"I married a young Englishman in Cambridge in 1955 and have lived in Britain every since"
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A single domestic fact is doing the quiet work of a manifesto. Stevenson’s line sounds like the tidy bio-note you’d find on a dust jacket, but its bluntness is the point: she compresses a whole identity shift into one sentence and refuses to sentimentalize it. “I married” is both agency and concession, a pivot that implies how often women’s geography and citizenship get narrated through marriage. The young Englishman is unnamed, almost intentionally generic, as if the individual matters less than the structure: an American poet’s life rerouted through a historically freighted institution.
“Cambridge in 1955” lands like a coordinate on a cultural map. Cambridge signals elite literary legitimacy; 1955 signals postwar Britain and a moment when “moving abroad” wasn’t lifestyle branding but a real break with family, accent, and belonging. Stevenson doesn’t say she “moved” or “immigrated.” She “have lived,” a phrase that reads less like adventure than endurance, the long middle of life implied by a verb tense.
Then there’s the slip: “every since.” Whether typo or ear, it’s revealing. For a poet, language is never innocent; the near-miss suggests the friction of living in a borrowed tongue-community, forever calibrating idiom and identity. The sentence also contains a faint self-defense: if her work is read as transatlantic, skeptical of national labels, here’s the simple, unadorned reason. Not romance, not myth. A decision, a date, a place - and the lifelong aftershock.
“Cambridge in 1955” lands like a coordinate on a cultural map. Cambridge signals elite literary legitimacy; 1955 signals postwar Britain and a moment when “moving abroad” wasn’t lifestyle branding but a real break with family, accent, and belonging. Stevenson doesn’t say she “moved” or “immigrated.” She “have lived,” a phrase that reads less like adventure than endurance, the long middle of life implied by a verb tense.
Then there’s the slip: “every since.” Whether typo or ear, it’s revealing. For a poet, language is never innocent; the near-miss suggests the friction of living in a borrowed tongue-community, forever calibrating idiom and identity. The sentence also contains a faint self-defense: if her work is read as transatlantic, skeptical of national labels, here’s the simple, unadorned reason. Not romance, not myth. A decision, a date, a place - and the lifelong aftershock.
Quote Details
| Topic | Marriage |
|---|---|
| Source | Poetry Foundation biographical entry for Anne Stevenson — contains the line that she "married a young Englishman in Cambridge in 1955 and has lived in Britain ever since." |
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