Monograms — Summary

Hazel HallSoñador

I am monogramming Seven dozen napkins, With tablecloths to match, For a bride. Ninety-one times my needle shall trace The leaf-like scrolls that interlace Each other; up the padded side Of the monogram my eye shall guide For ninety-one days where the stitches run ; And every day one more is done. She is tall and fair, She will be married In June. ... The linen is fine as satin is fine; Its shining coolness flaunts design Of death-white poppies, trailing ferns Rioting richly from Grecian urns. Ghost-flowers. Cold, cold ... All these patterned splendours fade Before the crest my hands have made; In the lifeless flax my stitches cry With life my hands may not put by. June . . . Real flowers. Moist and warm to touch, Like flesh . . . And by and by with all the rest Of intimate things in her bridal-chest. Gentle muslins and secret lace. Something of mine will have a place; Caught in these scrolls and filigrees There will be that which no eye sees, The bulk of a season's smothered wonder. My ninety-one days stitched under and under. They will be decking an altar With white roses, And lacing an aisle With white ribbon. . . .

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The speaker is a woman paid to monogram tablecloths and napkins for another woman’s wedding, a job that will take ninety-one days. As she works, she thinks about the bride—tall, fair, marrying in June—and about the cold, ghostly flowers already woven into the linen. Her own stitching feels more alive to her than those designs, but it also becomes a way of burying private feeling. She is making something intimate for a life she will not share.

The mood is quiet and melancholy: beautiful but lonely, full of sensual detail and suppressed longing. The white roses and ribbons of the wedding feel lovely yet distant. What the speaker really feels is hidden in the stitches, folded away unseen in the bride’s chest.

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