Macaulay Glynn

FRAU TROFFEA RECALLS THE DANCING PLAGUE OF 1518

From all accounts, it was riotous—
the movement swelled like a blister
in the streets. They say I started it,
and perhaps I did, striking
conversation with god like a torch
in a wet sackcloth. We had little left
but superstition: at night
I beheld visions of Victus
creasing the skin of a great drum.

 

And though all summer it rained,
hundreds spun within their sleeves,
each of us reeling a cocoon
around what could be scavenged
from our minds made blank by hunger,
the flooded crops, the chickens’ lice—
the dry slugs we picked from damp rye
and fed to the bulls which staggered, panting,
into the dirt.

Some claim I died but continued to dance.
Why else would so many come see?
We transferred disease in breath
and beat. Hot blood, hummed the priests,
as to what caused the fever. What was it they saw?
Juddering arms raised as if to catch. Thinned
by smaller breaths in ecstasy, our bodies
grew heavy and light. Heels bled and dragged.
They built us a hall to die in.
A band even played for a time.

Swaying on swollen ankles, a woman called
for three late children:                 why                why                why


Hot blood? Is that true?
Certainly, we would have frozen to death
if our heads had not caught on fire.

Macaulay Glynn is a recipient of a writing fellowship from the Marion Clayton Link Endowment, and a winner of Epiphany Magazine's breakout 8 prize for poetry. She is a former director of the Binghamton Poetry Project, a literary service program that offers free poetry workshops to adults, teens, and children in the greater Binghamton area. Her poems have appeared in Yes Poetry, Typishly, Ragazine, and elsewhere. She is a poetry editor for Harpur Palate. 

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