Odes to Olympians Poetry Contest
Buy Iokaste at Barnes & Noble.
Iokaste: Description of the Novel
Iokaste:
Reading Guide - for Readers' Circles, Students, Teachers and Professors Pronunciation Guide to Characters in Iokaste and Works in Progress
Current
Writing Project:Niobe & Pelops: Children of Tantalus Collaborative
Writing: Why Two Heads Are Better Than One Iokaste's Cover (English version)
Post-Publication Reviews
Mary Campbell for The Associated Press, August 2005: 'Iokaste' is a mom's-eye view of Oedipus myth
"Iokaste: The Novel of the Mother-Wife of Oedipus" (PublishAmerica, $24.95) is a departure from the usual Greek myths about Oedipus, which concentrate on him.
Victoria Grossack and Alice Underwood tell the story of Iokaste's life, which is full of dramatic events.
It starts when she's 15 and one of four girls brought before the
king of Thebes as a possible mate for his oldest son. As each girl is
presented, the Tiresias, who is the prophet of the god Apollo, predicts
her future. Based on what the Tiresias says, Iokaste is chosen.
The queen of Thebes tells her it's obvious that the Tiresias was bribed.
Then she calls in the Tiresias and insults Apollo. Before morning, something
horrible happens to the queen's family. Later, Iokaste wonders if it was
Apollo's revenge or the deed of someone working for a rival city whose king
wants to annex Thebes.
There's plenty of political maneuvering in the book. Throughout,
Oedipus is a devout believer in the gods, but Iokaste has periods of religious
belief and periods when she's certain that man is in control.
Iokaste's brother, Kreon, is willing to murder when he thinks it's best for
Thebes. And Iokaste and Kreon together plot a way to rig which candidate for king wins.
This well-written book, about an intelligent, observant and
questioning woman to whom big events happen, is riveting.
* * *
Kirkus Discoveries, May 2005
First-time novelists Grossack and Underwood retain the ancient setting and basic outline of the
story of Oedipus, but infuse it with a modernized tone of psychological realism.
Where Sophoclean tragedy emphasized Oedipus's relentless, self-immolating quest for the
truth, the authors' retelling focuses on his mother Iokaste's desperate attempts to
sweep the truth
under the rug before it demolishes her hard-won domestic bliss. While this change
reduces Oedipus
to a bland romantic lead who arrives rather late in the story, it transforms
Iokaste -- here a competent
ruler and a seeker of emotional and sexual fulfillment -- into an all-but-contemporary
heroine with a
busy role in her own fate. As such, the narrative reflects a resolutely
feminine perspective, with
numerous weddings and harrowing childbirth scenes. The focus is on
Iokaste's fraught personal relationships
and coping strategies, particularly as she contends with such troublesome male figures as
Laius, a drunken layabout too terrorized by oracles to live his life, and
her Machiavellian brother Kreon.
The authors present an absorbing, quasi-historical
portrait of ancient Greece, organized by elaborate religious rituals but driven by
worldly concerns about politics and the economy, where devotees
bribe oracles for favorable pronouncements, mobs stand ready to tear
their rulers to pieces should they lose divine favor, and everyone
is unsure
about whether certain calamaties are the result of human skullduggery
or the hand of the gods. They manage to demystify the story's supernatural elements
while retaining their drama, especially in a riveting setpiece in which
the Sphinx's riddling is recast as a public inquisition and mass execution by
a bloodthirsty priestess of Dionysus.
A well-balanced update that maintains the original's mythic suspense,
while peopling it with sharply drawn characters and accessible motivations,
Iokaste effectively displays the buried secrets and familial
turmoil of a Greek legend that translates so well into popular drama.
* * *
The Midwest Book Review, April 1, 2005, Christy Tillery French
Most readers are familiar with the tale of Oedipus Rex, as well as the
psychological term Oedipus complex, derived from the relationship
between Oedipus and his mother and subsequent wife, Iokaste. Unlike the
Greek tragedy, this book is told from the point of view of Iokaste
and takes the tale many levels higher, revealing psychological subtleties
within the personas of Iokaste and the characters surrounding her.
At age 14, Iokaste is chosen by the god Apollo to wed Prince Alphenor,
son of King Amphion of Thebes. When Amphion's wife blasphemes the god
Apollo, the oracle predicts doom for her 14 children, and Iokaste's
betrothed dies. Laius, son of King Labdakus, who ruled Thebes 30 years
before, returns to Thebes to claim the kingdom and weds Iokaste. On the
night of their wedding, the oracle warns Laius that he will be killed
by his own son. Laius withdraws from Iokaste, not knowing she is already
with child. When their son is born, Laius binds his feet and instructs
he be left on a mountain to die. Instead, the child is given to King
Polybus of Korinth, who recently lost his son. Polybus names the child
Oedipus, meaning swollen feet.
