Poem Analysis - The Bed Is Not Very Big

A Claustrophobic and Grotesque Intimacy

E.E. Cummings' "the bed is not very big" paints a disturbing picture of intimacy, one that is far from romantic. The poem presents a cramped and somewhat repulsive scene, filled with unflattering imagery and a detached, almost clinical tone. It explores themes of mortality and decay, juxtaposed with a strange, almost absurd, eroticism. The poem moves from a sense of cramped physicality to a more unsettling and spiritually ambiguous conclusion, creating a lingering feeling of discomfort and unease.

The Shadow of Death and Decay

One of the central themes of the poem is the inescapable presence of mortality. This is evident in the descriptions of the "weary twig / of a neckless nudity" and the "perfectly dead / finger of thitherhithering gas." These images evoke a sense of lifelessness and decay, suggesting a physical decline that is both grotesque and inevitable. The "flabby algebraic odour" further emphasizes this decay, associating it with a kind of abstract, almost scientific, inevitability. The poem doesn't shy away from the unpleasant realities of the body and its eventual demise, presenting them in a stark and unflinching manner.

Love and Intimacy Distorted

While the poem takes place in a bedroom, a space typically associated with love and intimacy, these concepts are presented in a warped and distorted light. The opening line, "the bed is not very big," immediately establishes a sense of claustrophobia and confinement. The description of the woman as having a "small manure-shaped head" is jarring and dehumanizing, suggesting a lack of tenderness or affection. Even the "weary twig / of a neckless nudity" lacks any sense of sensuality or beauty. Instead, the poem focuses on the physical imperfections and the decaying aspects of the body, highlighting a sense of alienation and disconnect between the two individuals in the bed. The phrase "et tout en face" (and everything facing) creates a sense of blunt observation, as if the speaker is dissecting the scene rather than experiencing it.

Symbolic Imagery: Light, Fur, and a Sagging Jesus

The poem utilizes several striking images that contribute to its overall meaning. The "luminous fur / poilu" is particularly ambiguous. "Poilu", meaning hairy in French, could suggest a primal, animalistic quality, yet the luminosity hints at something almost ethereal. The "Jesus sags / in frolicsome wooden agony" introduces a religious element, but its placement and description are unsettling. The image of a sagging Jesus in "frolicsome wooden agony" is a paradox, suggesting a distorted or perhaps mocking view of faith. Does the wooden figure symbolize a lack of genuine spirituality, or is it a commentary on the suffering and decay inherent in the human condition, as even religious icons cannot escape them? The juxtaposition of the religious and the erotic creates a tension that underscores the poem's unsettling atmosphere.

A Final, Unsettling Vision

In conclusion, "the bed is not very big" offers a bleak and disturbing vision of intimacy and mortality. Through its unflattering imagery, detached tone, and unsettling symbolism, the poem explores the darker aspects of the human condition. The claustrophobic setting and the focus on physical decay create a sense of unease and discomfort. The poem’s lasting impact lies in its refusal to romanticize or idealize the human body or the experience of intimacy, instead presenting a raw and unflinching portrayal of the inevitable decay that awaits us all. It serves as a reminder that even in moments of supposed closeness, we are ultimately confronted with the realities of our own mortality.