Tortured Poets Department
"You left your typewriter at my apartment"
The typewriter symbolizes a connection to the past and perhaps a nostalgic or artistic aspect of the ex-lover. Leaving it behind indicates a sense of abandonment and unresolved ties. It serves as a tangible reminder of the relationship and the creative or intellectual bond they shared. Matty Healy, the song’s rumored muse, spoke about how he really likes typewriters in a Tik Tok (Also could that be what was in the mostly empty bag he was seen carrying when photographed visiting Taylor's apartment?)
"Straight from the tortured poets department"
This phrase humorously acknowledges the stereotypical image of a tortured poet, suggesting that the ex-lover has a dramatic or melancholic nature. It highlights the silliness of the typewriter and might even have the above photo in mind.
"I think some things I never say"
This line reveals Taylor's internal struggle with unspoken thoughts and feelings. It suggests a deep emotional turmoil and the difficulty of expressing true emotions, reflecting a sense of regret and missed opportunities for communication.
"Like, 'Who uses typewriters anyway?'"
This rhetorical question injects a bit of humor and modern-day skepticism, contrasting with the previous nostalgia. It symbolizes Taylor's attempt to rationalize or diminish the significance of the typewriter and, by extension, the relationship. This line underscores the theme of trying to move on and make sense of past attachments in the context of present realities.
"But you're in self-sabotage mode"
This line points to the ex-lover's tendency to undermine their own happiness and relationships. Self-sabotage reflects a pattern of destructive behavior, suggesting that the ex-lover is intentionally or subconsciously creating obstacles to prevent their own success or emotional well-being.
"Throwing spikes down on the road"
The metaphor of "throwing spikes down on the road" illustrates the deliberate creation of barriers and difficulties. It suggests that the ex-lover is making their path harder, preventing any smooth progression in their life or relationships. This imagery highlights the destructive impact of their actions on both themselves and those around them.
"But I've seen this episode and still loved the show"
This line indicates familiarity with the ex-lover's behavior patterns. Despite recognizing these destructive tendencies, Taylor admits to still having affection for the ex-lover. It suggests a deep, perhaps irrational, loyalty and a willingness to overlook flaws because of the emotional connection they share.
"Who else decodes you?"
This rhetorical question underscores the unique understanding Taylor has of the ex-lover. "Decodes" implies a deep, almost cryptic knowledge of the ex-lover's inner workings and complexities, suggesting that Taylor sees themselves as someone uniquely capable of understanding and interpreting the ex-lover’s behavior and emotions.
"And who's gonna hold you like me?"
Taylor highlights their irreplaceability in the ex-lover’s life. "Hold" can be both literal and metaphorical, referring to physical comfort as well as emotional support. This line emphasizes Taylor’s belief that no one else can provide the same level of care and understanding.
"And who's gonna know you, if not me?"
Reiterating the theme of unique understanding, this line emphasizes the depth of Taylor’s knowledge of the ex-lover. It suggests a sense of exclusivity in their connection, implying that no one else will be able to truly understand the ex-lover in the same way.
"I laughed in your face and said"
This line introduces a moment of confrontation and possibly disbelief. The act of laughing in the ex-lover’s face suggests a mix of amusement and frustration, highlighting Taylor’s awareness of the absurdity of the situation or the ex-lover's behavior.
"You're not Dylan Thomas, I'm not Patti Smith"
Taylor dismisses any romanticized notion the ex-lover might have about their relationship or themselves. Dylan Thomas and Patti Smith represent iconic, troubled artists with a storied history of intense relationships. By stating "you're not Dylan Thomas, I'm not Patti Smith," Taylor rejects any notion of their relationship being poetically tragic or legendary, grounding it in reality instead.
Taylor Swift dismisses the romanticized notion of the tortured artist through the lines, "You're not Dylan Thomas, I'm not Patti Smith/This ain't the Chelsea Hotel, we're modern idiots." By rejecting the comparison to the iconic, troubled poet Dylan Thomas and the brilliant Patti Smith, Swift grounds her own experience in contemporary reality. The reference to the Chelsea Hotel, known for its association with artists and musicians, further emphasizes her rejection of the mythologized, artistic drama. Instead, Swift confronts the ordinary nature of their lives, using self-deprecation to strip away any pretense of grandeur. Dylan Thomas, a renowned Welsh poet known for works like "Do Not Go Gentle Into That Good Night," famously entered a coma during his stay at the Chelsea Hotel, adding to his mythic status as a troubled genius. Twelve years after his death, Patti Smith, often referred to as the "punk poet laureate," resided at the same hotel, further cementing its association with artistic brilliance and tumultuous lives. "Do Not Go Gentle Into That Good Night," was also referenced in 'Dead Poets society.'
