Kid by Simon Armitage

Kid by Simon Armitage is a dramatic monologue written from the point of view of Robin, the ‘boy wonder’ who we all know as the sidekick to Batman. Made popular in comics, TV and film, Robin is perceived in popular culture as the younger, less powerful one of the dynamic duo. In Kid, Armitage puts Robin front and centre, exploring the breakdown of the relationship from his point of view.

This study guide is written for students and teachers of English Literature, particularly those studying CCEA’s GCSE Identity Poetry Anthology. Check the bottom of the article for a full list of study guides for this anthology, plus a quiz, comprehension questions and links to other poems for comparison.

Skip ahead to the following sections:

The poem ‘Kid’
Glossary of tricky vocabulary
A summary of ‘Kid’
The context of ‘Kid’
A line-by-line analysis of the poem
Analysis of form, structure and language
Themes in ‘Kid’
Quiz on ‘Kid’
Comprehension questions on ‘Kid’
Comic strip activity and download
Poems to pair with ‘Kid’
Links to other study guides in the Identity Anthology

Kid

Batman, big shot, when you gave the order
to grow up, then let me loose to wander
leeward, freely through the wild blue yonder
as you liked to say, or ditched me, rather,
in the gutter … well, I turned the corner.
Now I’ve scotched that ‘he was like a father
to me’ rumour, sacked it, blown the cover
on that ‘he was like an elder brother‘
story, let the cat out on that caper
with the married woman, how you took her
downtown on expenses in the motor.
Holy robin-redbreast-nest-egg-shocker!
Holy roll-me-over-in the-clover,
I’m not playing ball boy any longer
Batman, now I’ve doffed that off-the-shoulder
Sherwood-Forest-green and scarlet number
for a pair of jeans and crew-neck jumper;
now I’m taller, harder, stronger, older.
Batman, it makes a marvellous picture:
you without a shadow, stewing over
chicken giblets in the pressure cooker,
next to nothing in the walk-in larder,
punching the palm of your hand all winter,
you baby, now I’m the real boy wonder.
 
*words in bold are explained in the glossary below

Glossary:

Leeward: The direction opposite to the side from which the wind is blowing.
Yonder: A poetic or old-fashioned term referring to a distant place or direction.
Ditched: Abandoned or left behind, or ‘broken-up-with’ in a relationship.
Gutter: The channel at the edge of a street or roof used for drainage.
Scotched: Put an end to or stop something, often a rumour or speculation.
Elder brother: An older sibling, typically used metaphorically to denote someone who provides guidance or protection.
Caper: A playful or mischievous adventure or activity.
Expenses: Money spent or allocated for a specific purpose, often reimbursed by an employer or organisation.
Holy robin-redbreast-nest-egg-shocker: A humorous exclamation, possibly referring to the unexpected revelation that Batman used the company car for personal business.
Holy roll-me-over-in the-clover: A playful and exaggerated expression of astonishment or excitement.
Doffed: Removed or taken off, often about a piece of clothing.
Sherwood-Forest-green: A specific shade of green, likely referencing the forest associated with the legendary figure Robin Hood.
Crew-neck: A style of neckline on a garment, typically rounded and close-fitting.
Giblets: The edible internal organs of poultry, such as the heart, liver, and gizzard.
Larder: A room or cupboard used for storing food.
Palm: The inner surface of the hand, often used metaphorically to represent strength or resilience.
Boy wonder: A term often used to describe a young person who is exceptionally talented. Robin was referred to as ‘the boy wonder’ throughout the TV series.

'Kid' summary

Kid begins with the speaker, Robin, addressing Batman directly with a tone of anger. Robin recounts how Batman had given an ‘order’ for the pair to go their separate ways, which Robin interprets as Batman dumping him.

Robin then explains how he has managed to ‘turn the corner’ and make something good out of it. He has shaken off the idea that he was the lesser one of the pair and reveals some of Batman’s secrets (a rumour about an affair Batman had with a married woman, and another rumour that Batman used company funds for his personal life).