As a young man, Oedipus is told by the Delphic oracle that he will
kill his father and marry his mother. Never having learned he was
adopted, Oedipus is distraught over this news and vows never to see
his parents again. He meets up with Laius, who is traveling to Delphi
to seek the oracle's counsel, and the two argue. Oedipus kills
Laius, unaware that he has set in motion the ultimate fulfillment of
the oracle's prophecy.
With profound vibrancy, IOKASTE magically transports the reader into
the ancient world of Greek mythology. The visual imagery created by
the authors is vividly detailed, the mindset of the characters
engrossing. It is interesting to note the politics of the time, constant
dedication to the ritualistic worship of gods, and delegation of all
things good and bad to a particular god's mood. The Sphinx is a
fascinating character, made more realistic by her portrayal in this book,
specifically her role in the contest of wit to choose the next king of
Thebes. The conspiracies and subsequent rationalizations of Iokaste
and her brother Kreon are thought-provoking and insightful.
This riveting story flows fluidly from page to page, written in an
engaging style that holds the reader's attention from the very beginning.
This is one book that begs to be read more than once in order to appreciate
and absorb each and every nuance of the characters, history, and tale of tragedy.
It is suggested educational facilities utilize IOKASTE as an introduction
to Greek mythology, as this is one book that will instill fascination and
respect, leaving no room for boredom.
* * *
The Actuarial Review, February 2005,
Steve Belden
"A Different Take on Oedipus"
Thanks to The Actuarial Review I had the privilege of reviewing Iokaste
by Victoria Grossack and Alice Underwood. The book was enthralling from cover to cover.
Very well written, it wove a story about Oedipus and Iokaste, Laius, Tiresias, the
sphinx and other characters of Greek mythology and history. It related the previously
untold story of the mother of Oedipus from her point of view. The characters were not
only believable, I ended up wishing the story would end in a good way for them despite
knowing that it wouldn't. I felt myself transported to another era where people and
politics were familiar and believable, but the culture and norms were very different.
The tale works on many different levels. First, the meticulous research and knowledge
of the Greek tales and mythology add a scholarly flavor to the book. It does this
without requiring familiarity with mythology of the reader. The details of the
day-to-day life and the thoughts and motivations of the main characters give a
glimpse into what life might have been like as an upper caste Mycenaean of the
late bronze era. The story is ripe with the politics of power, life, death, and
sexuality. It delves deeply into the character of Iokaste, her family responsibilities,
religious practices, beliefs, and societal duties.
I have worked with both authors in their actuarial capacities but I had no knowledge
of their literary capabilities. They have prepared a Web site that gives background
on the authors, their "Tapestry of Bronze" series, bibliography, background
information on the myths, reading guide, and more. I greatly enjoyed the book
and am looking forward to their next in the series Pelops and Amphion.
The only negative that I can see is that the authors may be lured away from the
actuarial realm to write full time and we would miss their actuarial contributions.
You may be thinking, "Will I enjoy this book? Should I buy it,
borrow it or skip it?" I did not know what to expect from two actuaries as authors.
I loved the book! I found that as I finished one chapter I was compelled to read
through the next right away. The outcome is known — this isn't a mystery — but the
journey is compelling. The characters are people whose thoughts, feelings, motivations,
and behaviors make sense, in context, to today's reader. I'd recommend Iokaste
to anybody who likes Michael Crichton, Tony Hillerman, Robert Harris, Nelson Demille,
or any number of other authors who write intelligent stories for intelligent readers.
* * *
Ancient History, About, February 2005,
N.S. Gill
With the exception of a few odd moments, it was very easy to stay
engrossed in Victoria Grossack and Alice Underwood's story of Oedipus,
as told by his wife/mother Iokaste when she was on the brink of suicide.
Pros
* Presents a fresh and feminine perspective.
* Provides the necessary historical and mythological background.
* Tells a good story.
Cons
* Makes the Theban women sound like Minoans in their bare-chestedness (may be accurate).
* 21st century attitudes towards appropriate ages for marriage/motherhood/grandmotherhood
Description
* The Oedipus myth retold.
* First person narrative from the perspective of the mother-wife.
* Shows Creon (Kreon) in a noble light.
* Ties in the story of the House of Thebes and the myth of Pelops and family.
How could Oedipus marry his mother? Surely he could see how much older
she was than he? And how did she not know he was her son? These are two
of the questions Victoria Grossack and Alice Underwood answer through the
perspective of Jocasta. Jocasta marries Laius, king of Thebes, at a fairly
typical age for someone of the period and she conceives immediately. When
a prophecy predicts dire consequence to any child of Laius and Jocasta,
Laius orders the child destroyed, but a tender-hearted courtier has mercy
on the child and doesn't even tell the heart-broken mother. So Jocasta
has no idea that it is even possible for her to marry her son. Kept young
and beautiful partially through the divine magic of the cloak of
Harmonia, when she meets Oedipus twenty years later, she is still
ravishing. She's also a rich and powerful queen. So what if she's fifteen
year's older? Unfortunately, both husband and wife keep crucial secrets
from each other -- secrets which if revealed at the beginning would have
prevented the disaster. The sad, inexorable conclusion is reached with
few surprises, but with lavish attention to detail and an interesting
reading of "Tiresias".
