Elektra, by Jennifer Saint
I received this book from the publisher, Hachette, at no cost. It’s out now; $32.99.
Maybe it’s me, but when I see a book described as a retelling – particularly of something from Greek mythology – I expect to get new insights, a twist on the narrative, or something else unexpected. Sadly, I did not get any of those from this book.
I know a fair bit about Greek mythology – I’m not an expert, but I’ve done my share of reading. I know the story of the House of Atreus; it’s why I was so keen to read a new version of Elektra’s story. I can’t really imagine being someone who doesn’t know about the stories wanting to pick up this book; why would you? But if you are like me, and you do know about Elektra and her parents, then I feel that this book doesn’t really offer anything. And I’m a bit sad about that.
One unexpected thing that the book does have is three narrators. For all that it’s named for Elektra, there’s nearly as much space given to her mother, Clytemnestra, and the Trojan princess/eternally ignored prophet, Cassandra. Now, maybe having Clytemnestra there is an interesting foil for Elektra’s perspective – she is, after all, a child when Agamemnon heads off to war, and it’s Clytemnestra’s desire for vengeance that leads to the later events around Orestes. And Clytemnestra also allows the author to start the story much earlier, with the ‘wooing of Helen’ and all. And I understand why you’d have Cassandra too – the Trojan perspective – but it felt jarring in a book named for the Mycenaean daughter.
My final whinge is some of the anachronisms, which I found a bit uncomfortable. Firstly, the use of ‘Greek’ as a collective term for all the little city states who banned together to go reclaim/recapture Helen. Maybe ‘Hellene’ is too weird for a general reader? Is it too weird to have an explanatory note at the start of the book? I don’t know. But it made me a bit grumpy. And there were other little things too, mostly more concerned with atmosphere: it felt like Saint couldn’t decide whether she wanted this world to feel really familiar, just with added deities and exotic-ness; or whether she wanted to play up the temporal distance from the reader. I think she mostly leaned to the former, and so in an odd way Clytemnestra and Elektra and everyone felt too familiar.
So… a lot of things to complain about. Why did I finish it? It really is well written; it’s easy to read, the pacing is good, the language is often lovely. (I partly kept reading in the hopes of something different, too, which was a bad reason to continue but is nonetheless true.)
Could you read this if you didn’t know the source material? I think so. I think there’s enough explanation that you would be able to follow the intricacies of the different problems with no trouble. And perhaps that’s indeed part of the problem for me – everything was too laid out, I wasn’t required to do any thinking at all.
Medusa
I received this as a review book from the publisher, Bloomsbury. It’s out on November 1; trade paperback $22.99.
Ah, Medusa. I love her as a character – always have. She has so much to give and so much to say about how women are viewed and used; especially women with power. Burton acknowledges Caravaggio for his portrait of her, as part of the inspiration for this book; I’ve seen Medusa heads in the cisterns under Istanbul. She is an evergreen figure.
The blurb suggests that #MeToo was part of the inspiration for the narrative, and you can see a lot of that here. You can tell a lot about the times in which the story is told from how the, uh, interaction between Poseidon and Medusa is framed. It’s crystal, blindingly, clear here that Medusa was absolutely the innocent. So far so good; not entirely new. But what intrigued me here was the framing of Medusa’s whole life: that she has been accused of being vain – after her neighbours started making comments about her appearance – there’s good commentary here on social expectations and how we just can’t win. And even more than that is the way that Medusa’s sisters talk to her, and what she comes to realise: about her value as a person, and about telling her own story. It’s incredibly powerful. I can well imagine giving this to a mid-teenage kid, frustrated by the messages from the rest of society, and hopefully having good conversations because of it.
Oh also there’s Perseus. Yeah yeah.
Actually that’s unfair – he’s presented in a more complex way here than is often the case, too, and I appreciated that. This is very much Medusa’s story, though, and I love that Perseus is there in service of her growth.
The one thing that disappointed me a bit about the story was that Athena is described as making Medusa’s sisters into Gorgons… but what a Gorgon is never gets explained. It’s not entirely obvious whether this is meant to be punishment, or just a change.