Robin reveals deep-seated anger when he describes changing clothes from his traditional ‘uniform’ of the lycra and cape, and instead now wears jeans and jumpers, and is better for it.

The poem ends with Robin enjoying the idea that Batman is alone, cooking boring meals in an empty kitchen and perhaps even regretting dumping Robin.

Context of 'Kid' by Simon Armitage

Simon Armitage's life, education and career

Simon Armitage was born in 1963 in West Yorkshire, England, and grew up in the village of Marsden. He attended Huddersfield Polytechnic, where he received a BA with Honours in Geography.

After completing his degree, he worked as a probation officer for several years before beginning his writing career. (Source: “Simon Armitage.” Poetry Foundation. Accessed 15th February 2024. https://www.poetryfoundation.org/poets/simon-armitage)

Armitage has published numerous poetry collections, including Zoom!, The Shout: Selected Poems, and his latest, Magnetic Field: The Marsden Poems. He has also written several translations, including Sir Gawain and the Green Knight. In addition to his writing, Armitage has worked as a radio and television presenter and has collaborated with musicians and visual artists. He was elected Oxford Professor of Poetry in 2015 and in 2019, he became Poet Laureate, taking over the mantel from Carol Ann Duffy. (Source: “Simon Armitage.” British Council. Accessed 15th February 2024. https://literature.britishcouncil.org/writer/simon-armitage)

Armitage’s work is influenced by his Yorkshire heritage and his interest in history and nature. He has cited the poets Ted Hughes and Philip Larkin as important influences, as well as the Anglo-Saxon poem Beowulf. Armitage’s poetry often explores the themes of identity, loss, and memory, and his use of language is marked by its clarity and accessibility. (Source: “Simon Armitage.” Poetry Foundation. Accessed 15th February 2024. https://www.poetryfoundation.org/poets/simon-armitage)

If you enjoyed the poem ‘Kid’, check out some more of Simon Armitage’s poems: ‘Out of the Blue‘, which was written to mark the fifth anniversary of the 9/11 terror attacks on the World Trade Centre in New York; ‘Remains‘, a soldier’s traumatic recall of events at war; and ‘I am very bothered‘, an autobiographical tale of childhood misdeeds.

Context of 'Kid'

In 1989, Tim Burton directed the box office hit ‘Batman’ starring Michael Keaton as Batman. The movie was a huge success, however the character of Robin was cut from the story. This decision seems to have been made to keep the plot line more streamlined, avoiding too many characters and complications.

Armitage wrote Kid in response. In Kid, the speaker, Robin, speaks of his hurt and betrayal at being dumped, ‘ditched’ by Batman. The tone is cynical and bitter throughout.

Line-by-line analysis of 'Kid' by Simon Armitage

The title 'Kid'

The title ‘Kid’ suggests the theme of childhood and youth.
The poem is a dramatic monologue and the title lends itself to a couple of interpretations: firstly, the speaker sees himself as a kid who is forced to grow up, referring to himself as a kid.
Secondly, the term could be used ironically, as a nickname for the speaker used by others. In this sense, there is a mix of affection and condescension implied.

Batman, big shot, when you gave the order

The monologue opens with the speaker using direct address to Batman, the superhero and the speaker’s long-time work partner.
‘Big shot’ is a term indicating importance or authority. The speaker suggests that Batman, or the authority figure, gave an order, making the power dynamic in the duo clear: Batman gives a command or instruction, and Robin follows.
Alliteration emphasises the negative tone in ‘Batman, big shot’
The allusion to Batman as a cultural reference sets this poem in its time: the late 20th century (1992) when the programme was at its most popular.

to grow up, then let me loose to wander

The speaker reflects on being allowed to grow up and explore freely, using the imagery of being “let loose to wander.” This line suggests a sense of freedom or independence, but perhaps also some fear, being untethered from the very thing that had given structure for so long.
Enjambment is used to create the flow of one line into the next without pause, emphasising the conversational, honest style.
The metaphor ‘let me loose to wander’ builds a picture in the reader’s mind of Robin alone, raising questions as to why this happened and how it will pan out.

