a pebble, sir, I threw into the water.”The word “pebble” suggests a soft plopping sound.
Personification“Fate has metamorphosed them, in pity of their woe.”Fate is given human-like qualities, showing sympathy.
Repetition“And he has leaped into the waves, and crossed the shining stream, / And he has clambered up the bank”Repetition of “And he has” emphasizes the oysterman’s determination.
Rhythm“His shop was just upon the bank, his boat was on the tide;”The structured meter maintains a musical flow.
Simile“Her hair drooped round her pallid cheeks, like sea-weed on a clam.”Comparison using “like” to create a visual image.
Symbolism“Alas for those two loving ones! she waked not from her swound,”Her fainting symbolizes lost love and tragic fate.

Themes: “The Ballad of the Oysterman” by Oliver Wendell Holmes Sr.
  • The Theme of Love and Romantic Heroism: In “The Ballad of the Oysterman,” the theme of love is evident through the oysterman’s brave and impetuous actions. The young oysterman, enchanted by the sight of the fisherman’s daughter, decides to act on his feelings in a manner reminiscent of heroic figures in classical literature. The reference to Leander swimming the Hellespont, “I read it in the story-book, that, for to kiss his dear, / Leander swam the Hellespont,” aligns the oysterman’s journey with the timeless theme of heroic love, where one is willing to defy physical boundaries for the sake of love. His leap into the waves symbolizes his determination and idealization of love, equating it with the mythical and epic struggles of ancient legends. This theme reflects not only the oysterman’s romantic heroism but also the profound belief that love justifies extraordinary acts, even at great personal risk.
  • The Theme of Illusion and Deception: The theme of deception and the interplay between reality and illusion are woven throughout the poem. Initially, the oysterman’s perception of the scene is clouded by romantic idealism, which leads him to misinterpret the situation. When he sees the maiden waving her handkerchief, he interprets it as a romantic gesture, an invitation for him to cross the river. However, the maiden’s father, upon hearing the commotion, is immediately suspicious. The daughter’s quick lies to protect the oysterman—”‘T was nothing but a pebble, sir, I threw into the water”—indicate an attempt to maintain a facade of innocence. This illusion is shattered when her father, determined to uncover the truth, misconstrues the oysterman’s actions as a threat, leading to tragic consequences. The theme reveals how easily love can be clouded by misunderstandings and deceit, and how illusions can shape people’s fates.
  • The Theme of Fate and Tragic Irony: The tragic irony of the poem underscores the theme of fate, which operates beyond the control of the characters. The oysterman’s heroic attempt to cross the river for love leads not to a union but to tragedy. Despite his brave efforts, he drowns in the very waters he hoped would bring him closer to his love. The maiden, also a victim of fate, succumbs to her own “swound” (fainting), symbolizing the helplessness and vulnerability that often accompany tragic love stories. The fisherman’s actions, fueled by anger and confusion, further entrench the sense of inevitable disaster, as his attempts to protect his daughter lead to her death and the oysterman’s drowning. In the final metamorphosis, they are transformed into mermaids who “keep an oyster-shop for mermaids down below,” an ironic twist that both softens the tragedy and underscores the relentless nature of fate. The poem suggests that no matter the characters’ intentions, fate determines the outcome, and the consequences of their actions are often far removed from their desires.
  • The Theme of Nature’s Power and the Human Struggle: The poem also emphasizes nature’s overwhelming power and how human desires and actions are often powerless against it. The oysterman’s attempt to swim across the river is symbolic of human defiance against natural forces, yet he is ultimately overpowered by the very element he tries to conquer. The “shining stream” and the waves that he attempts to cross represent nature’s inescapable force, one that is indifferent to human ambition and emotion. The ocean, while a beautiful and romantic setting, is also a dangerous and unforgiving force. The tragic death of the oysterman and the maiden serves as a reminder that no matter how strong one’s emotions or intentions may be, nature’s power remains uncontrollable and can quickly turn love into tragedy.
Literary Theories and “The Ballad of the Oysterman” by Oliver Wendell Holmes Sr.
Literary TheoryExplanationReferences from the Poem
RomanticismFocuses on the idealization of nature, individual emotion, and the sublime. Romanticism often highlights the emotional journey of the individual and the deep connection to nature.The oysterman’s romantic heroism, shown in his willingness to swim across the river for love, reflects the Romantic ideal of the passionate individual defying nature for a greater cause. “I guess I ‘ll leave the skiff at home… / Leander swam the Hellespont…”
Feminist TheoryExamines the roles of women and their relationships with men in literature, often highlighting power dynamics and gendered responses.The maiden’s role in the poem is both passive and protective as she uses lies to shield the oysterman from her father’s wrath. Her limited agency contrasts with the oysterman’s active, heroic actions. “‘T was nothing but a pebble, sir, I threw into the water.”
New HistoricismFocuses on historical context and how history shapes literature. It emphasizes the connection between a text and its societal background.The poem, though seemingly set in a timeless space, reflects themes of social roles, class, and family responsibility that were prevalent in the 19th century, where honor and reputation dictated action. “Out spoke the ancient fisherman…”
Tragic TheoryConcentrates on themes of fate, downfall, and the inevitability of tragedy, often stressing the unavoidable nature of disaster.The tragic irony is apparent when the oysterman’s heroic gesture ends in death, despite his noble intentions. His fate, driven by a misunderstanding, leads to disaster. “But Fate has metamorphosed them…”
Critical Questions about “The Ballad of the Oysterman” by Oliver Wendell Holmes Sr.
  • What is the significance of the oysterman’s heroic leap, and what does it reveal about the nature of love in the poem?
    The oysterman’s heroic leap into the waves represents an idealized notion of love that transcends physical boundaries. By deciding to swim across the river, he is not only physically overcoming nature but also symbolically demonstrating his deep devotion to the maiden. This act mirrors classical heroic narratives, such as that of Leander, who swam the Hellespont for love. The oysterman’s belief that his actions will lead to a romantic reward emphasizes the romantic ideal of sacrificing oneself for love. The line “I guess I ‘ll leave the skiff at home, for fear that folks should see / I read it in the story-book, that, for to kiss his dear, / Leander swam the Hellespont” draws on this mythological reference to emphasize the depth of his passion. This reveals a naive but noble view of love, where the hero is willing to face danger for the sake of romantic fulfillment. However, the tragic outcome of his efforts—drowning in the river—suggests that this idealized view of love is ultimately unsustainable in the face of harsh realities.

