Beyond the One Map: Toward a Craft-Based Understanding of Human Inquiry

Modern scholarship’s great temptation—one that has often spilled into civic and cultural life—has been the pursuit of totality: to trace coherence from the disorder that followed revolutions, continental wars, and world wars, gathering fragments into systems that promised to restore meaning to the wreckage of history. Across disciplines—from medieval literary studies to economics, from art history to psychology—the twentieth century witnessed a striking convergence toward singular, systematic frameworks. Ernst Robert Curtius organized literature around recurring topoi;[1] Erwin Panofsky read art through iconographic programs;[2] Carl Gustav Jung distilled human experience into archetypes; and economists—whether Marxist or neoclassical (the dominant free-market orthodoxy, often traced back to Adam Smith)—sought universal laws governing production and exchange. Each claimed to reveal the deep structure beneath surface variation. Each, in claiming totality, shaded toward ideology—becoming, in some instances, rigid orthodoxy.[3]

This essay argues for another path: treat systematic frameworks as tools rather than truths; judge methods by the illumination they afford rather than by their doctrinal purity; and acknowledge the irreducible complexity of human phenomena. This is not relativism—some interpretations are demonstrably better than others. Rather, it is the recognition that inquiry dealing with meaning-making beings is fundamentally a craft requiring practical wisdom (phronēsis), not a science discovering exceptionless laws.

The Pattern of Capture

The mid-century turn toward formalism and structuralism did not arise by accident. Disciplines sought scientific legitimacy: systematic method, universal patterns, predictive power. The result was a proliferation of One Map systems.

In literary studies, New Criticism treated texts as autonomous formal objects; structuralists sought universal narrative grammars. Curtius’s monumental European Literature and the Latin Middle Ages catalogued the enduring armature of topoi that seemed to organize the Western tradition. In art history, Panofsky’s iconology promised the decipherment of hidden programs and symbolic orders, making artworks legible as texts within overarching schemas. In psychology, rival schools—psychoanalytic, behaviorist, cognitive—each claimed the key to the mind’s machinery; Jung added a transhistorical repertoire of archetypes as the psyche’s deep code. In economics, Marxism and neoclassical theory offered total pictures—historical materialism on the one hand; rational, utility-maximizing agents in equilibrium on the other—each confident that its lawlike structures governed the social world.

What these systems shared was the conviction that beneath diversity lay discoverable, general structures—topoi, archetypes, economic laws, narrative grammars. Master the structure and one could, in principle, explain everything within the domain. Deviations became error, noise, or “false consciousness” in need of correction.

Powerful incentives drove the turn. The prestige of natural science encouraged methodological mimicry. The chaos of revolutions and wars, whether on battlefields or in the life of ideas, created a hunger for stable foundations. Professionalization rewarded methods that could be taught, replicated, and certified. There was genuine intellectual exhilaration in finding patterns that seemed to recur across times and cultures.

The cost was equally great. Every framework, in sharply illuminating some aspects, systematically obscured others. The formalist who honed attention to technique missed history. The Marxist who foregrounded class dynamics missed irreducible symbolic or aesthetic meaning. The psychoanalyst who reduced motivation to the unconscious discounted deliberation and norm-following. The economist who modeled rational actors abstracted away meaning, culture, emotion, and power.

Worse, frameworks became tribal identities. Scholars and others did not merely use Marxist analysis or formalist reading; they were Marxists or formalists. To question the framework threatened belonging, status, and career. Method hardened into movement.

The Metacritical Turn—and Its Recurrence

By the 1960s–70s, reactions emerged. Poststructuralists such as Derrida and Foucault exposed the fissures and power-saturated operations of totalizing systems. Thomas Kuhn argued that scientific paradigms are historically contingent and periodically overturned.[4] Feminist and postcolonial critics showed how seemingly universal structures often encoded particular (male, Western) vantage points.

These critiques were clarifying. They revealed the politics of knowledge, the contingency of canons, the slipperiness of signification. Yet the tragedy is familiar: many of these movements reproduced the error they named. Poststructuralism ossified into an orthodoxy policed by jargon; feminist and postcolonial discourses fractured into camps, each claiming the right diagnosis; Kuhn’s paradigm talk became a ready instrument for dismissing unwelcome evidence (“that is just your paradigm”). The critics of ideology birthed new ideologies.

The recurrence is not mysterious. Academic, social, and political life rewards membership and defensible positions. Deep engagement breeds emotional investment. Intellectual communities cohere around shared tools, which then become badges. Psychologically, human beings prefer coherent worldviews; critiques of totality tend, over time, to totalize themselves.

The consequence is a landscape of warring camps, each armed with a schema, each convinced of its sufficiency, each systematically blind to what it excludes.

The Pattern Persists

The tendency has not abated. Contemporary scholarship, while more fragmented than the mid-century consolidations, continues to generate frameworks that, having illuminated genuine blindnesses, themselves become new orthodoxies.

In literary studies, identity-based criticism has made permanent contributions: revealing whose voices were systematically silenced, exposing how “universal human experience” often encoded particular (white, male, Western) perspectives, opening canons to previously excluded works, and showing how power operates through representation. These insights cannot and should not be reversed. Yet in many disciplines, identity analysis is in practice often treated as mandatory—as if race, gender, and colonial dynamics exhaust what makes literature significant. Aesthetic achievement, formal innovation, philosophical depth, or meanings that transcend identity categories risk dismissal as naive or complicit evasion. A tool that reveals crucial dimensions has become, in practice, the only lens deemed legitimate.

In art history, social approaches rightly challenged the fantasy of autonomous art divorced from material conditions. Examining how patronage, markets, institutions, and class relations shape artistic production has enriched understanding immeasurably. But when this insight hardens into orthodoxy, artworks risk reduction to mere symptoms of social forces—historical documents that could be replaced by period photographs without loss. What makes something art rather than illustration, what constitutes aesthetic achievement, why this painting rather than another—these questions become suspect, dismissed as formalist mystification.

In psychology, cognitive neuroscience has genuinely advanced understanding of how brain mechanisms underlie mental phenomena. Neuroimaging and computational models provide knowledge unavailable to earlier approaches, and any comprehensive psychology must integrate these findings. Yet when neural accounts claim completeness, they eliminate what phenomenological and psychodynamic traditions captured: what experience is like from the inside, how people create meaning, how culture shapes consciousness, and the reality of conscious deliberation. Persons become brains; intentions become activations; meanings dissolve into mechanisms.

