`` Sex Without Love `` By Sharon Olds

Charlotte Mew explores the theme of lack of intimacy during the course of her poem, The Farmers Bride. Various techniques are used to represent the stilted relationship the speaker and his ‘maid’ succumb to. Likewise, The Manhunt, written by Simon Armitage uses various metaphors and semantic fields of war and anguish to illustrate the speaker’s yearning to ‘feel the hurt’ her partner is experiencing and take the pain away. Although, the ambiguous ending doesn’t satisfy this.

Ever since the beginning of time, love has played an enormous role among humans. Everyone feels a need to love and to be loved. Some attempt to fill this yearning with activities and possessions that will not satisfy – with activities in which they should not participate and possessions they should not own. In Andrew Marvell’s poem, “To His Coy Mistress,” the speaker encounters an emotion some would call love but fits better under the designation of lust for a woman. In contrast, the speaker of Robert Herrick’s poem, “To the Virgins, to Make Much of Time,” urges virgins to marry, to make a lasting commitment in which love plays a

Sex has been reduced to a common action with no social bindings and it is not a gesture of showing love for someone else as people think of it today. When will today’s society be consumed with only the physical aspect of sex? With all of the premarital sex and the age of becoming sexually active decreasing every generation, it leaves a question to be answered; where did the value of love and responsibility of partnership go? Monogamy, in “Brave New World“, is unheard of and taboo to everyone except those who see how powerful love is. The connection that unites people is reduced to a competition to see how many times people have it rather than which the person is. In the book, John knows the importance of love and even resists the temptation to have sex with Lenina. John is among a few people who have not been reduced to mating animals but rather humans that still feel a need for love and companionship.

The third stanza goes on to define the pain, only now in more emotional terms, such as "It hurts to thwart the reflexes / of grab, of clutch" (14-15), as well as the pain of continuously having to say good bye, each perhaps as if for the last time: "to love and let / go again and again" (15-16). These lines reinforce the impression that the first stanza's definition of "to love differently" is in fact an anti-freedom or state of emotional anarchy, now using words like "pester" to describe any separation; the poet is compelled "to remember / the lover who is not in the bed" (16), hinting at obsessive tendencies as being possible components of the relationship. We also learn that she believes love requires work, which she cannot do without her partner's assistance, and that this lack of cooperation frustrates her. She believes this neglected effort is the other party's fault by his failure to do his fair share, thereby leaving her own efforts ineffective, the whole of it characterized as an effort "that gutters like a candle in a cave / without air" (19-20). Her demands of this work are quite broad, encompassing being "conscious, conscientious and concrete" in her efforts and optimistically calling this work "constructive" (20-21) before ending the stanza.

At the beginning of the poem, the speaker, a twelve-year-old girl, is instantly gripped by a strong feeling of lust toward this mysterious seventeen-year-old boy: the paperboy. She even goes on to describe him as a “gift. A fluke from God” as if she believes that she and this boy are destined to be together (2). From her vantage point, the girl instantly notices the boy’s physical characteristics, traits which the young girl appears to admire when she describes the boy’s “bicep in the twilight” (3). This intense, love-at-first-sight reaction to the boy’s arm shows how irrational the girl’s feelings are. She seems to simply lust after the idea of him. The girl has “no memory of language” from their nightly encounters, further showing how this “relationship” was merely visual and very one-sided (6). The boy, potentially, never even notices the girl; and if he does, he does not acknowledge her presence, let alone her strong emotions. The only memories the girl has are from “loitering, lingering far past curfew,” times in which she merely stares at the boy while he completes his daily paper route (7). The girl's depictions of her mother "lost in steam, stirring" and her father "asleep beside his Manhattan, the half-read mail" almost puts the reader directly into the house. The girl, meanwhile, lost her in her emotions, wanders around her yard "without knowing what I longed for" (16). The parents, both focused on other activities, leave the twelve-year-old speaker to do as she pleases in the night.

