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The Enemies
friends alike all become "enemies" to each other, transformed
SUMMARY by fear.
The poem's speaker describes a mysterious band of people who Readers might take this story literally, as a tale about the
crossed a river to arrive in a city. The women of the city were difficulty of truly welcoming people whom one sees as
awake and ready to welcome the new arrivals, offering them outsiders, somehow different from oneself. But one can also
food and asking them no questions about what they wanted, read the poem as an allegory of how hard it is to face any kind
what language they spoke, or why they had arrived out of of novelty and change. The citizens' fretful, withdrawn
nowhere like this. response to the strangers suggests that anything new,
different, and unknown might inspire anxiety. Though the city is
But now it's the following morning, the speaker says, and the
willing enough to accept the strangers at first, their nerve fails
whole city is full of tales about the sudden invasion that
quickly—and this, the poem hints, might be a common human
happened last night. The women who welcomed the strangers
problem.
now point out that they still haven't explained why they're here.
Clearly, however, the strangers didn't come to destroy the city;
everything is still peaceful. Where this theme appears in the poem:
Nevertheless, the city is on edge. People, even old friends, talk • Lines 1-20
to each other guardedly, hide their expressions, and greet each
other without kindness. Everyone has the same thoughts: "I'd
better hide myself, in case the strangers have put new ideas LINE-BY
LINE-BY-LINE
-LINE ANAL
ANALYSIS
YSIS
into the minds of my friends, where I used to feel so at home. I'd
better close off my own mind, even if the strangers are already LINES 1-6
in there with me."
Last night they ...
... through the land.
THEMES "The Enemies" begins with a mysterious arrival. "Last night," the
speaker reports, a crowd of unknown people "came across the
river and / Entered the city." The language here flings readers
THE FEAR OF THE UNKNOWN right into the middle of the action. The speaker doesn't even
In "The Enemies," change and strangeness destabilize feel the need to say what city this is: it's just "the city." It's as if
a whole city. As the poem begins, a group of unknown the readers, too, are citizens, listening to the gossip about what
people arrives in a nameless city. They meet with a warm happened the night before.
welcome—at first. The "women" of the town greet them "with As the speaker tells it, the "women" of the city welcomed the
lights and food," hosting them unquestioningly. The strangers new arrivals with open arms, bringing "lights and food,"
are treated as guests: no one asks them any questions about unhesitatingly hosting the strangers. No one asked "what
their language, their reasons for coming, or what they might strange tongue [the strangers] spoke" or "why they came so
want. But this unquestioning welcome lasts only one night. The suddenly" to the city; they just offered instinctive hospitality.
next day, the citizens are nervous, as untrusting of each other But the fact that the speaker remarks on that hospitality
as they are of the new arrivals. Although "peace is apparent suggests that there's something unusual about such openness.
still"—that the strangers clearly mean no harm and aren't here Among the many questions the women did not ask, the speaker
to cause trouble—the citizens grow anxious and wary. Even old notes, is "what the men had come to take"—not the sort of
friends find that there is "no warmth" when they greet each question one would even dream of asking a welcome guest.
other now. The mere fact that unknown people have arrived in
town, in other words, puts the whole city on its guard. The In this moment of kindness, then, there's a hint of trouble to
jittery citizens draw a sharp line between them and us, treating come. The city has welcomed the strangers for now, but they
the strangers as outsiders simply because they're new to town. might not stay so friendly. Even the poem's rhythms suggest a
certain tension. Listen to the halting enjambments in lines 1-3,
They even become worried that the strangers have somehow for instance:
invaded their very minds, "haunt[ing]" then in their own internal
"house[s]"—in other words, that the presence of the strangers Last night they came across the river and
has changed them and everyone they know. Strangers and old Entered the city. Women were awak
wakee

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With lights and food. [...] All that's really changed, then, is that the people of the city have
gotten uneasy about the fact that they don't know these
These mid-sentence breaks appear at odd moments, strangers. The new arrivals aren't causing a speck of trouble.
introducing little jolts of tension: what will the unexpected They're just mysterious. That in itself is enough to turn the
"they" do after they cross the river? How will the women people of the city against them.
respond?
