“Famous” by Naomi Shihab Nye: A Critical Analysis

Introduction: “Famous” by Naomi Shihab Nye

“Famous” by Naomi Shihab Nye, first appeared in her 1995 poetry collection, Words Under the Words, explores the concept of fame in a unique, introspective way, examining the idea not as public acclaim but as an intimate, personal connection to people, places, and things. In the poem, Nye redefines fame through simple, everyday relationships, like the river being “famous to the fish” or the buttonhole being “famous to the button.” By embracing the ordinary and reimagining fame as an act of attention and respect, Nye invites readers to find value in the small and often overlooked aspects of life. The poem’s widespread inclusion in textbooks can be attributed to its accessible language and universal theme, making it a popular choice for teaching perspective, empathy, and appreciation of life’s quieter moments. Its popularity endures as it encourages readers to reflect on the impact and significance they bring to the world, even in unnoticed ways.

Text: “Famous” by Naomi Shihab Nye

Annotations: “Famous” by Naomi Shihab Nye

1. “The river is famous to the fish.”
   • Interpretation: The river is essential to the fish’s existence. It is a source of life and sustenance, and for the fish, it is the whole world.
   • Meaning: Fame is relative, depending on perspective.
2. “The loud voice is famous to silence,”
   • Interpretation: Loudness defines silence, highlighting that one’s presence is understood only in contrast to the other.
   • Meaning: Fame or identity often exists in contrast.
3. “which knew it would inherit the earth before anybody said so.”
   • Interpretation: Silence is eternal, whereas voices and sounds fade. Silence’s “inheritance” is inevitable.
   • Meaning: Silence represents timeless endurance and wisdom.
4. “The cat sleeping on the fence is famous to the birds watching him from the birdhouse.”
   • Interpretation: The cat, a potential threat, holds the birds’ attention and concern, making it “famous” to them.
   • Meaning: Fame can be rooted in fear or vigilance.
5. “The tear is famous, briefly, to the cheek.”
   • Interpretation: Tears mark the cheek temporarily, emphasizing the transient nature of certain moments of recognition or “fame.”
   • Meaning: Fame can be fleeting and temporary.
6. “The idea you carry close to your bosom is famous to your bosom.”
   • Interpretation: Personal ideas or dreams are deeply cherished and intimate, meaningful to the individual alone.
   • Meaning: Fame is subjective and private, tied to one’s inner self.
7. “The boot is famous to the earth, more famous than the dress shoe, which is famous only to floors.”
   • Interpretation: The boot, practical and worn outdoors, has a closer connection to the natural world, unlike the dress shoe meant for interiors.
   • Meaning: True recognition may come from practicality and authenticity.
8. “The bent photograph is famous to the one who carries it and not at all famous to the one who is pictured.”
   • Interpretation: Memories and personal mementos hold value for the holder, not necessarily for the person depicted.
   • Meaning: Fame or importance is often unrecognized by those it involves.
9. “I want to be famous to shuffling men who smile while crossing streets, sticky children in grocery lines, famous as the one who smiled back.”
   • Interpretation: The poet yearns for a simple, compassionate connection with others, to be known for small acts of kindness.
   • Meaning: Fame here is defined by humility and human connection.
10. “I want to be famous in the way a pulley is famous, or a buttonhole, not because it did anything spectacular, but because it never forgot what it could do.”
    • Interpretation: The poet desires a modest, reliable, and purposeful fame—like tools that serve a specific function without fanfare.
    • Meaning: True value lies in being consistently purposeful.

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Literary And Poetic Devices: “Famous” by Naomi Shihab Nye