·        


  • How does the poem explore the theme of deception and its consequences?
    The theme of deception in “The Ballad of the Oysterman” is explored through the interaction between the maiden and her father. After the oysterman leaps into the water, the maiden lies to protect him, claiming that the sound her father heard was merely a pebble being thrown into the water. She further deceives him by saying that the object paddling away is simply a porpoise. These lies illustrate how the maiden is forced into deception to protect the oysterman and maintain her own safety, as well as the facade of innocence. The line “‘T was nothing but a pebble, sir, I threw into the water” highlights the maiden’s attempt to mislead her father. The deception, however, contributes to the tragic misunderstanding that leads to the oysterman’s death. The father’s reaction, “Now bring me my harpoon! / I’ll get into my fishing-boat, and fix the fellow soon,” suggests that the lies exacerbate the situation, and instead of resolving the tension, they fuel further conflict. Ultimately, the poem suggests that deception, even if well-intentioned, can lead to unintended consequences, particularly when it creates misunderstandings that escalate into irreversible tragedy.

  • What role does fate play in the tragic ending of the poem, and how does it shape the characters’ destinies?
    Fate is a central force in “The Ballad of the Oysterman,” shaping the tragic outcome despite the characters’ actions. The oysterman’s heroic gesture and the maiden’s protective deception are both powerless against the inevitable outcome of fate. The oysterman, despite his noble intentions, is doomed from the start. His drowning in the waves, despite his brave leap, underscores the idea that fate is uncontrollable and indifferent to human desires or efforts. The line “But they have heard her father’s step, and in he leaps again!” reveals how the characters’ actions lead them into circumstances they cannot escape. The maiden’s fainting (“Her hair drooped round her pallid cheeks, like sea-weed on a clam”) and the oysterman’s death by drowning further reinforce the notion of fate as an inescapable force. The transformation of the lovers into mermaids who “keep an oyster-shop for mermaids down below” in the final stanza provides an ironic twist, suggesting that while death is unavoidable, there is some posthumous compensation in the form of their eternal union in the afterlife. In this way, the poem emphasizes that fate ultimately dictates the outcome, and the characters’ struggles, despite their personal desires, cannot alter the tragic course set for them.     

