This thesis aims to examine the poems of modern American poet Anne Sexton (1928-1974) from the perspective of Anti-Oedipus and the poetics of anger. In the genealogical history of American women’s poetry, Sexton’s position is unique. Because her utterances show heterogeneity compared to traditional women’s speech and discourse, she has a raw voice, speaking of herself as an abject who connects the witch’s lineage in American poems. I trace the voice of Anne Sexton’s resistance to a society built on the Oedipus structure, suggesting that a scrutiny of her Anti-Oedipal attitude may lead to a kind of crack in the rigid ideology and culture of modern society, representing the flow of creation identified by Gilles Deleuze and Pierre-Félix Guattari as a desire machine. I identify her poetic strategy for a way out of unconscious repression in her attempt to dissolve the authority of fatherhood that supports the structural hierarchy. Deleuze and Guattari criticize the taboo and oppression of incest acting as the basic axis of psychoanalysis by Sigmund Freud and Jacques Lacan: they reject the social structure based on Oedipus and aim to analyze the symptoms of schizophrenia. This thesis focuses on Sexton’s poetry collections To Bedlam and Part Way Back (1960) and Transformation (1971). By tracing her poetic tactics on the path of Anti-Oedipus, I also refer to Alicia Ostriker’s article, which deals with “Oedipus Anne” in detail. At the same time, the schizophrenic characteristics of modern capitalist society through desiring machines and bodies without organs. Her will to subvert the Oedipus complex allows to create a new female subject and other diversified beings as future subjects. In her poems, are not fixed but are created by smearing and dividing themselves; in addition, they are not destructive or aggressive but aim at creation and harmony.
