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The song Ironbound/Fancy Poultry was published in 1987 on Suzanne Vega's
second album Solitude Standing. In my opinion it is among the best tracks
of this record. It picks up the leitmotif of Solitude Standing: the wish
to break free, to get rid of the urban-angst that haunts the characters
who appear on the record. But nevertheless Ironbound/Fancy Poultry is somewhat
different from the other songs. On all other tracks there is a "point of
view" in the form of a first person narrator, the "lyrical I", such as
Luka or Caspar Hauser or Calypso, or there is an "anonymous" first person
narrator such as in Night Vision.
Ironbound/Fancy Poultry is the only song that has an omniscient narrator.
By using an omniscient narrator, the songwriter gets the opportunity to
guide the reader/listener, to take his hand and lead him through her fictional
world. The narrator can tell the story from different points of view, she
has a multitude of perspectives, she can look into the characters, has
insight into their feelings and thoughts.
Having a close look at the first stanza, one can see how the omniscient
narrator 'builds' up her world. She starts with the setting: she tells
the reader where the song takes place ("in the Ironbound section/ near
Avenue L2) who is in this place ("the Portuguese women"), she describes
the surroundings ("clouds so low"/"wires cut") and tells the reader when
it happens ("the morning so slow"). So by the end of the first stanza,
the narrator has already presented all the important information the listener
needs to know.
The detailed description of the setting is continued in the 2nd stanza
and it is not before the last line of this stanza that the main character
appears. So Vega uses 12 full lines to describe the Ironbound section.
In this song, the surroundings are very important as they reflect the inner
state of the main character.( As for example in Cracking and in In Liverpool).
The reader gets the impression of a very 'urban' place, dirty and gray
and very narrow. The only positive thing that adds some hope is nature
("the sky" and "the light", ll 7, 9). But both these things are violently
"cut", are torn into pieces by "the beams and bridges" that seem to bind
the people. (There is no sign of a mediation between nature and technology,
which could be found in "city-poems" by Hart Crane, Oscar Wilde, or Walt
Whitman, who, in his poem Mannahatta, describes even a fusion of nature
and technology: "Numberless crowded streets, high growths of iron". Here
the element, which, in Vega's song, is a chain and binds the character
is associated with nature, seems to be part of nature and is not at all
static but "grows" like a green plant, is full of motion).
The "wires" complete the cage in which the humans are trapped. And
suddenly the listener finds himself within this scenery. By addressing
the reader with the line "Come to see what you sell", the listener gets
involved and is forced to listen.
The sadness and hopelessness of the setting is stressed by the dark
"o"-sounds and the
internal rhymes in lines 5/6 ("so low"/"so slow"). Other means of onomatopoeia
are the vast numbers of alliterations, as for example in the lines 4, 6,
8, 11, 14. Up to the 12th line the scenery is described. It is hopeless
and unpleasant, one feels bound by the tracks that run round, bound by
the wires that separate man from the sky, bound by beams and bridges that
cut the light.
Actually, the light plays a big part. Vega uses light, shadow and the
colors like a painter to make the environment as realistic as possible.
She does this in several other songs, most obviously though in In Liverpool,
where she describes a comparable urban place. In the latter she also uses
the light to introduce the main character ("the light is pale and thin/
like you").
In Ironbound the main character is not a second person that is addressed
to as "you", but a third person who (just as the wires cut through the
sky before) now appears "through the rust and heat". Before, the narrator
chose a point of view that allowed the reader to watch the scenery from
the "perspective of a bird" so that one has a survey of the Ironbound market.
Now that the main character appears, the omniscient narrator changes the
perspective from a wide-angle to a close up. She focuses on the woman like
a camera. The author catches the sympathy of the reader for this character
by describing her appearance with the adjectives "light and sweet". These
two adjectives, which have a positive connotation, contrast with the words
"rust and heat" in the previous line, which both have a negative connotation
and are used to describe the Ironbound market. There is also a very strong
contrast in the sounds: at the beginning, the deep and dark "o"-sounds
create a depressing atmosphere that is contrasted with the more "uplifting",
high and bright "e"-sounds, such as in "light, sweet, skin", which are
attributed to the woman.