  • How does the poem use nature to reflect the characters’ emotions and the unfolding tragedy?
    Nature in “The Ballad of the Oysterman” is intricately linked to the characters’ emotions and the tragic events that unfold. The river and the waves are symbolic of both the physical and emotional boundaries the characters attempt to cross for love. The oysterman’s swim across the river to reach the maiden is an act of both literal and symbolic crossing, representing his emotional leap into the unknown in pursuit of love. The imagery of the “shining stream” and the waves emphasizes the natural elements as both a beautiful yet dangerous force, embodying the unpredictability and peril that love can bring. When the oysterman drowns, the waves—previously an obstacle he bravely overcame—become the instrument of his death, highlighting nature’s duality as both life-giving and destructive. Additionally, the maiden’s fainting, “Her hair drooped round her pallid cheeks, like sea-weed on a clam,” draws a direct parallel between her state of helplessness and the natural world, portraying her vulnerability in the face of the tragedy. The poem’s use of nature reflects not only the emotional intensity of the characters but also how nature plays a role in their fates, amplifying their emotions and the inevitability of their tragic end.
Literary Works Similar to “The Ballad of the Oysterman” by Oliver Wendell Holmes Sr.
  1. “The Highwayman” by Alfred Noyes
    Similar to “The Ballad of the Oysterman,” this ballad features a tragic love story, where fate and heroic actions lead to a sorrowful conclusion.
  2. “La Belle Dame sans Merci” by John Keats
    Like Holmes’ poem, Keats’ ballad explores themes of unrequited love and the consequences of a romantic pursuit, with nature reflecting the emotional state of the characters.
  3. “The Raven” by Edgar Allan Poe
    Poe’s poem also deals with loss and the inescapable forces of fate, echoing the theme of inevitable tragedy found in “The Ballad of the Oysterman.”
  4. “The Ancient Mariner” by Samuel Taylor Coleridge
    Both poems involve nature as a powerful force that shapes the characters’ destinies, with The Ancient Mariner emphasizing the consequences of one’s actions on the environment.
  5. “The Chimney Sweeper” by William Blake
    Similar to “The Ballad of the Oysterman,” Blake’s poem touches on innocence, fate, and the tragic outcomes that often accompany youthful idealism and societal constraints.
Representative Quotations of “The Ballad of the Oysterman” by Oliver Wendell Holmes Sr.
QuotationContextTheoretical Perspective
“It was a tall young oysterman lived by the river-side”The opening line introduces the main character, setting the stage for the romantic and heroic adventure.Romanticism: Focuses on the idealization of nature and individual heroes overcoming challenges.
“I guess I ‘ll leave the skiff at home, for fear that folks should see”The oysterman decides to swim across the river rather than use his boat, emphasizing his commitment to love.Romanticism: The heroic leap into the unknown, fueled by emotion and the desire for love, is a key theme.
“Leander swam the Hellespont, – and I will swim this here”The oysterman references the myth of Leander to justify his dangerous action, romanticizing his quest.Allusion to Classical Myth: Connects the oysterman’s act to mythological romantic heroism.
“Oh there were kisses sweet as dew, and words as soft as rain”The romantic and idealized moments between the oysterman and the maiden, highlighting the theme of love.Feminist Theory: The passive, romantic role of the maiden contrasts with the active, heroic male figure.
“But they have heard her father’s step, and in he leaps again!”The tragic interruption by the father, signaling the beginning of the poem’s tragic turn.Tragic Theory: The inevitability of tragedy as a force beyond the characters’ control.
“‘T was nothing but a pebble, sir, I threw into the water.”The maiden’s lie to protect the oysterman, attempting to conceal the truth of the situation.Deception and Irony: The theme of deception plays a significant role in the misunderstanding that leads to tragedy.
“Now bring me my harpoon! I’ll get into my fishing-boat, and fix the fellow soon.”The fisherman’s suspicion and anger lead to his pursuit of the oysterman, escalating the situation.Feminist Theory: The father’s protective and domineering role is emphasized here, contrasting the male figures’ power.
“Her hair drooped round her pallid cheeks, like sea-weed on a clam”The maiden’s fainting, symbolic of her vulnerability and the physical manifestation of tragedy.Nature as Reflection of Emotion: Nature mirrors the emotional turmoil of the characters, particularly the maiden.
“But Fate has metamorphosed them, in pity of their woe”The poem’s final line reveals the tragic yet supernatural resolution, with the lovers transformed into mermaids.Fate and Tragic Irony: Fate’s role in the poem is unavoidable, transforming the tragic end into an eternal form of love.
“Now they keep an oyster-shop for mermaids down below.”The tragic ending where the lovers are transformed into eternal figures, serving mermaids, symbolizes their union.Tragic Theory: The tragic, irreversible outcome of the lovers’ actions is depicted with the poetic transformation into mermaids.
Suggested Readings: “The Ballad of the Oysterman” by Oliver Wendell Holmes Sr.
  1. Earhart, Will. Music Supervisors’ Journal, vol. 16, no. 3, 1930, pp. 97–97. JSTOR, https://doi.org/10.2307/3384106. Accessed 7 Mar. 2025.
  2. Pettigrew, Ruth. “Ballads–Old and New.” The English Journal, vol. 27, no. 9, 1938, pp. 746–50. JSTOR, https://doi.org/10.2307/805469. Accessed 7 Mar. 2025.
  3. Belden, Henry Marvin. “The Ballad of Lord Bakeman.” Modern Philology, vol. 2, no. 2, 1904, pp. 301–05. JSTOR, http://www.jstor.org/stable/432546. Accessed 7 Mar. 2025.