leeward, freely through the wild blue yonder

Here, the speaker continues the theme of freedom and exploration, using the metaphorical phrase ‘wild blue yonder’ to represent the vast, open world.
The language of this metaphor is very evocative of the TV comic show, helping the reader to feel immersed in the story.
Assonance (rhyming vowel sounds within words) in ‘leeward, freely through the wild blue yonder’ emphasises the effect of Robin’s newfound freedom.

as you liked to say, or ditched me, rather,

The speaker contrasts the idea of being allowed to roam freely with the possibility of being abandoned or deserted (‘ditched’). This contrast highlights the nature of an unreliable narrator: what is ‘dumped’ for one party is ‘set free’ for the other. We tend to lean towards Robin’s version since he is the speaker and therefore gains our trust through his first-hand account. The contrast highlights the difference between what was said and what actually happened.
Robin’s informal tone builds trust.

in the gutter ... well, I turned the corner.

This line employs the metaphor of ‘the gutter’ to signify a low point or difficult situation, from which the speaker has managed to overcome (‘turned the corner’).
The contrasts are separated by the ellipsis, building a dramatic pause in the middle of the line (caesura).
The rhyme scheme in this poem is interesting to point out here: every line ends with the ‘-er’ ending on the word, however, the sound effect is sometimes lost due to enjambment. Here, the pause after ‘gutter’ allows the ‘-er’ sound to be heard clearly, regardless of previous enjambment.
This first long sentence finally ends with a full stop at the end of this line. The sheer length of the sentence highlights the intense emotion felt by the speaker in rushing all of this information out.

Now I've scotched that 'he was like a father

The speaker dismisses the notion that Batman was like a father to him, using the verb ‘scotched’ to indicate putting an end to that idea.
The speaker’s informal tone here further adds to the conversational style stream of consciousness.
The use of quotation marks to show awareness of what others have always said about him shows some self-awareness on Robin’s part.

to me' rumour, sacked it, blown the cover

Robin rejects the idea further, using aggressive verbs like ‘sacked’ and ‘blown the cover’ to convey his contempt and to reveal a sense of exposing the falsehood of the rumour.

on that 'he was like an elder brother'

In another simile, Robin dismisses the image of Batman as either a father or a brother figure: there is clearly a sense of trying to form a new identity far from the image of his past.
There are perhaps also some authority issues at play: Robin, or the speaker, has too long felt under the command of someone older, and, like many teens or young people, they want to break free and carve out their own path.

story, let the cat out on that caper

Robin uses a metaphor to reveal the truth about a supposed relationship between Batman and a married woman, using the idiom ‘let the cat out’ to mean revealing a secret.
Robin’s anger at being abandoned by Batman causes him to reveal something which has perhaps been kept secret for a long time. Speaking out in anger like this reveals the depth of hurt Robin feels.

with the married woman, how you took her

This line introduces a new element of the narrative and adds further to the theme of betrayal or scandal: this time, Robin betrays Batman as revenge for being ‘ditched’.
The use of the definite article ‘the’ suggests that this might have been a poorly kept secret, or something referred to often between the two former friends.

downtown on expenses in the motor.

Colloquial language used in ‘downtown’ and ‘motor’ continues the conversational, informal tone of the poem.
The reference to ‘the motor’ is another cultural reference which many readers (of a certain age!) will enjoy: the Batmobile. The casual reference to such a famous car reminds the reader that Robin was at the heart of the story and knew everything: these revealed details seem likely to be true (in the fictional world of the story), making Robin’s account more trustworthy.
The video below shows many key features of this poem: the Batmobile, Robin’s ‘off-the-shoulder-number’ and the nature of the partnership between the two.

Holy robin-redbreast-nest-egg-shocker!