In history, social history’s turn toward “history from below”—material conditions, ordinary lives, structural forces—corrected the great-man myopia of earlier approaches and revealed how the non-elite shaped events. This expansion of historical vision is irreversible progress. But the corresponding neglect of how individuals, ideas, and political decisions matter—how Lincoln’s choices, Robespierre’s rhetoric, or Empress Dowager Cixi’s interventions in succession and reform, which may be judged to have prolonged the Qing dynasty, hastened its fall, or proved irrelevant against structural inevitabilities—represents a new distortion. Agency disappears into forces; contingency into necessity.

In economics, behavioral approaches rightly demonstrate that people are not the perfectly rational calculators of neoclassical models. Incorporating psychology into economic analysis addresses real limitations. Yet these insights typically remain within the neoclassical framework as corrective patches rather than fundamentally reconceiving how culture, meaning, power, and institutions shape economic life. The model receives adjustments; the model’s adequacy remains unquestioned.

Each new framework sees genuinely what its predecessor missed. Identity criticism perceives exclusions that formalism could not. Social art history grasps material conditions that connoisseurship ignored. Neuroscience reveals mechanisms that behaviorism and psychoanalysis could only theorize. Social history captures structural forces that political narrative obscured. These are real advances, not fashions.

But each also misses what its predecessor saw—and tends toward its own totality despite beginning as correction. Identity criticism risks losing the aesthetic. Social approaches risk losing the artwork. Neuroscience risks losing the person. Social history risks losing agency. The tools that should be added to the kit instead displace previous tools.

What is not happening is accumulation—the steady building of a varied toolkit where new approaches supplement rather than replace useful older ones. A mature literary criticism would use identity analysis and formalist attention to craft and historical context and aesthetic response, depending on what the text requires. A comprehensive psychology would integrate neuroscience and phenomenology and social context and developmental history. The skilled interpreter today should command these multiple approaches—not choosing between them but deploying each where it illuminates. Exceptions exist: some cognitive scientists integrate neuroimaging with phenomenological reports; some art historians combine social analysis with formal attention; interdisciplinary centers occasionally foster genuine synthesis. But these remain minority practices, swimming against dominant institutional currents rather than exemplifying them. Whether such emerging synthetic approaches represent genuine accumulation or merely the next turn of the cycle remains to be seen. Meanwhile, disciplines continue to trade one narrow lens for another, each generation convinced it has finally escaped narrowness by adopting the current correction.

The pattern is structural, not accidental. Professional incentives reward sharp breaks over synthesis. Tribal dynamics require scholars to define themselves against predecessors, not as continuators. The genuine difficulty of using multiple frameworks simultaneously encourages retreat to single-method mastery. And every framework that proves illuminating in some cases tempts practitioners to apply it universally—if identity criticism works brilliantly here, why not everywhere? The cycle repeats: insight hardens into ideology; correction becomes constraint; the tool claims to be the only tool needed.

The Category Error

The deeper problem is categorical. Objects of natural science lack interiority. Molecules do not interpret norms, pursue purposes, or remember. For entities without meanings, general law is the right instrument.

Human beings, by contrast, are meaning-making creatures who simultaneously:

calculate and improvise,
follow scripts and invent norms,
respond to incentives and pursue ideals,
act from unconscious drives and exercise conscious choice,
inherit traditions and forge new symbols,
seek survival and cultivate gratuitous beauty,
are biologically constrained and culturally various,
experience wonder, fear, shame, delight, duty.

Any framework that captures only one dimension—economic calculation, unconscious motivation, cultural determination, biological drive—remains partial. The person buying bread engages in exchange, enacts identity, satisfies hunger, recalls childhood, manages anxiety, enjoys form and fragrance, and participates in a regime of power. No single map captures this simultaneity.

Disciplines that study such beings—history, anthropology, sociology, economics, psychology, literary criticism—are, at their core, interpretive arts. They require:

Judgment rather than algorithm,
Phronēsis rather than procedure,
Tacit knowledge learned by apprenticeship rather than fully codified rules,
Rule-following attunement that resists complete formalization,
Contextual sensitivity to what matters here,
Tolerance for ambiguity without surrendering evaluative standards.

Attempts to make these disciplines “scientific” by imposing formal models with universal reach typically expunge the very features that make human life human: interpretation, normativity, innovation, and freedom.

The Cartographer’s Lesson

A parable. A cartographer produces an exquisite chart—precise, elegant, guild-approved. When caravans disappear along routes the chart marks as clear, he blames the travelers. When rivers shift and roads become swamps, he demands that administrators “restore” the world to match the drawing. When armed men raise tolls at chokepoints, he dismisses them as “marginalia.”

Meanwhile, a surveyor carries rough packets: flood records, bridge failures, toll schedules, sailors’ soundings, fragments of local lore. She uses whatever map fits this terrain; when none suffice, she walks and looks.

The cartographer confuses map and territory. The surveyor knows every map is a partial, provisional tool. When the cartographer finally admits that “the law of the land is not the land,” he learns what the surveyor already knew: use maps to begin understanding, not to replace it.

This is the stance human inquiry requires. Marxist  or neoclassical analysis, formalist poetics, psychoanalytic interpretation, rational-choice modeling—each is a map that foregrounds some contours while backgrounding others. The live question is never “Which map is true?” but “Which map (or combination) illuminates this terrain?”

Toward Methodological Craft

What does it mean to approach inquiry as craft?

Instrumental Pragmatism
Judge frameworks by illumination, not identity. Ask: does this help me understand this event, text, institution, behavior? Elegance is not a virtue if it casts decisive features into shadow.

Cultivated Eclecticism
Not dilettantism, but disciplined familiarity with multiple tools. A craftsperson keeps a varied kit and knows enough of each tool’s capabilities and limits to deploy it skillfully. This is harder than mastering a single framework—it requires years of practice with multiple traditions—but complex phenomena demand it.

Contextual Judgment (phronēsis)
No algorithm selects the right tool. Judgment forms through experience with cases, by seeing many patterns and exceptions, by learning what usually works where—and when to break one’s own habits. This is wisdom in Aristotle’s sense: the capacity to deliberate well about particulars.

Humble Acknowledgment of Limits
Every account is partial. The most honest claim is: “This framework reveals these aspects; others remain for other tools; still others remain opaque.” This is not relativism—we can distinguish better from worse interpretations—but recognition that comprehensiveness is impossible.