“A Story” by Li-Young Lee: A Critical Analysis

“A Story” by Li-Young Lee, first appeared in his 2001 poetry collection Book of My Nights, explores themes of fatherhood, love, memory, and the inevitable passage of time, capturing the emotional weight of a father’s inability to meet his son’s simple request for a new story.

"A Story" by Li-Young Lee: A Critical Analysis
Introduction: “A Story” by Li-Young Lee

“A Story” by Li-Young Lee, first appeared in his 2001 poetry collection Book of My Nights, explores themes of fatherhood, love, memory, and the inevitable passage of time, capturing the emotional weight of a father’s inability to meet his son’s simple request for a new story. The father’s failure to recall a tale becomes a metaphor for his deeper fear of failing his son, as he envisions a future where the child has grown and drifted away. The poem’s poignant meditation on the fleeting nature of childhood and parental love resonates with readers, making it widely admired. Lines such as “the boy is packing his shirts, / he is looking for his keys” vividly depict the father’s anticipatory grief, emphasizing how parental love often carries the pain of knowing that children will one day leave. Lee’s lyrical style and universal themes contribute to the poem’s popularity, as it captures the tension between love and loss with striking emotional depth.

Text: “A Story” by Li-Young Lee

Sad is the man who is asked for a story
and can’t come up with one.

His five-year-old son waits in his lap.
Not the same story, Baba. A new one.
The man rubs his chin, scratches his ear.

In a room full of books in a world
of stories, he can recall
not one, and soon, he thinks, the boy
will give up on his father.

Already the man lives far ahead, he sees
the day this boy will go. Don’t go!
Hear the alligator story! The angel story once more!
You love the spider story. You laugh at the spider.
Let me tell it!

But the boy is packing his shirts,
he is looking for his keys. Are you a god,
the man screams, that I sit mute before you?
Am I a god that I should never disappoint?

But the boy is here. Please, Baba, a story?
It is an emotional rather than logical equation,
an earthly rather than heavenly one,
which posits that a boy’s supplications
and a father’s love add up to silence.

