too. We are not allowed to keep each other for long. Perhaps the poet is thinking here of the early loss of her mother, a grief that absolutely devastated her, and later, the loss of her father. She imagines something both benevolent and cruel, both a wizard and a thief who ‘teases us with blessings,/ Bends us with grief.’ The playful use of the verb ‘tease’ sounds) of ‘teases’ and ‘blessings’ sounds light-hearted and carefree, whereas the verb ‘bends’ painfully conveys how our grief and experience of sadness on Earth can break our spirits and destroy our lives: ‘the great/ Wind rushing to knock our mirrors to the The use of ‘mirrors’ here may be a reference to the deadly sin(s) of pride and/or envy.
‘How mean// Our racket seems beside it.’ (In this context, ‘mean’ can be interpreted as being small and neighbour chops onions for dinner and she compares this everyday life to a mere hiccup: ‘All of it just a hiccough against what may never/ Come for us.’ These ordinary things may indeed be a mere distraction against whatever may befall us in the future, or they may be all that life is actually about. The poem ends as it began, with a primal scream: ‘And the kids upstairs still at it,/ Screaming like the Dawn of Man, as if something/ They have no name for has begun to insist/ Upon being born.’ Their cacophony is clearly not just intensely irritating but deeply unsettling for the speaker, and she conveys this by closing the poem with a possible allusion to ‘The Second Coming’ by W. B. Yeats, towards Bethlehem to be born?’
by Natale Attanasio in the Santuario della Madonna del Carmine church