The final lines of the first stanza show Icarus surviving the plunge into the water. He ends up in the city and rents a house. This further places Icarus in a modern context. As mentioned, when looking at literary devices, Field uses anachronism. That is, he takes Icarus from mythology and places him in a modern context, a displacement. Now, let us relate that to war. The soldier, a hero, survives the war and returns to civilian life. He is displaced from one context and placed into another. This displacement mirrors the displacement in bringing the mythological Icraus into a modern context. And such a displacement leads to alienation, as we will see in stanza two.
Prior to his first published collection of poetry, Field's poems appeared in such literary magazines as Botteghe Oscure, Evergreen Review, Kenyon Review, The New York Review of Books, Exquisite Corpse, Partisan Review, Poetry, and American Poetry Review.
It was during the lengthy sojourn of the Israelites in the desert that Eldad and Medad began to prophesy in the camp, or, as the New JPS translation would have it, "to speak in ecstasy," which more accurately describes what happened to Alan and me sometime in 1980. (1) There were perhaps as many as seventy elders out there professing Jewish studies, but the existing journals in the field were either too venerable or too stodgy to serve as a platform for Jewish literary studies of a new kind. When I raised this issue with our teacher and mentor, Dan Miron, he said: "Why not start your own journal?" As it is written, "But Moses said, 'Would that all of the Lord's people were prophets, that the Lord put His spirit upon them!'" (Numbers 11: 29). And so Eldad recruited Medad that they might prophesy together in the Israelite camp. 2b1af7f3a8