LINES 13-16
And then there's the poem's metermeter. The poem mostly ticks
along in iambic pentameter—lines of five iambs, metrical feet Yet all the ...
with a da-DUM
DUM rhythm, as in "Not ask ask- | ing what | the men | ... hands accepting hands;
had come | to tak
takee." In line 5, though, the poem falls back to Although there's no sign of trouble from the strangers, the city
iambic trimeter, just three iambs in a row: "Or what | strange becomes a "haunted place," troubled by suspicion and rumors.
tongue | they spok
spokee." The shorter line feels hesitant, as if it's The citizens aren't just suspicious of the strangers, either.
drawing back in fear. Everyone "speaks cautiously" now, and even "old friends" greet
The speaker's vagueness about identity and location makes this each other guardedly, "clos[ing] up" their once "candid" (or
poem feel rather mysterious and tense, too. All the players here frank and open) faces. Where there used to be fellowship, now
feel as if they could have come from a fairy tale: there are just there's only distance and distrust.
the "band" who arrive, the "river" they cross, the "city" they The speaker's repetitions here capture the feeling that
enter, the "women" who greet them. Perhaps that ambiguity something has gone very wrong. "Man Man meeting man speaks
sets readers up to interpret this story symbolically or cautiously," they observe in line 14; in line 16, they lament that
allegorically as well as literally. This doesn't seem to be a story "There is no warmth in hands accepting handshands." The diacope on
about a particular incident, but one that could happen "man" and "hands" suggests equivalency: the people and the
anywhere, any time. hands match each other. And the parparallelism
allelism between the two
phrases—"man meeting man" and "hands accepting
LINES 7-12 hands"—stresses that equivalency. These should be the
Now in the ... meetings of friends and equals. Instead, they're wary standoffs
... hearth and field. between people who no longer trust each other.
In the second stanza, earlier hints of trouble begin to sprout The arrival of the strangers, then, makes the people of the city
into problems. into the "enemies" of the poem's title—the enemies of their old
The poem leaps to the next day, bringing readers up to the friends as much as the enemies of those strangers. The
storyteller's present moment: "Now in the morning." Only strangers haven't done anything to make this happen. They're
hours after the strangers' arrival, the people of the city are simply new and different. That in itself is enough to put
whispering "stories of the swift and dark invasion" to each everyone on their guard, even with people they're used to
other. This is not at all the language of welcoming hosts. (Even greeting openly and warmly. Something strange is going on
the sibilant /s/ and /z/ sounds of "sstoriess of the swift and dark here.
invassion" create an ominous hiss.)
LINES 17-20
The description of the invasion as "dark," in particular, suggests
Each ponders, "Better ...
the citizens' suspicion. The strangers' arrival was "dark" in
... my own house."
several ways, literal and figur
figurativ
ativee: they arrived at night, and
there was no clear reason for their arrival. But the word "dark" In the poem's last four lines, the speaker looks into the minds of
might also connote dark purposes, nefarious intent. The citizens all the suspicious, guarded citizens. All of them, the speaker
are starting not to trust the new arrivals. observes, are having the same thought, which feels pretty ironic
when one considers what that thought is: in essence, I'd better
The same women who greeted the strangers the night before
not let anybody get too close to me.
now turn against the visitors, observing that "not one stranger
told / A reason for his coming." Those strangers might The speaker captures this new anxiety through an extended
reasonably object that no one asked "why they came so metaphor
metaphor:
suddenly to the land." The women turn their own unquestioning
welcome into a weapon against the people they helped. [...] "Better hide myself in case
Those strangers have set up their homes in minds
One thing the city knows, though, is that the strangers'
I used to walk inin. Better dr
draaw the blinds
"intrusion / Was not for devastation." These people clearly have
Even if the strangers haunt in m myy own house
house."
not come to invade or cause trouble: "Peace is apparent still"
throughout the town.