Results-Oriented Assessment
Evaluate interpretations by their explanatory and revelatory power—by whether they clarify evidence, accommodate counter-instances, and guide action—not by ritual conformity to a method. A method that violates orthodoxy but illuminates is superior to one that adheres but obscures.

Integration of the Shadow
Jung reminds us that the shadow we deny returns to trouble us.[5] What is true of the individual psyche is true also of our frameworks: each casts its own shadow, and what is banished comes back in altered form. The economic model cannot banish meaning and power; the formalist reading cannot banish history; the ideological critique cannot banish beauty and grace.

This posture is professionally risky. It builds no monolithic school, resists catechisms, and is harder to teach than technique. Judgment developed through apprenticeship cannot be reduced to steps in a textbook. The approach offers no easy tribal home. But it is the only posture proportionate to the subject.

This is not promiscuous eclecticism. Disciplined pluralism admits tools only insofar as they illuminate evidence, survive scrutiny against counter-instances, and cohere with established knowledge. The craftsman does not grab random implements but selects from a kit assembled through rigorous training. Bad interpretations remain bad—not because they violate methodological purity but because they distort evidence, ignore context, or fail explanatory tests. The point is that these evaluative standards are substantive (does it illuminate?) rather than procedural (does it follow the right method?).

Bread, Briefly

Consider bread. The economist sees prices and allocation; the anthropologist sees ritual identity; the historian sees revolutions sparked by grain shortages; the psychologist sees memory and comfort; the political theorist sees power over grain as power over people; the nutritionist sees macronutrients; the phenomenologist attends to the experience of crust and crumb. Each lens discloses a real aspect; none exhausts the thing. The person buying or baking bread engages all these dimensions simultaneously—and more besides, including whimsy, habit, and ineffable preference—and yet retains a mystery and irreducible particularity even after comprehensive analysis.

If bread—daily, simple bread—eludes total capture by any single framework, what hubris imagines that a theory could comprehend a people, a polity, an epoch?

The Political Parallel

The same craft logic applies to political economy. The modern state is neither pure predation (libertarian fantasy) nor pure salvation (vulgar statism). It is at once:

necessary infrastructure for complex life,
a perennial object of capture by interests,
the guarantor of freedom through law and its limiter through coercion,
creator and creature of market relations,
supplier of public goods and vector of exploitation.

Markets, likewise, excel at coordinating dispersed knowledge in some contexts and fail dramatically in others. The craftsman’s question is never “state or market?” but “which functions, organized how, accountable to whom, balanced by which constraints, under these conditions?”

Statesmanship, like scholarship, is an art of fitting means to circumstances. The statesman confronting an economic crisis needs to ask: Is this a moment for market incentives? For regulation? For direct provision? For some combination? The answer depends on diagnosis, not doctrine. Different problems require different tools. Ideological commitment to a single framework—whether libertarian, socialist, or technocratic—produces the intellectual equivalent of using a hammer on every problem because hammers are the only tool one recognizes.

Lineage of Craft

This essay’s argument stands within a tradition of pluralist and anti-foundationalist thought, indebted particularly to Isaiah Berlin’s value pluralism, Richard Rorty’s pragmatism, and Hans-Georg Gadamer’s hermeneutics, though it extends their insights across a broader range of disciplines and grounds them more explicitly in craft epistemology.[6]

Accordingly, this methodological stance is not a novel invention, nor is it “anything goes” relativism. It has a distinguished lineage. Aristotle distinguished epistēmē (demonstrable knowledge of universals) from phronēsis (practical wisdom about particulars) and technē (productive craft).[7] The human sciences, in his taxonomy, require phronēsis more than epistēmē—judgment about what to do in this case, not deduction from general laws.

Michael Polanyi taught that “we know more than we can tell,” that crucial expertise is tacit and transmitted by apprenticeship rather than explicit instruction.[8] The master craftsman knows when the wood will split, when the dough has risen enough, when the argument needs qualification—not by applying rules but through practiced sensitivity that cannot be fully articulated.

Wittgenstein observed that rule-following is socially embedded; the application of a rule is not itself rule-governed all the way down. At some point, as he wrote, “my spade is turned”—we act not from further rules but from trained judgment within a form of life.[9] This is not arbitrary; it is how competence actually works.

Clifford Geertz urged “thick description” in anthropology: embedding action in the “webs of significance” people themselves have spun, rather than subsuming it under general theory. [10] His interpretive approach recognized that understanding human behavior requires grasping the symbolic meanings actions hold for participants—meanings that are locally constructed and resist universal formalization.

These thinkers did not advocate methodological anarchy. They articulated rigors appropriate to human subjects: the discipline of attending carefully to context, of learning through practice, of acknowledging the limits of explicit formalization, of judging particulars wisely rather than applying universal rules mechanically.

Conclusion: Use This to Begin

The point is not to abandon systematic frameworks. Marxist analysis, formalist reading, psychoanalytic interpretation, economic modeling—all can illuminate. The point is to resist turning tools into totalities, to refuse the ideological capture that confuses method with truth.

What is required is methodological humility joined to practical ambition: admit partiality while pressing for understanding by bringing multiple tools to bear. This yields no catechism, no resting place, no easy fellowship. It is harder than certainty. It is also more honest, and more fruitful.

The best we can achieve is not final answers but better questions; not perfect maps but skillful navigation; not total theories but hard-won wisdom. The work asks for judgment, experience, humility—and the courage to say, at the edge of understanding, that the phenomenon retains depths we cannot plumb and possibilities we cannot predict.

The law of the land is not the land.
Light and shadow arise together.
Every map owes the world a margin.

Use this to begin.


Notes

[1] Ernst Robert Curtius, European Literature and the Latin Middle Ages, trans. Willard R. Trask (Princeton: Princeton University Press, 1983; first published 1953).

[2] Erwin Panofsky, Studies in Iconology: Humanistic Themes in the Art of the Renaissance (New York: Routledge, 2018; first published 1939). See especially “Introductory: Studies in Iconology,” 3-31.

[3] In principle, these approaches can serve as complementary tools—free market and Marxian analysis, for instance, each shedding light when applied together to an historical situation. Yet in practice, frameworks often ossify into rigid ideologies. Marxism once held this place in the USSR; neoclassical economics has increasingly assumed it in the United States. A striking example is Ohio’s 2025 mandate requiring all public universities to incorporate Adam Smith’s Wealth of Nations into a three-credit American civic literacy course, alongside the Constitution, the Federalist Papers, Lincoln’s addresses, and King’s Letter from Birmingham Jail. See Ohio Revised Code § 3345.382 (2025).

