An Easy Passage by Julia Copus

Analysis of the Title

The title "An Easy Passage" suggests a transition or journey that is seemingly simple. This contrasts with the actual precarious and emotionally complex experience depicted in the poem. It highlights the innocence and naivety of youth, where difficult or risky endeavours are often underestimated or romanticised.

Structure and Form

Form, Meter, and Rhyme

• The poem is written in free verse and consists of a single stanza with 38 lines.
• There is no consistent rhyme scheme or meter, reflecting the natural, unstructured flow of the girl's thoughts and movements.
• The lack of formal structure mirrors the unpredictability and fluidity of adolescence.

Speaker

• The speaker is an omniscient narrator who has insight into the girl's thoughts and surroundings.
• The speaker also conveys a sense of nostalgia and reflection, possibly hinting at an adult looking back at their adolescence.

Setting

• The setting is primarily the porch roof of the girl's house, emphasising the transitional space between childhood and adulthood.
• Additional settings include the blond gravel beneath the roof, the drab electroplating factory across the street, and the mundane life of the secretary, which contrast with the vividness of the girl's experience.

Poetic Devices

Imagery

• The poem is rich in imagery, vividly describing the girl's physical environment and emotional state.
• The opening lines immediately set a tone of tension: "Once she is halfway up there, crouched in her bikini / on the porch roof of her family's house, trembling."
• The imagery of "the narrow windowsill, the sharp / drop of the stairwell" conveys the danger of her position.

Simile

• Similes are used to highlight the intensity of the girl's experience: "both girls seem / lit, as if from within," and "the five neat shimmering / oyster-painted toenails of an outstretched foot / which catch the sunlight briefly like the / flash of armaments."

Metaphor

• The poem uses metaphors to deepen the meaning: the roof is described as "a square of petrified beach," suggesting a relic of the past.
• The street is metaphorically described as "the long, grey / eye of the street," indicating a watchful but dull presence.

Juxtaposition

• The excitement of adolescence is juxtaposed with the monotony of adulthood: the vivid, dynamic descriptions of the girls contrast with the dreary life of the secretary and the factory workers.

Rhetorical Question

• The rhetorical question "What can she know / of the way the world admits us less and less / the more we grow?" emphasises the girl's innocence and the inevitable loss of freedom with age.

Alliteration and Consonance

• Subtle uses of alliteration and consonance add to the poem's musicality and emphasis, such as in "sharp / drop" and "flimsy, hole-punched, aluminium lever."

Enjambment

• Heavy use of enjambment throughout the poem reflects the continuous and flowing nature of the girl's thoughts and actions, as well as the relentless passage of time.

Key Themes

Adolescence vs. Adulthood

• The poem explores the contrast between the thrilling uncertainty of adolescence and the dull predictability of adulthood.
• The girl's precarious climb symbolises the transition from childhood to adulthood, filled with both excitement and danger.
• The secretary's mundane life serves as a stark contrast to the vivid, glowing description of the girls: "For now both girls seem / lit, as if from within."

Line by Line Analysis

Lines 1-2

Once she is halfway up there, crouched in her bikini

on the porch roof of her family's house, trembling,

"Once she is halfway up there, crouched in her bikini"

• The poem begins in medias res, immediately creating a sense of tension and suspense.
• The girl's crouched position in her bikini suggests vulnerability and a youthful, carefree attitude.

"on the porch roof of her family's house, trembling,"

• The mention of trembling conveys the physical and emotional strain of her situation.
• The phrase "family's house" suggests both familiarity and a sense of being stifled.

Lines 3-8

she knows that the one thing she must not do is to think

of the narrow windowsill, the sharp

drop of the stairwell; she must keep her mind

on the friend with whom she is half in love

and who is waiting for her on the blond

gravel somewhere beneath her, keep her mind

"she knows that the one thing she must not do is to think"

• The girl is consciously trying to avoid thoughts that would increase her fear.
• This line establishes her internal struggle.

"of the narrow windowsill, the sharp / drop of the stairwell;"

• The enjambment here emphasizes the physical danger she faces.
• The imagery of "narrow" and "sharp" heightens the sense of peril.

"she must keep her mind / on the friend with whom she is half in love"

• The girl's focus shifts to her friend, revealing the intensity of adolescent friendships.
• "Half in love" suggests romantic feelings or a deep emotional connection.

"and who is waiting for her on the blond / gravel somewhere beneath her, keep her mind"

• The description of the gravel as "blond" adds a vivid, almost idyllic quality to the scene.
• The repetition of "keep her mind" underscores her effort to maintain focus and composure.

Lines 9-12

on her and on the fact of the open window,

the flimsy, hole-punched, aluminium lever

towards which in a moment she will reach

with the length of her whole body, leaning in

"on her and on the fact of the open window,"

• The open window represents both a literal and metaphorical point of entry.
• It symbolizes opportunity and transition.

"the flimsy, hole-punched, aluminium lever"

• The detailed description of the lever emphasizes its fragility and the precariousness of her situation.
• The use of "flimsy" and "hole-punched" highlights the potential danger.

