The Penelopiad: The Myth of Penelope and Odysseusby Margaret Atwood
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"Homer's Odyssey is not the only version of the story. Mythic material was originally oral, and also local - a myth would be told one way in one place and quite differently in another. I have drawn on material other than the Odyssey, especially for the details of Penelope's parentage, her early life and marriage, and the scandalous rumors circulating about her. "I've chosen to give the telling of the story to Penelope and to the twelve hanged maids. The maids form a chanting and singing Chorus which focuses on two questions that must pose themselves after any close reading of the Odyssey: What led to the hanging of the maids, and what was Penelope really up to? The story as told in the Odyssey doesn't hold water: there are too many inconsistencies. I've always been haunted by the hanged maids; and, in The Penelopiad, so is Penelope herself." - From Margaret Atwood's foreword to The Penelopiad
The New York Times
“The Penelopiad is a brilliant tour de force that takes an aspect of The Odyssey and opens up new vistas.... Atwood turns a gruesome, barbaric episode into an ironic tragedy of double agents.” National Post
“Two things are apparent when you begin reading The Penelopiad. First, this is a writer who is confidently at the height of her powers. And, second, she’s having fun.” The Vancouver Sun
“Atwood’s putting Penelope in the starring role is a fine and fresh revisioning.... Somehow (it is a measure of her genius that one cannot quite say how), she makes us hear the voice of Penelope, reflecting in Hades on her life, as if it were the voice of the most interesting gossip you have ever had coffee with.... This is a wonderful book.” The Globe and Mail
“Feels like a breath of fresh air blown in from the Mediterranean Sea.... The Penelopiad is Atwood in top form. The woman who wrote The Handmaid’s Tale hasn’t lost her acerbic touch.” The Gazette
“A startling commentary on the responsibility of power, and of how privilege can shade into complicity. The Penelopiad is anything but a woe-is-woman discourse.” Calgary Herald
“In this exquisitely poised book, Atwood blends intimate humour with a finely tempered outrage at the terrible injustice of the maids, phrasing both in language as potent as a curse.” The Sunday Times
Read an Excerpt
By Margaret Atwood
Random HouseMargaret Atwood
All right reserved.
A Low Art
Now that I'm dead I know everything. This is what I wished would happen, but like so many of my wishes it failed to come true. I know only a few factoids that I didn't know before. It's much too high a price to pay for the satisfaction of curiosity, needless to say.
Since being dead -- since achieving this state of bonelessness, liplessness, breastlessness -- I've learned some things I would rather not know, as one does when listening at windows or opening other people's letters. You think you'd like to read minds? Think again.
Down here everyone arrives with a sack, like the sacks used to keep the winds in, but each of these sacks is full of words -- words you've spoken, words you've heard, words that have been said about you. Some sacks are very small, others large; my own is of a reasonable size, though a lot of the words in it concern my eminent husband. What a fool he made of me, some say. It was a specialty of his: making fools. He got away with everything, which was another of his specialties: getting away.
He was always so plausible. Many people have believed that his version of events was the true one, give or take a few murders, a few beautiful seductresses, a few one-eyed monsters. Even I believed him, from time to time. I knew he was tricky and a liar, I just didn't think he would play his tricks and try out his lies on me. Hadn't I been faithful? Hadn't I waited, and waited, and waited, despite the temptation -- almost the compulsion -- to do otherwise? And what did I amount to, once the official version gained ground? An edifying legend. A stick used to beat other women with. Why couldn't they be as considerate, as trustworthy, as all-suffering as I had been? That was the line they took, the singers, the yarn-spinners. Don't follow my example, I want to scream in your ears -- yes, yours! But when I try to scream, I sound like an owl.
Of course I had inklings, about his slipperiness, his wiliness, his foxiness, his -- how can I put this? -- his unscrupulousness, but I turned a blind eye. I kept my mouth shut; or, if I opened it, I sang his praises. I didn't contradict, I didn't ask awkward questions, I didn't dig deep. I wanted happy endings in those days, and happy endings are best achieved by keeping the right doors locked and going to sleep during the rampages.
