Margaret Atwood’s poem “Helen of Troy Does Countertop Dancing” is a modern reinterpretation of the mythological figure Helen of Troy, placing her in the role of a contemporary exotic dancer. The poem explores themes of objectification, agency, and societal judgment through Helen’s perspective, revealing the complexities and contradictions of her life and work. Here is a detailed summary:

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Summary of “Helen of Troy Does Countertop Dancing”

The poem begins with Helen, now an exotic dancer, addressing an imagined audience of judgmental women. These women believe she should quit dancing, get a “respectable” job, and regain her self-respect. Helen sarcastically acknowledges their advice, pointing out the harsh realities of minimum-wage jobs that often come with physical and emotional tolls, like standing for long hours and dealing with monotonous work. She contrasts this with her current work, which, though seen as shameful by some, allows her to make more money and retain a degree of autonomy.

Helen discusses the unique skills required in her line of work. Unlike selling tangible items like gloves, she sells something abstract—desire and fantasy. She recognizes that many view her as exploited but asserts her agency in choosing this path for its financial benefits. Helen provides a service by creating visions and fantasies, much like a preacher or a perfume ad selling dreams.

She acknowledges the complex reactions she provokes in her audience, mainly men. These men often harbor dark, conflicting feelings of desire and hatred towards her. They see her as an embodiment of their worst suspicions about the world—that everything and everyone is for sale. Some view her with a kind of violent desire, as if they are on the verge of committing a violent act. Helen is keenly aware of this, feeling their intense, often drunken adoration, mixed with hopeless love or hatred.

Despite understanding her audience’s humanity and struggles, Helen feels exhausted by the constant need to smile and pretend she doesn’t hear their comments. She feels like an outsider, unable to fully communicate with them. Her speech and thoughts are more sophisticated and layered, filled with mythological and poetic references.

Helen reveals a part of her mythological past, claiming her mother was raped by Zeus in the form of a swan, a story she uses to connect with men who might want to take her out for dinner. She uses this myth to highlight the absurdity and danger of her situation, pointing out the many “dangerous birds” around—men who pose threats in various forms.

As the poem progresses, Helen expresses frustration with being reduced to mere body parts by her audience, akin to being processed in a factory or slaughterhouse. This dehumanization is a significant source of her fatigue. Men want to strip her of her mystery and see through her, but she declares that true transparency is impossible. She describes herself as hovering above the countertop, almost floating in a divine light, asserting her status as a goddess. This assertion is a powerful reclaiming of her identity and agency.

The poem concludes with Helen issuing a warning: she is not to be underestimated. If anyone tries to touch her, they will be burned. This final statement emphasizes her strength and autonomy, despite the objectification and judgments she faces. Helen sees herself as powerful and untouchable, a modern-day goddess who controls her own destiny, even in a world that tries to reduce her to mere components.

Helen of Troy Does Countertop Dancing Analysis

Margaret Atwood’s poem “Helen of Troy Does Countertop Dancing” reimagines Helen of Troy, the legendary beauty from Greek mythology, as a modern-day exotic dancer. Through this lens, Atwood explores themes of objectification, empowerment, societal judgment, and the complexity of female identity. The poem unfolds as a dramatic monologue, providing insight into Helen’s thoughts and feelings as she navigates her work and the perceptions of others. Here is a detailed analysis, using lines from the poem as evidence:

Objectification and Empowerment

Atwood uses Helen’s voice to critique how society objectifies women, particularly those in the sex industry. Helen acknowledges the judgment she faces from other women, who suggest she should “Get some self-respect / and a day job” (Lines 3-4). This judgment implies that her work as a dancer is beneath her and lacks dignity. Helen sarcastically replies that such jobs often come with low pay and physical strain, like “minimum wage, / and varicose veins” (Lines 5-6). Through this response, Atwood highlights the economic realities that lead many women to choose such work, suggesting that it can be a pragmatic choice rather than a shameful one.

