When I was a very young boy, I was an obsessive reader of Charles Schulz’s comic strip Peanuts. Not only did I read it as soon as the daily paper arrived, but I cut out every strip and pasted it in a scrapbook, with a whole page reserved for the big Sunday color strip. The animated films and television adaptations didn’t come out until 1969, when I was long past the age of Peanuts infatuation, but when I saw them I was horrified. The characters didn’t sound the way I thought they should sound!
Mind you, I didn’t know how they should sound, for when I read comics or any work of literature, I don’t form a mental audio representation of the characters’ voices. (But when reading all literature, I always have an imagined visual representation of the people and the surroundings, as I think most of us do. (When I read Anna Karenina, for instance, I form an image of not only what Anna, Vronsky, and Levin look like, but also what the scenery and houses looked like.) It’s just that no voice would do; comics and literature don’t come to me with voices. That’s why, when I saw the first Lord of the Rings movie, I didn’t like it because the hobbits’ voices didn’t sound right; only Gollum’s seemed accurate.
And I think this goes for poetry as well—at least for me. When I read a poem I may conjure up a scene, but I never imagine a voice reading the words. And when I hear anybody doing that, even the poets themselves, I don’t like it. Poetry, at least for me, is meant to be read and not heard, even though its mental effect resides largely in the beauty or sonority of its words. Isn’t that curious?
I realized this again last night when, perusing YouTube, I was at first chuffed to come across Sylvia Plath reading her poem “Daddy”—one of the great poems of the twentieth century. I could read it again and again, and have done so many times, always enthralled with the wonderfully unexpected language and disturbed by the tortured picture of her father. Here’s the written version as given on the Poetry Foundation page:
DADDY
Sylvia PathYou do not do, you do not doAny more, black shoeIn which I have lived like a footFor thirty years, poor and white,Barely daring to breathe or Achoo.Daddy, I have had to kill you.You died before I had time——Marble-heavy, a bag full of God,Ghastly statue with one gray toeBig as a Frisco sealAnd a head in the freakish AtlanticWhere it pours bean green over blueIn the waters off beautiful Nauset.I used to pray to recover you.Ach, du.In the German tongue, in the Polish townScraped flat by the rollerOf wars, wars, wars.But the name of the town is common.My Polack friendSays there are a dozen or two.So I never could tell where youPut your foot, your root,I never could talk to you.The tongue stuck in my jaw.It stuck in a barb wire snare.Ich, ich, ich, ich,I could hardly speak.I thought every German was you.And the language obsceneAn engine, an engineChuffing me off like a Jew.A Jew to Dachau, Auschwitz, Belsen.I began to talk like a Jew.I think I may well be a Jew.The snows of the Tyrol, the clear beer of ViennaAre not very pure or true.With my gipsy ancestress and my weird luckAnd my Taroc pack and my Taroc packI may be a bit of a Jew.I have always been scared of you,With your Luftwaffe, your gobbledygoo.And your neat mustacheAnd your Aryan eye, bright blue.Panzer-man, panzer-man, O You——Not God but a swastikaSo black no sky could squeak through.Every woman adores a Fascist,The boot in the face, the bruteBrute heart of a brute like you.You stand at the blackboard, daddy,In the picture I have of you,A cleft in your chin instead of your footBut no less a devil for that, no notAny less the black man whoBit my pretty red heart in two.I was ten when they buried you.At twenty I tried to dieAnd get back, back, back to you.I thought even the bones would do.But they pulled me out of the sack,And they stuck me together with glue.And then I knew what to do.I made a model of you,A man in black with a Meinkampf lookAnd a love of the rack and the screw.And I said I do, I do.So daddy, I’m finally through.The black telephone’s off at the root,The voices just can’t worm through.If I’ve killed one man, I’ve killed two——The vampire who said he was youAnd drank my blood for a year,Seven years, if you want to know.Daddy, you can lie back now.There’s a stake in your fat black heartAnd the villagers never liked you.They are dancing and stamping on you.They always knew it was you.Daddy, daddy, you bastard, I’m through.
So I was delighted to find her reading it in a YouTube recording, as Sylvia Plath’s readings aren’t easy to come by. Here it is:
Many of you might like this, but I don’t. I don’t like the cadence, her voice sounds wrong (granted, no voice would be right!), and I don’t like the “eech” pronounciation of “ich”. Granted, this is one of the better readings I’ve heard by the composing poet, but I much prefer reading it to hearing it.
Particularly grating to me are readings by another favorite poet, T. S. Eliot. His voice is simply flat and monotonic, and overly “toff”, even though he was an American. Here he is reading what I consider his greatest poem, “The Love Song of J. Alfred Prufrock”, begun when the poet was only 22 and published when he was 27.
It’s a boring and almost pompous reading. I much prefer the written version, which you can find here.
So many poets decide to read their works in a monotone voice. That, too, is my problem with Dylan Thomas, one of my favorites. Here’s his reading “Do Not Go Gentle into That Good Night” (not one of my favorites, but perhaps his best known work). I don’t like the semi-monotonic voice, the quavering tone, and the overly histrionic bits:
Maybe actors, trained to use their voices, can do a better j0b, for here’s Anthony Hopkins reading the same poem, but in a way I like much better (his version starts at 2:15 after an introduction):
In my life I’ve been to several presentations of poetry read by the writer, but I’ve never liked any of them. And so I’ve stopped going, for I prefer my poetry imbibed alone, perhaps with something else to imbibe. Am I alone in this opinion?





















