Wake, Siren
Ovid Resung
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- 10,99 €
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- 10,99 €
Descrizione dell’editore
In fierce, textured voices, the women of Ovid's Metamorphoses claim their stories and challenge the power of myth
I am the home of this story. After thousands of years of other people’s tellings, of all these different bridges, of words gotten wrong, I’ll tell it myself.
Seductresses and she-monsters, nymphs and demi-goddesses, populate the famous myths of Ovid's Metamorphoses. But what happens when the story of the chase comes in the voice of the woman fleeing her rape? When the beloved coolly returns the seducer's gaze? When tales of monstrous transfiguration are sung by those transformed? In voices both mythic and modern, Wake, Siren revisits each account of love, loss, rape, revenge, and change. It lays bare the violence that undergirds and lurks in the heart of Ovid’s narratives, stories that helped build and perpetuate the distorted portrayal of women across centuries of art and literature.
Drawing on the rhythms of epic poetry and alt rock, of everyday speech and folk song, of fireside whisperings and therapy sessions, Nina MacLaughlin, the acclaimed author of Hammer Head, recovers what is lost when the stories of women are told and translated by men. She breathes new life into these fraught and well-loved myths.
PUBLISHERS WEEKLY
MacLaughlin, whose debut book was the carpentry memoir Hammerhead, heads in a vastly different direction with this collection of myths recast for the #MeToo era. In more than 30 short stories, nymphs and human women are allowed to tell their own stories, many of which depict gods and heroes as more dangerous than the lascivious and mischievous rogues they've often been portrayed as. These settings are largely unmoored from traditional chronology, borrowing freely from both classical tropes and contemporary popular culture, and some such as one where incestuous Myrrha confesses everything to her therapist, or another in which the cyclops Polyphemus is Galatea's cyberstalker are inventive in form. There is nevertheless a certain sameness to many of the stories, perhaps unavoidable in such a project, but MacLaughlin largely succeeds in varying the recurrent themes of sexual violence and women's subsequent rage and inevitable transformations, largely imposed by gods to ensure women's silence. The emotional heart of the collection arrives when the horrific story of Proche and Philomela is immediately followed by Baucis's sensually and emotionally satisfying tale of a long, love-filled marriage. In the latter story, the narrator states that "Not all stories are sad," a much-needed reminder at this point in the collection. MacLaughlin skillfully elevates what could have been merely a writerly exercise, instead composing a chorus of women's justifiable rage echoing down through the millennia.
