Departures
Theophilus Kwek's poem "Departures" explores the theme of mortality through the lens of a family dinner conversation. The poem opens with the peculiar juxtaposition of discussing death over a meal, highlighting how the grandmother, "Nai-nai," softens the reality of death by describing it as a mere "walking away." This metaphor suggests a gentle departure rather than a harsh end, reflecting cultural attitudes towards death.
As the family processes the news of a loved one's passing, each member reacts differently. Aunty Fang's nod and Uncle Yang's reserved demeanor contrast with the father's more vocal shock and regret. The father's reaction, especially his exclamation "So young!", underscores the abruptness and unfairness of death, particularly when it strikes someone still active at fifty-eight.
The emotional arc of the poem moves from initial shock and disbelief to a somber acceptance. The family's inability to leave the dinner table, despite having finished their meal, symbolizes their reluctance to move on from the deceased's memory. The tone is reflective and subdued, capturing the quiet grief that lingers in the aftermath of loss.
Kwek employs literary devices such as metaphor and imagery to convey the poem's themes. The metaphor of death as a "walking away" softens the harsh reality, while the imagery of "a bowl of fruit placed amidst the unfinished dishes" symbolizes life's continuity amidst loss. The poem's free verse form allows for a natural, conversational flow, mirroring the casual yet profound nature of the dinner conversation.
Ultimately, "Departures" speaks to the universal experience of grappling with mortality and the ways families cope with loss. It reflects on the transient nature of life and the enduring impact of those who leave us, fitting well within Kwek's broader exploration of identity and displacement.
| Word | In English | Plain (English) | Pron. |
|---|---|---|---|
| couches | expresses, frames | puts into words in a particular way | kau-chiz |
| wake | funeral gathering | a vigil held beside the body of someone who has died | wayk |
| reserved | quiet, restrained | not openly expressing feelings or opinions | ri-zurvd |
| uttered | spoken, said | expressed aloud | uh-turd |
| exclaims | shouts, cries out | says something suddenly and loudly | iks-kleymz |
| bowl | dish, container | a round, deep dish used for food | bohl |
| silence | quiet, stillness | absence of sound | sai-luhns |
| regret | sorrow, remorse | a feeling of sadness about something | ri-gret |
| shock | surprise, disbelief | a sudden upsetting or surprising event | shok |
| cancer | disease, illness | a serious disease caused by cells that are not normal | kan-ser |
| sighs | breathes out heavily | lets out a long, deep breath expressing sadness or relief | sahyz |
| bears | endures, tolerates | carries or supports the weight of | behrz |
| uncertainly | doubtfully, hesitantly | in a way that is not sure or definite | uhn-sur-tuhn-lee |
| agreement | consent, accord | a situation in which people share the same opinion | uh-gree-muhnt |
Theophilus Kwek is a Singaporean poet, editor, and critic born in 1994. He has served as President of the Oxford University Poetry Society and is involved with various literary journals. Kwek's work often explores themes of displacement and identity.
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