But after the main events were over and things had become less legendary, I realized how many people were laughing at me behind my back -- how they were jeering, making jokes about me, jokes both clean and dirty; how they were turning me into a story, or into several stories, though not the kind of stories I'd prefer to hear about myself. What can a woman do when scandalous gossip travels the world? If she defends herself she sounds guilty. So I waited some more.
Now that all the others have run out of air, it's my turn to do a little story-making. I owe it to myself. I've had to work myself up to it: it's a low art, tale-telling. Old women go in for it, strolling beggars, blind singers, maidservants, children -- folks with time on their hands. Once, people would have laughed if I'd tried to play the minstrel -- there's nothing more preposterous than an aristocrat fumbling around with the arts -- but who cares about public opinion now? The opinion of the people down here: the opinion of shadows, of echoes. So I'll spin a thread of my own.
The difficulty is that I have no mouth through which I can speak. I can't make myself understood, not in your world, the world of bodies, of tongues and fingers; and most of the time I have no listeners, not on your side of the river. Those of you who may catch the odd whisper, the odd squeak, so easily mistake my words for breezes rustling the dry reeds, for bats at twilight, for bad dreams.
But I've always been of a determined nature. Patient, they used to call me. I like to see a thing through to the end.
The Chorus Line:
A Rope-Jumping Rhyme
we are the maids
the ones you killed
the ones you failed
we danced in air
our bare feet twitched
it was not fair
with every goddess, queen, and bitch
from there to here
you scratched your itch
we did much less
than what you did
you judged us bad
you had the spear
you had the word
at your command
we scrubbed the blood
of our dead
paramours from floors, from chairs
from stairs, from doors,
we knelt in water
while you stared
at our bare feet
it was not fair
you licked our fear
it gave you pleasure
you raised your hand
you watched us fall
we danced on air
the ones you failed
the ones you killed
Where shall I begin? There are only two choices: at the beginning or not at the beginning. The real beginning would be the beginning of the world, after which one thing has led to another; but since there are differences of opinion about that, I'll begin with my own birth.
My father was King Icarius of Sparta. My mother was a Naiad. Daughters of Naiads were a dime a dozen in those days; the place was crawling with them. Nevertheless, it never hurts to be of semi-divine birth. Or it never hurts immediately.
When I was quite young my father ordered me to be thrown into the sea. I never knew exactly why, during my lifetime, but now I suspect he'd been told by an oracle that I would weave his shroud. Possibly he thought that if he killed me first, his shroud would never be woven and he would live forever. I can see how the reasoning might have gone. In that case, his wish to drown me came from an understandable desire to protect himself. But he must have misheard, or else the oracle herself misheard -- the gods often mumble -- because it was not his shroud that was at issue, but my father-in-law's shroud. If that was the prophecy it was a true one, and indeed the weaving of this particular shroud proved a great convenience to me later on in my life.
The teaching of crafts to girls has fallen out of fashion now, I understand, but luckily it had not in my day. It's always an advantage to have something to do with your hands. That way, if someone makes an inappropriate remark, you can pretend you haven't heard it. Then you don't have to answer.
But perhaps this shroud-weaving oracle idea of mine is baseless. Perhaps I have only invented it in order to make myself feel better. So much whispering goes on, in the dark caverns, in the meadows, that sometimes it's hard to know whether the whispering is coming from others or from the inside of your own head. I use head figuratively. We have dispensed with heads as such, down here.
Excerpted from The Penelopiad by Margaret Atwood Excerpted by permission.
