Home by Miriam Wei Wei Lo is a thought-provoking and introspective poem that delves into the multifaceted concept of home and belonging. The poem is divided into three parts, each offering a unique perspective on what home means to the speaker.
Home | Summary and Analysis
Through vivid imagery, sensory details, and introspective musings, the poem navigates the reader through the speaker’s deep emotional and philosophical exploration of the idea of home.
Home Analysis, Part One – One Day I Will Find It
One Day I Will Find It
I’ll follow the smell of food: fried ikan bilis, roast lamb, mangoes;
or the sound of water touching down on sand, stones, mud.
Perhaps the code for entry will be in braille
and I must stand in a dark room at midnight, weeping
and running my fingers over two stone tablets.
It will be in my mouth—a thin wafer of honey,
the bitter salt taste of my husband’s sweat.
I will see it, I’m sure, yellow as wattle in winter
and brown as the grass under snow.
It will be a skyscraper, fifty storeys tall.
It will be the smallest, most picturesque cottage.
I will live there alone and with everyone I love.
No children are raped there.
No one eats while others go hungry.
No lying awake, wondering which woman or child
in what sweatshop has made these pyjamas I wear,
or the sheets on the bed, or the rug on the floor.
I will not have to lock the door.
Part one of the poem opens with the speaker expressing their determination to find the perfect home. The speaker describes how they will search for this ideal place, guided by sensory cues such as the smell of food like fried ikan bilis and roast lamb and the sounds of water touching various surfaces such as sand, stones, and mud. The poem suggests that there may be a specific code or ritual required for entry, perhaps involving braille in a dark room at midnight. The mention of stone tablets and weeping adds an element of mystery and solemnity.
The idea of this perfect home extends to the physical senses, with the speaker anticipating the taste of honey and the bitter saltiness of their husband’s sweat. The speaker envisions this home as having a color palette that reflects the changing seasons, from yellow as wattle in winter to brown as the grass beneath the snow. This home is paradoxically described as both a skyscraper and the smallest, most picturesque cottage. It is a place where the speaker can live alone yet with everyone they love, free from the dark realities of the world, including violence and inequality.
Part one sets the tone for the poem by introducing the central theme of searching for an ideal home. The speaker’s longing for this perfect place is palpable, and it represents a universal human desire for a sanctuary, a place of safety, and belonging. The poem is rich in sensory imagery. The vivid descriptions of smells, tastes, and sounds create a sensory experience for the reader, drawing them into the speaker’s quest. These sensory cues not only evoke a sense of comfort and nostalgia but also emphasize the importance of sensory experiences in our understanding of home.
The mention of a code or ritual for entry and the stone tablets add an element of mystery and mythology to the poem. It suggests that finding one’s true home may require a spiritual or symbolic journey, not just a physical one. The act of weeping in a dark room at midnight adds an emotional and introspective layer to the quest. The poem is full of contrasts, such as the skyscraper versus the picturesque cottage and the idea of living alone yet with loved ones. These contrasts highlight the complexity of the speaker’s vision of home. It is not just a physical space but a place where emotional and spiritual needs are met. The mention of the absence of violence, inequality, and suffering in this perfect home hints at a desire for a better world. The poem touches on broader societal issues, suggesting that the quest for an ideal home is intertwined with the longing for a more just and compassionate society.
Home Analysis, Part Two – Without Warning
Without Warning
An explosion of light. A word that is itself.
A word to possess me. An image so bright and complete
it can only be seen with eyes shut tight. As in prayer.
As in sleep – a dream that outlives reality.
An image to enter me like a knife, like a nail,
hammering in till it finds its reply, taking my body
like breath, like the strong kiss of a bridegroom,
like death, in all its finality.
Someone is at work in me,
translating this corrupt language of my body,
the dark, bitter words of my heart
into the pure language of that other place
where every word is a radiant arrival
that draws me across the threshold
and claims me as its own.
Part two of the poem, titled “Without Warning,” takes a more abstract and introspective turn. It explores the power of language and imagery to profoundly affect the speaker. The section begins with an “explosion of light” and a word that is itself, suggesting a sudden and intense revelation or insight. The word possesses the speaker, and they describe it as an image so bright and complete that it can only be seen with closed eyes, akin to prayer or a dream that outlasts reality.
The speaker likens this experience to a knife or nail entering them, a force that penetrates deeply and becomes a part of their being. It is described as taking their body like breath, like a passionate kiss from a bridegroom, and like death in all its finality. The speaker acknowledges that someone or something is at work within them, translating the “corrupt language” of their body and heart into a pure language from another place. This new language is described as radiant and transformative, drawing the speaker across a threshold, and claiming them.
Part two of the poem shifts from concrete imagery to abstraction and metaphor. It delves into the realm of emotions, experiences, and transformations that are not easily described with literal language. The explosion of light and the possession by a word represent moments of profound insight and revelation that cannot be easily explained. This section emphasizes the transformative power of certain experiences, particularly those related to language and imagery. The speaker undergoes a profound change as if their very being is altered. This transformation is described as intense and all-encompassing, affecting the speaker on a deeply emotional and spiritual level.
The “explosion of light” serves as a symbol of enlightenment or revelation. It suggests that these moments of insight are sudden and illuminating, offering clarity, and understanding. Light often represents knowledge or spiritual awakening in literature. The idea of language and translation is central to this part. The speaker talks about translating the “corrupt language” of their body and heart into a pure language from another place. This could symbolize the struggle to express complex emotions or experiences and the search for a more authentic self through language. The mention of a threshold suggests a transition or a passage from one state of being to another. The speaker feels claimed by this new language or experience, suggesting a sense of surrender or acceptance of the transformative power at work within them.