The allusion to the embattled Matty Healy is captivating, as the bard Dylan Thomas, renowned for his dissolute existence, receives a mention on Swift's latest record. While succumbing to alcoholism is far from idyllic, when a brilliant wordsmith like Dylan Thomas self-destructs, it appears to transcend mere substance dependency. His renown stems primarily from his unconventional lifestyle, infidelity, and excessive imbibing, which ultimately led to his untimely demise at the age of 39. Some might argue that Joe embodies the anguished non-versifier, whereas Matty personifies the afflicted, nearly departed rhymester, but fortunately, he has now embraced sobriety!
The idea of the tortured poet, exemplified by figures like Dylan Thomas, has become deeply ingrained in our cultural imagination, despite the fact that many listeners may not engage with poetry directly. The romanticization of poets as dark, brooding, and emotionally tormented individuals has persisted throughout history, with Thomas's life and death serving as a prime example. His hypnotic, often difficult-to-understand poetry, coupled with his reputation for bohemianism, philandering, and heavy drinking, has contributed to his enduring legend. The notion that poets are set apart from normal ways of living, and that being a poet is a form of madness, can be traced back to the very roots of Western civilization. Swift's reference to this archetype raises questions about why the myth of the tortured poet remains so central to our cultural imagination, even as she rejects its application to her own life.
“The Sense of an Ending”. In the book/movie, set in England, one of the characters is Adrian, who is a wise philosopher sort of teen/college student. In the movie, Adrian makes multiple references to Dylan Thomas. Adrian is played by Joe Awlyn. And the one where Lucy Dacus said "i bet she fucks" in a convo about whether St. Vincent is a "top or bottom" from earlier this year.
https://twitter.com/newcareerinsad/status/1757887625443074542
"This ain't the Chelsea Hotel, we're modern idiots"
The reference to the Chelsea Hotel, famous for its association with artists and musicians, further emphasizes the rejection of a romanticized, artistic drama. The phrase "we're modern idiots" brings a blunt, self-deprecating acknowledgment of their contemporary reality, stripping away any grandeur or mythologizing of their relationship. It underscores Taylor's desire to confront the truth and the ordinary nature of their lives, contrasting sharply with the romanticized past.
Sidebar, A Theory
modern idiots is giving YOU, AGAIN (a modern twist on When Harry Met Sally)
I have a hypothesis that the phrase "two graves one gun" carries an additional connotation, suggesting that a single album or track targets two individuals simultaneously.
Delicate braids emerged as her signature style during the folklore era, and now we encounter braids of a different nature! Braiding, a literary device involving the interweaving of various narrative threads, is a concept I can't precisely recall, but I'm firmly convinced that every composition on this record is an intentional whirlwind or braid of diverse elements, as has always been the case, but it seems remarkably more deliberate on this album.
When Karlie appeared at the Speak Now Rerelease announcement show, also unable to contain her excitement in an almost too-perfect manner, Google engineers remarked on the immense challenge of removing Karlie from Taylor Swift's auto-suggestions, a significant worry for Tree, her PR team, and Taylor's new fans, who number in the tens of thousands daily. They employed the 1989 Taylor's Version album Google search vault track game, generating a million searches that effectively buried Karlie in the search results and restored Taylor's heterosexual image.
I believe Matty and Travis also serve as PR strategies to overshadow Karlie and the Lover Coming Out Era, safeguarding a billion-dollar proprietary income. Nevertheless, she delights in cleverly crafting her writing for the Gaylors, Haylors, and Healors, but not the Straightlors. One of the background refrains proclaims, "who's gonna troll you" (referring to fans), and it's the ultimate troll maneuver to imply that the song pertains to Joe due to the title (and his group chat), only to have all the evidence point towards Matty.
She undoubtedly wove everything into her poems entirely; I think "loml" cemented this notion for me. It's incredibly challenging to discern who the song is truly "about," but it functions more effectively that way—a heart-wrenching composition about loss. Many people presume everything revolves around Matty simply because they possess more knowledge about him.
LOML Sounds a Lot like a Phoebe Song:
A significant portion of the allusions could pertain to Joe, Phoebe, Matty, Karlie, or Diana as well (partying, on-and-off relationships, musical preferences), and we would remain unaware we know less about them.