Here, the speaker employs a playful, sarcastic tone to express faux surprise or astonishment at the revelation of these rumours.
Alliteration in ‘robin-redbreast-nest-egg-shocker’ adds a sound effect, mimicking the punching, kicking and ‘kapowing’ of the TV show.
The exclamatory tone is enforced with the exclamation mark, creating a much shorter sentence than the previous two sentences.
The reference to ‘nest-egg’ hints at the money scandal of using the company car for personal business.

Holy roll-me-over-in the-clover,

Repetition is used here, echoing the language and structure of the previous line’s exclamation.
The repetition of ‘Holy’ is also highly evocative of the language of the TV show.
The suggestion here, in ‘roll-me-over-in-the-clover’ is that Batman was carrying out his affair in odd places (‘the clover’, so perhaps outdoors?)

I'm not playing ball boy any longer

The speaker declares freedom from his previous role of secret keeper and obedient sidekick, using the metaphor of ‘playing ball’ to mean complying or cooperating.
The informal tone continues in these colloquial phrases.

Batman, now I've doffed that off-the-shoulder

The direct address (‘Batman’) here highlights Robin’s anger and hurt.
The image of Robin wearing different clothes is difficult for any reader to imagine: Robin was almost always seen in the same iconic costume. Now, he has ‘doffed that off-the-shoulder’ number, referring to what might have been a beloved costume in a highly sarcastic manner.

Sherwood-Forest-green and scarlet number

Sibilance in ‘Sherwood-Forest-green and scarlet’ hisses out the phrase, adding to the sarcastic description and highlighting Robin’s tone of annoyance and hurt.
Robin’s outfit had, up until now, been synonymous with his identity. Now, the suggestion is that he has made a clear departure from that character or persona, and is forming a new identity. Or at least, redefining his identity away from Batman.

for a pair of jeans and crew-neck jumper;

He describes his new attire which is in stark contrast to the Robin Hood-inspired outfit, opting for casual and contemporary clothing.
Clothing imagery is used here to help both the speaker and the reader to define their identity. Clothes are often an important part of defining who we are and can reflect many different aspects of our personality and style.
Rather than a full stop, this line ends with a semi-colon, allowing the sentence to run on for one final phrase.

now I'm taller, harder, stronger, older.

The speaker asserts their growth and maturity, using a series of adjectives to emphasise physical and personal development.
Each of these comparative adjectives ends with ‘-er’ further enforcing the repetitive sounds of the poem, and adding a dominant tone to Robin’s speech.
The speaker ends the sentence here, adding decisiveness to the overall tone.

Batman, it makes a marvellous picture:

This line addresses Batman directly again, suggesting a sense of satisfaction in Robin’s new-found attitude.
This new, gloating tone is emphasised by the colon which creates a pause before we find out what exactly this ‘marvellous picture’ is.

you without a shadow, stewing over

The speaker metaphorically describes Batman without his former influence or authority, using the image of a ‘shadow’ to represent that influence.
The verb ‘stewing’ refers to Batman’s attitude, perhaps in feeling angry or resentful that his choice has not worked out so well. After all, what good is a superhero without his sidekick? ‘Stewing’ could also be a pun on the chicken giblet stew being made by Batman.
Alliteration emphasises Robin’s tone, in ‘shadow, stewing’

chicken giblets in the pressure cooker,

This line presents a mundane image of Batman cooking, using specific details like ‘chicken giblets’ and ‘pressure cooker’ to create a vivid scene.
Remember that this image is not real, but rather straight from Robin’s hurt imagination: Batman could equally be out enjoying himself, hosting a dinner party.

next to nothing in the walk-in larder,

The speaker describes the lack of groceries in Batman’s pantry, suggesting that without Robin, Batman is not able to function effectively. Perhaps there is even the hint that Robin did daily chores for the pair.
Robin’s tone is gloating again, emphasised by the alliteration in ‘next to nothing’, showing his hurt feelings.

punching the palm of your hand all winter,

This line suggests Batman engaging in repetitive actions, possibly out of frustration or agitation, as indicated by ‘punching the palm of your hand.’
This image is also one that TV show viewers would have been familiar with: Batman punching his fist into the palm of his other hand when working on a difficult puzzle or case.

you baby, now I'm the real boy wonder.