[4] Thomas S. Kuhn, The Structure of Scientific Revolutions (Chicago: University of Chicago Press, 2012; first published 1962).

[5] Carl Gustav Jung, “The Shadow,” in Aion: Researches into the Phenomenology of the Self, The Collected Works Works of C.G. Jung vol. 9, part 2, ed. and trans. by G. Adler & R.F.C. Hull (Princeton: Princeton University Press, 1979; first published 1959). Jung argued that the shadow comprises those aspects of the psyche that contradict the conscious self-image and are therefore repressed or denied; when unacknowledged, the shadow returns in distorted forms, and psychological wholeness requires consciously integrating what has been excluded.

[6] Isaiah Berlin, The Crooked Timber of Humanity: Chapters in the History of Ideas (Princeton: Princeton University Press, 2013); Richard Rorty, Philosophy and the Mirror of Nature (Princeton: Princeton University Press, 2009; first published 1979); Hans-Georg Gadamer, Truth and Method, trans. Joel Weinsheimer and Donald G. Marshall, 2nd rev. ed. (New York: Continuum, 1989).

[7] Aristotle, Nicomachean Ethics, Book VI, 1139a-1142a.

[8] Michael Polanyi, The Tacit Dimension (Garden City: Doubleday & Company, Inc., 1966), 4.

[9] Ludwig Wittgenstein, Philosophical Investigations, trans. G.E.M. Anscombe, P.M.S. Hacker, and J. Schulte (Oxford: Blackwell, 2009; first published 1953), §217: “‘How am I able to follow a rule?’—If this is not a question about causes, then it is about the justification for my acting in this way in complying with the rule. / Once I have exhausted the justification, I have reached bedrock, and my spade is turned. Then I am inclined to say: ‘This is simply what I do.’ / (Remember that we sometimes demand explanations for the sake not of their content, but for their form. Our requirement is an architectural one; the explanation a kind of sham corbel that supports nothing.)”

[10] Clifford Geertz, “Thick Description: Toward an Interpretive Theory of Culture,” in The Interpretation of Cultures (New York: Basic Books, 1973).

Between Astonishment and Silence

“When I consider thy heavens, the work of thy fingers,
the moon and the stars, which thou hast ordained;
What is man, that thou art mindful of him?” Psalm 8:3-4

The Psalmist, gazing beneath the vault of stars, marvels aloud:
What is man, that Thou art mindful of him?
The heavens dwarf him, the dust clings to him,
yet he dares believe the Maker bends low, remembers, and grants worth.

But even in that astonishment, the shadow of doubt stirs.
Another voice—the Philosopher’s—finds in the same expanse not remembrance but silence.
The stars speak only of distance,
the void carries no voice.
Armenia and Auschwitz, Hiroshima and Rwanda, Ukraine and Gaza—
the graves of countless innocents cry out:
how can one still say, Thou art mindful?
Likewise, science has stripped the heavens bare:
no angels in the spheres, only galaxies colliding in indifferent law.
Scripture, once oracle, is now artifact, sifted by history.
Thus the question sharpens: not What is man, that Thou art mindful?
but Is Thou mindful at all?

Between astonishment and silence stands the Poet, unable to forsake either.
He reveres the psalm, yet trembles with the Philosopher’s doubt.
Inheritance falters: the words remain precious,
but their certainty slips from them.
Still, he will not cast them aside.
Instead, he holds the fragments as one might hold a candle in the wind:
not enough to illumine the void,
yet enough to keep the darkness from being complete.
He labors to shape language into vigil,
to bind meaning against the scatter of grief,
to weave remembrance into flame so silence is not the final word.

Perhaps mindfulness is only man’s work—
to remember, to wrest coherence from the scatter of loss.
Or perhaps it is more: a presence that waits rather than speaks,
a silence that shelters rather than denies.
The Poet does not resolve the question;
he learns instead to live within it,
to practice reverence without assurance,
until the asking itself becomes our mindfulness.

The Gods in Dust

Once none dared blaspheme their names—
Isis enthroned, Osiris of the underworld,
Amun-Ra blazing in the noon,
Zeus the thunderer, Hera august,
Athena who struck with spear,
Apollo of the lyre and light,
Artemis who loosed her arrows in the shadows of the wood.
Marduk who shattered the dragon,
Ishtar of love and war,
Baal the rider of clouds,
Dagon of the harvest, Chemosh of battle.
All received blood and incense,
bore the weight of kingdoms,
demanded fear.

But now—
their names are ink upon a scholar’s page,
cartoons in a schoolboy’s jest.
Their temples gape as hollow mouths,
stones tumbled like teeth in the earth.
Their rites are rumor,
their mysteries reconstruction,
their fires ashes, their echoes gone.

Behold Karnak, roofless to the sky;
Delphi, once the navel of the world,
silent but for the wind in the laurel.
Eleusis, where mysteries bound gods and men,
is rubble, its rites reduced to speculation.
Uruk, the wall-girt city,
mute in the desert.
Tenochtitlan, where once the sun fed on blood,
now paved by another empire’s stones.

Thus is man mocked by memory:
he built to house the eternal,
yet what he named eternal is gone.
The priest is forgotten with the god,
the hymn with the idol,
the worship with the fear.
All that was called everlasting—
proved mortal as dust.

Yet from these scattered stones, a truth emerges:
temples fall, names fade,
but the hunger endures.
Not the idol, but the yearning;
not the revelation carved in stone,
but the silence men cannot bear.

The divine was never in the image,
but in the need that made it.
This is the immortal truth:
that man longs,
and in the longing is closer to the eternal
than any god he made.

Yet beware:
for the gods that fed on blood
still feed—
only now in other names,
with other temples,
upon the lives of men.


Epic of Gaza

Proem

Weep, Angelic Host—sentinel Cherubim, laudific Seraphim—weep,
Recall, O Memory, the deeds of men most mean, their bitter striving;
Of those whose wrath, though born of dust, consumed the fields of nations,
Whose hands, unclean with envy, loosed the cry of widows and orphans.
From their hearts rose pride, and with their pride came hunger unbounded,
Till hearth and altar alike lay broken, the ploughshare shattered,
And souls unnumbered went down to the shadowy regions,
Leaving their fathers bereft, their children untended, their homes in ashes.