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What People are Saying About This
“The Penelopiad is a brilliant tour de force that takes an aspect of The Odyssey and opens up new vistas. . . . Atwood takes Penelope’s braininess and puts her at the centre. . . . Odysseus’s 20-year absence leaves lots of room for development; this is just the kind of thing that a retelling of a myth should do. . . . [Atwood] turns a gruesome, barbaric episode into an ironic tragedy of double agents.”
“Two things are apparent when you begin reading The Penelopiad. First, this is a writer who is confidently at the height of her powers. And, second, she’s having fun.”
–The Vancouver Sun
“Atwood’s putting Penelope in the starring role is a fine and fresh revisioning. . . . Somehow (it is a measure of her genius that one cannot quite say how), she makes us hear the voice of Penelope, reflecting in Hades on her life, as if it were the voice of the most interesting gossip you have ever had coffee with. . . . This is a wonderful book.”
–The Globe and Mail
“Feels like a breath of fresh air blown in from the Mediterranean Sea. . . . The Penelopiad is Atwood in top form. The woman who wrote The Handmaid’s Tale hasn’t lost her acerbic touch.”
–The Gazette (Montreal)
“What . . . emerge[s] is a startling commentary on the responsibility of power, and of how privilege can shade into complicity. The Penelopiad is anything but a woe-is-woman discourse. . . . adds Atwood’s sly, compassionate voice to the myth of Odysseus and Penelope and, in doing so, increases its already great depth.”
“In this exquisitely poised book, Atwood blends intimate humour with a finely tempered outrage at the terrible injustice of the maids, phrasing both in language as potent as a curse.”
–Sunday Times (UK)
“Penelope flies with the help of the sardonic, dead-pan voice Atwood lends her, a tone — half Dorothy Parker, half Desperate housewives.”
–The Independent (UK)
“‘Spry’ is a word that could almost have been invented to describe Margaret Atwood, who beadily and wittily retells the events surrounding The Odyssey through the voice of Penelope. Pragmatic, clever, domestic, mournful, Penelope is a perfect Atwood heroine.”
–The Spectator (UK)
“Alter[s] one’s point of view toward [the story], imbuing it with a modern sensibility yet revealing some eternal truths about men, women, and the issue of power, including the power to shape a narrative. . . . Atwood shows with intelligence and wit just how complicated and unpretty love can be.”
–O, The Oprah Magazine
“Along with her presentation of the hallucinatory maids and Penelope’s straight talk about her husband, her girly laments about the ferocious competition of Helen and her queenly worries about fending off the suitors, Atwood’s brilliance emerges in the skillful way she has woven her own research on the anthropological underpinnings of Homer’s epic into the patterns of her own stylized version of the poem. . . . A fascinating and rather attractive version of this old, old story, a creation tale about the founding of our civilization meant to be heard over and over and over.”
“Atwood paints a shrewdly insightful picture of what life in those days might actually have been like. . . . By turns slyly funny and fiercely indignant, Ms. Atwood’s imaginative, ingeniously-constructed ‘deconstruction’ of the old tale reveals it in a new–and refreshingly different–light.”
–The Washington Times
“Atwood’s 17th work of fiction is a gem…flaunts an acid wit and a generous dose of lyricism…In Atwood’s imagination, Penelope and her handmaids are remarkably complex: They are simultaneously ancient and modern, lighthearted and grief-stricken, disenfranchised and powerful.”
Meet the Author
Margaret Atwood is the author of more than forty volumes of poetry, children’s literature, fiction, and non-fiction, but is best known for her novels, which include The Edible Woman (1969), The Handmaid’s Tale (1985), The Robber Bride (1994), Alias Grace (1996), and The Blind Assassin, which won the prestigious Booker Prize in 2000. A book of short stories called Stone Mattress: Nine Tales was published in 2014. Her novel, MaddAddam (2013), is the final volume in a three-book series that began with the Man-Booker prize-nominated Oryx and Crake (2003) and continued with The Year of the Flood (2009). The Tent (mini-fictions) and Moral Disorder (short fiction) both appeared in 2006. A volume of poetry, The Door, was published in 2007. In Other Worlds: SF and the Human Imagination, a collection of non-fiction essays appeared in 2011. Her non-fiction book, Payback: Debt and the Shadow Side of Wealth was adapted for the screen in 2012. Ms. Atwood’s work has been published in more than forty languages, including Farsi, Japanese, Turkish, Finnish, Korean, Icelandic and Estonian.