As well as the story, Medusa comes with glorious illustrations. I don’t have the vocabulary to really explain them: there are some examples here, and the most incredible portrait of Medusa is here. Olivia Lomenech Gill has made Medusa glorious – Burton describes the snakes in genuinely loving detail, and Gill has captured that. The pictures throughout are a delight; some are almost like collages; the colours are vibrant, and occasionally juxtaposed with almost pencil sketches. There’s a magnificent four-page set where it’s Medusa on one side of a rock, and Perseus on the other. I’m not entirely ignorant of art, but I don’t always appreciate it as much as I should… these pictures definitely add to the overall quality of the book, and it wouldn’t be the same without.
This is a great addition to the overall discussion of Medusa.
Bright Air Black
This book was sent to me by the Australian publisher, Text Publishing, at no cost. It’s out on 20 March 2017; RRP $29.99 (C-format paperback).
This is a tale about Medea, which makes me happy she is definitely one of the more intriguing of ancient mythical women. Kerry Greenwood wrote a take on her ages ago, which I remember enjoying, and she featured in Robert Holdstock’s remarkable Merlin-and-Jason series (hmm… did I ever finish that? Must check). For the modern writer there must be a challenge in trying to understand what could compel this woman to leave her homeland, kill her brother, and eventually kill her children, and a tension is deciding whether to stay true to the “original” (HA) story, or to put a different spin on it – keep the children alive, for instance. Do you play Jason as a helpless fool or an arrogant one, Medea as loving and betrayed or as cunning herself, and perhaps still betrayed – or the witch that she’s sometimes regarded as? Lots of interesting possibilities.
… and I guess those are some spoilers if you don’t know the Medea story.
Vann chooses to set his version properly far back in time, the 1300s BC; there is reference to Hittites, and Ilium, and Egypt. There are no Greeks; Jason and his Argonauts are the Mynae. Intriguingly, his descriptions of the voyage of the Argo back to Iolcus – which is more than a third of the book – is based on Vann’s own experience of traveling on a recreated ship of Hatshepsut’s time, with archaeologist Cheryl Ward, for a French documentary Building Pharaoh’s Ship.
First, let me mention the language. The copy describes it as ‘poetic prose’, which is apt. Bluntly it means there are lots of incomplete sentences and a few extended ones, and lots of adjectives and time spent on description. The gorgeous reality, of course, is not captured in that summation. For example:
Her father a golden face in darkness. Appearing in torchlight over the water and vanishing again. Face of the sun, descendant of the sun. Betrayal and rage. (p1)
and
The sail not a god itself but only the tracing of a god, a more responsive form of temple. Like fire to reveal Hekate. How can we know when we’re worshipping a god and when we’re worshipping only the sign of a god? Wind itself a sign of something else, and even fire, and white hides behind them? (115).
I’m not accustomed to reading quite such flowery language (which I mean positively), so it did take me longer than expected to read the book. It is wonderfully evocative and enjoyable, don’t get me wrong. And the other thing that I appreciated you can see in that last quote – Hekate. Korinth. Kreon. It’s also Iolcus and Colchis so I’m not sure if that’s annoying inconsistency; some Green scholar will have to let me know.
There are lots of threads that Vann is tracing through Bright Air Black (words from a translation of Euripides – the gods “turn the bright air black” in frustrating mortals). One is the role of gods, or lack thereof. Medea frequently calls on Hekate, who sometimes appears to answer in the form of fortuitous weather; but at other times Medea despairs of her goddess and appears to be at best agnostic. There is no magic here (probably); there is luck and poison and human trickery and the use of power. There’s some commentary on the role of those things in developing human society and how men (as a rule) keep power.
This being Medea there is also commentary on the nature of feminine power. Medea has always been a weird girl, going off into the forest and not being afraid of the night; she plays on that and develops her reputation for fearlessness through her familiarity with the unfamiliar and inhuman – forests, the sea, the night. And then she leaves her family for a foreigner. Medea herself ruminates on the power of women versus the power of men; this includes thinking about her own family, and the complicated genealogy whereby it’s unclear exactly who her mother and grandmother are – are they the same person? No one much cares; it’s the men that matter.
This is a pretty straight retelling of Medea’s story – if you know Medea, you know what’s going to happen. Vann has added motive and explanation, an investigation and justification of some events and a whole lot of description. It’s a great addition to the oeuvre of Greek mythological retellings.