“Unfinished Business”
The Thames typifies the degradation of morals in the society that has resulted in the proliferation of crimes. The speaker pronounces, “The Thames sunk the promenade, spewing up so much low life.” Tumbling of promenade is a cause whereas the resurgence of low life is the effect. Rains contribute unequivocally to the criminals who are alluded to using the phrase ‘low life.’ The sinking is metaphorical of the tumbling of decency. Diminution of morals obstructs the criminals’ conscience. Accordingly, the criminals are not wary of the moral repercussions of participating in illegitimate deeds.
The speaker’s query, “How can I forgive?” specifies the intricacy of forbearing the criminals that offended his wife and daughter which is ascribed his indisposition to compassion to cowardice. His unwillingness affirms that he is human too and his agony would not permit him overlook the wife and daughter’s agony; a disposition for vengeance implies that the speaker sanctions Retribution.
“The Doll’s House”
“The Doll’s House” crafts the imagery of a flawless architecture. The speaker acknowledges, “I’m a sculptor/of past-imperfect; hungry, I extract/molasses; de- and reconstruct high culture/from base material; blend art and fact/in every glazed and glistening artefact/housed in this doll’s house. Stately home of sugar./Of Demerara cubes secured with nougat.” Composing a work that elevates the viewer’s aesthetical utility influences the speaker to devote to the work to warrant that it will be impeccable. Rebuilding and deconstructing the work are intended to make it archetypal. Deconstruction settles all the deficiencies that were not projected originally. The blending of art and logos magnifies the supremacy of the work, whereas sugary superfluities appeal to olfactory sensations.