* * *
Historical Novels Review Online, Fall 2004,
Catherine Perkins
Sophocles’ Oedipus fulfilled the gods’ prophecy that he would
kill his father and marry his mother. Born of this is IOKASTE, a vivid
novel that imagines the life of the mother-wife of Oedipus, doomed by
prophecy. As the novel opens, Iokaste must accept her fate. Her unnatural
marriage must be punished. While she waits for death and the dawn, she
tells her story. Prophesied to be the next and greatest queen of Thebes,
young Iokaste quickly learns that to survive and excel as Queen,
she must be quick-witted and wary of the prophets and the fickle gods.
Despite her struggle to escape prophecy, Oedipus is born.
Believing him dead, Iokaste becomes a vibrant leader whose political savvy
exceeds her sensuality and beauty. Iokaste’s weaknesses lay in her passion,
haughtiness, and pride. Grossack and Underwood create a glorious Queen, but
her arrogance may undermine the reader’s sympathy for her plight. IOKASTE is
really about the women of Thebes. The men of the tale are well represented,
especially Iokaste’s doting brother Kreon and the pious Oedipus, but they are
ineffective in comparison.
The Sphinx is a brilliant creation of the authors, and the most exciting
element of this novel. To find the next King, Iokaste plans a contest of wits,
hosted and dominated by the deadly huntress known as the “Sphinx,” a Dionysian
priestess who embodies raw animal power and the unpredictability of the gods.
She alone is equal to Iokaste’s strength of will and sensuality, and Iokaste is
plagued by the threat she poses. These strong characters dominate the novel
and make IOKASTE a wonderful follow-up to Oedipus Rex—a fast-paced, enjoyable
read for anyone who has imagined how this tragedy came to pass. The authors’
portrayal of the desperate human struggle against prophecy is as spirited as
the Queen herself.
* * *
Historical Fiction Review, August 15, 2004
Bob Mielke, Professor of English, Truman
State University
Writers have long relied on the fascinating
myths and legends of Greek culture for narrative inspiration, and have made
their mark inevitably by retelling the tales in sundry original ways. Many
twentieth-century authors have wanted to translate the stories into modern
settings: most astonishingly, of course, James Joyce with Ulysses; but
also more recent authors such as John Updike and John Barth.
A second fruitful approach to his narratival treasure trove has
been to reimagine the material in its original historical context from a
revisionist perspective. Here the gold standards have been H.D. (Hilda
Doolittle's) Helen In Egypt and former East German writer Christa
Wolf's Cassandra - both feminist re-envisionings of the matter of Troy
from the perspective of relatively maligned or neglected women present at the
event. Both writers add heft to their fabulations by a thorough awareness of
counter-traditions (those that say only a phantom of Helen was at Troy while she
really escaped to Egypt) and larger historical contexts (the Greek project of
silencing the women-centered mythologies of Minoan civilization through their
rival deities).
Into this latter illustrious company arrive Victoria Grossack and
Alice Underwood with their new historical novel Iokaste, a fresh and
meticulously researched new look at arguably the most compelling of all the
women of ancient Greece: the mother and wife of Oedipus. (Don't be scared off by
the research, by the way. It's lightly exhibited: this is a real page-turner!)
Given Iokaste's considerable appeal to the curious, it is surprising that no one
has hitherto attempted such a project to my knowledge. It may be that previous
eras were too fastidious about this transgressive material, or that no writers
had the sheer audacity to undertake the project Grossack and Underwood pull off
so well.
Although they retell the Oedipus story from Iokaste's first-person
perspective, their approach has a classic restraint worthy, yes, of their
illustrious predecessor Sophocles. No doubt some readers will be disappointed
that this is not bodice-ripping pornography, although they can and do go further
into the bedroom than Sophocles could. But, like their dramatic predecessor,
they prefer to explore the psychology of the characters. And even more, they
share the Greek culture's obsession with Fate. The picture of Iokaste that
emerges from the novel is that of a woman who was the sport of the gods from her
youth, when the Tiresias oracle gave her a misleading prophecy as she offered
herself to Prince Alphenor.
