It’s no secret that, in a lot of myths, women have gotten the short end of the stick. With characters like Scylla, Medusa, and Lilith, a lot of classical tales feature women as antagonists for simply being assertive, confident, or simply attractive.
And while a lot of us might be able to relate to this experience, we thankfully live in an age where writers are being encouraged to reimagine classical myths through a feminist lens.
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Here we dive into the satisfying trend of feminist myth retellings, why it’s happening, and where it might lead us.
What Are Some Examples of Feminist Retellings?
There is an ocean of feminist retellings to wade through, but the most visible contributor is arguably Madeline Miller. Her 2011 novel The Song Of Achilles won the prestigious Orange Prize for Fiction, and she followed it up with 2018’s Circe. Perhaps most inspiring is Miller’s personal narrative: she earned a living teaching Latin and Greek to high school students for a decade while she perfected her first novel.
Other writers have thrown their hats into the ring, too. Natalie Haynes, author of the 2019 novel A Thousand Ships, was also shortlisted for the 2020 Women’s Prize for Fiction. In addition, Jennifer Saint published her debut novel Ariadne in 2021, which book has an impressive 4.3 rating on Goodreads. Basically, there are a lot of women rewriting Greek mythology right now.
These stories go beyond Greek myths, too. In 2023, Katherine Bradley published The Sisterhood, a reexamination of George Orwell’s dystopian novel 1984, but from the point of view of Julia, the love interest of the original protagonist Winston Smith. Bradley turns Orwell’s tale on its head, instead questioning the significance and impact of activism and opposition from a feminine perspective. (Spoiler: women often have a lot more at stake when it comes to taking a stand.)
How Do These Stories Differ From Classical Myths?
It’s no secret that a lot of classical myths have focused on male characters and narratives. Women have historically stood at the periphery of these stories, serving as two-dimensional figures to support men on their journey. Occasionally, these myths have explored feminine characters more deeply, but usually as villains like Medusa or Circe.
Alternatively, classical folklore has painted feminine characters as passive victims without agency. If you’re uncertain, look no further than the stories of Briseis or Penelope, both of whom are depicted as chaste and unmoving. It goes without saying that, for most women, these archetypes hold less water than a sieve. The modern uptick in feminist retellings is hoping to challenge these long-held narratives.
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The irony of these retellings, however, is based on their heritage as oral folklore. Because the majority of myths and legends have been handed down through generations via a method of verbal storytelling, these stories are constantly in a state of flux.
Each storyteller brings her own twist to the story. In doing so, these tales are evolving with each retelling. The latest writers to publish feminist retellings are simply repeating this process but in a more legitimized and institutionalized format.
Why Are They Having a Moment Right Now?
It’s no secret that the majority of Western cultures have not been particularly compassionate toward women in the last… well, for centuries. Patriarchy has reigned supreme, and women have borne the brunt of oppressive societal expectations.
But as we progress toward equality, and embracing the power and capability of women, people of all genders are feeling more empowered to create and consume media about the lived experience from a non-male perspective. Which, frankly, is exciting and overwhelmingly emotional.
But to zoom out a bit, the demand for new perspectives is growing in general. As readers grow and develop, our desire to read different retellings of old stories expands too.
We long for new interpretations of ancient stories, not just from a feminist perspective, but also from other points of view. Myths from more marginalized cultures and narrators have seen a sharp uptick in sales in recent years, which is great news for readers.
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So, What Else Can We Expect From The Culture at Large?
If the success of novels like Circe has taught us anything, it’s that the public wants to read these stories. Readers of all genders are tired of constantly consuming the same narratives that have plagued us for so long. We want to see women in a position of agency, autonomy, and empowerment.
I’m happy to report that publishers and studios are paying attention. There’s a high demand for feminist reimaginings, and the bestseller lists and streaming numbers only prove that. As publishers and studios continue to see greater returns for feminist stories, it naturally follows that more stories like these will be published in the coming years.
My response to that? It’s about damn time.
