Mythology
Mira Rosenthal
After all these years & halfway
around the world on this deck
where I'm sitting at home

in the sun & can see that some
newly hatched insect has chewed
& chewed the lips of the just

sprung Irises I've been growing,
the axis tilts & sways the ground
or whatever it is I am

standing on now below
my feet, not a ship
to go through like a business

of ferrets, but a bus
that I'm riding again
through a city on the other side

of the planet, crowded, so
crowded in fact
that I'm holding on

to the strap & rocking
in the absent-minded way
one does when commuting

to work in stockings & dress
with all the rest that we know
but don't change about pay,

since it's abstract & given
in exchange, compensation
for what it is you did

today & today by the piece
or, in my case, as temp
by the hour, in some

unknowable nowhere
devoid of the body, only it was
my body brought me back

to the bus, my breast
to be exact that some man
was cupping, reaching around

from behind & it took me
a minute to feel the pressure
like stiff copper

armor strapped on
for a battle & then
to feel the silence

of all the other passengers
hushed & waiting, a sound
like a hundred little bites ticking

within each second & still
the fact goes by
too fast, the man's hand

on my breast & you
reading these lines
to the moment when

I never even slap the man,
just turn & glare & pry
his fingers from my flesh

as if gently loosening
a bulb with a cultivator
all these years later & half-way

around the globe, where I
am a goddess with a stick
sometimes, I do a lot of smiting

in the garden where I thwack
& smash the beautiful backs
of the grasshoppers then bury them

alive with the point
of the stick into a quick hole
of a grave, below topsoil, since

their teeth remind me
of the knives kings used to wield
when getting to the business

of cutting out the tongues
of all the women they desired
after—
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This poem is one of my favorites to read at events, partly because of the propulsive energy of its one-sentence structure. But I’m also always aware of how uncomfortable it makes me feel, a mix of shame, anger and reliving the experience. I had numerous ancient myths in mind and was thinking about how that foundational terrain is rife with stories of assault. The ending refers in particular to Philomela.

Mira Rosenthal on "Mythology"
Juan de la Corte’s The Fire of Troy, found in the collection of the Museo del Prado, Madrid. (Fine Art Images / Heritage Images / Getty Images)
"Why Is the Right Obsessed With Epic Poetry?"

"Epic poems are more complex than they are often given credit for. They tell us of the failings of great men and the downfalls caused by pride—moments that aren’t 'epic' in the modern colloquial sense but comic. This, too, is their enduring significance for our time. Toward the end of Paradise Lost, after bringing about the Fall of Adam and Eve, Satan returns to Hell and announces to the other devils that they will all be able to escape and colonize a new world. Instead of applause, he hears a 'universal hiss.' They have all been turned into snakes."

viaTHE NATION
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Cover of Jennifer Chang's collection, An Authentic Life
What Sparks Poetry: Jennifer Chang on Drafts

"In truth, I misremembered the statue, I misrepresent it; in my poem, there is more than one enslaved person at Lincoln’s knees. But this is not the only reason I could not get the draft right. I wanted to capture the feeling of two friends wandering in a city, the ebb and flow of their conversation. Most of all, I wanted the poem to do what letters do: bridge a distance in geography and in time: the future, the past, Washington, D.C., Texas, the thaw that makes some late winter days feel like spring."
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