As in the case of Titanic, there are probably few
perusers of this text who will not know how this story goes coming into it. For
the writers, hen, the task becomes the narrative journey, not the catastrophic
arrival. Grossack and Underwood do not disappoint: Iokaste's main
character is a lovable victim and emotional train wreck who elicits our sympathy
and concern as the noose of the gods tightens around her neck with the luxurious
slow free-fall more readily available in the novel form than the drama (probably
why Hamlet was Shakespeare's longest play). My favorite side characters
are Laius and Kreon. Grossack and Underwood do a marvelous job of extrapolating
their psychologies from the scant dramatic evidence they have to work with. As a
result, Laius becomes significantly less sympathetic than we might have
remembered him, while Kreon elicits a more positive appreciation than we might
recall from his presence in Antigone. As these examples suggest, this
is a wonderfully nuanced novel that repays any previous knowledge of its subject
matter - but never requires it.
Given the narrative template, this is a novel more driven by its
characters than by its potentially familiar plot for the modern reader
(although, as noted, Fate is really and appropriately behind it all). But there
are some great dramatic and suspenseful set pieces here as well, my favorite
being the authors' deluxe expansion of the riddle contest offered by the Sphinx
(here linked explicitly with the cult of Dionysus). Then there are all the
lovely throwaway references to the material culture of Bronze Age Thebes which
subtly give us a living, breathing vision of the past down to its tastes and
smells.
In short, Grossack and Underwood have written a smart and
delightful book, economically told and well worth any reader's precious time. It
would also make for a fabulous film, but that's another story. Here's hoping
someone in Hollywood picks it up and reads it. Meanwhile, enjoy for yourself.
Pre-Publication Reviews
Jennifer Halloran, PhD, Mellon Fellow,
Duke University
Iokaste combines impressive scholarship
with a timeless story to bring the world of Greek mythology to life. Told from
the title character's point of view, and taking place from her privileged
childhood, through her ascension to the throne of Thebes, to her marriage to
Oedipus and their subsequent downfall, this novel explores the heart of the
tale: what led this woman to marry her son? Grossack and Underwood pose an
answer to this question, while at the same time painting a convincing portrait
of life in ancient Thebes. From the wild, unpredictable Maenads to court ritual
to the lives of ordinary people, we see a richly detailed world that, at its
emotional core, bears a great similarity to our own. The details kept me turning
pages-what was the giant Sphinx who asked the riddle Oedipus answered to claim
Iokaste's hand?-but it was the characterization of the heroine herself that
stayed with me after I had finished the book. For Iokaste is shown as a true
heroine, ruling Thebes as a mighty queen while dealing with the impediments
posed against any woman of power. Iokaste retells this story from a
fresh perspective, providing an entertaining and provocative re-visioning of
this ancient tale. This novel will appeal to readers looking for the combination
of the feminine perspective and riveting story-telling in books such as The
Mists of Avalon.
Return to Home for
Tapestry of Bronze
* * *
The Actuarial Review, February 2005, Steve BeldenThanks to The Actuarial Review I had the privilege of reviewing Iokaste by Victoria Grossack and Alice Underwood. The book was enthralling from cover to cover. Very well written, it wove a story about Oedipus and Iokaste, Laius, Tiresias, the sphinx and other characters of Greek mythology and history. It related the previously untold story of the mother of Oedipus from her point of view. The characters were not only believable, I ended up wishing the story would end in a good way for them despite knowing that it wouldn't. I felt myself transported to another era where people and politics were familiar and believable, but the culture and norms were very different.
The tale works on many different levels. First, the meticulous research and knowledge of the Greek tales and mythology add a scholarly flavor to the book. It does this without requiring familiarity with mythology of the reader. The details of the day-to-day life and the thoughts and motivations of the main characters give a glimpse into what life might have been like as an upper caste Mycenaean of the late bronze era. The story is ripe with the politics of power, life, death, and sexuality. It delves deeply into the character of Iokaste, her family responsibilities, religious practices, beliefs, and societal duties.
I have worked with both authors in their actuarial capacities but I had no knowledge of their literary capabilities. They have prepared a Web site that gives background on the authors, their "Tapestry of Bronze" series, bibliography, background information on the myths, reading guide, and more. I greatly enjoyed the book and am looking forward to their next in the series Pelops and Amphion. The only negative that I can see is that the authors may be lured away from the actuarial realm to write full time and we would miss their actuarial contributions.
You may be thinking, "Will I enjoy this book? Should I buy it, borrow it or skip it?" I did not know what to expect from two actuaries as authors. I loved the book! I found that as I finished one chapter I was compelled to read through the next right away. The outcome is known — this isn't a mystery — but the journey is compelling. The characters are people whose thoughts, feelings, motivations, and behaviors make sense, in context, to today's reader. I'd recommend Iokaste to anybody who likes Michael Crichton, Tony Hillerman, Robert Harris, Nelson Demille, or any number of other authors who write intelligent stories for intelligent readers.
