Classic and Contemporary Poetry: Explained

"William Dawes," by Eileen Myles, is a poem that navigates through layers of history, public memory, and individual perception. The poem starts with a seemingly simple scene-"faint tinkling down the street"-only to later reveal that it's about historical figures Paul Revere and William Dawes. Through the eyes of the speaker, these figures are transported into the contemporary setting, their mythical statuses questioned, and their roles in history critically examined.

The poem begins in media res, plunging the reader into the action without clear context, mimicking the uncertainty and curiosity of the speaker who wonders about the "skinny men running / into Boston." The speaker's movement from "Swan to Mass Ave" indicates a physical transition, which is mirrored by the thematic transitions in the poem-from ignorance to knowledge, from myth to reality, and from the past to the present.

The figures of Paul Revere and William Dawes are presented initially as almost mythical beings who ride "giant horses." Yet, this idealized image is immediately undercut by the very real "hairy poop" that "lands / splat on the brick," a reminder that these historical figures were, in fact, human, bound by the same biological necessities as anyone else. This juxtaposition between the heroic and the mundane serves to demystify these figures, bringing them down to a more relatable level.

Myles adds another layer of complexity by introducing the concept of historical authenticity: "It's not / even really Paul Revere." William Dawes, a lesser-known figure compared to Revere, becomes the focus, suggesting that history often tends to glorify certain individuals while overlooking others. The speaker's questioning-"was there really / a him"-suggests that historical narratives are often built on selective memories, and the truth might be a complex amalgamation of many forgotten stories.

The poem ends on a note of uncertainty and existential dread: "little babies dying / man's and people losing / their leg." These lines can be interpreted in various ways: as a nod to the brutal realities of the Revolutionary War that Revere and Dawes were warning about, or as a comment on contemporary tragedies that occur despite our advanced state of civilization. Either way, the poem asserts, "you live in the world / now in history it's true / is not a fake."

Myles uses free verse and colloquial language to deconstruct the mythic statuses of Revere and Dawes, exposing the arbitrariness and selectivity of historical narratives. The poem serves as a reminder that the present is also a part of history, and the "true" and "fake" aspects of it are often difficult to disentangle. In doing so, the poem engages in a form of historical reckoning, questioning the stories we tell ourselves and the figures we choose to glorify, while also reflecting on the messy, painful realities that define both the past and the present.

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