ErysichthonErysichthon In his notes on Ted Hughes’s translation of “Erysichthon,” Dr. Keyne Cheshire shares that, “the name ‘Erysichthon’ (Greek: ᾽Ερυσίχθων) comes from ery- (‘dragging, plundering’) + -chthōn, ‘earth,’ perhaps hinting at the plunder of the land and its fruits through both his crime and his punishment.” This poem adds layers of race and gender to Ovid’s poem of destruction and disdain for the natural world. In addition to being a horticultural reference, the term seed also has links to hip-hop and is a slang term for children. pulled Hunger
out of his bowels figurin,
If l can’t soothe her, I’ll marry her I’ll marry her Women’s bodies have historically been used to the benefit of men who are after power, including their use as resources to grow and expand tribes and kingdoms. An example of women as leverage (and there are many) is how Genghis Khan used the strategic marriages of his daughters to expand his empire. Erysichthon’s treatment of his daughter Mēstra––who remains unnamed by Hughes, sharpening the way that her body is being used by her father––ties the concept of the woman and her body to property and ownership.
We can eat the world togetherWe can eat the world together As he uses his daughter as a means to an end in Hughes’s poem, in my interpretation, Erysichthon uses Hunger to his advantage. Erysichthon is as brash in his destruction of nature as in his marriage to Hunger. Also like Hughes’s poem, my poem depicts a man who is so arrogant in his destruction that he circumvents the curse of the gods through his marriage to Hunger and the children they produce.
Eyes taste beginning, make new words
Hands taste bodies, make new narrative
Black bodies...a synonym for EmpireBlack bodies...a synonym for Empire There are many specific examples of Blackness as an empire-building tool being surfaced in new research exploring the endless depth of this truth. A book by Rachel L. Swarns, The 272: The Families Who Were Enslaved and Sold to Build the American Catholic Church (Random House, 2023) details how the foundations of the Catholic Church in America benefited from enslavement. The income from the sale of 272 individuals in 1838 by Jesuit priests built everything in the early archdiocese of what is now Georgetown University, a cathedral, and a Catholic seminary. Information about this history was also shared in Swarns’s 2016 New York Times article, “272 Slaves Were Sold to Save Georgetown. What Does It Owe Their Descendants?”
They birthed many...They birthed many... My poem does not include any reference to Erysichthon’s daughter, unlike Hughes’s translation. Instead of navigating his punishment by treating his daughter like chattel, my version of Erysichthon feeds his malady by marrying Hunger. The children they produce are an extension of his endless greed. Dr. Keyne Cheshire notes that, in the original Latin translation, Ovid does not refer to Erysichthon’s daughter as “chattel.” By this addition, Hughes calls attention to his treatment of her as nothing but property, and likely looks ahead to her future sale as different animals. Though this is a kind of enslavement and her wish is granted as a result of a rape, I want to make clear that because Erysichthon’s daughter is noble-born (generosa), she still has a kind of liberation and currency that the Black body does not and has had to claim differently within my poem and the rest of my collection, Black Metamorphoses. Ark of Agony,
Ocean, Hunger, Terra... Balm
Equiano tells the tale, Captain threatens to eat me...
Vanished bodies continue to tell...
from Lion Mountains to Roar of Thunder
to Land of Burnt Face to Corridor
of Campsthese be Ministers of Destruction
Merchants of Doom, Soul Carriers, Flesh Mongers,
He-Who-Butchers-Bodies,
Demons of Desolation,
Priests of Wheckage, Flesh Eaters,
Magicians...
The stories remain in the bones
of bodies blessed Black. Equiano
said what others said what Geronimo warned:
White eyes, they speak hungerWhite eyes, they speak hunger The display of bodies, especially Black and Indigenous bodies, was treated as spectacle in zoos and other venues in American history. These lines of my poem are a direct reference to Ota Benga, who was also treated like a circus sideshow and put on exhibition for 20 days at New York’s Bronx Zoo, and Geronimo, an Apache warrior who was also displayed as a part of the human zoo. Other examples include the case of Sarah Baartman, who died in 1815, after which everything from her sexual organs to her brain remained on display at a museum in Paris until 1974 (but not repatriated until 2002).