But the album name and the whole corporate office aesthetic that was used to market the album really reminds me of how Phoebe markets her record label Saddest Factory Records
Throuple Theory
Phoebe's song Emily is about a throuple, if that's the way she rolls, she's close with Matty and her and Taylor were a thing for a Fortnight? Then?
Does Phoebe have a song where she references the Chelsea hotel too? Yes, its called 'Chelsea.'
"And who's gonna hold you like me?"
Taylor emphasizes their unique role in providing comfort and emotional support. This question underscores Taylor's belief that their care and understanding are irreplaceable, highlighting a deep connection and dependency that the ex-lover might not find elsewhere.
"Nobody / No-fucking-body / Nobody"
The repetition of "Nobody" and the intensifier "No-fucking-body" accentuate Taylor's conviction that no one else can provide the same level of support and intimacy. This line reflects a mixture of confidence in their unique bond and perhaps a sense of possessiveness or despair.
"You smoked, then ate seven bars of chocolate"
This line paints a vivid picture of coping mechanisms and indulgences. Smoking and eating excessive amounts of chocolate suggest attempts to manage stress, anxiety, or emotional pain. It highlights the ex-lover's reliance on immediate, albeit temporary, comforts during difficult times.
"We declared Charlie Puth should be a bigger artist"
This line introduces a moment of shared opinion and casual intimacy. It represents a simple, light-hearted connection over a common interest. The mention of Charlie Puth, a contemporary pop artist, adds a modern, relatable touch to their shared experiences, illustrating how small moments of agreement and enjoyment can bond people.
Closet Music Industry Folk Theory
It's possible its just referencing those who have queer relationships. Taylor admitting stalking Charlies Tik Tok years ago, Charlie who corrected a fan saying this song is not about a woman, its about a person. Matty, Phoebe,
"I scratch your head, you fall asleep / Like a tattooed golden retriever"
The act of scratching the ex-lover's head and them falling asleep conveys a deep sense of trust and comfort. Comparing the ex-lover to a "tattooed golden retriever" blends imagery of loyalty and gentleness (associated with a golden retriever) with a hint of edginess or individuality (suggested by tattoos). This line symbolizes the nurturing, almost parental role Taylor plays and the ex-lover's vulnerable, reliant state.
Tattooed golden retriever sounds more like Phoebe Bridgers than Matty Healy.
‘you made your mark on me – a golden tattoo’. She did say having phoebe as an eras opener made her feel like a contest winner - a SOTB reference)
Also coming to mind is St. Vincent (Annie Clark) collaborates with Taylor Swift and co-wrote "Cruel Summer." Though not explicitly "out," she's also not "in" and openly dates famous women. Allegedly, she said during a 2014 interview with Rolling Stone, "I don't think about those words. I believe in gender fluidity and sexual fluidity. I don't really identify as anything."
Additionally, there's the instance from earlier this year where Bridgers' bandmate Lucy Dacus commented, "I bet she fucks," during a conversation about whether St. Vincent is a "top or bottom."
"But you awaken with dread"
This line introduces a contrast to the previous tranquility. Awakening with dread suggests that the ex-lover's peace is fleeting, overshadowed by anxiety or fear upon waking. It reflects the underlying tension and unresolved issues that disrupt their moments of comfort and tranquility, highlighting the fragility of their emotional state and the transient nature of their solace.
"Pounding nails in your head"
This line vividly depicts intense mental anguish, suggesting that the ex-lover is tormented by persistent and painful thoughts. The metaphor of "pounding nails" indicates severe distress, possibly caused by their own actions or circumstances, reflecting the brutal, self-inflicted nature of their emotional pain.
"But I've read this one where you come undone"
Taylor refers to their familiarity with the ex-lover's patterns of behavior, particularly their moments of breakdown. This line suggests a cyclical nature to the ex-lover's struggles, implying that Taylor has witnessed these moments of unraveling before. It highlights a sense of predictability in the ex-lover's actions and emotional responses.
"I chose this cyclone with you"
Describing the relationship as a "cyclone" conveys a sense of chaos, intensity, and turbulence. Taylor acknowledges their decision to be part of this tumultuous relationship, suggesting a willingness to endure the emotional upheaval. This line symbolizes the acceptance of the stormy nature of their bond, highlighting Taylor's commitment despite the inherent instability.
"And who's gonna hold you like me? (Who's gonna hold you? Who's gonna hold you?)"
