Classic and Contemporary Poetry: Explained

In "To Io, Afterwards," Laurie Sheck explores the myth of Io through a deeply reflective and empathetic lens, delving into themes of exile, longing, and the search for belonging. The poem captures the poignant aftermath of Io's transformation and wanderings, offering a meditation on her experience and the enduring impact of her mythic journey.

The poem begins with an invocation to Io, acknowledging her weariness: "I suppose you are weary now of remembering, / that being mortal you want to convince yourself you belong / to this earth, and are anchored to the earth by love." This opening sets a contemplative tone, suggesting that Io, after her ordeal, seeks to reconnect with her mortal life and find solace in the mundane aspects of existence. The desire to feel anchored by love speaks to a universal human longing for connection and stability, contrasting sharply with the isolation of her past.

Sheck paints a serene yet poignant scene: "You lie by the river. The sky is still. / If you could you would watch the roots of the grasses, / the roots of the wildflowers hunger through the soil." This imagery of nature's quiet persistence mirrors Io's own yearning for permanence and attachment. The roots "hunger" and "cleave, as if forever, / to what they cannot finally hold," symbolizing the futile but relentless pursuit of a stable, grounded existence. The river, with its "cold and smooth" skin, reflects a surface tranquility that belies the deeper currents of Io's emotions and memories.

The sudden flight of birds—"a sudden panic of black wings"—and Io's reaction to it highlight her lingering sense of displacement and the lingering impact of her transformation. This "strange dream of their going" suggests that even in moments of calm, Io is haunted by the remnants of her past trauma and the abrupt changes she endured.

Sheck then shifts to a more vivid recollection of Io's transformation and wanderings: "I think of your wandering. / White skin, white hooves, how you passed without touching / what formerly you'd stopped to touch." The stark imagery of "white skin, white hooves" emphasizes Io's otherness and the profound alienation she felt. Her inability to touch the world around her underscores her disconnection from her own humanity and the natural world she once interacted with intimately.

The poem contrasts the innocence and normalcy of children picking flowers by the river with Io's "stark cage of exile." This juxtaposition highlights the tragic distance between Io and the world of human connection and simplicity. "Allowed no rest, / you moved within the stark cage of exile / while you longed more than anything for hands." The longing for hands symbolizes Io's deep desire for human touch and connection, a poignant reminder of what she has lost.

As Io observes the world anew, Sheck contemplates whether her perspective has changed: "Did the earth grow beautiful then— / the lambs sleeping on the hillsides, the olive trees / swaying where they stood?" The "unstoppable fullness" of the world, seen for the first time with a fresh perspective, suggests that Io's exile and suffering have given her a heightened appreciation for the beauty and vibrancy of the world. The poem concludes with a powerful reflection on Io's newfound awareness: "And for the first time you saw it. You who watched it / with longing from a distance unbridgeable as death." This final line encapsulates the profound transformation in Io's perception, emphasizing the unbridgeable gap between her past and present selves.

Through "To Io, Afterwards," Laurie Sheck provides a deeply empathetic and introspective portrayal of Io's mythic journey. The poem's rich imagery and reflective tone offer a nuanced exploration of exile, longing, and the search for belonging, making Io's ancient story resonate with contemporary themes of human experience. Sheck's meditation on Io's transformation and her subsequent quest for connection and beauty underscores the enduring power of myth to illuminate the complexities of the human condition.

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