“To the Stone-Cutters”
References, allusions, titles, themes and subjects related to minerals of all size and shape show up throughout the work of Jeffers, but this poem moves the reader from rock—marble to be precise—to the men who transform nature into art. The titular splitters of stone are characterized as “foredefeated” Sisyphean challengers of fate and time. The meaning of the stone-cutters eventually becomes clear as they are compared to poets: both know eventually all their work is destined to crumble and fade away, but carry on nonetheless.
The Squid, “Ink-Sack”
The strange underwater creature capable of using ink as a weapon—of sorts—is here brilliantly juxtaposed with another creature capable of doing the same: government. The squid’s weapon is pure smoke-screen; defensive capabilities depending upon belief. The same goes for the government when the ink they shoot out contains lies.
Death “To Death”
One of the poet’s dalliances in the more metaphorical side of language, this one is more relatable than some. Death is personified here in the opening line as king, great but cold and harsh. Death is more than just a lord standing in final judgment over all, however, it is a referee in the games of life which takes the forms of war and battles. The final stanza introduces a new character, Death’s sister, whose name is Life.
Hood Cawdor and Father, “Cawdor”
“Cawdor” is a long, epic narrative poem which updates the story of Hippolytus to rural California at the turn of the 20th century. The bizarre love triangle becomes a tragic tale of a young woman who has agreed to marry the much older father, but is actually in love with his son. Jealousy, betrayal, small town suspicion, creeping paranoia and the complexities of father/son relationships all conspire drive events to their almost depressingly logical conclusion.
Tamar Caldwell, “Tamar”
This is another epic poem based on an ancient story: the Biblical account of King David’s daughter Tamar, who was raped by her own brother, Amnon. As he does with the story of Hippolytus, Jeffers updates the story to contemporary America. This time around, however, the author chooses to make a significant alteration in the fundamental character of the main character. Whereas the Bible paints Tamar as consumed to the point of passivity by her own misplaced sense of shame, Tamar Cauldwell is quite proactive in the updated narrative, stealing the focus from the patriarchal situationism of Davidian anti-hero construction.