Thus was the earth made desolate, and Heaven itself grew weary;
For even the Seraphim, laudific, grew silent in their praising,
And even the Cherubim, sentinel, let fall their flaming vigil.
Yet still, O Memory, sing on, that generations yet unborn may tremble,
Lest pride unmeasured, and meanness cloaked in strength, rise once more,
And angelic hosts be called again to witness man’s undoing.


Gaza Before the Storm

Remember first how Gaza stood beside the ancient sea,
Her markets bright with oranges, her harbors filled with song,
Where fishermen cast nets at dawn, and children ran the shore,
And olive groves grew silver-green beneath the turning seasons.
The Great Omari lifted high its Byzantine dome,
Saint Porphyrius kept its vigil, fifteen centuries strong,
And in the evening hour of prayer, a thousand minarets
Sent voices skyward, weaving threads of worship into twilight.

Here was a city rooted deep, her stones drunk full of time,
Her people bound by blood and earth to this small patch of shore.
The old men sat in coffee shops, playing backgammon and speaking
Of harvests past, of children grown, of peace that might yet come.
But Memory keeps what was, before the storm clouds gathered,
Before the sky grew dark with iron, and the earth with ashes.


Gaza Besieged

Hear now, O Memory, after the angelic cry, the tale of sorrow:
How wrath was loosed upon Gaza, the walled and crowded city,
Where children clung to their mothers, and fathers kept vigil in hunger,
And the streets ran red with fire, the stones made to weep with blood.

For men most mean, in pride unmeasured, cast down their anger,
And the sky, once blue with doves, grew black with the smoke of ruin.
Hospitals groaned with the wounded, mosques lay shattered in silence;
The cry of the muezzin was drowned by the thunder of iron.
Women lifted their arms to heaven, crying for justice;
Infants wailed without milk, and the wells ran red with despair.

Thus did Gaza endure, as Ilium once by the Scamander,
A city besieged, its name to be sung in lamentation.
Yet not Troy alone, but Sarajevo’s bitter winters,
Stalingrad’s rubble, Warsaw’s ghetto walls—
All cities that have tasted wrath speak Gaza’s name as sister.


Catalogue of Grief

Sing the children whose laughter was severed in silence:
Sing Amal, whose curls were bright as dawn, now dust-shrouded;
Sing Yusuf, who carried a ball through the alleys, forever stilled;
Sing Miriam, with eyes like lamps, closed by the weight of rubble;
Sing Omar, who drew birds in the sand, his small hands silenced;
Sing Laila, who danced to her grandmother’s songs, now voiceless;
Sing Ahmed, six years old, who asked why the sky was angry.
These were the blossoms cut down, their springtime denied them,
Their games unfinished, their dreams unspoken, their tomorrow stolen.

Sing the mothers, whose voices rose in lamentation:
Sing Layla, who cried to the heavens, clutching fragments of cloth;
Sing Hanan, whose arms grew empty, rocking the air with sorrow;
Sing Fatima, who counted days by her children’s breathing;
Sing Mariam, who sang lullabies to graves of stone.
They were the pillars broken, their wombs turned to tombs of memory,
Their milk dried up, their cradle songs transformed to keening.

Sing the fathers, silent with grief, their faces carved from stone:
Sing Khalid, who once ploughed fields, now sifts through the ruins;
Sing Samir, who carried no sword, yet bore the weight of the fallen;
Sing Mahmoud, whose hands built homes, now dig for his buried;
Sing Hassan, who taught his son to read, now reads only headstones.
They were the oaks uprooted, their roots torn from the soil,
Their strong backs bent, their protecting arms made powerless.

Sing the city herself, Gaza, heart of the seashore:
Streets that once bustled with trade, now choked with ashes;
Mosques that lifted their domes to heaven, now shattered and open;
Hospitals that groaned with the wounded, their floors awash in blood;
Schools where children learned their letters, now rubble and memory;
Markets where oranges gleamed like suns, now dust and silence.
Gaza endures, yet her breath is ragged, her beauty in ruins.


The Heroes of Gaza

Yet sing also those who stood against the storm:

Sing Dr. Hussam, who would not leave his patients,
Operating by candlelight when the power failed,
His hands steady though the building shook with bombs.

Sing Mama Zahra, ninety years old,
Who sheltered twelve children not her own,
Sharing her last crust of bread among them,
Singing them to sleep with ancient lullabies.

Sing the teacher Amjad, who carved lessons in the dust,
Teaching children their letters beneath the rubble,
That learning might not die with the schools,
That hope might live though hope seemed dead.

Sing the young father Rashid, who dug with bloodied hands
For seventeen hours to free his neighbor’s child,
Though his own house lay in ruins,
Though his own losses called him home.

Sing the nurse Amal, who walked three miles each day
Through streets of glass and metal,
Carrying medicine to the wounded,
Her white coat bright as a flag of mercy.

These were the lights that would not be extinguished,
The flames that burned when all else was darkness,
The proof that goodness lives even in Hell,
That humanity endures though inhumanity rage.


The Silence of Nations

Yet where were the nations when Gaza called for aid?
The mighty kingdoms sat in their towers of glass,
Counting their gold, weighing their alliances,
While children starved beneath the rubble of their homes.

Some sent words like empty vessels, hollow condolences,
Others turned their faces away, as if not seeing
Could make the screaming stop, the dying disappear.
The halls of justice echoed only with procedure,
While Gaza bled, and Memory wrote their shameful silence.

Even the sea turned bitter, tasting ash and sorrow,
And dolphins fled those waters where the harbors burned.
Only the wind remained faithful, carrying the cries
Across the world, though men stopped up their ears
And closed their eyes, and voted for blindness.


Wrath of the Aggressors

Yet grief alone is not the tale, but wrath that bred it.

For men most mean, enthroned in pride, decreed destruction:
The Stone-faced King, whose tongue was sharpened with iron,
Who called fire down from heaven, and loosed it on the helpless.
The Golden-Maned Ruler, who sat upon distant waters,
Sending arms and gold, as though to purchase silence;
He bore the name of peacemaker, yet his hands were heavy with blood.

These were the princes of the age, their counsel clothed in falsehood,
And their decrees were bitter, sowing ashes in the earth.
They spoke of safety while they sowed destruction,
Of defense while they dealt death to the defenseless.
Their words were honey, but their works were gall,
And History will write their names in letters black as smoke.