Device	Example	Explanation
Alliteration	“famous to the fish”	Repetition of the “f” sound adds rhythm and emphasizes the subject “fish” and its relationship to “fame.”
Allusion	“inherit the earth”	Refers to the Biblical phrase “the meek shall inherit the earth,” adding depth to the meaning of silence and patience.
Anaphora	“I want to be famous… I want to be famous”	Repetition of “I want to be famous” emphasizes the poet’s personal desire for a humble, relational type of fame.
Antithesis	“The loud voice is famous to silence”	The juxtaposition of loudness and silence highlights the contrasting ways in which things gain meaning or “fame.”
Consonance	“The bent photograph is famous to the one who carries it”	The repetition of the “t” sound creates a gentle rhythm, emphasizing the relationship between the photograph and its owner.
Contrast	“boot is famous to the earth… dress shoe… floors”	Comparing the outdoor boot to the indoor dress shoe highlights practical fame vs. superficial fame, deepening the theme.
Ephemeral Imagery	“The tear is famous, briefly, to the cheek”	Focus on the tear’s short-lived fame underscores the transient nature of some connections.
Hyperbole	“in the way a pulley is famous”	Exaggerates the idea of fame by attributing it to mundane objects, suggesting the importance of modest, utilitarian fame.
Imagery	“The cat sleeping on the fence… birds watching him from the birdhouse”	Visual description makes the reader picture the scene, emphasizing fame as a watchful or observant presence.
Irony	“famous to silence”	Ironically describes fame in silence, a state traditionally opposite to the notion of fame.
Metaphor	“The river is famous to the fish”	Compares the river’s significance to fame, suggesting that fame is a relative concept based on dependency or reliance.
Oxymoron	“famous to silence”	Combines contradictory ideas (fame and silence), creating a paradox that expands the understanding of fame.
Parallelism	“famous to the fish… famous to silence… famous to your bosom”	Repetition of structure emphasizes the varied ways in which different entities can hold significance or “fame.”
Paradox	“not at all famous to the one who is pictured”	Highlights the irony that fame can be deeply meaningful to one person and insignificant to another, presenting fame as inherently subjective.
Personification	“The idea you carry close to your bosom is famous to your bosom.”	Gives human qualities to “idea” and “bosom,” implying an intimate and protective relationship, as if the bosom cherishes the idea.
Repetition	“famous to”	Repeating “famous to” throughout the poem reinforces the idea that fame is relational and varies by perspective.
Simile	“famous as the one who smiled back”	Compares the poet’s desired fame to the simple, reciprocal act of smiling back, illustrating a non-glamorous, human connection.
Symbolism	“pulley” and “buttonhole”	These objects symbolize humble, everyday functionality, suggesting the poet’s desire for a fame rooted in reliability rather than grandeur.
Synecdoche	“The bent photograph is famous to the one who carries it”	The photograph represents memories or a person, showing how small items can embody significant, private meanings.
Understatement	“not because it did anything spectacular”	Downplays the concept of fame by implying that it doesn’t have to be spectacular; this highlights a quieter, more modest form of significance.

Themes: “Famous” by Naomi Shihab Nye

1. Relational Fame
   Nye redefines fame as a relational concept, where significance is dependent on the perspective and relationship between entities. For instance, “The river is famous to the fish” suggests that fame is not an objective measure but rather is based on one’s need or reliance on another. Similarly, “The cat sleeping on the fence is famous to the birds” emphasizes that fame can come from watchful observation, where the birds perceive the cat as notable, even though the rest of the world might not. This theme conveys that fame is inherently subjective, tied to how one affects those close or attentive to them.
2. Transient and Fleeting Significance
   Nye highlights the ephemeral nature of some forms of fame, acknowledging that some things are only famous for a moment. For instance, “The tear is famous, briefly, to the cheek” illustrates that fame, like a tear, may only last for a short while before it fades away. This idea of temporary significance suggests that fame doesn’t always endure; it can be a passing recognition that holds meaning only in specific instances. Through this line, Nye reflects on how certain impacts, while meaningful, are not everlasting.
3. Humility and Everyday Utility
   In the poem, Nye celebrates the fame of ordinary, humble things that quietly fulfill their roles, such as a “pulley” or a “buttonhole.” These objects are “famous” not because they attract attention, but because they serve a purpose without demanding recognition. The poet’s desire to be “famous in the way a pulley is famous” underscores her respect for functional, unassuming significance. Here, fame is tied to humility and utility, suggesting that quiet dependability and purpose are valuable, even if unnoticed by the masses.
4. The Value of Personal Connections
   Nye’s depiction of fame centers on intimate, personal interactions rather than widespread acclaim. Her wish to be “famous to shuffling men who smile while crossing streets, sticky children in grocery lines” emphasizes a type of fame grounded in personal kindness and connection. Instead of grand gestures, she values small, shared moments, aspiring to be remembered as the “one who smiled back.” This theme highlights that fame, in its most meaningful form, is about connecting with others on a personal level, making ordinary exchanges memorable.