It is striking that Vega refers to the main character only three times
as "she"; the other times always pointing out only aspects of the woman
(her skin, her ring, her purse). By using this metonymic method, the forlornness
of the character in the urban environment is mirrored.
This is also stressed by referring to the woman as "her", by this making
her the object of the sentence and by omitting the main character as the
subject of the sentence completely (line 15: "[She's] Bound up in iron..."/
line 24 "[She] Steps off the curb...").
The feeling of being caught in a cold, dirty and soulless place is
emphasized throughout the song by a lot of concrete hints, most of all
by the use of words like "Ironbound" itself and by "fence", "gate" and
"bound up in iron and wires and fate" (in this line the strength of the
chains is stressed by the polysyndeton). Even the very strict rhyme scheme
conveys and mirrors the lack of freedom in the Ironbound section.
The sheer name Ironbound (which is an actual part of New Jersey, named
this way because of the tracks which run around it) evokes a number of
associations, and other poems spring to mind in which the iron is symbol
for both, city and chains (for example John Hall Wheelock's Empire State
Tower: "The desert where man's hope goes to and fro/ the iron ways in which
his feet are set.").
The feeling of hopelessness is also reflected in the music. The song
is written in an
A-minor key and in a moderate 4/4 time. The melody itself is very smooth
and calm without huge intervals. While the song goes on, the character's
wish to break free grows stronger and stronger. This is represented in
the instrumental parts between the verses. Here the harmony suddenly changes
into D-major, the first "bright" chord that represents the longing to break
out. But soon it is altered back into A-minor and the song continues.
Not so the second time:
After the line "away from the Ironbound border", the second part of
the
song begins. And suddenly everything changes: the song continues in a 12/8
time which is light and playful, the harmony changes, not into the bright
D but into the even brighter A-major. In the melody there is suddenly the
biggest interval in the whole song. Also the point of view changes. We
now have a first person narrator. The mood is not so sad anymore, it becomes
more ironical. The woman is locked into her milieu and her environment,
and next to her someone is selling wings, the actual symbol of freedom
and liberty. To make it even more ironical, Suzanne Vega uses the double
meaning of the word "free": the wings themselves are "nearly free". Also
the other poultry-parts seem to refer to the human body: breast, thighs,
backs and hearts. The word "heart" is stressed not only by the polysyndeton
in line 40/45, but even more by the pause in the melody right in front
of it. It sounds like a slight hesitation.
The song reaches its climax in the repetition of the bitter ironical
phrase "nearly free". This is also the musical climax. There now are only
two chords left which represent the schizophrenia and irony of the song:
on the one hand there is the bright and open A-major representing the wish
to break free and to fly away; on the other hand we have F-major, a narrow
and restrained chord representing the chains.
The tension between these two feelings is also underlined by the chromatic
in the melody (one time "free" on e - the other time on f) and in the guitarwork
(the change between c and c#).
"Ironbound/Fancy Poultry" is a song about how one is bound and chained
in the urban environment, how one tries to escape from the milieu and to
break free. The two feelings of freedom and of being caught are expressed
by contrasts throughout the song. There are contrasts in words, in sounds
("o"/"e"), in chords (A/F), in times (4/4 / 12/8), in the point of view
(omniscient narrator/first person) in rhetorical devices (asyndeton/ polysyndeton)
and in the overall structure of the song itself.
The second part of the song reveals a bitter and almost ironical sight
of the first part. Now it becomes obvious that the panoramic view the narrator
chose in the beginning was false, misleading, (because for the woman there
is no freedom to move, to change perspectives in the Ironbound section)
and it now appears as though the narrator chose it with some amount of
sarcasm.
In the end, Suzanne Vega does not decide for either the freedom or
the chains. The song fades out with the "struggle" of the chords A and
F and the notes c# and c, leaving the listener uncertain. During the song,
the listener is thrown from an emotional high to an emotional low in the
next moment. It is a kind of "emotional roller coaster", but I think that
is what makes the song so strong.