It is within this stanza that there is a slight tonal shift. Duffy writes that ‘She didn’t live there now. She lived’, implementing a caesura. The stilted sentence breaks the flow of the line, with bolding being emphasized. The abrupt image of the moment now revealing that she has left is shocking. This moment of pause represents the change of location, Duffy moving from a distant past to a closer present.
There is a frenetic listing of the semantics of travelling, constructed with an asyndetic list. Indeed, ‘abroad, en route, up north, on a plane or train’ all compound the sense that she has finally escaped. Taking whatever transport she can, the Map-Woman has fled from her past. Although gone, the map remains. She intends to cover this up, hiding her true identity ‘under her stockings’. The triple repetition of ‘under’, linked with an item of clothing, shows the length she goes to hide her true identity. Duffy’s Map-Woman does not want to be connected with her past. Yet, her past is ‘pressing into the bone’, the depth of memory cutting right to her core. Delicate feminine fabrics "under stockings, under her gloves, under her chiffon veil, a delicate braille." implies a change in identity through the way she dresses, as well as location- a sense of attempting to re-invent herself. However, the map still remains, showing that throughout periods of her life, her memories remain. Duffy presents the idea that changing the exterior to give an impression of a change of identity through clothing might not be the best way to find identity- this comes from within.
Duffy suggests that no matter how far she runs, the memories will always be there. The use of cyclic language, ‘looped’ and ‘repeatedly’ demonstrate this. Although she may leave, her life is ‘repeatedly’ coming back to rest on memory. She cannot change who she is, or escape the past she has lived.