Carol Ann Duffy

Lyrics

5 ContributorsQueen Kong LyricsI remember peeping in at his skyscraper room
and seeing him fast asleep. My little man.
I'd been in Manhattan a week,
making my plans; staying at 2 quiet hotels
in the Village, where people were used to strangers
and more or less left you alone. To this day
I'm especially fond of pastrami on rye.
I digress. As you see, this island's a paradise.
He'd arrived, my man, with a documentary team
to make a film. (There's a particular toad
that lays its eggs only here.) I found him alone
in a clearing, scooped him up in my palm,
and held his wriggling, shouting life till he calmed.
For me, it was absolutely love at first sight.
I'd been so lonely. Long nights in the heat
of my own pelt, rumbling an animal blues.
All right, he was small, but perfectly formed
and gorgeous. There were things he could do
for me with the sweet finesse of those hands
that no gorilla could. I swore in my huge heart
to follow him then to the ends of the earth.

For he wouldn't stay here. He was nervous.
I'd go to his camp each night at dusk,
crouch by the delicate tents, and wait. His colleagues
always sent him out pretty quick. He'd climb
into my open hand, sit down; and then I'd gently pick
at his shirt and his trews, peel him, put
the tip of my tongue to the grape of his flesh.
Bliss. But when he'd finished his prize-winning film,
he packed his case; hopped up and down
on my heartline, miming the flight back home
to New York. Big metal bird. Didn't he know
I could swat his plane from these skies like a gnat?
But I let him go, my man. I watched him fly
into the sun as I thumped at my breast, distraught.
I lasted a month. I slept for a week,
then woke to binge for a fortnight. I didn't wash.
The parrots clacked their migraine chant.
The swinging monkeys whinged. Fevered, I drank
handfuls of river right by the spot where he'd bathed.
I bled with a fat, red moon rolled on the jungle roof.
And after that, I decided to get him back.

So I came to sail up the Hudson one June night,
with the New York skyline a concrete rainforest
of light; and felt, lovesick and vast, the first
glimmer of hope in weeks. I was discreet, prowled
those streets in darkness, pressing my passionate eye
to a thousand windows, each with its modest peep-show
of boredom or pain, of drama, consolation, remorse.

I found him, of course. At 3 a.m. on a Sunday,
dreaming alone in his single bed; over his lovely head
a blown-up photograph of myself. I stared for a long time
till my big brown eyes grew moist; then I padded away
through Central Park, under the stars. He was mine.
Next day, I shopped. Clothes for my main, mainly,
but one or two treats for myself from Bloomingdale's.
I picked him, like a chocolate from the top layer
of a box, one Friday night, out of his room
and let him dangle in the air between my finger
and my thumb in a teasing, lover's way. Then we sat
on the tip of the Empire State Building, saying farewell
to the Brooklyn Bridge, to the winking yellow cabs,
to the helicopters over the river, dragonflies.
Twelve happy years. He slept in my fur, woke early
to massage the heavy lids of my eyes. I liked that.
He liked me to gently blow on him; or scratch,
with care, the length of his back with my nail.
Then I'd ask him to play on the wooden pipes he'd made
in our first year. He'd sit, cross-legged, near my ear
for hours: his plaintive, lost tunes making me cry.
When he died, I held him all night, shaking him
like a doll, licking his face, breast, soles of his feet,
his little rod. But then, heartsore as I was, I set to work.
He would be pleased. I wear him now around my neck,
perfect, preserved, with tiny emeralds for eyes. No man
has been loved more. I'm sure that, sometimes, in his silent death,
against my massive, breathing lungs, he hears me roar.Embed

Queen Kong is a thought-provoking and imaginative poem written by the renowned poet Carol Ann Duffy. It is a part of her collection of poems called 'The World's Wife', which was first published in 1999. In this collection, Duffy presents stories, myths, fairy tales, and characters from Western culture from the perspective of women, aiming to rectify the patriarchal nature of literature. With wit, satire, playfulness, and complexity, Duffy sheds light on the often ignored or silenced female narrative.

In Queen Kong, Duffy provides a revisionist take on the iconic film, King Kong. The poem subverts the traditional gender roles by presenting the giant gorilla as a female, instead of a male, and introduces a vulnerable man as the love interest, breaking away from the stereotype of a vulnerable woman. Both versions evoke sympathy from the audience towards the giant creature's longing for love, emphasizing the universal nature of this need. Queen Kong is depicted as a lonely woman, metaphorically representing the magnitude of love she possesses.

The structure of Queen Kong consists of eleven seven-line stanzas written in free verse. While there is no regular rhyme scheme, Duffy employs internal rhyme to create a sense of musicality and rhythm within the poem. The lines flow smoothly and elegantly, allowing the readers to immerse themselves in the narrative.

Language and imagery play crucial roles in conveying the story of Queen Kong. The poem adopts a storytelling mode, utilizing long and flowing sentences that merge colloquial language with lyrical moments. This combination adds depth and layers to the narrative, engaging the reader emotionally. The vivid imagery within the poem evokes a sense of a love-story, with references to the moon, the river, birds, and love-making. The humor in Queen Kong stems from the incongruity of the characters' respective sizes.

Queen Kong touches upon various interesting facts related to the original 1933 film, King Kong. The film was highly admired for its special effects, which were then referred to as 'trick-photography'. In contrast, modern films use computer-generated images, diminishing the impact of the gigantic Kong. The actress who portrayed Kong's female love-interest was named Fay Wray. In her role, she had limited dialogue and was known for her intense screaming as Kong swept her up like a tiny insect. The popularity of the film led to annual scream-alike competitions in America, where participants would imitate Wray's iconic screams. The continued significance and cultural impact of King Kong were acknowledged when the film was named one of the 50 best American films by the American Film Institute and selected for preservation in the United States National Film Registry.

About Queen Kong

Queen Kong, within the collection 'The World's Wife', stands as a testament to Carol Ann Duffy's ability to redefine and reimagine established stories. With her revisionist take on King Kong, Duffy challenges the conventions of literature and film by presenting a female Kong and a vulnerable male love interest. The emotional journey of Queen Kong as a lonely woman longing for love resonates with the readers, highlighting the universal nature of this emotion.

The structure of Queen Kong, consisting of free verse and flowing lines, allows the readers to immerse themselves in the narrative. Duffy's skillful use of language and imagery further enhances the depth and complexity of the poem. Playful yet poignant, Queen Kong demonstrates the power of storytelling and the impact it can have in changing narratives.

Queen Kong also provides interesting insights into the history of the film industry. The original King Kong film, released in 1933, was groundbreaking in terms of special effects. The modern era of computer-generated imagery has altered the way audiences perceive giant creatures, impacting the awe and wonder inspired by Kong's size and presence.

Furthermore, Queen Kong sheds light on the cultural significance of the original film and its enduring legacy. Fay Wray, the actress who portrayed Kong's love interest, became synonymous with the role, with her limited dialogue and memorable screams. The popularity of King Kong led to annual competitions celebrating Wray's iconic screams, further solidifying the film's impact. Recognition from esteemed institutions, including the American Film Institute and the Library of Congress, further cemented King Kong's cultural, historical, and aesthetic importance.

Queen Kong, as a part of 'The World's Wife', exemplifies Carol Ann Duffy's commitment to providing a platform for female perspectives in literature. By reimagining the classic tale of King Kong and subverting traditional gender roles, Duffy raises important questions about representation and the power dynamics within storytelling. Through her unique and engaging poetic style, Duffy successfully captures the imagination and emotions of her readers, leaving a lasting impact.

• Release Date: None
• Artist: Carol Ann Duffy