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A mind, here, becomes a home: one that can be as welcoming or
as forbidding as one makes it. The arrival of the strangers, then, strangers have set up their homes in minds / I used to
threatens the citizens with a kind of home invasion—or, at least, walk in. Better draw the blinds / Even if the strangers
they feel like it could. Their fear here isn't so much that the haunt in my own house."”
strangers have invaded their city, but that they've invaded the
minds they know so well. Worse still is the thought that the
strangers might already have invaded their own minds. POETIC DEVICES
In other words, the townspeople's real terror seems to be the
terror of change! The mere arrival of people they don't EXTENDED METAPHOR
recognize makes them fear that their own minds might no The poem closes with an extended metaphor in which minds,
longer be trustworthy. And so, after an all-too-brief spell of faces, and hearts are houses: places where people can be
unquestioning welcome, they shut down, "draw[ing] the blinds" invited in or shut out. The metaphor arrives subtly in the
on their inner homes, even though they fear it's too late. moment when "Old friends / Close up the candid looks upon
Readers might be tempted to see this mysterious tale as a story their face." Here, a "candid," frank, unguarded expression
about how people react to literal strangers—new immigrants to becomes an open door or an unshuttered window, something
their country, say. But it might also reflect more broadly and through which a friend might enter. That idea gets more explicit
symbolically on how people react to any kind of when the speaker peers into the minds of all the citizens and
novelty—perhaps even the novelty of a new idea or feeling, finds them thinking:
something unexpected or unfamiliar happening "in [their] own
house." Change and strangeness, in this poem, raise people's [...] "Better hide myself in case
hackles. Those strstrangers
angers hahavve set up their homes in minds
I used to walk inin. Better dr
draaw the blinds
Even if the strangers haunt in m myy own house
house."
SYMBOLS
Here, people are houses that others can make themselves
comfortable in—if the door is open and they're invited. By the
THE STRANGERS
same token, people are houses that others can invade like
The poem's "strangers" can be read as symbols of the thieves, or even "haunt" like ghosts.
new and unfamiliar in general.
This metaphor draws a connection between the city that invites
When the strangers first arrive in town, the people of the city the strangers in and the people of that city. At first, the people
welcome them kindly. But the next day, they do an immediate behave individually as they do collectively, opening not just
about-face, suspecting the visitors of an "invasion" and their literal but their metaphorical doors to the strangers,
mistrusting their unfamiliarity: they speak a "strange tongue" offering them comfort and treating them as friends. Alas, it
and don't offer a "reason for [their] coming." takes only a day for them to do an about-face and "draw the
Read symbolically, this story might also suggest that people blinds" against these new people.
tend to greet anything strange and new—ideas, emotions,
changes—with mistrust, any initial curiosity and openness Where Extended Metaphor appears in the poem:
turning swiftly to suspicion. Too robust an inner wall between
• Lines 14-15: “Old friends / Close up the candid looks
the familiar and the unfamiliar, the poem hints, might breed a
upon their face.”
stagnant and fearful way of life.
• Lines 17-20: “Each ponders, "Better hide myself in case /
Those strangers have set up their homes in minds / I
Where this symbol appears in the poem: used to walk in. Better draw the blinds / Even if the
• Lines 1-2: “Last night they came across the river and / strangers haunt in my own house."”
Entered the city.”
• Lines 4-6: “what the men had come to take / Or what PARALLELISM
strange tongue they spoke / Or why they came so Par
arallelism
allelism helps to give the poem fretful and sorrowful notes
suddenly through the land.” in turn. When the "women" of the city invite the strangers in,
• Line 8: “the swift and dark invasion” for instance, parallelism captures their gentle delicacy at the
• Lines 9-10: “not one stranger told / A reason for his same time as it sounds a warning:
coming”
• Lines 17-20: “"Better hide myself in case / Those
[...] They entertained the band,

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Not asking what the men had come to take Breaking the first line mid-sentence on the word "and," the
Or what strange tongue they spoke speaker raises the question: What on earth are this mysterious
Or wh
whyy they came so suddenly through the land. "they" about to do? That question only gets more urgent at the
next enjambment: And what are the women going to do about it?
The repeated sentence structure here draws attention to the These enjambments repeatedly raise and dispel the illusion
list of things people might think to ask of sudden mysterious that this poem might be about a real "invasion," not a perfectly
visitors—and what the women at first don't even bother to ask benign visit from some strangers—and thus subtly foreshadow
the strangers on their doorstep. These repetitions also set up the mistrust that will creep into the poem later.
an ominous "don't think of an elephant" effect: for these are An enjambment similarly mirrors the city's secret worries in
exactly the kinds of questions that the local citizens will be lines 7-8:
worrying about the next day.