Annotations: “A Story” by Li-Young Lee
Line from the PoemAnnotation (Simple English)Literary Devices
Sad is the man who is asked for a storyThe father feels sad because he is expected to tell a story but cannot think of one.Irony, Personification
and can’t come up with one.He struggles to come up with a new story for his child.Hyperbole, Contrast
His five-year-old son waits in his lap.His young son is waiting eagerly on his lap.Imagery
Not the same story, Baba. A new one.The boy wants a new story, not an old one.Dialogue, Repetition
The man rubs his chin, scratches his ear.The father is thinking hard, touching his face in thought.Imagery, Kinesthetic Imagery
In a room full of books in a worldEven though he is surrounded by books,Imagery, Symbolism
of stories, he can recallhe cannot recall any stories to tell.Hyperbole
not one, and soon, he thinks, the boyHe begins to fear that his son will stop asking him for stories.Foreshadowing, Internal Monologue
will give up on his father.He worries that his child will lose interest in him.Foreshadowing
Already the man lives far ahead, he seesHis mind jumps to the future, imagining what will happen.Enjambment, Internal Monologue
the day this boy will go. Don’t go!He sees the day his son will grow up and leave home.Foreshadowing, Repetition
Hear the alligator story! The angel story once more!He tries to hold onto the boy with familiar stories.Repetition, Symbolism
You love the spider story. You laugh at the spider.He reminds the boy of the stories they used to love together.Imagery, Symbolism
Let me tell it!He desperately wants to tell a story to keep him close.Exclamation, Dialogue
But the boy is packing his shirts,But now, the boy is growing up and preparing to leave.Symbolism, Foreshadowing
he is looking for his keys. Are you a god,He is searching for his keys, ready to go out into the world.Imagery, Symbolism
the man screams, that I sit mute before you?The father is frustrated, questioning if his child sees him as powerless.Rhetorical Question, Personification
Am I a god that I should never disappoint?He wonders if he is expected to be perfect and never fail his son.Rhetorical Question, Hyperbole
But the boy is here. Please, Baba, a story?The son is still there in the present, asking for a story.Contrast, Present vs. Future
It is an emotional rather than logical equation,Love and emotions are not based on logic.Metaphor, Contrast
an earthly rather than heavenly one,Parent-child relationships are about human connection, not perfection.Juxtaposition, Contrast
which posits that a boy’s supplicationsThe father’s love for his son cannot always be expressed in words.Symbolism, Metaphor
and a father’s love add up to silence.Sometimes, emotions and love result in silence, rather than words.Metaphor, Irony
Literary And Poetic Devices: “A Story” by Li-Young Lee
Literary DeviceExample from the PoemExplanation
Allusion“Are you a god, the man screams, that I sit mute before you?”The father compares his son to a god, suggesting a biblical or mythical reference to power and expectation.
Contrast“It is an emotional rather than logical equation, / an earthly rather than heavenly one,”The poem contrasts logic vs. emotion and earthly vs. heavenly to emphasize the complexity of love.
Dialogue“Not the same story, Baba. A new one.”The direct speech of the child personalizes the interaction, making the plea for a story more vivid and emotional.
Enjambment“Already the man lives far ahead, he sees / the day this boy will go.”The thought flows into the next line without punctuation, reflecting the father’s uncontrolled thoughts about the future.
Exclamation“Let me tell it!”The exclamation mark conveys the father’s desperation and urgency to hold onto his son through stories.
Foreshadowing“The boy is packing his shirts, he is looking for his keys.”This hints at the future when the son will leave home, reinforcing the father’s fear of losing him.
Hyperbole“In a room full of books in a world of stories, he can recall not one.”The exaggeration of being surrounded by countless stories but unable to think of one heightens the father’s anxiety.
Imagery“The man rubs his chin, scratches his ear.”The sensory details help the reader visualize the father’s deep contemplation and struggle.
Irony“and a father’s love add up to silence.”It is ironic that love, which is expected to be expressive, results in silence between the father and son.
Juxtaposition“an earthly rather than heavenly one,”Placing earthly and heavenly side by side contrasts human imperfection with divine expectations.
Kinesthetic Imagery“The boy is packing his shirts, he is looking for his keys.”The physical movement of packing and looking for keys symbolizes transition and departure.
Metaphor“It is an emotional rather than logical equation.”Love is compared to an equation, showing the complexity of relationships beyond rational thought.
Monologue (Internal)“Already the man lives far ahead, he sees the day this boy will go.”The father’s internal thoughts reveal his anxieties and anticipation of the future.
Personification“Sad is the man who is asked for a story and can’t come up with one.”The man’s sadness is given an active role, making it a dominant force in his emotions.
Repetition“Hear the alligator story! The angel story once more! / You love the spider story. You laugh at the spider.”The repetition emphasizes the father’s desperation to keep his son engaged and prevent him from growing distant.
Rhetorical Question“Am I a god that I should never disappoint?”The father questions his role and the impossibility of meeting his son’s expectations.
Symbolism“The boy is packing his shirts, he is looking for his keys.”Packing shirts and searching for keys symbolize the son’s impending departure and independence.
Tone (Melancholic & Nostalgic)“Already the man lives far ahead, he sees the day this boy will go.”The reflective, sorrowful tone captures the father’s fear of losing his son to time.
Understatement“and a father’s love add up to silence.”The simplicity of this line underplays the deep emotional weight of parental love and the pain of silence.
Themes: “A Story” by Li-Young Lee