* * *
Ancient History, About, February 2005,
N.S. Gill
With the exception of a few odd moments, it was very easy to stay
engrossed in Victoria Grossack and Alice Underwood's story of Oedipus,
as told by his wife/mother Iokaste when she was on the brink of suicide.
Pros
* Presents a fresh and feminine perspective.
* Provides the necessary historical and mythological background.
* Tells a good story.
Cons
* Makes the Theban women sound like Minoans in their bare-chestedness (may be accurate).
* 21st century attitudes towards appropriate ages for marriage/motherhood/grandmotherhood
Description
* The Oedipus myth retold.
* First person narrative from the perspective of the mother-wife.
* Shows Creon (Kreon) in a noble light.
* Ties in the story of the House of Thebes and the myth of Pelops and family.
How could Oedipus marry his mother? Surely he could see how much older
she was than he? And how did she not know he was her son? These are two
of the questions Victoria Grossack and Alice Underwood answer through the
perspective of Jocasta. Jocasta marries Laius, king of Thebes, at a fairly
typical age for someone of the period and she conceives immediately. When
a prophecy predicts dire consequence to any child of Laius and Jocasta,
Laius orders the child destroyed, but a tender-hearted courtier has mercy
on the child and doesn't even tell the heart-broken mother. So Jocasta
has no idea that it is even possible for her to marry her son. Kept young
and beautiful partially through the divine magic of the cloak of
Harmonia, when she meets Oedipus twenty years later, she is still
ravishing. She's also a rich and powerful queen. So what if she's fifteen
year's older? Unfortunately, both husband and wife keep crucial secrets
from each other -- secrets which if revealed at the beginning would have
prevented the disaster. The sad, inexorable conclusion is reached with
few surprises, but with lavish attention to detail and an interesting
reading of "Tiresias".
* * *
Historical Novels Review Online, Fall 2004,
Catherine Perkins
Sophocles’ Oedipus fulfilled the gods’ prophecy that he would
kill his father and marry his mother. Born of this is IOKASTE, a vivid
novel that imagines the life of the mother-wife of Oedipus, doomed by
prophecy. As the novel opens, Iokaste must accept her fate. Her unnatural
marriage must be punished. While she waits for death and the dawn, she
tells her story. Prophesied to be the next and greatest queen of Thebes,
young Iokaste quickly learns that to survive and excel as Queen,
she must be quick-witted and wary of the prophets and the fickle gods.
Despite her struggle to escape prophecy, Oedipus is born.
Believing him dead, Iokaste becomes a vibrant leader whose political savvy
exceeds her sensuality and beauty. Iokaste’s weaknesses lay in her passion,
haughtiness, and pride. Grossack and Underwood create a glorious Queen, but
her arrogance may undermine the reader’s sympathy for her plight. IOKASTE is
really about the women of Thebes. The men of the tale are well represented,
especially Iokaste’s doting brother Kreon and the pious Oedipus, but they are
ineffective in comparison.
The Sphinx is a brilliant creation of the authors, and the most exciting
element of this novel. To find the next King, Iokaste plans a contest of wits,
hosted and dominated by the deadly huntress known as the “Sphinx,” a Dionysian
priestess who embodies raw animal power and the unpredictability of the gods.
She alone is equal to Iokaste’s strength of will and sensuality, and Iokaste is
plagued by the threat she poses. These strong characters dominate the novel
and make IOKASTE a wonderful follow-up to Oedipus Rex—a fast-paced, enjoyable
read for anyone who has imagined how this tragedy came to pass. The authors’
portrayal of the desperate human struggle against prophecy is as spirited as
the Queen herself.
* * *
Historical Fiction Review, August 15, 2004
Bob Mielke, Professor of English, Truman
State University
Writers have long relied on the fascinating
myths and legends of Greek culture for narrative inspiration, and have made
their mark inevitably by retelling the tales in sundry original ways. Many
twentieth-century authors have wanted to translate the stories into modern
settings: most astonishingly, of course, James Joyce with Ulysses; but
also more recent authors such as John Updike and John Barth.
A second fruitful approach to his narratival treasure trove has
been to reimagine the material in its original historical context from a
revisionist perspective. Here the gold standards have been H.D. (Hilda
Doolittle's) Helen In Egypt and former East German writer Christa
Wolf's Cassandra - both feminist re-envisionings of the matter of Troy
from the perspective of relatively maligned or neglected women present at the
event. Both writers add heft to their fabulations by a thorough awareness of
counter-traditions (those that say only a phantom of Helen was at Troy while she
really escaped to Egypt) and larger historical contexts (the Greek project of
silencing the women-centered mythologies of Minoan civilization through their
rival deities).
Into this latter illustrious company arrive Victoria Grossack and
Alice Underwood with their new historical novel Iokaste, a fresh and
meticulously researched new look at arguably the most compelling of all the
women of ancient Greece: the mother and wife of Oedipus. (Don't be scared off by
the research, by the way. It's lightly exhibited: this is a real page-turner!)
