This page is no longer maintained. Please click here to go to Jocasta.	return to Tapestry of Bronze home page
Reviews for the earlier edition of Jocasta: Iokaste: The Mother-Wife of Oedipus 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.	The Tapestry of Bronze is a series of novels set in Bronze Age Greece. To see our novels at Amazon, available in either hardcopy or electronic formats, click on the covers below.
The Tapestry of Bronze is a series of interlocking novels set in ancient Greece, starting several generations before the Trojan War. Archaeological evidence indicates that this “Golden Age of Heroes” aligns with Bronze Age dates.  Our series forms a tapestry, because the books tie together, though each novel focuses on one strand of story.  Jocasta, Children of Tantalus, The Road to Thebes and Arrows of Artemis are available for purchase today. And more are in the works! Not sure if you’ll like the books? Then electronically download a sample at Amazon. Clicking on the covers below will take you to that company’s website. Return to Home for Tapestry of Bronze Do you wish to contact us? Write to us at “tapestryofbronze” at “yahoo.com”