White eyes, they be danger
Ark of Agony fed on howls, screams &
stench...his empty-bellyful needs more bodies
The Demons of Desolation steal more bodies
From oil to anything, barnacles scraped, candle wax
to leather...this crew of Peggy, that crew
of France’s Tyger, others on Nantucket’s Essex
knew the rule: What’s at sea stays at sea.
When all fails at sea, fake a draw to decide
When all fails, feed from a stolen bodyWhen all fails, feed from a stolen body “Erysichthon’s Seed” focuses on another angle of violence related to the literal and social cannibalism of Black bodies. One book that covers this well and provided some insights that contributed as I composed this poem is The Delectable Negro, by Vincent Woodard. Woodard focuses on the intersections between literal and figurative consumption/cannibalism involving the Black body within the system of enslavement, homoeroticism, and gender.
Ocean swallowed the unwanteds
He took children, he took women, swallowed
the old, swallowed infants, ate the sick, mouth
opened wide to all who said they’d fly back
But bones don’t stop singing,
sing loudest in water
Black bodies became Whale Fall
Those bones be the Bimini road
from there to here
Lilburn’s playscape, betta than a formal ball
Black body wonderland, body bound to plank,
fire high ax in hand. Others chose urgefire high ax in hand. Others chose urge In thinking about the violence within my poem, Hughes’s translation, and the Penguin Classics edition of Ovid’s poem, the use of the ax ranges from imaginative and mythic to the very historically real. In the Hughes version of “Erysichthon,” the lines “He snatches an axe—and hauls / The weight of the broad head up and back” are much more visceral than the Penguin Classics edition that reads, “audaciously took an axe.” However, in my poem, “Lilburn’s playscape, betta than a formal ball / Black body wonderland, body bound to plank, / fire high ax in hand” is a direct reference to a Kentucky enslaver, Lilburn Lewis, who told his wife that he’d never had as much fun at a ball as he did the evening when he murdered one of his slaves with an ax. The full story and context is shared in the 2014 book by Vincent Woodard, The Delectable Negro. The violence in my poem is intended as a more blatant trespass of human dignity, particularly in reference to racial violence, than the other versions.
Something bout diamonds, rubber, cocoaSomething bout diamonds, rubber, cocoa While this section lists documented stolen products, scholars have also explored other, less measurable parts of the enslavement marketplace, like the breast milk stolen from Black women (see “Mothers’ Milk: Slavery, Wet-Nursing, and Black and White Women in the Antebellum South,” by Emily West).
Something bout cotton, copper, tin, tea, and all them spices
Unbroken from the boy somewhere in Texas in 2016...he tells the class,
I’ve got a leather purse made of Black skin.
Gotten from great grand to grand to papa, soon it’ll be his
Man handin hunger to man forgettin why they were trynna
get back to Gods of names forgotten.
Invoking seasoning, adding years, feeding tongues to language.
Hang a live Black body in a smoke house or a kitchen
Use pepper
Use salt
Add vinegar
Add coal oil
Add some turpentine...
Whatever will do for a Black body
Whatever is sanctioned from the Old World
Hunger left Erysichthon,
birthed the twins Lust and Appetite on her own
They wanna know,
you got room for what tickles your tongue?
Black body,
no silent cuisine,
Black body demands,
You got room for in your belly?You got room for in your belly? This decenters the enslaver and the power dynamic of the atrocities throughout the poem as a statement of reclamation, and in some sense, a dare precipitated by the unquantifiable damage of enslavement.
Notes:
Annotations for this poem were written by Shanta Lee to accompany her poem guide. Read Keyne Cheshire's annotations to "Erysichthon," the poem that inspired Lee's rendition.
Below are works referenced in the annotations to this poem, most of which were also inspirations I used while researching to write my poetry collection, Black Metamorphoses. Enjoy
Shanta Lee is the author of GHETTOCLAUSTROPHOBIA: Dreamin of Mama While Trying to Speak Woman in Woke Tongues (Diode Editions, 2021). She was named the 2021 Vermont Book Award winner, won the 2020 Diode Press full-length book prize, and earned an honorable mention from the...