1. The Passage of Time and Inevitable Change: Li-Young Lee’s “A Story” poignantly explores the passage of time and the inevitability of change, particularly in the parent-child relationship. The father, while physically present with his young son, mentally projects himself into the future, imagining the day his son will leave. The line “The boy is packing his shirts, he is looking for his keys.” foreshadows the moment when childhood innocence and dependence give way to maturity and independence. The father’s inability to tell a new story symbolizes his struggle to hold onto the present, knowing that time will carry his son away. The contrast between the boy’s simple, immediate request (“Please, Baba, a story?”) and the father’s overwhelming sorrow about the future highlights the painful awareness of time’s relentless movement. This theme resonates universally, as every parent faces the bittersweet reality that their children will grow up and move on.


2. Parental Love and Fear of Inadequacy: The poem deeply examines parental love and the fear of inadequacy that accompanies it. The father struggles not only to come up with a new story but also with the fear that one day his son will stop turning to him altogether. This insecurity is expressed in the line “Not one, and soon, he thinks, the boy will give up on his father.” The father equates his failure to tell a new story with a much greater failure—his fear of no longer being important in his child’s life. His internal monologue, “Am I a god that I should never disappoint?” reveals the pressure he feels to be an ever-reliable figure for his son. The poem reflects the universal anxiety parents feel—wanting to be enough for their children but knowing that they will inevitably disappoint them at times. Through this, “A Story” captures the vulnerability of parenthood and the silent sacrifices made in love.


3. Communication and Emotional Silence: “A Story” explores the challenges of communication and the pain of emotional silence, particularly in familial relationships. The father’s inability to tell a new story becomes a metaphor for the deeper silences that often exist between loved ones. The poem’s final lines, “It is an emotional rather than logical equation, / an earthly rather than heavenly one, / which posits that a boy’s supplications / and a father’s love add up to silence,” encapsulate this struggle. Despite the deep love between the father and son, there is an unspoken gap between them. The poem suggests that love is not always expressed through words or stories but can manifest in quiet presence, longing, and even regret. Sometimes, no matter how much one loves, words may fail, and what remains is a profound yet painful silence.


4. Nostalgia and the Longing for Connection: Nostalgia and the longing for connection between a father and son permeate “A Story”. The father does not just see his son in the present; he also envisions his future self, already distant and moving away. His desperate attempts to recall old stories—“Hear the alligator story! The angel story once more! You love the spider story. You laugh at the spider.”—highlight his desire to keep his son engaged and connected. The father clings to past moments when his son found joy in these stories, fearing that such moments will no longer exist in the future. This reflects a universal longing in parenthood—the wish to freeze time and preserve the closeness shared with a child before they inevitably grow up. The tension between holding onto the past and facing the future makes this theme deeply emotional and relatable.

Literary Theories and “A Story” by Li-Young Lee
Literary TheoryApplication to “A Story”Reference from the Poem
Reader-Response TheoryThis theory emphasizes the reader’s personal interpretation and emotional connection to the text. Readers who are parents might relate to the father’s fear of inadequacy, while children might see the son’s innocent request for a story. Different readers will interpret the father’s silence and anxiety in unique ways.“Not one, and soon, he thinks, the boy will give up on his father.” – Some readers may see this as overthinking, while others may connect deeply with the father’s worry.
Psychoanalytic TheoryThis theory, based on Freud’s ideas, can be applied to analyze the subconscious fears and anxieties of the father. His fear of losing his son and his failure to tell a story reveal deeper insecurities about love, memory, and self-worth. His projection into the future shows his psychological distress.“Already the man lives far ahead, he sees / the day this boy will go.” – The father’s mind is consumed with fear about the future rather than focusing on the present.
Existentialist TheoryExistentialist themes in the poem include the father’s struggle with meaning, choice, and responsibility. His internal questioning, “Am I a god that I should never disappoint?”, highlights his existential crisis, as he wrestles with the burden of expectations and the inevitability of change.“It is an emotional rather than logical equation, / an earthly rather than heavenly one.” – The poem suggests that love and relationships are human struggles rather than divine perfections.
StructuralismStructuralist theory examines patterns and binaries in the text. In “A Story”, the contrast between past and future, childhood and adulthood, storytelling and silence, highlights the structured oppositions that define human experience. The father and son’s dynamic reflects the broader theme of generational shifts.“Hear the alligator story! The angel story once more!” vs. “The boy is packing his shirts, he is looking for his keys.” – The past is filled with shared joy, but the future signals separation.
Critical Questions about “A Story” by Li-Young Lee

