Confession by Anne Sexton

Confessional poetry emerged in mid-20th-century America, focusing on the poet's personal experiences, such as mental illness, sexuality, family trauma, and shame. Sexton stands out as a key figure in this movement because she boldly revealed her private struggles, doing so with a careful attention to form rather than merely expressing her thoughts in a diary-like manner.

Sexton intentionally leaves the addressee unclear. It might be God, as the poem references Catholic confession; a therapist, reflecting Sexton's long-term therapy; or even the reader themselves. This ambiguity serves a purpose — the urge to confess is present no matter who is on the receiving end.

No, and that’s one of the poem's most sincere choices. Unlike a traditional religious confession, it doesn’t offer any absolution at the end. The act of speaking stands as its own unfinished reward — essential, but not healing.

Sexton often employs a loose, conversational free verse style that reflects the rhythms of spoken confession. Her lines are straightforward and plain, avoiding ornate language, which intensifies the emotional impact — there's no way to conceal feelings behind elaborate wording.

Sexton's biography is a constant presence in her work. She battled depression, grappled with feelings of guilt over her responsibilities as a mother and wife, and had a complicated relationship with her faith. "Confession" reflects these struggles, but it serves as a poem — a crafted artistic piece — rather than just a straightforward diary entry.

Both, in a way. Sexton was raised with Catholic influences and revisited religious imagery throughout her career, particularly in her collection The Awful Rowing Toward God. She genuinely believes in the need for confession but remains doubtful that any organized religion can truly provide the forgiveness it claims to offer.

The plainness is a deliberate choice. When confessing something shameful, using fancy language can feel like avoiding the issue. Sexton's straightforwardness is a kind of bravery — it communicates: I'm not going to sugarcoat this or make it look better than it is.

Both poets explore intense psychological experiences, but Sexton's style is often more conversational and less steeped in mythology compared to Plath. While Plath draws on archetypes like Lazarus, Nazis, and the Colossus, Sexton focuses more on the specific, domestic, and personal. Sexton's guilt carries a distinctly Catholic tone, whereas Plath's rage has a more mythic quality.