18 pages 36-minute read

Diving into the Wreck

Fiction | Poem | Adult | Published in 1973

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Literary Devices

Free Verse

Rich employs short, enjambed lines over the course of “Diving into the Wreck,” creating a sense of forward motion and inevitability. Her lines are purposeful in their craft; keeping them short creates emphasis on particular images she wants to highlight, and enjambing them over multiple lines propels the reader forward, seeking to discover how Rich will resolve the tension.


Free verse also allows Rich to mimic the mindset of both her speaker and her exploratory process. The speaker, at times, is muddled and confused as she dives into the water, and Rich’s swiftly moving lines highlight this sensation. In the fourth stanza, she writes “First the air is blue and then / it is bluer and then green and then / black I am blacking out and yet / my mask is powerful / it pumps my blood with power” (Lines 34-38). Crafting the lines in this way, Rich mirrors the onslaught of the water and panic the speaker feels, and her lack of punctuation emphasizes the confusion.

Simile & Metaphor

Over the course of the poem, Rich utilizes simile and metaphor to emphasize the power, vulnerability, and possibility of her speaker’s experience. She begins by using a metaphor to describe the preparations for the dive, calling the scuba suit “the body-armor of black rubber” (Line 5), equating her task with entering battle. This comparison highlights the danger of the dive, literally and metaphorically, and draws attention to the vulnerable position she is in. Later, the speaker describes how she crawls “like an insect down the ladder” (Line 30), stressing her need to alter herself in order to enter the new world of the ocean. Her exploratory task requires that she open herself to something new, which requires a certain degree of discomfort and transformation.


In the latter third of the poem, the speaker metaphorically inhabits both genders as she faces the underwater wreck: “I am she: I am he / whose drowned ace sleeps with open eyes / whose breasts still bear the stress” (Lines 77-79). Facing the weight of patriarchal oppression, Rich’s speaker does not automatically reject the male gender but embraces it alongside the female, creating a unified person who has the capacity to see the wreck as the “thing itself and not the myth” (Line 63).

Repetition & Anaphora

Rich employs frequent repetition and anaphora, or the repetition of words or phrases at the beginning of successive lines to emphasize the speaker’s frame of mind and draw attention to particular images and ideas. In the second stanza she writes “There is a ladder. / The ladder is always there” (Lines 13-14); later in the poem she repeats “the words” (Lines 53,54), “the thing” (Lines 61, 63), and “Whose” (Lines 78,79,80), among others. In doing so, she mimics the speaker’s voice as she tries to make sense of her experience.


Rich also repeats the same images in the final four lines of the poem that she establishes in the first three, but she adds one key detail. She ends the poem with the double-gendered speaker finding “our way / back to this scene / carrying a knife, a camera / a book of myths / in which / our names do not appear” (Lines 90-94). Significantly, the speaker has understood the faultiness of the original book of myths and the ways in which it diminishes or ignores entire swaths of people. By changing the final lines, she changes the omissions of the past and, by extension, the course for the future.

blurred text
blurred text
blurred text

Unlock all 18 pages of this Study Guide

Get in-depth, chapter-by-chapter summaries and analysis from our literary experts.

  • Grasp challenging concepts with clear, comprehensive explanations
  • Revisit key plot points and ideas without rereading the book
  • Share impressive insights in classes and book clubs