Home Analysis, Part Three – A Place to Return To
A Place to Return To
Bed, toilet, kitchen. Exposed brick walls.
This worn grey carpet, toys all over the floor
reminding me that I have left the life of the mind
for this. “Home!”, the children call out in the car,
“We’re going home!” They must mean this place.
I consider my father, born into a single room
that housed his whole family. And this –
running water, six sets of taps, a fridge, a washing machine,
enough books for a dowager empress, or medieval king.
If there must be a place, a tent for the body
on this earth, I’ll take this one, with the blue plumbago
waving defiantly through the natives, the climbing white jasmine
rampant over the fence, and the mulberry tree, that foreigner
so completely at home, growing taller each year.
Part three of the poem, titled “A Place to Return To,” shifts the focus back to a more concrete and personal reflection on the concept of home. The speaker contemplates their current living situation, which includes a bed, toilet, kitchen, and exposed brick walls. They note the presence of a worn grey carpet and toys strewn across the floor, indicating the presence of children. The speaker acknowledges that they have left behind a more intellectual or contemplative life for this domestic setting. The section also mentions the speaker’s father, who was born into very humble circumstances, living in a single room with his entire family. The contrast between the speaker’s current home, which is described as having modern conveniences like running water, taps, a fridge, and a washing machine, and their father’s upbringing highlights the progress and comfort of their current life.
The poem closes with the children in the car enthusiastically exclaiming, “We’re going home!” The speaker reflects on this declaration and suggests that the children must be referring to their current residence. The final lines of the poem describe the beauty of the natural surroundings, including blue plumbago, white jasmine, and a mulberry tree that seems to thrive in its environment. Part three returns to a more concrete and grounded description of the speaker’s current home and living conditions. It contrasts the speaker’s domestic life with their earlier contemplative and abstract reflections on home in Parts one and two. This shift in focus adds depth and complexity to the poem’s exploration of the concept of home.
The description of the domestic setting, including the bed, toilet, and kitchen, emphasizes the routine and everyday aspects of home life. The presence of children and their toys underscores the idea that a home is a place of familial love and connection. The mention of the speaker’s father’s humble upbringing serves to highlight the generational changes in living conditions and expectations. It suggests that the concept of home can evolve significantly from one generation to the next. The description of modern amenities like running water, taps, and appliances contrasts with the simpler conditions of the past. This highlights the progress and comfort of the speaker’s current home, emphasizing the idea that home can vary greatly in its material aspects. The closing lines of the poem shift from the domestic setting to the natural world surrounding the home. This may symbolize the idea that home is not just a physical space but also a connection to the broader environment and the beauty of the world.
Home | Context
Miriam Wei Wei Lo is an Asian-Australian poet and writer. Her poem touches on sensory experiences associated with Asian cuisines, such as “fried ikan bilis” (anchovies) and “mangoes.” These references suggest a connection to Asian culture and cuisine, which may reflect the author’s cultural background or experiences. The poem explores the concept of “home” in a deeply personal and emotional way. This theme of seeking a place of belonging and comfort is universal, but it may also resonate with individuals who have experienced displacement, migration, or cultural identity struggles.
The poem briefly alludes to issues of social injustice in lines such as “No children are raped there” and “No one eats while others go hungry.” These lines reflect a concern for social inequalities and injustices, which can be found in many societies and are often addressed in contemporary poetry. The poem’s themes of longing for home and reflecting on one’s cultural roots are common in literature by authors who grapple with questions of identity, especially when living in a multicultural society. The author may be exploring themes related to cultural identity and the complexities of belonging.
The poem takes a closer look into the ideas of searching for one’s perfect and ideal home. The speaker undergoes a search for the same, however, she also goes through a spiritual transformation during her exploration. The article looks at an analysis of the poem and also examines the various literary devices that have been employed in the poem.
Home | Literary Devices
The poem is rich in sensory imagery, appealing to the reader’s senses to create a vivid picture of the speaker’s experiences and desires. For example, descriptions of food smells, and sensations like the taste of honey and the smell of mangoes engage the senses and evoke a strong emotional response.
Metaphors are used to compare two seemingly unrelated things to create a deeper meaning. In this poem, metaphors are employed to describe the concept of home, such as comparing it to “a thin wafer of honey” or “a skyscraper, fifty storeys tall.” These metaphors make the abstract idea of home more tangible and relatable.
Various elements and objects in the poem are used symbolically to represent broader ideas. For example, the stone tablets in Part one may symbolize ancient wisdom or the search for profound truths. The mulberry tree and other natural elements symbolize the idea of belonging and growth.
Although not explicit, the poem alludes to biblical themes, such as the mention of stone tablets and the idea of standing in a dark room at midnight. These allusions add depth to the poem’s exploration of spirituality and the quest for meaning.
The poem uses contrasts to emphasize the complexity of the concept of home. It contrasts different aspects of home, such as the skyscraper and the picturesque cottage in Part one, to convey the idea that home can encompass diverse qualities.
The repeated use of the word “home” throughout the poem serves to emphasize the central theme and the speaker’s preoccupation with the concept. Repetition reinforces the importance of the idea of home in the poem.
Enjambment, or the continuation of a sentence or phrase beyond the end of a line or stanza, is used to create a sense of flow and connectivity in the poem. It can be seen in various lines of the poem, contributing to its overall rhythm and structure.