Margaret Atwood lives in Toronto with writer Graeme Gibson.
- Toronto, Ontario
- Date of Birth:
- November 18, 1939
- Place of Birth:
- Ottawa, Ontario
- B.A., University of Toronto, 1961; M.A. Radcliffe, 1962; Ph.D., Harvard University, 1967
Most Helpful Customer Reviews
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Margaret Atwood reinvigorates Homer's classic by telling the other side of the story, albeit in a feminist perspective. Well done!
I found the book to be a good read, Atwood did a good job in my opinion of describing what life could have been like in ancient Greece. The book was an easy read, and had some interesting points on what historical events might have looked like to someone from ancient Greece. Atwood also had some interesting ideas on what Odysseus and Penelope where like, and what really happened those thousands of years ago. Some things i did not like about the book was how Penelope cried about everything happening, and like a person i knew who also read the book said 'She must have drank water all day just to be able to cry like she does!' Over all though, i did enjoy the book.
Ah, Atwood. I've been reading her works since my eighth grade teacher gifted me her Journals of Susanna Moodie with an inscription telling me that she looked forward to the day when I would bring her my own published work. I've had a love/hate relationship with Atwood ever since. But The Penelopiad was new to me. My daughter is reading it for her AP English class and she asked me if I could hold on to it for her when we were out this past weekend. It was one of those moments when I found myself early for a meeting and sitting there with my Americano. I had a choice: I could either read the literary book my kid just gave me, or play the Dot game incessantly. I chose to read. And that was it. I was hooked. Now if you've read some of my other reviews, you'll know I'm a huge fan of fractured fairy tales. And while Greek mythology and a retelling of the Odyssey isn't exactly a fairy tale, it has elements of what I love. Atwood tells the story completely from the point of view of Penelope and the twelve maidens. It is classically Atwood and absolutely brilliant. The academic in me, recommends reading The Odyssey before The Penelopiad but it isn't really necessary. If you've seen Odysseus: Voyage to the Underworld (a really sh*tty movie) or had a peek at Percy Jackson (a really good series) you'll recognize some of the stories. But the real treasure in The Penelopiad is that it is told from Penelope's point of view (after her death). Only Atwood would take the quintessential hero story and say, wait a minute! What about the 15-year old girl he married and dragged off to his remote island and then left there with a baby while he gallivanted around the countryside for TWENTY years? What about HER story? This telling is a feminist re-imagination of the legend. In classic Atwood style, it re-imagines the tale we think we know and forces the reader to question what the true telling of The Odyssey might be. (If you are unfamiliar with Atwood's work, shame on you! Get reading! But she has taken many, many texts and dug the subtext out and ran with it.) This book has rekindled my love affair with Atwood's work. I highly recommend you check it out.
This is my summer reading book I hope it's good!!!
The Penelopiad is Margaret Atwood’s take on the story of Odysseus and his wife Penelope, but from the perspective of Penelope. It was a fabulous recreation of the Odyssey, with a slightly modern twist. I like how Penelope explains how Odysseus’s famous exploits could have been explained by myths, or could have been normal but exaggerated experiences. It kind of reminded me of The Liars’ Gospel in that way, making you think about whether or not the Greek mythology (or Jesus’s legend, if we’re talking about The Liars’ Gospel) is truth or situations that were created. I highly recommend if you enjoyed The Liars’ Gospel and/or The Song of Achilles by Madeline Miller! Thanks for reading, Rebecca @ Love at First Book
A delightful tongue-in-cheek retelling of classic mythology.