One of the norms Kincaid questions is virginity, whether sex is actually meaningful, that it could be enjoyable without the feeling of love. As a nineteen-year-old girl, Lucy is new to what a sexual relationship could have

Love through relationships can be represented in many ways, for example romantic love and platonic love. In “A Bolt of White Cloth” by Leon Rooke, the couple has many types of love relationships. The wife loves her husband in a passionate way, the wife also has a deep connection and love for their cat that passed away. A relationship with a child is also mention by the man, however we soon discover they are unable to conceive. The evil apparent in the relationship with the cat is death, death by the actions of mankind. When the man inquires about their love and what they have loved, the woman replies, “Last year this time I had me a fourth, but it got run over. Upon the road there, by the time tall trees, by a man who didn’t even stop” (Rooke 3). Even after the passing of the cat the women's love was unconditional, it states, “She’d dug a grave under the grapevine and said sweet words over it. She sorely missed the cats” (Rooke 3). Death is inevitable, someday the passing of our loved ones will come. Death of the cat symbolizes the evil present in their love relationships.

'Sex Without Love,' by Sharon Olds passionately described the author's disgust for casual sex in which she vividly animates the immorality of lustful sex through the variety of her language. The sarcasm used in this selection can easily be misunderstood and quite confusing if the words and lines are not analyzed with specific construction. Olds' clever use of imagery and frequent uses of similes, to make the reader imagine actual events, makes this poem come to life. For example, Olds describes making love as 'Beautiful as dancers.' (Line #2) in this line, she questions how one can do such a beautiful act with a person whom one is not in love with. Olds also describes sex as 'gliding over each other

Sex Without Love has a theme of how a person can not understand how someone can have sexual relationships without being in love. In this poem Olds is puzzled to how and why a person can share such passion and intimacy with another when there is no love or special bond that holds the two together. Although there is no kind of emotional connection she is not empathetic of the loveless physical connection that is shared between the two beings as they engage in sexual contact. Olds is appalled with casual sex and believes that people misinterpret "I love you" to simply just "loving sex". She feels if there is no love shared that the sex is only a selfish act between two.

Love is the greatest human emotion one can experience. In the poem "Leaving the Motel" by W. D. Snodgrass and "Sex Without Love" by Sharon Olds each poet shares different views on the theme of love. Snodgrass' poem focuses on a couple having an affair in a motel. As they are leaving they go through a checklist to make sure they keep their secrecy. While, Olds' poem focuses more about how people have sex without being in love. Both of these poems illustrate a strong sense of love in different ways with the help of point of view, mood, and symbolism.

Dr. Tatiana’s Sex Advice to All Creation, written by Olivia Judson, mimics a Dear Abby column in a newspaper, in which her audience, ranges from a honeybee to spotted hyena, write-in and ask for help with their sex lives. She covers a slew of different sex topics, some more pleasant than others, such as incest, cannibalism, promiscuousness, and asexual reproduction. The book is truly a witty yet entertaining excursion of the natural history and the evolutionary biology of sex. Judson’s objective is to teach her audience about biology, specifically sexual biology.

How do they do it, the ones who make love without love? Beautiful as dancers, Gliding over each other like ice-skaters inside each other’s bodies, faces red as steak, wine, wet as the children at birth, whose mothers are going to the give them away” (line 1-7). That’s the description that Sharon Olds gives of the two that are having intercourse, but without love. She gives many descriptions of a pair of people that are bonded together to show how close the two are and a great description of what it might look like in the bedroom. The speaker of this poem could be Olds, but it could also be someone who is watching someone creep on their spouse. The poem takes place in a hot steamy bedroom as two people are having intercourse, but they aren’t in love. While these two people are having sex someone is speaking their mind on the two who are having intercourse together because they are not married and nor are they in love. In “Sex without Love” Sharon Olds use of the situation and similes to build the theme of understanding why the two are in the wrong.

I think that during the end of the first stanza the poet starts to become quite theatrical. "Yet this enjoys it before it woo, And pamper'd swells in one blood made of two; And this, alas! Is more than we would do." This could be referring to sex.

Andrew Marvell writes an elaborate poem that not only speaks to his coy mistress but also to the reader. He suggests to his coy mistress that time is inevitably ticking and that he (the speaker) wishes for her to act upon his wish and have a sexual relationship. Marvell simultaneously suggest to the reader that he/she must act upon their desires, to hesitate no longer and ³seize the moment?before time expires. Marvell uses a dramatic sense of imagery and exaggeration in order to relay his message to the reader and to his coy mistress. The very first two lines of the poem suggest that it would be fine for him and his mistress to have a slow and absorbing relationship but there simply isn¹t enough

The twentieth-century tendency to view human love and sexuality within a dichotomized universe of deviance and normality, genitality and platonic love, is alien to the emotions and attitudes of the nineteenth century and fundamentally distorts the nature of