Literary Theories and “Famous” by Naomi Shihab Nye

Literary Theory	Explanation	References from the Poem
Reader-Response Theory	This theory emphasizes the reader’s role in interpreting the text, as meaning is constructed through individual experiences. In “Famous,” each reader may interpret fame differently based on personal values and societal notions.	Lines like “The river is famous to the fish” and “The tear is famous, briefly, to the cheek” invite readers to consider their unique definitions of fame, shaping meaning through personal connections to these images.
Postmodern Theory	Postmodernism often challenges conventional ideas and blurs boundaries. “Famous” subverts traditional definitions of fame by portraying it as relative, humble, and grounded in personal significance rather than public acclaim.	Nye’s desire to be “famous in the way a pulley is famous” disrupts the idea of fame as grand or public, showing it as small, functional, and uncelebrated. This is a postmodern shift away from fame’s typical representation.
Humanistic Theory	Humanistic theory in literature focuses on individual human values, empathy, and the inherent worth of every person. “Famous” reflects these principles, especially in the poet’s wish to be remembered for small, kind acts.	The line “I want to be famous to shuffling men… sticky children in grocery lines” centers on human connections and modest forms of recognition, valuing personal worth and kindness over societal admiration.

Critical Questions about “Famous” by Naomi Shihab Nye

• How does the poem redefine the concept of fame?
• In “Famous,” Naomi Shihab Nye redefines fame as something personal, intimate, and often unnoticed by the broader public. Traditionally, fame is seen as public recognition and admiration by a large audience. However, Nye challenges this view by presenting fame as relational and dependent on perspective. For example, she writes, “The river is famous to the fish,” suggesting that significance arises through dependence rather than public visibility. Similarly, “The cat sleeping on the fence is famous to the birds watching him from the birdhouse” reflects a type of fame rooted in awareness and attention within a specific relationship. Through these examples, Nye’s portrayal of fame emphasizes that its meaning is subjective and varies based on individual connection rather than universal acknowledgment.
• What role does humility play in the poem’s concept of fame?
• Humility is central to Nye’s concept of fame in “Famous.” Rather than portraying fame as a grand accomplishment, she focuses on objects and experiences that are quietly purposeful, valuable because of their utility and reliability. The poet’s desire to be “famous in the way a pulley is famous, or a buttonhole” underscores her preference for a humble, unobtrusive kind of fame. Pulley and buttonhole are everyday objects that serve an essential function without attracting attention, symbolizing fame that lies in being dependable and useful. Through these lines, Nye suggests that true fame might not be tied to spectacle but instead rooted in modest service and steady presence.
• How does the poem’s imagery contribute to its theme of relational fame?
• The imagery in “Famous” reinforces the theme of fame as something relational and often subtle. Each line uses familiar, everyday images that emphasize fame through relationships and perspective. For instance, “The tear is famous, briefly, to the cheek” uses a simple, fleeting image to show that fame can exist in intimate, momentary encounters. Likewise, “The bent photograph is famous to the one who carries it” suggests that fame or importance can be deeply personal, meaningful only to the person who holds it. By grounding the concept of fame in relatable images, Nye’s use of imagery makes the theme accessible and invites readers to find meaning in personal, quiet moments of significance.
• In what way does the poet’s definition of fame challenge societal norms?
• Nye’s portrayal of fame in “Famous” is a direct challenge to societal norms that equate fame with visibility, wealth, or influence. Society often measures fame by public recognition or media attention, associating it with celebrity culture. However, Nye disrupts this notion by celebrating a fame that is unnoticed by the masses, exemplified by her desire to be “famous to shuffling men who smile while crossing streets” and “sticky children in grocery lines.” These lines imply that fame is about connection, kindness, and simple human interactions rather than prestige. By presenting fame in this way, Nye questions societal values, suggesting that meaningful fame is found in relationships, compassion, and small, everyday actions.

