The possible redeeming qualities of domestic life enable the starker context of "Skunk Hour" to provide a somewhat satisfactory conclusion to the volume's spiritual journey. In the context of the entire Volume, "Skunk Hour" articulates a ground of values that make it possible to endure, if not to overcome, the anxieties of contemporary life and the loss of traditional grounds for value. The poem first of all embodies the ultimate lucidity, the denial of all imaginative evasions, which Lowell has been seeking. This then brings him to a dark night of the soul, a traditional religious image he takes now as "secular, puritan and agnostical." There he encounters the ultimate nothingness or absence of meaning, which is perhaps the result of all pursuits of sheer lucidity (I am thinking of the nineteenth-century novel, particularly of Flaubert). For Lowell the absence is dual - an emptiness he witnesses in the scene of perverted love among the love cars, mirrored by a horrifying sense of his own inner emptiness, "I myself am hell; / nobody's here." Hell here is the ultimate prose - a profound sense of the absence of all sources of meaning and value in the public world represented by the landscape and in the private realm where one defines his personal identity. Yet Lowell has not lost his imaginative sense of redemptive archetypes; having fallen to the depths of despair where the ascent beckons, Lowell turns to the skunk - the figure of whatever possibilities Lowell can find for a secular redemption from his despairs. . . .
Thematically the skunk resolves several problems in the volume. By returning to the prereflective natural order symbolized by the many animal images, Lowell makes the skunk embody the determination and self-concern of all living beings and beyond that, as mother, a willingness to face danger in order to accept the responsibility of her role. (Family existence once again has value independent of all fictive or interpretative frames.) Now one sees both a parody of the Eucharist and, on another level, a genuine moment of communion, for, as the skunk swills from the garbage pail, Lowell finds precisely the image of endurance and survival he had sought in vain in the rest of the volume. In fact, Lowell's evening service to some extent reverses one of the final images of his father's impotence. For Commander Lowell's lettering his garbage cans was a pathetic alternative to Sunday church service he saw as beneath the dignity of a naval man. Here the very order his father so stupidly rejected is recovered precisely through those images of modern emptiness.
As the skunk makes her way beneath the "chalk-dry church spire" reminding the reader of the dead vertical world, she embodies whatever possibilities Lowell can find for restoring a context of value within secular and biological necessity. These possibilities are not very encouraging; man may learn to endure, but it must be with a dogged single-minded concentration that omits much of the old humanist possibilities for human development and enjoyment of the world. And the poetic process itself calls one's attention to these reduced possibilities. The skunk here plays the resolving role performed by Christ in much of Lord Weary's Castle. Christ as a resolving figure functions "metaphorically"; he pulls into himself all the disparate strands and adds an element that completes them and develops their meaning. Thus Christ's suffering both gives Lowell a personal- meaning and adds to it a value not evident within secular experience. Lowell imaginatively participates in the same metaphorical project as poet by having the details he uses in describing Christ, particularly the name kingfisher and the redeeming fire, both define and give value to Lowell's pulsing blood and his resistance to the mud. (Only because Christ evokes an entire mythic structur, a structure of metaphors, can such specific details do so much work.) The skunk, on the other hand, functions metonymically. The analogy between man and skunk now creates only a partial continuous resolution, so that the summary remains incomplete and ambiguous in relation to the conditions being explained. The presence of the skunk, in other words, forces on the reader a solution to the poem's despair, but it is a solution that does not incorporate the human and religious terms in which the despair had been framed. The analogical link, then, between Lowell and the skunk's not-quite-human resolve to endure can only be known sympathetically. The relation is too complex and diffuse for analysis, and the identification of man and skunk too foreign to one's sensibilities for there to be a completely affirmative resolutions Finally, Lowell's identification with the skunk provides an emblem for the confessional style in the volume. Lowell learned in "Words for Hart Crane" that self-analysis and debasement were the preconditions for salvation in the American Wasteland. Now the skunk summarizes what it means to search for value and self-definition when all the sustaining fictions have failed. One is left only with the garbage of one's own past, which he must have the determination to explore and the courage to endure.