Uncertain of the answers to these questions, the people of the Now in the morning all the town is filled
city will later retreat into fear and mistrust, thinking to With stories of the swift and dark invasion;
themselves:
For a split second, readers might interpret "all the town is filled"
"Better
Better hide m
myself
yself in case to mean "all the town is filled with strangers" before the
Those strangers have set up their homes in minds enjambment resolves—a flash of what the change-averse
I used to walk in. Better dr
draaw the blinds [...] citizens might themselves feel.
At the end of the poem, meanwhile, a sequence of
That nervous anaphor
anaphoraa of "better" captures the citizens' fretful enjambments helps to conjure the nervous citizens' anxieties:
dithering as they prepare to close their hearts against the
strangers. In doing so, they can't help but close everyone out, Each ponders, "Better hide myself in case
even their old friends. As the speaker mournfully puts it: Those strangers have set up their homes in minds
I used to walk in. [...]
Man meeting man speaks cautiously. Old friends
Close up the candid looks upon their face. Those enjambments feel panicky. There's not a single pause in
There is no warmth in hands accepting hands
hands; the racing thoughts of these worried, mistrustful people; their
plans for concealment and evasion rush unstoppably over the
The echoing phrases there (underscored by the /a/ assonance edges of lines.
of "maan" and "haands") stresses the idea that there's no way to
close oneself off just a little bit. In rejecting the strangers, the
Where Enjambment appears in the poem:
citizens also begin to reject and mistrust even their dearest "old
friends." • Lines 1-2: “and / Entered”
• Lines 2-3: “awake / With”
Where P
Par
arallelism
allelism appears in the poem: • Lines 7-8: “filled / With”
• Lines 9-10: “told / A”
• Line 4: “what” • Lines 10-11: “intrusion / Was”
• Line 5: “Or what” • Lines 14-15: “friends / Close”
• Line 6: “Or why” • Lines 17-18: “case / Those”
• Line 14: “Man meeting man” • Lines 18-19: “minds / I”
• Line 16: “hands accepting hands”
• Line 17: “Better hide myself”
SIBILANCE
• Line 19: “Better draw the blinds”
This poem's quiet but pervasive sibilance creates an anxious,
whispery tone.
ENJAMBMENT
The effect creeps in subtly at the end of the first stanza, where
Frequent enjambments give this poem a hiccupy, nervous
the speaker raises the "sstrange tongue [the new arrivals] spoke"
energy. For example, the enjambments in the first three lines
and the question of why they arrived "sso suddenly." Those /s/
create a strange suspense:
sounds gather and get denser in the second stanza, when
"sstories of the swift and dark invasion" sweep through town.
Last night they came across the river and
Even though "peacce is apparent still," the citizens are starting to
Entered the city. Women were awak
wakee
get nervous, and the increasing rate of sibilant sounds evokes
With lights and food. [...]
the rush of "stories" sweeping in whispers across town.

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By the final stanza, the sibilance isn't just whispering, but varying length: two sestets (or six-line stanzas) and a closing
hissing. A sharp /z/ sibilance (as in "friendss and "closse") creeps octave (or eight-line stanza). That final longer stanza at the end
in alongside the softer /s/ sounds: reflects the poem's building tension. At first, all is peaceful
when the mysterious strangers arrive in town. But the locals
Yet all the city is a haunted placce. get more and more mistrustful, and the final drawn-out,
Man meeting man speakss cautioussly. Old friendss dithering, repetitive stanza captures their anxiety.
Closse up the candid lookss upon their facce. This is a form of Jennings's own design. In other respects, the
poem (like much of her work) is pretty traditional:
As the townspeople turn against the strangers and transform
them (and each other) into "enemies," the poem's sounds get • It's mostly written in iambic pentameter (lines of
harsher. five iambs, metrical feet with a da-DUM
DUM rhythm, as
Sibilance's hushed but sinister effects thus help to capture both in "Not ask
ask- | ing what | the men | had come | to
the literal sounds of whispered gossip and the city's emotional tak
takee"), one of the most common meters in English-
atmosphere, conjuring up a mood of mystery and fear. language poetry (though it does use occasional lines
of iambic trimeter—just three iambs).
• It also uses predictable patterns of rhyme.
Where Sibilance appears in the poem:
• Line 4: “asking” These unobtrusive choices keep readers' attention more on the
• Line 5: “strange,” “spoke” poem's storytelling than its form.
