Sex without love Revised

Author’s Name
Professor
Course Title
Due Date
Sex without Love
“Sex Without Love” is 1948 poem by Sharon Olds which describes the dual imagery and rhetorical that expects the reader to visualize how sex without love concept interplay. “Sex Without Love” is one the Sharon Olds most celebrated poem in America. Olds in her poem illuminate the physical desire, production of unwanted children and religious affiliation in the current world which is initiated by immoral behavior of individuals. The poem asserts the reproductive outcome without the presence of love. Talking about sex is an act of meaningless lust that occur in our daily life and most specifically to the persons who do without association with love by the sexual partners. Sex and love are two concept that regulate forces in human being from history, and they relate to one other as one cause the outcome of another. Olds explain the relationship between the love and sex when there is a relationship of having sex in the absence of love motivation.
Olds directly poses to the reader with a question in the opening of the line of the poem and by illuminating the sexual practice without love as “Beautiful as dancers, gliding over each other like ice-skaters over the ice” which relate the two partners as art dancing and ice skating. Through her words of choices, she meant that ice skater represents the sex without the love that is cold and detached and also dancers relates to an illusions of love and happiness (Olds 897).

Olds shows that sex lust without the presence of love is a matter of a short period of just leisure that get demonstrated by the dancing and ice-skating which are an issue of a short time to create happiness and fun (Olds line 1-4).
Olds describes vividly and graphic imagery in her poem writing process which is defined by the statement “Fingers hooked inside each other’s bodies” which is one of the evoking lines in her entire poem as it calls reference digital stimulation (Olds 897). The digital information is illustrated by the fingers holding tight to each other which represents a hook that hold each other for a short while and when they can be removed and forgotten, and they are not permanent or expected behavior. Using this term hook also gives a visual imagery of a fisher and fish where the fish caught the fish and threw to the boat and cuts the hook line and look for other fish. Olds describes the impression of the fascinating process that is explained couples are blushing faces and also the use of glasses of Merlot representation in the poem “two lovers in a fancy bistro, toasting to their happiness with full glasses of merlot.” It also explains the old fashion dating process of taking dinner for an only sexual purpose, not event familiarize and share ideas.
“Wet as the children at birth whose mothers are going to give them away” assert the first sex and loveless verse that alludes outcome of intercourse frequently. ‘Wet’ represent lubrication from initial female stimulation, but this moving image is paradoxically and painfully compared with vaginal lubrication in childbirth (Olds line 6). Sexual repercussions of hard sex by presenting a mother who gives away her child faster than it got conceived. Old again dashes an image of what would be an attractive familiarity with love, stimulation, and childbirth, in contradiction of a painful one without love.
Olds marked this poem in a technique that when you read it you could truly get the familiarity of sex deprived of love. The lines “How do they come to the come to the come to the God come to the still waters and not love the one who came there with them light rising slowly as steam off their joined skin?” (Olds 897) The line alludes the process of mimicking and the breathing in sex and when copulation reaches the climax of these lovers. Then where it says, “Come to the still waters, and not love the one who came there with them” (Olds line 18) gives the poem a real meaning of sex without love playing any part as it is a matter of envy.
The poem clinches with exhibiting the truth that these actors are alone in the universe challenging against themselves. The inquiry lying behind this fact is whether this is on their protective covering for everyone to see, or it only lies at the bottom of their consciousness. One perception is that these individuals are truly single-handedly, left trying to fill a blank space of love by shadowing an endless act of sex. Another view is that beings engaged in sex are pleased with themselves and do not need a connection from another to authorize themselves. As assured characters, they living a free lifetime and enter sex without intentions of getting the representational missing quantity to their heart’s mystery, but to execute. The lover is not anxious about their companion’s well-being but relatively amplifying their splendor.

Works Cited
Bell, Madison, A W. Litz, Jay Parini, Leonhard Unger, and John E. Wideman. American Writers: a Collection of Literary Biographies. New York, NY: Scribner, 2002. Print.
Cucinella, Catherine. Contemporary American Women Poets: An A-to-Z Guide. Westport, Conn: Greenwood Press, 2002. Print
DeMaria, Robert, and Ellen H. Meyer. A Contemporary Reader for Creative Writing. Fort Worth: Harcourt Brace College Publishers, 1994. Print.
Ostriker, Alicia. For the Love of God: The Bible As an Open Book. New Brunswick, NJ [u.a.: Rutgers Univ. Press, 2007. Print