1. How does the poem explore the theme of parental fear and inadequacy?

Li-Young Lee’s “A Story” delves into the deep-seated fear of inadequacy that many parents experience. The father, though physically present with his son, is consumed by self-doubt and anxiety about his ability to meet his child’s expectations. His inability to produce a new story becomes symbolic of his greater fear—that one day, his son will no longer turn to him. The line “Not one, and soon, he thinks, the boy will give up on his father.” encapsulates this insecurity. The father’s internal monologue, “Am I a god that I should never disappoint?”, further reveals his struggle with the unrealistic expectation that he must always be perfect. This highlights the emotional burden of parenthood, where love is often accompanied by the fear of failing to provide, not just materially, but emotionally and intellectually. The father’s silence at the end suggests that, despite his deep love, he feels powerless in the face of time and change, reinforcing the poem’s melancholic tone.


2. What is the significance of storytelling in the poem, and how does it relate to the father-son relationship?

Storytelling in “A Story” serves as a metaphor for the bond between the father and son. It represents connection, tradition, and the shared experiences that define their relationship. The son’s request for a new story—“Not the same story, Baba. A new one.”—demonstrates his desire for novelty and growth, whereas the father’s struggle to provide one reveals his deeper fears about losing his role in his child’s life. The contrast between past and present storytelling moments highlights the father’s realization that his son is growing older, symbolizing a shift in their relationship. When the father desperately offers “Hear the alligator story! The angel story once more!”, it is not just an attempt to entertain but a plea to keep the past alive. However, the son’s eventual departure is inevitable, reinforcing the idea that while stories can bridge generations, they cannot stop the passage of time.


3. How does the poem use imagery and symbolism to depict the father’s emotional turmoil?

Lee’s poem is rich with imagery and symbolism, painting a vivid picture of the father’s inner turmoil. The father’s actions, such as “The man rubs his chin, scratches his ear,” illustrate his frustration and helplessness. Additionally, the moment when the boy is imagined to be “packing his shirts, he is looking for his keys” symbolizes the father’s greatest fear—his son’s eventual departure from his life. This moment, though only imagined, is described as if it were real, emphasizing how the father is already grieving the future loss of his son. The final lines, “a boy’s supplications and a father’s love add up to silence,” serve as a powerful metaphor for the limitations of love and language. Despite the father’s overwhelming love, his fears and emotions manifest in silence, highlighting the struggle of expressing deep parental emotions through words.


4. What does the poem suggest about the limitations of human relationships and communication?

The ending of “A Story” suggests that love, no matter how profound, does not always translate into perfect communication. The father loves his son deeply, yet he is unable to tell him a simple story. This moment reflects a larger truth—that human relationships are often marked by miscommunication, unspoken fears, and emotional silences. The poem states, “It is an emotional rather than logical equation,” implying that relationships are governed by feelings rather than clear, rational exchanges. The father’s silence at the end is not a lack of love but rather an overwhelming expression of it, one that words cannot fully capture. His struggle represents the universal challenge of parental love—how to communicate its depth, how to prepare for inevitable change, and how to let go when the time comes.