The speaker asserts their superiority and newfound confidence, using the term ‘baby’ to diminish Batman’s authority and proclaiming themselves as the ‘real boy wonder.’
The theme of identity is the final thought of the poem: Robin had always been referred to as the ‘boy wonder’ but now, free of Batman’s limelight, Robin has become a more ‘real’ version of himself.

Analysis of form, structure and language

Verse structure

Kid is written as a dramatic monologue, in one extended stanza.

Interestingly, there are only five sentences in the poem, meaning enjambment is a significant feature. Indeed, half of the poem, twelve of the lines, flow directly into their succeeding line. Therefore, the enjambment creates a conversational style, and there is a sense of strong emotion. The bitterness felt by the speaker is not contained by punctuation. Instead, it overflows beyond the line. And so the lines, like their speaker, are set ‘loose to wander leeward’.

Rhyme

Kid has an interesting rhyme scheme. Every line ends with an ‘-er’ sound, making the rhyme scheme AAAA… In other words, it is a monorhyme.

If each line had an end stop, this would be monotonous. However, when combined with enjambement, the effect is that the ‘-er’ sound is often buried by reading on past it and not pausing. This results in the rhyme underpinning the poem, without overwhelming it.

Rhythm

The rhythm of ‘Kid’ by Simon Armitage is trochaic pentameter. This means 10 syllables per line. Usually, students are familiar with Shakespeare who uses iambic pentameter, following the pattern ‘unstressed then stressed’ in each pair of syllables. However, in ‘Kid’, Simon Armitage uses trochaic tetrameter, where the stressed syllable falls first in each pair, for example:

Batman,/ big shot,/ when you/ gave the/ order/
to grow/ up, then/ let me/ loose to/ wander/
leeward,/ freely/ through the/ wild blue/ yonder/

(The bold syllable is the stressed syllable in each pair, and each pair (or metric foot) is separated from the next with a forward slash / ).

The trochaic rhythm gives this poem a driving pace, moving quickly on the first beat of each line. In the opening line and others, the plosive alliteration of the ‘b’ sound, ‘Batman, big shot’ drives the pace forward. This emphasises the bitter tone, exploding out of the mouth as it is read.

Language in 'Kid'

The vocabulary choices strongly suggest the speaker’s annoyance. Phrases such as ‘big shot’, ‘you gave the order’ and ‘ditched me, rather, in the gutter’ all suggest the speaker feels betrayed and abandoned. The tone is negative. Rather than allow himself to be crushed by Batman’s decision, Robin chooses to rise above and make something of himself. Active and physical verbs such as ‘scotched’, ‘blown the cover’ and ‘sacked it’ suggest the speaker has been motivated to action. This is confirmed in the line: ‘now I’m taller, harder, stronger, older.’ The speaker concludes that he is a better person for the change in the relationship.

Language of Comics/TV shows

The language choices in ‘Kid’ deliberately echo the 1968 TV show ‘Batman’. This TV show was re-run on UK TV throughout the 1970s and 80s, a time when Armitage was young. Indeed, this is my childhood too, and brings back memories for many Gen X-ers. ‘Pow’, ‘Kapow’ and ‘Klonk’ often spiralled onto the TV screen as Batman and Robin punched and kicked their way past villains, solving crime and keeping the streets safe.

Robin is particularly known for his ‘Holy … !’ phrases, such as ‘Holy Smokes’, ‘Holy crimson skies of death!’ and my favourite, ‘Holy Houdini!’