Literary Works Similar to “Famous” by Naomi Shihab Nye

1. “The Peace of Wild Things” by Wendell Berry
   This poem, like “Famous,” reflects on finding solace and purpose in nature’s simplicity, offering an alternative view on peace and fulfillment outside of human recognition.
2. “Wild Geese” by Mary Oliver
   Oliver’s poem celebrates personal authenticity and belonging within the natural world, similar to how Nye redefines fame as something relational and rooted in individual connections.
3. “The Way It Is” by William Stafford
   Stafford’s poem speaks to the constancy of purpose in life, paralleling Nye’s desire to be “famous” for reliability, much like a pulley or buttonhole fulfilling its role without spectacle.
4. “To Be of Use” by Marge Piercy
   This poem praises the dignity of work and the value of contributing to the world meaningfully, akin to Nye’s depiction of fame through humble, everyday acts and objects.
5. “Love After Love” by Derek Walcott
   Walcott’s poem emphasizes self-acceptance and inner worth, echoing Nye’s theme of personal fame as a quiet, introspective recognition rather than public acclaim.

Representative Quotations of “Famous” by Naomi Shihab Nye

Quotation	Context	Theoretical Perspective
“The river is famous to the fish.”	Opens the poem by presenting fame as a concept based on dependency.	Reader-Response Theory: Fame is subjective, understood differently by each reader based on personal relationships.
“The loud voice is famous to silence.”	Juxtaposes loudness and silence, redefining fame as a contrast between opposites.	Structuralism: Fame and identity are constructed through binary oppositions, with one defining the other.
“The cat sleeping on the fence is famous to the birds.”	Fame here is tied to attention, as the birds’ vigilance gives the cat a notable presence.	Psychoanalytic Theory: Fame may be rooted in conscious attention and unconscious feelings like fear or awareness.
“The tear is famous, briefly, to the cheek.”	Depicts fame as fleeting, lasting only as long as the tear’s journey on the cheek.	Temporal Theory: Fame is not always permanent; time influences its intensity and duration.
“The idea you carry close to your bosom is famous to your bosom.”	Shows fame as an intimate, private connection to one’s own thoughts and dreams.	Humanistic Theory: Fame is an inward value; true significance often lies in personal worth rather than recognition.
“The boot is famous to the earth.”	Compares the practical fame of a boot to the superficial fame of a dress shoe.	Marxist Theory: Suggests value in practical, utilitarian roles over superficial, aesthetic recognition.
“The bent photograph is famous to the one who carries it.”	Fame here is sentimental, linked to personal memory rather than public importance.	Memory Studies: Personal objects carry significance and “fame” in private contexts, associated with memory.
“I want to be famous to shuffling men who smile while crossing streets.”	Reflects a desire for quiet, compassionate connections rather than public acclaim.	Existentialism: True meaning is found in genuine human connections, not in societal accolades.
“I want to be famous in the way a pulley is famous.”	Expresses the wish for fame grounded in purpose, like a tool that reliably fulfills its role.	Postmodernism: Challenges the notion of fame as grandeur, valuing functional significance over spectacle.
“not because it did anything spectacular, but because it never forgot what it could do.”	Emphasizes consistency and reliability over attention-seeking actions.	Existential Theory: Significance lies in self-awareness and fulfilling one’s purpose without needing validation.

Suggested Readings: “Famous” by Naomi Shihab Nye

1. Najmi, Samina. “Naomi Shihab Nye’s Aesthetic of Smallness and the Military Sublime.” MELUS, vol. 35, no. 2, 2010, pp. 151–71. JSTOR, http://www.jstor.org/stable/20720720. Accessed 6 Nov. 2024.
2. MARCHI, LISA. “The Everyday as Protean and Enchanting: Naomi Shihab Nye’s Tender Spot.” The Funambulists: Women Poets of the Arab Diaspora, Syracuse University Press, 2022, pp. 23–42. JSTOR, https://doi.org/10.2307/j.ctv1m46fd7.6. Accessed 6 Nov. 2024.
3. Bedaiwi, Hayat. “Understanding the ‘Other’ in Naomi Shihab Nye’s You & Yours.” Islamophobia Studies Journal, vol. 7, no. 1, 2022, pp. 66–81. JSTOR, https://www.jstor.org/stable/48676237. Accessed 6 Nov. 2024.
4. PICKENS, THERÍ A. “Ghosts of Disability in Naomi Shihab Nye’s Transfer.” Sex, Identity, Aesthetics: The Work of Tobin Siebers and Disability Studies, edited by Jina B. Kim et al., University of Michigan Press, 2021, pp. 77–95. JSTOR, http://www.jstor.org/stable/10.3998/mpub.11769364.8. Accessed 6 Nov. 2024.
5. Nye, Naomi Shihab. You and Yours. No. 93. BOA Editions, Ltd., 2005.