Poem Analysis - Helen Of Troy Does Countertop Dancing

Margaret Atwood's "Helen of Troy Does Countertop Dancing" is a provocative and darkly humorous exploration of power, objectification, and the construction of identity. The poem, told from the perspective of Helen, reimagines the legendary figure not as a passive object of desire but as an active participant in her own myth. The tone is initially defensive and sardonic, gradually shifting towards a defiant assertion of self and a cynical understanding of the male gaze. This evolution highlights Helen's struggle to reclaim agency in a world determined to define her on its own terms.

The Price of Perception

One of the central themes is the commodification of women, particularly through the lens of male desire. Helen explicitly states that she sells "vision" and "desire," much like "perfume ads." This analogy underscores the artificiality of the image she projects and the way men consume her as a fantasy. The phrase "everything's for sale, and piecemeal" is a cynical observation about the human tendency to break down and exploit anything, especially beauty and sexuality, for personal gratification. The graphic imagery of the "chain-saw murder just before it happens" is shocking, but also reveals the destructive potential of male fantasies and the ever-present threat of violence lurking beneath the surface of admiration.

Reclaiming the Narrative

Another vital theme is the negotiation of power in the face of objectification. While Helen acknowledges that she is being "exploited," she also insists that she has a "choice of how." This is a crucial distinction because it suggests that she is not simply a victim but is actively manipulating the situation to her advantage. She understands the "worse suspicions" of men and uses that knowledge to control their perception of her. The assertion that she gives "value" is a justification of her profession. She argues that she provides a service, even if it is a morally ambiguous one. By "dancing for them because they can't," she implies a kind of sacrificial role, taking on the burden of their repressed desires and anxieties.

Foreigner in Her Own Body

A recurring image is that of Helen as an outsider, a "foreigner" in the world she inhabits. She contrasts her own "province of the gods" with the "warty gutturals" of the men around her. This suggests a fundamental disconnect between her true self and the role she is forced to play. The claim that her "mother was raped by a holy swan" is a deliberate provocation, a way of testing the gullibility of her audience. This fantastical origin story also alludes to her divine heritage, setting her apart from the ordinary. The image of her feet not hitting the marble floor and her rising "six inches in the air" are striking symbols of her transcendence, suggesting that she possesses a power that her audience cannot fully comprehend or control. She is, ultimately, more than just a body; she is a myth, a legend, a goddess.

Concluding Thoughts: A Torch Song of Defiance

In conclusion, "Helen of Troy Does Countertop Dancing" is a complex and multifaceted poem that challenges conventional notions of beauty, power, and identity. By giving Helen a voice, Atwood subverts the traditional narrative and allows her to reclaim her story. The poem is not simply a lament about objectification; it is a defiant assertion of selfhood in the face of societal pressures. It is a "torch song," not just of longing and heartbreak, but of resistance and the enduring power of myth. The ambiguity of Helen's final stance – goddess or exploited woman? – leaves the reader to ponder the enduring question of how women navigate a world that seeks to both worship and destroy them. Is she truly rising above her circumstances, or is her "blazing swan-egg of light" simply another illusion, another performance designed to manipulate her audience?