The Voice of Gaza

Yet not in silence did Gaza bow, nor wholly in despair.
From the ruins rose a voice, steadfast as stone in the storm:

“We are the living, though the dust has covered our faces.
Our children sleep in the earth, yet their names burn bright as stars.
Break our houses, yet from rubble we rise speaking;
Cut down our olives, yet new shoots crack the stone.

You call us shadows, yet we cast longer darkness
Than your towers, and our darkness teaches light.
You name us forgotten, yet Memory keeps us close,
And angels inscribe our suffering in letters of gold.

Count our dead if you can number the grains of sand;
Measure our sorrow if you can drain the sea.
We have drunk deep of anguish, yet we are not broken;
We have walked through the valley of death, yet we breathe.

O sons of men most mean, your wrath is but smoke on the wind.
You have the fire, but we have the ashes, and ashes endure.
You have the sword, but we have the word, and the word is eternal.
Know this: though you bury us, we shall rise in the telling,
For the earth itself whispers our names, and will not forget.

And if the nations turn their faces away, still we stand,
For Gaza is not undone, though her walls lie fallen.
We are the olive trees that grow from stones,
We are the songs that survive the singers,
We are the light that shines in darkness,
And darkness has never overcome us.”


The Desecrations

Nor were the sanctuaries spared, nor the places of the Most High.
The destroyers struck at temples, their minarets broken in silence;
They shattered the churches, where lamps once trembled in vigil,
Icons dashed in dust, crosses cast down in fire.
Thus was prayer silenced, whether in Arabic chant or in hymnal;
The faithful fled, yet the stones themselves groaned in lament.

And the olive trees, those elders of the earth, were uprooted;
Ancient roots torn from soil that had drunk the blood of generations.
Branches once heavy with fruit lay scorched upon the ground,
And the groves, where fathers had walked with their sons, stood barren.
No psalm was heard, no murmur of leaves in the evening;
Only the wind through ruins, whispering sorrow to heaven.

Even the dead found no peace in their appointed places;
Graves were torn open, bones scattered to air,
Ancestors made homeless, their rest disturbed.
For wrath respects neither the living nor the sleeping,
Neither the newly born nor the long-buried,
Neither the sacred nor the profane.


Catalogue of the Broken Sanctuaries

Sing the names of holy places undone:
The Great Omari Mosque, Byzantine-born,
Heart of Gaza’s Old City, December-felled;
Saint Porphyrius, fifth-century stone,
Twice-struck shelter, sixteen souls entombed beneath its ancient walls.

Khalid bin al-Walid Mosque, November’s ruin,
Al-Riad Mosque, March’s bitter fall,
Bani Saleh Mosque, August’s dust,
Yassin Mosque, struck in al-Shati’s crowded camp,
Ibn Uthman too, its centuries silenced.

Count them: of twelve hundred and forty-four mosques,
More than a thousand scarred by fire and iron,
Nine hundred leveled utterly, their prayers cut short,
Their faithful scattered like leaves before the storm.

Graveyards forty out of sixty struck,
Twenty-two erased from the earth,
Bones scattered to air, ancestors made homeless.
Palaces broken, markets burned, bathhouses unroofed,
Even Anthedon Harbor, Roman gateway, flattened into the sea.

Museums looted, libraries obliterated,
Memory itself made to bleed, the archives set aflame.
For they would kill not only the living,
But the memory of the living,
The records of their being,
The proof they ever were.


The Lamentation Chorus

The Mothers of Gaza cry:
“O children, blossoms cut before the fruit,
We held you in our arms, now we hold only ashes.
Your laughter is buried beneath the stones of our city,
And our breasts are dry, our songs turned into wailing.
Yet still we sing your names like prayers,
And still we dream your dreams unfinished.”

The Fathers of Gaza groan:
“Our fields are ruined, our ploughs shattered,
The olive trees uprooted, the roots torn from the soil.
We walk among graves unguarded,
Where bones lie scattered, denied even silence.
Yet still we remember the taste of our olives,
And still we plant hope in the ashes.”

The Faithful lament:
“Where are the mosques that once trembled with prayer?
The Great Omari lies fallen, Ibn Uthman silenced,
Saint Porphyrius struck, its saints entombed anew.
Our lamps are dark, our chants broken in the smoke.
Yet still our hearts are temples,
And still our prayers rise to heaven.”

The Children’s Voices rise:
“We who were silenced while learning to speak,
We who were buried while learning to walk,
We who were taken while learning to love—
We are not gone, though our bodies lie broken.
We live in the tears of our mothers,
We live in the dreams of our fathers,
We live in the songs that remember us,
And death has no power over song.”

The Angels answer:
“We weep with you, O Gaza;
For sentinel Cherubim have loosed their flaming swords in sorrow,
And laudific Seraphim, once ceaseless in praise,
Cover their faces in grief, and their hallelujahs are hushed.
Yet know that every tear is counted,
Every name is written in light,
And what was destroyed on earth
Stands whole in the halls of eternity.”

The Chorus of Gaza cries together:
“Who shall remember us if not the stones?
Who shall keep our names if not the dust?
If the nations turn away their eyes,
Then let the heavens bear witness, and let Memory sing forever.
For we are Gaza, and Gaza endures,
We are the voice that will not be silenced,
We are the story that must be told,
We are the love that conquers death.”


Catalogue of the Slain

Sing, O Memory, of the dead, the multitude unnumbered,
For Gaza has given sixty thousand souls and more to the grave.
Not warriors alone, but children in their play,
Mothers in their shelter, fathers in their vigil,
The aged bent with years, the newborn scarcely named.

Count fifty-eight thousand more wounded,
Their bodies torn, their spirits scarred in silence.
Two thousand struck while seeking bread,
Gathering in hope of relief, yet felled by fire.
Three hundred perished of hunger, seven and ten children,
Their lips dry, their bellies hollow, their cries unheard by the nations.

Even when truces were spoken, the killing continued,
Ten thousand more consumed like chaff in flame.
Who can reckon those incinerated, buried under stone and steel,
Whose names are known only to God,
Whose faces are forgotten by man
But remembered by eternity?

A leaked report from the destroyer’s own hand
Confessed the truth they would hide:
Four of every five were innocents,
The harmless marked as enemies,
The helpless slain as foes.
Thus did wrath devour the lambs of Gaza,
And the angels wept, inscribing their names in light.


The Judgment of Yahweh

Then did the heavens part, as once above Sinai,
And Yahweh Himself descended, wrapped in cloud and flame,
The Ancient of Days, whose voice shook the foundations,
Before whom cherubim veil their faces, and seraphim fall silent.