Given Iokaste's considerable appeal to the curious, it is surprising that no one
has hitherto attempted such a project to my knowledge. It may be that previous
eras were too fastidious about this transgressive material, or that no writers
had the sheer audacity to undertake the project Grossack and Underwood pull off
so well.
Although they retell the Oedipus story from Iokaste's first-person
perspective, their approach has a classic restraint worthy, yes, of their
illustrious predecessor Sophocles. No doubt some readers will be disappointed
that this is not bodice-ripping pornography, although they can and do go further
into the bedroom than Sophocles could. But, like their dramatic predecessor,
they prefer to explore the psychology of the characters. And even more, they
share the Greek culture's obsession with Fate. The picture of Iokaste that
emerges from the novel is that of a woman who was the sport of the gods from her
youth, when the Tiresias oracle gave her a misleading prophecy as she offered
herself to Prince Alphenor.
As in the case of Titanic, there are probably few
perusers of this text who will not know how this story goes coming into it. For
the writers, hen, the task becomes the narrative journey, not the catastrophic
arrival. Grossack and Underwood do not disappoint: Iokaste's main
character is a lovable victim and emotional train wreck who elicits our sympathy
and concern as the noose of the gods tightens around her neck with the luxurious
slow free-fall more readily available in the novel form than the drama (probably
why Hamlet was Shakespeare's longest play). My favorite side characters
are Laius and Kreon. Grossack and Underwood do a marvelous job of extrapolating
their psychologies from the scant dramatic evidence they have to work with. As a
result, Laius becomes significantly less sympathetic than we might have
remembered him, while Kreon elicits a more positive appreciation than we might
recall from his presence in Antigone. As these examples suggest, this
is a wonderfully nuanced novel that repays any previous knowledge of its subject
matter - but never requires it.
Given the narrative template, this is a novel more driven by its
characters than by its potentially familiar plot for the modern reader
(although, as noted, Fate is really and appropriately behind it all). But there
are some great dramatic and suspenseful set pieces here as well, my favorite
being the authors' deluxe expansion of the riddle contest offered by the Sphinx
(here linked explicitly with the cult of Dionysus). Then there are all the
lovely throwaway references to the material culture of Bronze Age Thebes which
subtly give us a living, breathing vision of the past down to its tastes and
smells.
In short, Grossack and Underwood have written a smart and
delightful book, economically told and well worth any reader's precious time. It
would also make for a fabulous film, but that's another story. Here's hoping
someone in Hollywood picks it up and reads it. Meanwhile, enjoy for yourself.
Pre-Publication Reviews
Jennifer Halloran, PhD, Mellon Fellow,
Duke University
Iokaste combines impressive scholarship
with a timeless story to bring the world of Greek mythology to life. Told from
the title character's point of view, and taking place from her privileged
childhood, through her ascension to the throne of Thebes, to her marriage to
Oedipus and their subsequent downfall, this novel explores the heart of the
tale: what led this woman to marry her son? Grossack and Underwood pose an
answer to this question, while at the same time painting a convincing portrait
of life in ancient Thebes. From the wild, unpredictable Maenads to court ritual
to the lives of ordinary people, we see a richly detailed world that, at its
emotional core, bears a great similarity to our own. The details kept me turning
pages-what was the giant Sphinx who asked the riddle Oedipus answered to claim
Iokaste's hand?-but it was the characterization of the heroine herself that
stayed with me after I had finished the book. For Iokaste is shown as a true
heroine, ruling Thebes as a mighty queen while dealing with the impediments
posed against any woman of power. Iokaste retells this story from a
fresh perspective, providing an entertaining and provocative re-visioning of
this ancient tale. This novel will appeal to readers looking for the combination
of the feminine perspective and riveting story-telling in books such as The
Mists of Avalon.
Return to Home for
Tapestry of Bronze
* Presents a fresh and feminine perspective.
* Provides the necessary historical and mythological background.
* Tells a good story.
* Makes the Theban women sound like Minoans in their bare-chestedness (may be accurate).
* 21st century attitudes towards appropriate ages for marriage/motherhood/grandmotherhood
* The Oedipus myth retold.
* First person narrative from the perspective of the mother-wife.
* Shows Creon (Kreon) in a noble light.
* Ties in the story of the House of Thebes and the myth of Pelops and family.
* * *
Historical Novels Review Online, Fall 2004, Catherine Perkins
Believing him dead, Iokaste becomes a vibrant leader whose political savvy exceeds her sensuality and beauty. Iokaste’s weaknesses lay in her passion, haughtiness, and pride. Grossack and Underwood create a glorious Queen, but her arrogance may undermine the reader’s sympathy for her plight. IOKASTE is really about the women of Thebes. The men of the tale are well represented, especially Iokaste’s doting brother Kreon and the pious Oedipus, but they are ineffective in comparison.
