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Poet’s Background
Fleur Adcock was born of English parents in Papakura, New Zealand, in February 1934. Her
family moved back to England, where she spent the war years. Travel was set to become a
dominant factor in her life with her childhood years filled, during the war period, with
rootless travel that involved changes of school and address.
In 1947 she returned to New Zealand to complete her education and developed a keen interest
in poetry. She graduated in Classics from Victoria University of Wellington. She married the
poet Alistair Campbell in 1952 and divorced him in 1957. Feeling very smothered while in
New Zealand, she left in 1963 to live permanently in England. She has worked as a freelance
writer since 1979 and has published many books of poetry. She continues to travel widely.
Her poetry often deals with observations drawn from her travels throughout Ireland, Holland,
England and Nepal, and her attempts to find a sense of place and home. She also has
produced more intimate works dwelling on social issues, social mores, family, love and sex.
Her poems have no air of stridency: her characteristic tone is restrained, rational,
conversational. Adcock herself has talked about this poetic strategy: “The tone I feel at home
in is one in which I can address people without embarrassing them; I should like them to
relax and listen as if to an intimate conversation”. (‘Not Quite a Statement’, Strong Words,
Bloodaxe Books, 2000).
Background
Fleur Adcock was born in New Zealand but spent her early childhood in England. At the end
of the Second World War, she went back to New Zealand where she completed her studies,
earning an MA degree in Classics. Soon after, she left for England where she continues to
live to this day.
By training, Fleur Adcock was a classicist and this is reflected in the formal construction of
her poems. Over the years her poems took on conversational tones, moving away from the
formal and rigid structure. “For Heidi With Blue Hair” is one of the best examples of this
shift. Here she sympathizes with her wayward niece who has broken a school rule by coloring
her hair a startling blue.
Metaphorical Inference
Rather than deep seated metaphors, Fleur Adcock’s poems are marked by an undercurrent of
sarcasm and irony. This poem, “For Heidi With Blue Hair” belongs to the period when she
started experimenting with everyday language and informal structure. This poem, addressed
to a head-strong niece, is sympathetic and understanding in tone. The coloured hair stands for
small acts of rebellion which indicate the turmoil in the girl’s mind. She has just lost her
mother, leaving her confused and unable to cope with the grief. Her father is understanding
and tries to explain to the school authorities. The poet herself led an unconventional life
which may have brought her into conflict with authority.
Summary
The poem plunges head long into its central image. A young girl has dyed her hair blue and
for this, has been sent back home from school. The school authorities, represented by the
headmistress are a befuddled lot. There is nothing in the rule book against dyed hair per se,
but they object using the flimsy argument that blue is not one of the school colors. On his
part, the father tells the headmistress that Heidi’s ‘act of rebellion’ needs to be seen merely as
a hair style. Heidi is reassured by her father’s support. She is determined to keep her hair
color which anyway is a permanent one that will not wash off. Heidi’s father does not wish to
mention her mother’s death in this context nevertheless there are suggestions that the mental
trauma Heidi is going through may have influenced her decision. The school has no strong
arguments to make and they do not pursue the issue any further. However, the next day, in an
act of solidarity, Heidi’s colored friend arrives in school with her hair dyed in school colors,
turning the headmistress’s argument on its head.
ANALYSIS
Stanza 1
Heidi has dyed her hair ultramarine and cut it in spikes. For this act of defiance she is sent
back home.
Stanza 2
The headmistress’s argument is that though coloring of hair was not specifically forbidden,
Heidi had do so in blue which was not a school color. This argument, which is almost
farcical in nature, shows that the school’s rules are arbitrary.
Stanza 3
Bach home, Heidi is in tears but her father stands up for her, remonstrating with the school
that Heidi is not against authority and the blue hair is just a style statement. This support from
her father cheers up Heidi who dries her eyes which are also not in school color, incidentally.
Stanza 4
Heidi’s father further tells the headmistress that Heidi’s decision to color her hair was not her
own but one made after consulting her father. They had not found anything in the rule book
that prohibited it expressly. By now, Heidi has recovered sufficiently enough to say the hair
color was an expensive one that would not wash off even if she had wanted to.
Stanza 5
The father desists from mentioning Heidi’s mother’s demise as an explanation but somewhere
behind his arguments, its presence can be felt. The school cannot say anything further and it
does not pursue it any further.
Stanza 5
The next day, Heidi’s colored friend comes to school with her hair dyed in precise school
colors. This is delicious irony. She turns the headmistress’s argument on its head.
Poetic Devices
No rhyme scheme:
shows the unconventional style, reflecting the theme of rebellion and individuality
Dialogues:
unconventional and vividly
Use of simple vocabulary
Loose Structure:
reinforcing the idea of rebellion
Punctuation:
brackets--shows the informality
Point of View&Tone
This poem narrates the story of a high school girl who were sent home from school because
she dyed her hair blue--'not in a school color.'
It is told from a second person point of view (you), and it creates a unique poetic effect. It
feels as if the poet is talking to you, and making you sympathise with the girl.
The tone of the poem is conversational and informal because Fleur uses mostly simple
vocabulary and dialogues.
T
ears in
t
he kitchen,
t
elephone-calls
to school
f
rom your
f
reedom-loving
f
ather:
'She's not a punk in her behaviour;
it's just a style.' (You wiped your eyes,
also not in a school colour.)