"In Mythology, I am still reading about Medea and the quest for the Golden Fleece. Here is someone that I recognize. When Medea falls in love with Jason, it grabs me by my throat. I can see her. Medea sneaks Jason things to help him: ointments to make him invincible, secrets in rocks. She has magic, could bend the natural to the unnatural. But even with all her power, Jason bends her like a young pine in a hard wind; he makes her double in two. I know her." (Salvage the Bones, pg. 38)

This section of Salvage the Bones is one of the very first times Esch mentions Medea and it introduces how Esch can relate to Medea and her relationship with Jason. In the passage, Esch points out how Medea, even though she is extremely powerful, is still hurt by Jason and his betrayal. Esch, who is also very tough and independent, growing up poor with an alcoholic father, is similarly crushed by the way that Manny treats her. So, this passage is important to the text because it is revealing the more fragile side of Esch, showing how even she cannot protect herself from the pain of heartbreak and betrayal.

John William Waterhouse created this oil painting, titled “Jason and Medea” in 1907. In the painting, Medea is preparing a potion for Jason to help him complete the tasks set for him by her father.

This picture of a flower growing in a harsh environment represents Esch by the end of the novel. Against many odds including a dangerous hurricane, Manny leaving her, and an extremely sick father, Esch has found courage in herself and has managed to grow and thrive into a strong and independent young woman. She realizes that she doesn’t need Manny as a father to her child and that she can successfully raise her child on her own.