He brought forth the scales of ultimate justice,
Vast as the firmament, terrible as truth,
And weighed the works of men most mean:
Their bombs and decrees, their gold and iron,
Their speeches of defense while dealing death.

“I have seen this before,” spoke the Voice that split the Red Sea,
“The marking of a people for destruction,
The sealing of their fate in chambers of decision,
The systematic starving, the calculated killing.
Did I not hear the cry from burning ghettos?
Did I not see the smoke from crematoria?”

In the other pan He placed Gaza’s slain,
The bones of children, the tears of mothers,
And with them, the ghosts of all genocide’s victims—
Warsaw and Treblinka, Armenia and Rwanda.

The scales tilted under genocide’s weight,
And the voice of the Almighty thundered:

“Genocide! I name it what it is.
You who survived the furnaces of Europe,
How could you kindle furnaces for others?

I am the God of Abraham, Isaac, and Jacob,
But I am also the God of Hagar and Ishmael.
I freed slaves from Egypt,
But I will not bless those who enslave others.

These deeds are genocide, and I have weighed them.
These rulers stand condemned, their glory is ash.
Justice will come, though justice tarry long,
And every tear will be counted,
Every life will be avenged.
Genocide!”


The Promise of Memory

Yet this is not the end, O sons of earth,
For Memory does not merely mourn but promises.

As from the ashes of the phoenix rises flame,
As from winter’s death comes spring’s green resurrection,
So from Gaza’s anguish shall come forth
A testimony that shall not be silenced.

The children who were slain shall live in song,
The mothers who were silenced shall speak through poetry,
The fathers who were broken shall stand tall in story,
And Gaza herself, though wounded, shall endure
Until justice rolls down like waters,
And righteousness like a mighty stream.

For this is the promise Memory makes:
That suffering witnessed becomes sacred,
That innocence destroyed becomes indestructible,
That love murdered becomes immortal,
And truth, though buried, always rises.


Epilogue

So sing, O Memory, lest silence fall and truth be buried.
Let cherubim guard the names, let seraphim whisper them in praise.
Let the children of Gaza, though slain, rise again in song,
And let the nations know that what was destroyed endures in remembrance.

For stone may be shattered, but the word cannot be silenced,
And ashes speak, though the fire consume them.
The olive trees shall grow again from their ancient roots,
The mosques shall be rebuilt, more beautiful than before,
The children shall play once more in streets made clean,
And Gaza shall rise, as morning rises from the night.

This is the epic of Gaza, written in tears and blood,
In ashes and in starlight, in sorrow and in hope.
Let it be read when tyrants sleep secure,
Let it be sung when justice seems to slumber,
Let it be remembered when the world forgets—

Sing, O Memory, of Gaza.

Weep, Angelic Host—sentinel Cherubim, laudific Seraphim—weep.

The Voice in the Dust: A Lament for Thersites


400-500AD, found in Egypt. Wooden board (with iron handle for hanging) with Greek inscription of lines 468-473 from Book I of Homer's Iliad.  © The Trustees of the British Museum.
400-500AD, found in Egypt. Wooden board (with iron handle for hanging) with Greek inscription of lines 468-473 from Book I of Homer’s Iliad. © The Trustees of the British Museum. Shared under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) licence.

The lament that follows was born of an essay I penned after re-reading The Iliad through the figure of Thersites: truth-speaker, scapegoat, silenced. Where the essay names the mechanisms—divine deceit, aristocratic coercion, popular complicity—the mythic poem strives to give breath to that silenced voice through Antipseudes of Elis, a fictive low-born warrior who speaks from within the wound of the epic itself. Against the degradations of later tradition—most starkly in Quintus Smyrnaeus’ Posthomerica, where Thersites is struck down in rage by his companion-in-arms Achilles, not in duel nor battle but unjustly, unarmed, unready, and unaware, and then buried in the earth rather than burned upon a pyre, in defiance of Achaean custom—the lament restores what Homer only intimates: that the truth-speaker saw clearly, and that to remember him, and the vision he bore, is the conscience of witness. Thersites’ voice, mocked in antiquity, is recognized belatedly by thinkers such as Hegel and Nietzsche.


The Lament of Antipseudes of Elis

After the Fall of Troy of the High Walls

“What glory is this, that tastes of ash and allotted fate?”

I. The Weight of Victory

Ten winters I carried this spear,
ten summers I dreamed of home—

the olive grove behind my father’s house,
the way morning light fell
across my wife’s sleeping face.

Now Troy burns behind us,
her towers cracked
like broken teeth,

and the wind carries the smell
of what the immortals and kings call victory:
blood and smoke,
the stench of the fallen.

They say we have victory.
They say our names will echo
through the halls of distant kings,

that singers will sing of this day
when the world was young.

But we—nameless before kings and heroes,
we who bore the spears,
we who remember our companions—

we think of Phegaios,
who fell at the Scaean Gate,
beneath the shadow
of the consecrated beech,

his shield-arm shattered,
calling for his mother
as the light left his eyes.

What song will remember
that he loved to carve small birds from olive wood,
that he wept the night before battle—

not from fear, but from beauty;
the way starlight fell
on the wine-dark sea,
too lovely for a world
that would end him tomorrow?

II. The Kings’ Glory

Agamemnon stands proud
upon the battlements,
his bronze breastplate catching
the flame-light of the city.

He speaks of destiny,
of honor served,
of the gods’ will made manifest
in spear-point and sword-edge.

But what did Helen know
of our ten years’ dying?
What did she dream
in Priam’s halls

while we bled the earth black
beneath Troy’s walls?

Was her face worth
Patroklos, torn and broken?
Worth Hector’s son,
dashed against the stones?
Worth the thousand
nameless sons
who will never see
their fathers’ fields again?

The kings divide the spoils—
gold and bronze,
slaves and chariots,
of a broken world.

But they cannot divide
the weight that settles
in a warrior’s chest

when men no longer fall,
and the silence gapes
like a wound
across the blood-soaked plain.

III. What the Dead Know

In the grey hour before dawn
we walked among the pyres
where our companions burned.

Their smoke rose straight
into the windless sky,
and we thought: here is truth—

not in the golden masks of heroes,
not in the songs
that will outlive our bones,
but in this.

Not only kings waged war at Troy,
nor only the heroes
whose names the singers will praise.
These also bore the spear,
or fell in dust:

Phegaios of the beech,
who fell at the Scaean Gate
beneath the sacred tree, calling for his mother
as the bronze pierced his side.

