Up here among the gull cries
we stroll through a maze of pale
red-mottled relics, shells, claws
as if it were summer still.
That season has turned its back.
Through the green sea gardens stall,
bow, and recover their look
of the imperishable
gardens in an antique book
or tapestries on a wall,
leaves behind us warp and lapse.
The late month withers, as well.
Below us a white gull keeps
the weed-slicked shelf for his own,
hustles other gulls off. Crabs
rove over his field of stone;
mussels cluster blue as grapes :
his beak brings the harvest in.
The watercolorist grips
his brush in the stringent air.
The horizon’s bare of ships,
the beach and the rocks are bare.
He paints a blizzard of gulls,
wings drumming in the winter.
Just read Sylvia Plath’s lovely poem “Magnolia Shoals,” a charming little poem about the deception of summer.
The poem begins with an anonymous “we” leisurely strolling along the coastline:
“Up here among the gull cries/ we stroll through a maze of pale/ red-mottled relics, shells, claws” (Plath 1-3).
Meaning an object surviving from an earlier time, the word “relic” suggests the “shells” and “claws” are so remote to the speaker that they belong to another era entirely. The fact that Plath applies this word to rather ordinary objects found on a beach indicates the world has undergone a major historical shift without much outwardly changing at all. “Magnolia Shoals” traces this subtle shift from summer to winter as the speaker observes her surroundings, feeling betrayed as she realizes summer has deserted her and left her with a bitter winter. Throughout the poem, the landscape will give the appearance of summer-the season of leisure and unhurried reflection- only to conceal its true character as winter:
“Through the sea green gardens stall/ bow, and recover their look/ of the imperishable/ gardens in an antique book,” the speaker complains, “they [the gardens] leave behind us warp and lapse” (Plath 6-12).
Here, the hypnotic quality of the repeated “g” sound (“green sea gardens”) hints at a greater deception underlying the poem: though the verdant gardens appear radiant and full of life, the fact that they have to “recover” their “look” implies their appearance is not reality-it’s superficial. Like models carefully posed and air-brushed in a fashion spread, the gardens project a distorted image of reality: while they look “imperishable” as if they’ll endure forever, their impermanence is merely constructed like an “antique book.” The words “warp” and “lapse” further this theme of delusion, revealing the speaker and her partner have been duped. The external world may appear static and unchanging, but such security is false: just as summer must fade to winter, all things in life must decay and end. Pretty red magnolias wither and droop until their petals shrivel and rejoin the soil; squirrels frolic around for a time but eventually pass on. The very setting of the poem-a beach somewhere-hints at the inevitability of such change; waves hurl themselves against the shore; coastlines erode, recede.
“Magnolia Shoals” follows a young woman who grapples with this transience and explores the bitter betrayal she feels when she realizes the world has deceived her. In the beginning of the poem, the speaker personifies summer as a duplicitous traitor who “turned its back” on her, which reveals the extent of her feelings of abandonment (Plath 5). Though seasons are impersonal forces of nature with no motives or agendas, the speaker attributes the coming of winter to the treachery of summer, as if June, July and August could somehow be responsible. Such assignment of blame to a season points to a larger human dilemma: though we want to think of nature as a benevolent force sympathetic to its impact on human action, the world of this poem does not possess the capacity for thought (or deceit) as the speaker imagines-rather, the universe appears indifferent and unconcerned with the affairs of man.