Otherwise

The poem begins with an image of the speaker’s physical strength: “I got out of bed / on two strong legs” (Lines 1-2). This image suggests an effortless rising and implies that the speaker sees themselves as able to pull themselves up. The first mention of a contrasting refrain that runs throughout the poem, “It might have been/otherwise” (Lines 3-4), undercuts the confident start to the day. This hint of impermanence or inevitable change gives the reader a glimpse into the undercurrent of potential physical weakness in the future.

The speaker describes their current task of eating breakfast. Though meals can be a rote chore, the speaker pays deep attention to the “cereal” (Line 5) they eat, the “sweet / milk” (Lines 6-7), and a “ripe, flawless / peach” (Line 6-7). Again, the refrain “It might / have been otherwise” (Lines 7-8), undercuts this vivid moment, hinting that eating may not always be an accessible pleasure, giving the refrain an ominous quality. The third image of the poem describes another domestic task: “I took the dog uphill / to the birch wood” (Lines 9-10). These lines echo the image of physical strength at the start of the poem when the speaker gets out of bed. “[Two] strong legs” (Line 2) enable the “uphill” (Line 9) dog walk to the “wood” (Line 10. This detail suggests that the speaker is strong enough to go up a hill and capable of navigating any physical tension.

Right after one of the refrains in which the speaker acknowledges there “might” (Line 7) be a shift in their capacity to do physical things, the speaker explains that “All morning, I did / the work I love” (Lines 11-12). In this line, according to Donald Hall, Kenyon was referring to the writing routine she had established, as Hall explains in his interview with Jeffrey S. Cramer. (For the link to Cramer’s interview, see Further Reading).

The first stanza contains the speaker’s appreciation of the morning, and then a small break occurs before the speaker continues on to stanza two. The energy shifts in the second stanza, as the speaker describes slower activities. It is now midday, “at noon” (Line 13) and the speaker lies down “with my mate” (Line 14). Kenyon napped with Hall sometimes in the afternoon, according to his interview with Cramer, so the nap could be a simple mention of a normal activity. However, the contrast of this description of rest with the earlier act of getting out of bed “on two strong legs” (Line 2) suggests a tiredness during the day that might be indicative of weakness or illness. The speaker’s loved one appears in this line, and this image of closeness and intimacy breaks when the refrain “It might / have been otherwise” (Lines 14-15) appears yet again. The word “might” helps focus the reader on the potential changes ahead, for both the speaker and for all mortals who must eventually face the end of their lives.

The image that follows harkens back to the first stanza; instead of having breakfast, the speaker is eating “dinner together” (Line 16) with their “mate” (Line 14). The togetherness of the couple emphasizes the poem’s sense of loss; eventually, death will separate the couple. The speaker focuses on “a table with silver / candlesticks” (Lines 17-18) rather than the food, and the simple mention of “silver” (Line 17) suggests a sense of value connected with the meal. It also implies that candlelight illuminates the table. Here, the speaker replaces the deliciousness of food with the comfort and beauty of the surrounding atmosphere. This shift in focus gives the scene a softness. Along with the acknowledgement of “dinner” (Line 16), the time of day is well beyond “noon” (Line 13), and the time shift happens quickly, between Lines 13-16, in comparison to the lingering quality of the morning described in Lines 1-12. This speeding up of time, along with the dimness of the approaching night, symbolizes the inevitable “otherwise” (Line 19) that arises in the speaker’s mind. Even this quiet, intimate evening ritual cannot last.

The speaker takes the position of observer and ends the poem by going to bed: “I slept in a bed / in a room with paintings / on the walls” (Lines 20-22). Surroundings again take precedence over activities, suggesting an image of the speaker taking a long look around themselves and “[planning] another day/ just like this day” (Lines 23-24). This lingering enables the speaker to experience gratitude, but also finality. The speaker’s “Otherwise” moves from something that “might have been” (Lines 3, 7, 14, and 18) and becomes a state they “know” (Line 25) will occur. The last line is particularly potent when read alone: “[It] will be otherwise” (Line 26). Death is no longer an option, but a fact that will happen “one day” (Line 25).

The contrast between the images of beauty and the fullness of simple things—a bowl of cereal, the dog walk, eating dinner, napping—and the refrain “it might have been otherwise” heightens the emotional power of the poem. The speaker is aware that there are no guarantees when considering the richness of life, love, security, good health, and well-being.