• Line 6: “so suddenly”
• Line 8: “stories,” “swift” METER
• Line 9: “say,” “stranger” "The Enemies" is written in a mixture of iambic meters. For the
• Line 11: “devastation” most part, the poem uses iambic pentameter: that is, lines of
• Line 12: “Peace,” “still” five iambs, metrical feet with a da-DUM
DUM rhythm. Here's an
• Line 13: “city,” “place” example from line 13:
• Line 14: “speaks,” “cautiously,” “friends”
• Line 15: “Close,” “looks,” “face” Yet all | the cit
cit- | y is | a haunt
haunt- | ed place
place.
• Line 16: “hands accepting hands”
• Line 17: “ponders,” “case” This is a common and familiar meter; readers will likely have
• Line 18: “strangers,” “set,” “homes,” “minds” encountered it before in the works of (for just a few examples)
• Line 20: “strangers,” “house” Shak
Shakespeare
espeare, Wordsworth
ordsworth, and Elizabeth Barrett Browning
and will probably feel prepared for the same rhythm to tick
steadily along.
VOCABULARY In line 5, however, the speaker introduces a surprising line of
iambic trimeter (just three iambs), pulling the stanzas up short:
Band (Line 3) - A group of people. Here, it refers to the
mysterious group of people who enter the city.
Or what | strange tongue | they spok
spokee
Tongue (Line 5) - Language. The fact that the people who enter
the city speak a "strange tongue" emphasizes their foreignness Similarly, line 11 is missing its final final stressed beat:
in the eyes of the locals.
Devastation (Lines 10-11) - Destruction. The people who Was not | for de
de- | vasta
sta- | tion:
enter the city don't have any apparent desire to cause chaos or
violence, but the locals are wary of them nonetheless. Those shorter lines create a halting, nervous tone befitting the
Hearth (Line 12) - A fireplace—but the word is often used poem's themes of uncertainty and mistrust.
meton
metonymically
ymically to mean a home. The last and longest stanza, however, sticks to iambic
Candid (Lines 14-15) - Open, frank, straightforward. pentameter throughout, giving the locals' final rejection of the
strangers a settled momentum.

RHYME SCHEME
FORM, METER, & RHYME
In the first two stanzas of "The Enemies," the rh
rhyme
yme scheme
FORM runs as follows:
The 20 lines of "The Enemies" are divided into three stanzas of ABABBA CDCDDC

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The rhymes of the first stanza, for instance, are: humanity in general. Pick any city in the whole history of the
world, the poem quietly suggests, and you'll likely find a story
[...] and [A] about its people first welcoming strangers, then turning against
[...] awake [B] them in mistrust.
[...] band, [A] Perhaps the poem might even be read as an allegory for
[...] take [B] something that happens inside people. New ideas or new
[...] spoke [B] feelings might likewise feel like mysterious strangers arriving in
[...] land. [A] town, and might likewise inspire fear in their hosts.

Extra A and D rhymes break the alternating pattern in lines 5

and 11, falling just where shorter lines of iambic trimeter do. CONTEXT
That helps to make the poem's notes of hesitation stand out
more sharply in the reader's ear, and also capture an important LITERARY CONTEXT
movement in the poem: turning around. Each stanza's rhymes Elizabeth Jennings (1926-2001) was an English poet of
reverse course to ends on the rhyme they began on, mirroring passionate spiritual conviction. Born in the north of England,
the locals' turn against the strangers they at first welcome. she moved to Oxford as a child and spent the rest of her life
The longer closing stanza follows a similar pattern, simply there—following in the footsteps of one of her greatest
adding one more pair of alternating rhymes at the beginning of influences, fellow Oxford poet Ger
Gerard
ard Manle
Manleyy Hopkins
Hopkins.
the stanza. Here's how that sounds: Like Hopkins, Jennings was a devout Catholic, and she shared
EFEFEFFE the earlier poet's deeply felt sense of nature
nature's's holiness
holiness. She
Readers might note that many rhymes here are slant slant, not even titled one of her books The Mind Has Mountains after a line
perfect—like take and spoke in lines 4-5 or filled, told, and field in from Hopkins's "No No worst, there is none
none," a poem about
lines 7, 9, and 12. Those off-kilter almost-rhymes help to spiritual desolation. Jennings perhaps shared some fellow
support the poem's general tone of unease. feeling with Hopkins: both grappled with serious mental illness
in their lives, enduring deep depressions.