The Sphinx is a brilliant creation of the authors, and the most exciting element of this novel. To find the next King, Iokaste plans a contest of wits, hosted and dominated by the deadly huntress known as the “Sphinx,” a Dionysian priestess who embodies raw animal power and the unpredictability of the gods. She alone is equal to Iokaste’s strength of will and sensuality, and Iokaste is plagued by the threat she poses. These strong characters dominate the novel and make IOKASTE a wonderful follow-up to Oedipus Rex—a fast-paced, enjoyable read for anyone who has imagined how this tragedy came to pass. The authors’ portrayal of the desperate human struggle against prophecy is as spirited as the Queen herself.
* * *
Historical Fiction Review, August 15, 2004
Bob Mielke, Professor of English, Truman
State University
Writers have long relied on the fascinating
myths and legends of Greek culture for narrative inspiration, and have made
their mark inevitably by retelling the tales in sundry original ways. Many
twentieth-century authors have wanted to translate the stories into modern
settings: most astonishingly, of course, James Joyce with Ulysses; but
also more recent authors such as John Updike and John Barth.
A second fruitful approach to his narratival treasure trove has
been to reimagine the material in its original historical context from a
revisionist perspective. Here the gold standards have been H.D. (Hilda
Doolittle's) Helen In Egypt and former East German writer Christa
Wolf's Cassandra - both feminist re-envisionings of the matter of Troy
from the perspective of relatively maligned or neglected women present at the
event. Both writers add heft to their fabulations by a thorough awareness of
counter-traditions (those that say only a phantom of Helen was at Troy while she
really escaped to Egypt) and larger historical contexts (the Greek project of
silencing the women-centered mythologies of Minoan civilization through their
rival deities).
Into this latter illustrious company arrive Victoria Grossack and
Alice Underwood with their new historical novel Iokaste, a fresh and
meticulously researched new look at arguably the most compelling of all the
women of ancient Greece: the mother and wife of Oedipus. (Don't be scared off by
the research, by the way. It's lightly exhibited: this is a real page-turner!)
Given Iokaste's considerable appeal to the curious, it is surprising that no one
has hitherto attempted such a project to my knowledge. It may be that previous
eras were too fastidious about this transgressive material, or that no writers
had the sheer audacity to undertake the project Grossack and Underwood pull off
so well.
Although they retell the Oedipus story from Iokaste's first-person
perspective, their approach has a classic restraint worthy, yes, of their
illustrious predecessor Sophocles. No doubt some readers will be disappointed
that this is not bodice-ripping pornography, although they can and do go further
into the bedroom than Sophocles could. But, like their dramatic predecessor,
they prefer to explore the psychology of the characters. And even more, they
share the Greek culture's obsession with Fate. The picture of Iokaste that
emerges from the novel is that of a woman who was the sport of the gods from her
youth, when the Tiresias oracle gave her a misleading prophecy as she offered
herself to Prince Alphenor.
As in the case of Titanic, there are probably few
perusers of this text who will not know how this story goes coming into it. For
the writers, hen, the task becomes the narrative journey, not the catastrophic
arrival. Grossack and Underwood do not disappoint: Iokaste's main
character is a lovable victim and emotional train wreck who elicits our sympathy
and concern as the noose of the gods tightens around her neck with the luxurious
slow free-fall more readily available in the novel form than the drama (probably
why Hamlet was Shakespeare's longest play). My favorite side characters
are Laius and Kreon. Grossack and Underwood do a marvelous job of extrapolating
their psychologies from the scant dramatic evidence they have to work with. As a
result, Laius becomes significantly less sympathetic than we might have
remembered him, while Kreon elicits a more positive appreciation than we might
recall from his presence in Antigone. As these examples suggest, this
is a wonderfully nuanced novel that repays any previous knowledge of its subject
matter - but never requires it.
Given the narrative template, this is a novel more driven by its
characters than by its potentially familiar plot for the modern reader
(although, as noted, Fate is really and appropriately behind it all). But there
are some great dramatic and suspenseful set pieces here as well, my favorite
being the authors' deluxe expansion of the riddle contest offered by the Sphinx
(here linked explicitly with the cult of Dionysus). Then there are all the
lovely throwaway references to the material culture of Bronze Age Thebes which
subtly give us a living, breathing vision of the past down to its tastes and
smells.
In short, Grossack and Underwood have written a smart and
delightful book, economically told and well worth any reader's precious time. It
would also make for a fabulous film, but that's another story. Here's hoping
someone in Hollywood picks it up and reads it. Meanwhile, enjoy for yourself.