"towards which in a moment she will reach"

• The future tense creates anticipation and suspense.
• It suggests a moment of critical action.

"with the length of her whole body, leaning in"

• The physicality of her effort is emphasized, indicating both determination and vulnerability.
• "Leaning in" implies a commitment to the action, despite the risk.

Lines 13-16

to the warm flank of the house. But first she

steadies herself, still crouching, the grains of the asphalt

hot beneath her toes and fingertips,

a square of petrified beach. Her tiny breasts

"to the warm flank of the house. But first she"

• The house is personified as a warm, living entity, providing some comfort.
• The phrase "But first she" introduces a pause, indicating a moment of preparation.

"steadies herself, still crouching, the grains of the asphalt"

• The need to steady herself underscores the physical and emotional challenge.
• "Grains of the asphalt" evokes a tactile, uncomfortable environment.

"hot beneath her toes and fingertips,"

• The heat of the asphalt adds to the physical strain and discomfort.
• This imagery enhances the reader's sensory experience.

"a square of petrified beach. Her tiny breasts"

• The metaphor of a "petrified beach" suggests a moment frozen in time.
• The mention of her "tiny breasts" highlights her youth and vulnerability.

Lines 17-21

rest lightly on her thighs. – What can she know

of the way the world admits us less and less

the more we grow? For now both girls seem

lit, as if from within, their hair and the gold stud

earrings in the first one's ears; for now the long, grey

"rest lightly on her thighs. – What can she know"

• The physical description underscores her fragile, youthful body.
• The rhetorical question introduces a broader reflection on growing up.

"of the way the world admits us less and less / the more we grow?"

• The world becoming less welcoming as one grows older suggests a loss of innocence and freedom.
• This reflection contrasts with the immediate concerns of the girl.

"For now both girls seem / lit, as if from within, their hair and the gold stud"

• The imagery of being "lit from within" conveys a sense of youthful radiance and potential.
• The detailed description of their appearance emphasizes their vibrancy and vitality.

"earrings in the first one's ears; for now the long, grey"

• The gold stud earrings signify a touch of individuality and personal expression.
• The mention of "the long, grey" introduces a shift in focus to the environment.

Lines 22-28

eye of the street, and far away from the mother

who does not trust her daughter with a key,

the workers about their business in the drab

electroplating factory over the road,

far too, most far, from the flush-faced secretary

who, with her head full of the evening class

she plans to take, or the trip of a lifetime, looks up now

"eye of the street, and far away from the mother"

• The street is personified as an "eye", suggesting surveillance and judgment.
• The physical distance from the mother signifies emotional distance and a desire for independence.

"who does not trust her daughter with a key,"

• This line highlights the lack of trust and the control the mother exerts over the girl.
• It underscores the theme of parental control and adolescent rebellion.

"the workers about their business in the drab / electroplating factory over the road,"

• The description of the factory as "drab" contrasts with the girls' vibrant experience.
• This setting represents the monotonous and uninspiring nature of adult life.

"far too, most far, from the flush-faced secretary / who, with her head full of the evening class"

• The repetition of "far" emphasizes the separation between the girls and the adults.
• The secretary's daydreams of evening classes and trips highlight her longing for escape and self-improvement.

"she plans to take, or the trip of a lifetime, looks up now"

• The secretary's plans reflect her desire for change and excitement, contrasting with her current mundane reality.
• Her looking up symbolizes a moment of connection or realization.

Lines 29-33

from the stirring omens of the astrology column

at a girl – thirteen if she's a day – standing

in next to nothing in the driveway opposite,

one hand flat against her stomach, one

shielding her eyes to gaze up at a pale calf,

"from the stirring omens of the astrology column"

• The astrology column represents a search for meaning and excitement in the mundane.
• It contrasts with the real, immediate experience of the girl.

"at a girl – thirteen if she's a day – standing / in next to nothing in the driveway opposite,"

• The girl's age emphasizes her youth and innocence.
• The description of her attire highlights her vulnerability and the carefree nature of adolescence.

"one hand flat against her stomach, one / shielding her eyes to gaze up at a pale calf,"

• These actions convey a sense of curiosity and self-consciousness.
• The focus on her calf and its description as "pale" adds to the imagery of youth and fragility.

Lines 34-38

a silver anklet and the five neat shimmering

oyster-painted toenails of an outstretched foot

which catch the sunlight briefly like the

flash of armaments before

dropping gracefully into the shade of the house.

"a silver anklet and the five neat shimmering / oyster-painted toenails of an outstretched foot"

• The detailed description of the anklet and toenails adds a touch of elegance and individuality.
• This imagery contrasts with the earlier danger and tension.

"which catch the sunlight briefly like the / flash of armaments before"

• The simile comparing the toenails to the "flash of armaments" introduces a sense of fleeting beauty and intensity.
• It underscores the transient nature of youth.

"dropping gracefully into the shade of the house."

• The girl's return to the house symbolizes the end of the adventure and a return to safety.
• The word "gracefully" implies a successful, elegant completion of her risky endeavour.