Jennings's style and interests were always a little out of step
SPEAKER with contemporary poetic movements. She wrote much of her
poetry in the years when writers like Allen Ginsberg were
The speaker here is an omniscient and anonymous narrator.
doing wild experiments with poetic form and subject, but
They're not part of the story they tell; they simply observe from
Jennings preferred a more traditional path, favoring sonnets
a little distance as a city first welcomes "strangers" in, then
over freeform Beat poetry.
almost immediately turns against them. Though they seem to
have an intimate knowledge of the people they observe, they This poem was first collected in Jennings's 1987 Collected
don't precisely feel like a fellow citizen. Poems. Jennings was a prolific and quietly successful poet
during her lifetime, and she was made a CBE in 1992.
Alongside the vagueness of the poem's setting, the speaker's
storytelling tone makes the poem feel like a fairy tale—or HISTORICAL CONTEXT
perhaps a cautionary tale. This story isn't about any one
Elizabeth Jennings' life took in all the chaos of the mid-20th
particular city, any one particular group of people, or any one
century. Born in 1926, she lived through World War II (when
particular speaker. Instead, it's about a deep human tendency
her native England was regularly bombed by German planes).
to turn against what's unfamiliar, whether that's a person one
Her most productive years as a poet took in all the uproar and
sees as an "outsider" or a thought or feeling unlike those one
change of the '60s and '70s. England in those decades was a
has had before.
place of energy, idealism, and enthusiasm, and a hub of style
and innovation. Beatlemania kicked off the "British Invasion," in
which British pop music took the world by storm. Television
SETTING came into its own as an art form, and shows like The Avengers
The poem's setting is a vague and dreamy one. Readers learn and Monty Python's Flying Circus debuted.
that "The Enemies" takes place in a "city" bordered by a "river," All this creative energy was set against a changeable political
but that's about it. This poem could take place anywhere and at landscape. In Britain as in the US, freedom movements for
any time. feminism, civil rights, and denuclearization clashed with old-
And that's exactly the point. Jennings isn't making a guard politicians, and the British economy was unstable.
commentary on any particular city here, but rather about Against this backdrop of chaotic change, Jennings was one of

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many who sought constancy in older artistic and religious • Jennings's LLegacy
egacy — Read Jennings's obituary to learn
traditions. more about how her work was received.
In this poem, however, she seems to reflect disapprovingly on a (https:/
(https://www
/www.theguardian.com/news/2001/oct/31/
.theguardian.com/news/2001/oct/31/
guardianobituaries.books)
changing world's reactionary xenophobia. As immigration to
the UK boomed in the mid-20th century, anti-immigrant LITCHARTS ON OTHER ELIZABETH JENNINGS
sentiment boomed likewise. Jennings here observes how POEMS
quickly people swerve from welcoming strangers to fearing
• Absence
them.
• In Pr
Praise
aise of Creation
• One Flesh
MORE RESOUR
RESOURCES
CES
EXTERNAL RESOURCES HOW T
TO
O CITE
• A Brief Biogr
Biograph
aphyy — Learn more about Jennings's life.
(https:/
(https://libr
/library
ary..wustl.edu/news/the-life-and-m
wustl.edu/news/the-life-and-mystery-of-
ystery-of- MLA
poet-elizabeth-jennings/) Nelson, Kristin. "The Enemies." LitCharts. LitCharts LLC, 19 Jan
2024. Web. 31 Jan 2024.
• An Interview with Jennings — Read an interview in which
Jennings discusses her work and her life. CHICAGO MANUAL
(https:/
(https:///catholicher
catholicherald.co.uk/elizabeth-jennings/)
ald.co.uk/elizabeth-jennings/)
Nelson, Kristin. "The Enemies." LitCharts LLC, January 19, 2024.
• More of Jennings's W Work
ork — Visit the Poetry Archive to Retrieved January 31, 2024. https://www.litcharts.com/poetry/
read (and hear!) more of Jennings's poetry. elizabeth-jennings/the-enemies.
(https:/
(https:///poetryarchiv
poetryarchive.org/poet/elizabeth-jennings/)
e.org/poet/elizabeth-jennings/)

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