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In "The World's wife," acts of immorality allow us to empathize with a speaker's situation or encourage us to question what drove them to their immorality, which in turn allows us to understand them better. "Medusa" is a mythological creature who "had snakes for hair and whose gaze turned people into stone." Notoriously known as a monstrous gorgon, Duffy's audience becomes sympathetic to her new portrayal as someone who is externally impolite and internally hurt. After being betrayed by her spouse, she mourns her unrequited relationship through jealousy and rage. The poem is composed of eight free verses following an irregular rhythm and rhyme scheme. Its uneasy structure unravels the extended metaphor for a woman suspecting infidelity, which builds her humanity. "Medusa" is a mundane lover masked by a gorgon figure. Hence, her physique resonates with misogynistic tropes (of women) as she is described as a monstrous figure simply because she mourns a betrayal. The speaker is, in fact, a monster. However, her husband acted dishonestly, so he is arguably responsible for her transformation. Duffy utilizes the symbol of Medusa as an allusion to Greek mythology; this is left for the reader to interpret the poem through the lens of "modern Medusa" or someone who "identifies as Medusa." Even though there is room for subjectivity, the symbol of Medusa resembles all who suffer, like the mythological character. When her ruthless language leads to self-loathing, humanity is built through her presentation as a slave to loneliness, which pertains to the reader through the fear of adulterous relationships. Similarly, in Duffy's "Queen Kong," the roles from the original "King Kong" are reverted to challenge the stereotypical power dynamics in a relationship and dismantle the Madonna-Whore complex. In contrast to King Kong, Queen Kong is a highly peculiar character despite being a frightening animal; she displays human traits and falls in love with a human being. The normalization of her dominance toward her partner is used to critique modern-day gender roles and build her humanity through the withdrawal of separation from one's lover. The piece is introduced with the speaker "remembering" a time when she observed her "little man" in his "skyscraper room." By introducing the poem in a conversational format, Duffy draws the reader's attention through the poem's informality. The conversational tone creates a one-on-one conversation between the speaker and her audience, creating intimacy and building her humanity. Likewise, Duffy creates a "prose poem in The Kray sisters," which allows us to understand the twin's arrogance (immorality) in building their humanity. The Kray sisters are alter egos inspired by the notorious London gangsters "Ronnie and Reggie Kray." Known as strong-arm feminists, the twins exude an air of morale, which comes from their immoral behaviors as a reflection of the east-end villains: The Krays. The poem comprises 12-line stanzas in a dramatic monologue and loose format; its lack of order leaves us bewildered to characterize the twins' apathetic view towards society. The twin's immoral behavior builds through the author's use of language; they are introduced through the exclamatory phrase, "there go the twins!", here Duffy presents them as remarkable individuals by highlighting their notoriety to the surrounding public. By satirizing the myths about the "lovable cockneys" gluing together as one big family, Duffy creates a cliché of the EastEnders, which reconciles with the twin's idea of London. The Kray's are undeniably popular and arrogant; therefore, London exists for their convenience and leisure. Their apathetic view towards society builds their immorality by contrarying the societal expectation for a young woman. Duffy characterizes the speakers of Medusa, Queen Kong, and the Kray sisters as blunt individuals to connect with the audience and build their humanity. Their immorality allows us to empathize with their respective situations and question their behavior, which allows us to understand their situations and form a rapport.