Echelaos of Argos, new to war,
who upheld the host
but died clutching a lock of hair
cut from his sister’s head—
a pledge never delivered.

Lēthios the forgetful,
the goatherd’s son, barely bearded,
who drowned in his own blood
until Thersites drew him forth,
yet lived to forget
the hand that saved him.

And I—Antipseudes of Elis,
opposer of lies—
who live to speak the lament
of the nameless many.

What do the dead know
that we, the living, have forgotten?
What wisdom lies
in their silence?

Perhaps this:
that glory is a word
spoken by those who were not there

when the bronze bit deep,
when the earth drank its fill of young blood,
when the horses screamed
and would not be comforted.

Perhaps this:
that a man’s worth is not measured
in the length of his shadow
cast by the pyre-flames,

but in the small kindnesses—
the water shared,
the wound bound,
the hand held
in the dark hour
before the last battle
where men meet their fate.

IV. The Voice We Silenced

I remember Thersites.

Not his name—no one
speaks his name now,
though once it rang across the ranks
like bronze on bronze,
clear and true and terrible.

He was ugly, yes—
twisted-legged, sharp-voiced,
the kind of man whom kings saw not,
though he stood before them.

But when he spoke
that day in the ninth year,
when Agamemnon deceived us,
pretending to release us
only to test our hearts—

Thersites alone,
voice of the low-born,
truth-speaker,
spoke what we all knew:

What share have we
in Atreus’ son’s portion?
Why must our bones
bleach white on the Scamandrian plain,
while he grows fat
on Trojan plunder?

The words hung
like loosed arrows
trembling in the morning air.

For one bright moment
we saw ourselves clearly:
not heroes,
not bearers of glory,
but flesh offered up
to feed another’s pride.

Then Odysseus rose—
Odysseus the much-turning,
whose counsels coiled like serpents in the dust,
whose tongue bore honey and venom both—

and did not quarrel.
He beat him.
Beat him bloody
with the royal scepter
while we—gods forgive us—
we laughed.

We laughed,
but the gods had blinded us.
We cast his voice into dust,
and cheered the silencing
of the truth-speaker,
as fate compelled.

Had we listened,
had we sailed that day—
Hector would breathe still,
Achilles would grow old
in Phthia’s fields,
Priam’s grandson
would chase shadows
through Troy’s unfallen towers.

But we chose laughter.
We chose the war.
We chose to die
rather than hear
what the ugly man dared to say:

that we were fools,
that we were cattle,
that our lives meant less to our kings
than the bronze in their coffers.

But listen—Thersites died
not as the coward Odysseus made him seem,
not cowering in his tent
or fleeing from the fray.

He died on the day Patroklos fell,
that day of ruin
when the Greeks were driven back to the ships,
when bronze points flashed like lightning
and the sand drank rivers of blood.

The field was chaos and screaming—
chariots overturned, horses mad with terror,
shields splintered, spears shivered,
and men cried out
for mothers no longer living.

In that storm of ruin,
young Lēthios—barely bearded,
homesick for his goats—
took a spear through the lung
and lay drowning in his blood.

No king was watching.
No god took note.

The hour was desperate,
the deed unheroic:
Thersites crawling through the bodies,
hauling the boy
across the bloody sand
while the clash of bronze roared about him.

The boy lived.
Lives still, perhaps,
somewhere in Argos,
telling his young sons and daughters
stories of the war,
never speaking the name
of the man who dragged him
from the edge of death.

And Thersites?
A Trojan blade found his heart
as he shielded the boy’s retreat.

He made no sound—
no cry for help,
no call to glory,
no final words
for singers to polish
into verses of bronze.

He simply fell,
face-down in the bloody sand,
his truth-telling mouth
stopped with earth.

We burned him
on a common pyre
with a dozen others—
companions-in-arms
whose names the smoke carried skyward
and scattered on the wind,
whose deeds no singer
will praise before kings.

But we remember:

the man who spoke against the war
died saving a life,
not for glory,
not for honor,
not for the gold of distant kingdoms,
but because a boy was drowning in his blood
and someone had to act.

What share have we
in Atreus’ son’s portion?

The question follows us
like a shade,
unanswered still,

though half our number—
Thersites among them—
perished on the soil of Ilium
some mourned, some forgotten,
some remembered only by the wind.

V. The Long Road Home

Tomorrow we sail
for the wine-dark waters of home.

Some speak of wives and children
waiting at the harbor,
of olive groves heavy with fruit,
of wine that tastes of peace.

But we have seen too much
to believe in simple homecomings.

The men who left for Troy ten years past
lie buried somewhere
beneath the walls we have torn down,
buried with the voice of Thersites,
buried with the truth
we cast into dust.

What strangers wear their faces now?
What shades return
to sit at ancestral tables,
to hold the hands we knew,
to feign that time and blood
and the weight of blood
have not cut deep furrows
in their hearts?

The ships wait,
black-hulled against the morning light.
The oars are ready,
the sails hang slack
as old skin.

But before we go,
let me speak this truth
into the ashes
of the fallen city:

We came for glory.
We found only
that men die
as simply as leaves
fall in autumn—

and that we ourselves
chose to silence
the one voice
that might have stopped the falling.

We came as heroes.
We leave as vessels of sorrow
too burdened for song,
too grievous for memory.

What is victory
but the bitter wine
pressed from the grapes
of other men’s grief?

What is honor
but a name
we press upon our wounds
to make them
bearable?

And what are we—
who cheered the beating of the truth-speaker,
who chose war,
who laughed
as wisdom bled into the dust?

Epilogue: The Warrior’s Prayer

Hear me, immortals,
who sent us forth
to toil in war,
who moved our hands
to this dark work—

grant us this:

Not that our names
be remembered
in bronze and stone,
not that singers
will sing our deeds
to unborn kings—

But that when we pass
to Hades’ shadowed halls,
where our fathers dwell,
the dead will forgive us
the price we laid
upon their dying.

Grant that the shadows
of Troy’s children
will not follow us
across the wine-dark sea.

Grant that the blood we spilled here
will not cry out
from every field we pass.

And if you must remember us,
remember this:

that we learned too late
the weight of bronze,
the true cost of kingdoms,
the sacrifice of war.

The ships call.
The wind rises.

Troy burns behind us
like a star
falling into the dark.

We are going home.
We are going home
changed.