Helen’s empowerment comes from her control over her body and her earnings. She contrasts standing “behind a glass counter / bundled up to the neck” with being “naked as a meat sandwich” (Lines 9-11). Despite the negative connotations of being a “meat sandwich,” Helen points out that her current job allows her to be more than a faceless worker behind a counter. She makes a living by “selling gloves, or something. / Instead of what I do sell” (Lines 12-13). Here, Atwood uses the metaphor of selling to underline that all work involves some form of transaction, and Helen’s choice is as valid as any other.

Judgment and Societal Expectations

Helen’s imagined critics embody societal expectations for women to seek respectable, conventional employment. The poem critiques these narrow views by showing Helen’s awareness and defiance. When she says, “They’d like to see me in a skirt and sweater, / being a lady for them” (Lines 14-15), Helen reveals how society’s ideal woman is one who conforms to traditional norms of modesty and decorum. However, she rejects this notion by continuing to work as a dancer, asserting her autonomy and challenging these conventional expectations.

Helen also addresses the men who frequent the strip club, recognizing their complex and often contradictory feelings towards her. She notes, “They gaze at me and see a chained angel, / crude stuff they’re made of” (Lines 21-22). These men view her as an object of desire, a fantasy figure who embodies their dreams and fears. Helen understands that their adoration is mixed with resentment, as they project their own insecurities and frustrations onto her.

Identity and Self-Perception

Throughout the poem, Helen grapples with her identity, balancing her mythological past with her present reality. She references her divine origins, saying, “my mother was raped by a holy swan” (Line 33), referring to the myth of Leda and the Swan, where Zeus, in the form of a swan, rapes Leda, leading to Helen’s birth. This line serves to remind readers of Helen’s dual nature as both a mortal woman and a figure of myth. It underscores the tension between her humanity and the divine expectations placed upon her.

Helen’s self-perception is complex; she sees herself as both victim and agent. She expresses exhaustion with the constant objectification, stating, “I’m tired of the way men look at me” (Line 53). Despite this fatigue, she reclaims her power by asserting her divinity. In the poem’s climax, Helen declares, “I rise up above the countertop / in a blazing swan-egg of light” (Lines 77-78). This imagery evokes her mythological birth and signifies her transcendence over the mundane and dehumanizing aspects of her work. She envisions herself as a powerful goddess, untouchable and radiant.

Power Dynamics and Agency

The poem explores the power dynamics between Helen and her audience. While the men in the strip club view her as an object of desire, Helen wields significant power by fulfilling their fantasies and controlling her own narrative. She recognizes that her role is to make them “see visions” (Line 25) and create a fantasy world where they can escape their realities. This control over their perceptions grants her a form of power, even as she is objectified.

Helen’s ultimate assertion of power comes with her warning: “If you look at me long enough, / I will burn your eyes out” (Lines 81-82). This statement is a potent declaration of her autonomy and strength. It signifies that while she can be seen and desired, she cannot be possessed or diminished. Her warning to incinerate anyone who tries to touch her emphasizes her control over her body and her destiny, reinforcing her status as a modern-day goddess who refuses to be reduced to mere flesh.

Modernization of Myth

Atwood’s choice to reimagine Helen of Troy in a contemporary setting serves to highlight the timelessness of certain struggles faced by women. By placing Helen in the role of a stripper, Atwood draws parallels between ancient and modern forms of female objectification and agency. Helen’s story, rooted in mythology, becomes a powerful metaphor for the ongoing issues of gender, power, and identity in contemporary society.

The poem’s blend of mythological and modern elements creates a rich, layered narrative that speaks to the enduring nature of these themes. Atwood’s Helen is both a product of her mythological past and a resilient, autonomous woman navigating the complexities of the present. This duality allows the poem to critique societal norms while celebrating female strength and autonomy.

“Helen of Troy Does Countertop Dancing” by Margaret Atwood is a powerful exploration of objectification, empowerment, and societal judgment through the lens of a mythological figure placed in a modern context. Helen’s voice, filled with sarcasm, defiance, and resilience, challenges conventional views of women’s roles and highlights the complexities of identity and agency. Through vivid imagery and potent declarations, Atwood creates a compelling narrative that underscores the timeless struggle for female autonomy and self-possession.