Literary Works Similar to “A Story” by Li-Young Lee
  1. “Those Winter Sundays” by Robert Hayden – Like “A Story”, this poem explores a father’s love and sacrifice, highlighting the emotional distance and unspoken expressions of care between parent and child.
  2. “My Papa’s Waltz” by Theodore Roethke – This poem, like Lee’s, captures the complex dynamics of a father-son relationship, mixing affection with underlying tension and uncertainty.
  3. “Father and Son” by Mary Nagy – This poem also delves into a father’s fear of losing his bond with his child, reflecting on the inevitable passage of time and changing relationships.
  4. “Walking Away” by Cecil Day-Lewis – Similar to “A Story”, this poem portrays the painful yet necessary process of a parent letting go as their child grows and becomes independent.
  5. “For a Father” by Elise Partridge – This poem shares themes of parental love, nostalgia, and the quiet struggles of expressing affection, much like the father’s dilemma in Lee’s poem.
Representative Quotations of “A Story” by Li-Young Lee
QuotationContextTheoretical Perspective
“Sad is the man who is asked for a story and can’t come up with one.”The poem opens with the father’s struggle to fulfill his son’s request for a story, symbolizing his deeper fear of inadequacy.Psychoanalytic Theory – The father’s inability to recall a story reflects his internalized anxiety about failing as a parent.
“Not the same story, Baba. A new one.”The child’s plea for a fresh story contrasts with the father’s struggle, emphasizing generational differences and change.Structuralism – The contrast between past and present stories highlights the binary opposition of familiarity vs. novelty.
“In a room full of books in a world of stories, he can recall not one.”Despite being surrounded by books, the father cannot think of a story, symbolizing emotional and creative paralysis.Existentialist Theory – The father experiences existential doubt, questioning his role and ability to meet his child’s needs.
“Already the man lives far ahead, he sees the day this boy will go.”The father imagines the future where his son has grown up and left, revealing his deep-seated fears.Psychoanalytic Theory – His projection into the future reflects subconscious anxiety about loss and separation.
“Hear the alligator story! The angel story once more!”The father desperately offers old stories in an attempt to keep his son engaged and maintain their bond.Reader-Response Theory – Readers may interpret this either as nostalgia or as a fear-driven effort to hold onto the past.
“You love the spider story. You laugh at the spider.”The father recalls moments of joy they once shared, contrasting them with his current inability to satisfy his son’s request.Nostalgia Theory – This line reflects an idealized longing for the past when connection felt effortless.
“The boy is packing his shirts, he is looking for his keys.”The imagined image of the boy preparing to leave symbolizes growing independence and inevitable separation.Symbolism in Structuralism – Packing shirts and searching for keys represent transition and maturity.
“Are you a god, the man screams, that I sit mute before you?”The father questions whether his son has unrealistic expectations of him, revealing his frustration and helplessness.Postmodernism – Challenges the expectation of parental perfection, showing the father’s vulnerability.
“Am I a god that I should never disappoint?”The father questions whether he is expected to be infallible, highlighting the pressure of parenthood.Psychoanalytic Theory – This line reflects the father’s self-doubt and the weight of paternal expectations.
“A boy’s supplications and a father’s love add up to silence.”The final line of the poem suggests that love and emotions sometimes lead to silence rather than spoken words.Deconstruction – Challenges the idea that love must always be expressed through words, showing that silence can be equally powerful.
Suggested Readings: “A Story” by Li-Young Lee
  1. Lee, Li-Young. Book of My Nights: Poems. No. 68. BOA Editions, Ltd., 2001.
  2. Bilyak, Dianne, and Li-Young Lee. “Interview with Li-Young Lee.” The Massachusetts Review, vol. 44, no. 4, 2003, pp. 600–12. JSTOR, http://www.jstor.org/stable/25092000. Accessed 7 Mar. 2025.
  3. Hughes, Henry. Harvard Review, no. 34, 2008, pp. 219–21. JSTOR, http://www.jstor.org/stable/40346452. Accessed 7 Mar. 2025.
  4. Hesford, Walter A. “‘The City in Which I Love You’: Li-Young Lee’s Excellent Song.” Christianity and Literature, vol. 46, no. 1, 1996, pp. 37–60. JSTOR, http://www.jstor.org/stable/44312502. Accessed 7 Mar. 2025.
  5. Axelrod, Steven Gould, et al., editors. “LI-YOUNG LEE: (B. 1957).” The New Anthology of American Poetry: Postmodernisms 1950-Present, Rutgers University Press, 2012, pp. 507–08. JSTOR, http://www.jstor.org/stable/j.ctt1bj4sjv.74. Accessed 7 Mar. 2025.