This repetition emphasizes Taylor's belief in their irreplaceable role as a source of comfort and support. The parenthetical repetition reinforces the question, underlining Taylor's conviction that no one else can provide the same level of emotional care and intimacy. It reflects a deep sense of attachment and a lingering sense of responsibility.
"And who's gonna know you like me? (Who's gonna know you?)"
Taylor asserts their unique understanding of the ex-lover. This line highlights the depth of their connection and the intimate knowledge they possess about the ex-lover's true self. The repetition of the question in the parenthetical suggests a lingering doubt about the possibility of anyone else achieving the same level of understanding and closeness.
"I laughed in your face and said"
This line introduces a moment of confrontation and perhaps disbelief. The act of laughing in the ex-lover’s face suggests a mix of amusement and frustration, highlighting Taylor’s awareness of the absurdity of the situation or the ex-lover's behavior. It sets the stage for a blunt, perhaps harsh, acknowledgment of their reality.
"You're not Dylan Thomas, I'm not Patti Smith"
This line dismisses any romanticized notion the ex-lover might have about their relationship. Dylan Thomas and Patti Smith are iconic figures associated with intense, poetic, and often tumultuous lives. By stating "you're not Dylan Thomas, I'm not Patti Smith," Taylor rejects any idea that their relationship has the grandeur or tragic beauty often attributed to these literary and musical legends. It grounds their relationship in reality, away from any idealized comparison.
"This ain't the Chelsea Hotel, we're modern idiots"
The Chelsea Hotel is famously linked to artistic and literary history, often seen as a place of romantic and creative suffering. By contrasting their situation with the Chelsea Hotel, Taylor emphasizes the ordinary and unremarkable nature of their lives. Calling themselves "modern idiots" adds a self-deprecating touch, acknowledging their flawed and unglamorous existence. It underscores the theme of rejecting romanticized myths in favor of confronting their real, imperfect lives.
"And who's gonna hold you like me? (Who's gonna hold you? Who's gonna hold you?)"
Reiterating this question emphasizes Taylor's belief in their irreplaceable role as a source of comfort and support. The repetition of the parenthetical questions reinforces the idea that no one else can provide the same level of emotional care and intimacy. It reflects a deep sense of attachment and responsibility, highlighting Taylor's unique bond with the ex-lover.
"No-fucking-body (Who's gonna hold you? Who's gonna hold you?)"
This emphatic declaration underscores Taylor's conviction that no one else can take their place. The use of "No-fucking-body" adds intensity and passion to their claim, conveying a strong sense of certainty and perhaps a touch of possessiveness. It reinforces the idea that Taylor sees themselves as uniquely capable of providing the support and understanding the ex-lover needs.
"Nobody (Who's gonna hold you? Gonna know you? Gonna troll you?)"
The repetition of "Nobody" drives home the point that Taylor believes they are irreplaceable. The additional questions—"Gonna know you? Gonna troll you?"—expand on the idea of intimate understanding and engagement. "Gonna troll you" adds a layer of playful or challenging interaction, suggesting that Taylor's relationship with the ex-lover includes a unique dynamic that no one else can replicate. This line encapsulates Taylor's belief in their singular role in the ex-lover's life, encompassing support, understanding, and a distinctive connection.
"Nobody"
The repetition of "Nobody" underscores Taylor's belief that no one else can fulfill the role they play in the ex-lover's life. It emphasizes a sense of irreplaceability and a unique connection that cannot be replicated by anyone else.
"Sometimes, I wonder if you're gonna screw this up with me"
This line reveals Taylor's doubts and fears about the stability of their relationship. It suggests a lack of trust and the expectation that the ex-lover might sabotage their connection. This sense of uncertainty highlights the fragility of their bond and Taylor's anxiety about its potential failure.
"But you told Lucy you'd kill yourself if I ever leave"
This line introduces a dramatic and intense element to their relationship. The ex-lover's statement to Lucy reflects a deep, perhaps unhealthy, dependency on Taylor. It underscores the emotional volatility and extreme measures the ex-lover is willing to consider to prevent the relationship from ending. This admission adds a layer of seriousness and gravity to their bond.
"And I had said that to Jack about you, so I felt seen"
Taylor's confession to Jack mirrors the ex-lover's statement to Lucy, indicating a mutual dependency and intensity in their feelings. This shared sentiment makes Taylor feel understood and validated. It suggests a deep, albeit troubled, connection where both parties recognize the other's importance in their lives.
