Winner of the 2001 Los Angeles Times Book Prize in Poetry.
A New York Times Book Review Notable Book of 2000.
The first warning passing through Thebes--
As small a sound
As a housefly alighting from Persia
And stamping its foot on a mound
Where the palace once was;
As small a moth chewing thread
In the tyrant's robe;
As small as the cresting of red
In the rim of an injured eye; as small
As the sound of a human conceived
A compelling, lyric telling of the story of Oedipus, and of "what happens outside the play," in the experience of the god who is its presiding oracle: Apollo, the god of poetry, music, and healing. Given the task of setting the Sophocles text to music, the god is woven reluctantly into its world of riddles, unanswered questions, partially disclosed objects, and ambiguous second-hand reports--a world where the gods, as much as humans, are subject to the binding claims of fate and necessity.
Gjertrud Schnackenberg draws upon ancient fragments and allusions to Oedipus and upon folk-tales about the origin of the Greek alphabet to present a vision of the tragedy's essential unknowableness, where the destinies of gods and humans secretly mingle in the unfolding of time, and where Zeus's laws, which suffuse the great tragedy's world, are as invisible and as inviolable as physical laws.
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Gjertrud Schnackenberg was born in Tacoma, Washington, in 1953. Her awards include fellowships from the Guggenheim Foundation, the National Endowment for the Arts, the Rome Prize in Literature from the American Academy and Institute of Arts and Letters, the American Academy in Berlin, the Radcliffe Institute for Advanced Study at Harvard University, and an Award in Literature from the American Academy of Arts and Letters. She has been a Christensen Visiting Fellow at St. Catherine's College, Oxford, and a Visiting Scholar at the Getty Research Institute for the History of Art and the Humanites. The Throne of Labdacus received the 2001 Los Angeles Times Book Prize in Poetry, and Heavenly Questions received the 2011 Griffin International Prize for Poetry.
Chapter One
THE GOD
TUNES THE
STRINGS
The first warning passing through Thebes?
As small a sound
As a housefly alighting from Persia
And stamping its foot on a mound
Where the palace once was;
As small as a moth chewing thread
In the tyrant's robe;
As small as the cresting of red
In the rim of an injured eye; as small
As the sound of a human conceived?
The god in Delphi,
Mouthing the words;
Then the god begins tuning the strings
With the squeak of the wooden pegs
Rotating in their holes,
As if he were setting the tragic text
To the music of houseflies.
A resinous skreak being dragged
Through too-small peg holes,
A sound that signifies
The god's unwillingness to speak;
Recalcitrance; unease the god can't quell
At the first oracle: Flee from birth. At which a string
Shudders inaudibly, a premonition
That even the god will be frightened, leaning above
The premiere of Oedipus,
The god frightened
By the self-blinding?and a story,
The meaning of which nobody knows,
Or whose meaning is that nobody knows,
Though once upon a time
The god of poetry
Told the whole story of Oedipus
In one flashing sentence,
In the time it takes for the heart to beat once?
The prophecy he gave to Oedipus
While Oedipus gazed at the god
With uninjured eyes?
A story like a Sphinx-dictated riddle
Even the god can't solve,
A story sent to the god
By Faceless Necessity
Who had held a clay tablet up
To the bandaged eyes
Of a Bound Man
Playing his harp with his feet,
The most archaic tablet
Merely a copy of a still more archaic tablet,
The long-broken, unrecoverable original
First sent to him, the earliest tablet
With a story about a nameless foundling
Lost on the mountainside of his own life,
Written, not in Greek, but in the language
Of the gods,
Continues...
Excerpted from The Throne of Labdacusby Gjertrud Schnackenberg Copyright © 2001 by Gjertrud Schnackenberg. Excerpted by permission.
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