‘Holy robin-redbreast-nest-egg-shocker!’ echoes the language used by Robin in the TV show, however the phrase has many components and potential meanings. Robin is sharing Batman’s secrets, that he has been having an affair with a married woman. He has been paying for the affair ‘on expenses’. Perhaps the ‘nest-egg’ is a reference to the money spent on this affair.

Themes in 'Kid'

Identity

Kid explores the theme of identity. In this case, the speaker, Robin, has had to find out who he is and what his identity is after separating from Batman. This speaks beyond the Batman and Robin scenario to a wider audience. Who are we, when our relationships change or end? To what extent are we defined by our roles vs our own choices or personality? In ‘Kid’, we see that it is not only Robin who grows and changes but Batman is also forced to rethink himself and learn how to live independently of his ‘shadow’.

Childhood

The theme of childhood is embedded in the choice of character and speaker. Batman and Robin are synonymous with childhood. Indeed, despite being an adult, Robin is the ‘boy wonder’. He is forever depicted in popular culture as childlike, despite fighting crime and working alongside Batman, who is very much depicted as an adult.

Betrayal

The speaker’s emotions of anger and bitterness stem from the sense of betrayal and being dumped, ‘ditched’. The agressive verb choices and plosive alliteration emphaise the sense of brtrayal felt by Robin, whose loyalty to Batman was never questioned.

Now that Robin feels betrayed, he feels the floodgates have been opened. In an act of defiance and revenge, Robin betrays Batman, giving away his secret affair and mishandling of expenses! The speaker spills the details: ‘let the cat out on that caper/ with the married woman, how you took her/ downtown on expenses in the motor.’

Quiz

Quiz on ‘Kid’ by Simon Armitage

Test your knowledge of the poem 'Kid' by Simon Armitage.

Comprehension Questions on 'Kid' by Simon Armitage

Who is the speaker addressing in the poem?
What does the speaker mean when they say they were “let loose to wander”?
How does the speaker describe their relationship with Batman, and what evidence from the poem supports this description?
What metaphorical significance does the phrase “the wild blue yonder” hold in the poem?
What does the speaker mean when they say they’ve “turned the corner” after being in “the gutter”?
How does the speaker challenge the rumours surrounding their relationship with Batman?
What is the significance of the speaker’s decision to change their attire from a “Sherwood-Forest-green and scarlet number” to “a pair of jeans and crew-neck jumper”?
What emotions or attitudes does the speaker convey towards Batman throughout the poem?
How does the speaker assert their independence and maturity in the final lines of the poem, and what do you think this tells us about the theme of identity?
What other poem from the CCEA Identity anthology would you select to compare and contrast to ‘Kid’ by Simon Armitage?

Activity:

Using the comic strip template below, retell the story of the poem ‘Kid’ as a comic strip.

If you are feeling creative, try retelling the same story of the break up of Batman and Robin from Batman’s point of view.

Click on the image to download the template.

Other poems from the CCEA Identity Anthology to pair with 'Kid' by Simon Armitage

In Mrs Tilscher's Class by Carol Ann Duffy

As in Kid, In Mrs Tilscher’s Class explores the theme of coming of age and the dawning loss of innocence of a child moving from the shelter of primary school into the storm of adolescence. Both poems are told from the voice of an adult: in Duffy’s, the speaker is reflecting on childhood from the present day (presumably as an adult). And in Armitage’s poem, the speaker is an adult, despite the title ‘Kid’.

I Remember, I Remember by Philip Larkin

As in Kid, the theme of childhood is explored in I Remember, I Remember. In addition, the bitter and cynical tone is shared in both poems, providing students scope for comparison. Both poems explore a negative relationship: Larkin’s poem explores the bitter relationship between the speaker and the town of Coventry; Armitage’s poem explores the bitter separation between the two characters.

Catrin by Gillian Clarke

In both Catrin and Kid, the speaker is wrestling with a close relationship that has changed, with one party wanting freedom from the other. The tone and imagery is very different, but the underlying theme of finding identity in relationships is important to both poems.

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