"Everyone we know understands why it's meant to be / 'Cause we're crazy"
This line highlights the external perception of their relationship. The acknowledgment that "everyone we know" understands their bond suggests that their friends and acquaintances see the unique, perhaps chaotic, nature of their connection. The term "crazy" reflects the intensity and unconventional aspects of their relationship, suggesting that their shared madness is what makes their bond special and recognizable to others.
"So tell me, who else is gonna know me?"
Reiterating the question of who else can understand and know Taylor as intimately as the ex-lover emphasizes the uniqueness of their connection. It reflects Taylor's belief that their bond is irreplaceable and that no one else can provide the same level of understanding and intimacy.
"At dinner, you take my ring off my middle finger"
This action symbolizes a moment of intimacy and control. The act of taking the ring off Taylor's finger suggests a claim of possession and a significant gesture in their relationship. It can symbolize commitment, intimacy, and a desire to assert a bond. The setting of "at dinner" adds a layer of casual normalcy to this profound gesture, highlighting how deep, symbolic actions can occur in everyday moments.
"And put it on the one people put wedding rings on"
This line describes a significant and symbolic gesture where the ex-lover moves Taylor's ring to their ring finger, typically reserved for wedding bands. This act signifies a deeper commitment and an unspoken promise of a lifelong bond. It highlights the gravity and seriousness with which the ex-lover views their relationship, despite its complexities.
"And that's the closest I've come to my heart exploding"
Taylor expresses an overwhelming emotional response to the gesture. The phrase "my heart exploding" conveys intense feelings of love, joy, and perhaps a bit of shock at the depth of the ex-lover's commitment. It underscores the profound impact this symbolic act has on Taylor, indicating the importance of the moment in their relationship.
"Who's gonna hold you? (Who?) Me / Who's gonna know you? (Who?) Me"
The repetition of these questions and answers emphasizes Taylor's belief in their unique role as the ex-lover's confidant and support system. It reinforces the idea that no one else can provide the same level of care and understanding. The parenthetical "Who?" adds a conversational tone, making the declaration more personal and direct.
"And you're not Dylan Thomas, I'm not Patti Smith"
This line reiterates the rejection of any romanticized or legendary status for their relationship. By referencing Dylan Thomas and Patti Smith again, Taylor emphasizes that they do not see themselves as iconic, tragic figures. It grounds their relationship in reality, away from any idealized comparison to famous, tumultuous love stories.
"This ain't the Chelsea Hotel, we're two idiots"
The mention of the Chelsea Hotel, a historic landmark associated with artistic and literary history, is contrasted with Taylor's blunt self-assessment of their relationship. By calling themselves "two idiots," Taylor adds a self-deprecating, humorous touch, acknowledging the flawed and ordinary nature of their bond. It strips away any pretension, highlighting the authenticity and rawness of their connection.
"Who's gonna hold you? (x8) / Gonna know you? Gonna troll you?"
The repeated question "Who's gonna hold you?" serves to reinforce Taylor's belief in their irreplaceable role. The subsequent questions, "Gonna know you? Gonna troll you?" add layers to their unique relationship dynamic. "Gonna know you" emphasizes deep understanding, while "Gonna troll you" suggests a playful, teasing aspect, indicating a multifaceted connection that involves both profound intimacy and lighthearted interaction.
"You left your typewriter at my apartment"
This final line brings the poem back to a tangible, physical reminder of the ex-lover. The typewriter symbolizes a connection to the past, creativity, and perhaps a nostalgic or artistic aspect of the ex-lover. Leaving it behind signifies unresolved ties and the lingering presence of the ex-lover in Taylor's life. It serves as a metaphor for the remnants of their relationship, a piece of the ex-lover that continues to affect Taylor.
"Straight from the tortured poets department"
This line humorously acknowledges the dramatic, intense nature of the ex-lover's emotions and behaviors. Referring to the "tortured poets department" evokes a sense of literary or artistic suffering, suggesting that the ex-lover embodies the archetype of a deeply emotional, perhaps melancholic, artist. It sets the tone for the ongoing struggles and emotional turmoil described in the poem.
"Who else decodes you?"
This rhetorical question emphasizes Taylor's unique understanding of the ex-lover. The term "decodes" implies that the ex-lover is complex and enigmatic, requiring someone with deep insight to truly understand them. Taylor positions themselves as the only one capable of interpreting and comprehending the ex-lover's intricate thoughts and feelings.