Writers have long relied on the fascinating myths and legends of Greek culture for narrative inspiration, and have made their mark inevitably by retelling the tales in sundry original ways. Many twentieth-century authors have wanted to translate the stories into modern settings: most astonishingly, of course, James Joyce with Ulysses; but also more recent authors such as John Updike and John Barth.
A second fruitful approach to his narratival treasure trove has been to reimagine the material in its original historical context from a revisionist perspective. Here the gold standards have been H.D. (Hilda Doolittle's) Helen In Egypt and former East German writer Christa Wolf's Cassandra - both feminist re-envisionings of the matter of Troy from the perspective of relatively maligned or neglected women present at the event. Both writers add heft to their fabulations by a thorough awareness of counter-traditions (those that say only a phantom of Helen was at Troy while she really escaped to Egypt) and larger historical contexts (the Greek project of silencing the women-centered mythologies of Minoan civilization through their rival deities).
Into this latter illustrious company arrive Victoria Grossack and Alice Underwood with their new historical novel Iokaste, a fresh and meticulously researched new look at arguably the most compelling of all the women of ancient Greece: the mother and wife of Oedipus. (Don't be scared off by the research, by the way. It's lightly exhibited: this is a real page-turner!) Given Iokaste's considerable appeal to the curious, it is surprising that no one has hitherto attempted such a project to my knowledge. It may be that previous eras were too fastidious about this transgressive material, or that no writers had the sheer audacity to undertake the project Grossack and Underwood pull off so well.
Although they retell the Oedipus story from Iokaste's first-person perspective, their approach has a classic restraint worthy, yes, of their illustrious predecessor Sophocles. No doubt some readers will be disappointed that this is not bodice-ripping pornography, although they can and do go further into the bedroom than Sophocles could. But, like their dramatic predecessor, they prefer to explore the psychology of the characters. And even more, they share the Greek culture's obsession with Fate. The picture of Iokaste that emerges from the novel is that of a woman who was the sport of the gods from her youth, when the Tiresias oracle gave her a misleading prophecy as she offered herself to Prince Alphenor.
As in the case of Titanic, there are probably few perusers of this text who will not know how this story goes coming into it. For the writers, hen, the task becomes the narrative journey, not the catastrophic arrival. Grossack and Underwood do not disappoint: Iokaste's main character is a lovable victim and emotional train wreck who elicits our sympathy and concern as the noose of the gods tightens around her neck with the luxurious slow free-fall more readily available in the novel form than the drama (probably why Hamlet was Shakespeare's longest play). My favorite side characters are Laius and Kreon. Grossack and Underwood do a marvelous job of extrapolating their psychologies from the scant dramatic evidence they have to work with. As a result, Laius becomes significantly less sympathetic than we might have remembered him, while Kreon elicits a more positive appreciation than we might recall from his presence in Antigone. As these examples suggest, this is a wonderfully nuanced novel that repays any previous knowledge of its subject matter - but never requires it.
Given the narrative template, this is a novel more driven by its characters than by its potentially familiar plot for the modern reader (although, as noted, Fate is really and appropriately behind it all). But there are some great dramatic and suspenseful set pieces here as well, my favorite being the authors' deluxe expansion of the riddle contest offered by the Sphinx (here linked explicitly with the cult of Dionysus). Then there are all the lovely throwaway references to the material culture of Bronze Age Thebes which subtly give us a living, breathing vision of the past down to its tastes and smells.
In short, Grossack and Underwood have written a smart and delightful book, economically told and well worth any reader's precious time. It would also make for a fabulous film, but that's another story. Here's hoping someone in Hollywood picks it up and reads it. Meanwhile, enjoy for yourself.
Pre-Publication Reviews
Jennifer Halloran, PhD, Mellon Fellow, Duke University
Iokaste combines impressive scholarship with a timeless story to bring the world of Greek mythology to life. Told from the title character's point of view, and taking place from her privileged childhood, through her ascension to the throne of Thebes, to her marriage to Oedipus and their subsequent downfall, this novel explores the heart of the tale: what led this woman to marry her son? Grossack and Underwood pose an answer to this question, while at the same time painting a convincing portrait of life in ancient Thebes. From the wild, unpredictable Maenads to court ritual to the lives of ordinary people, we see a richly detailed world that, at its emotional core, bears a great similarity to our own. The details kept me turning pages-what was the giant Sphinx who asked the riddle Oedipus answered to claim Iokaste's hand?-but it was the characterization of the heroine herself that stayed with me after I had finished the book. For Iokaste is shown as a true heroine, ruling Thebes as a mighty queen while dealing with the impediments posed against any woman of power. Iokaste retells this story from a fresh perspective, providing an entertaining and provocative re-visioning of this ancient tale. This novel will appeal to readers looking for the combination of the feminine perspective and riveting story-telling in books such as The Mists of Avalon.
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