‭Morgan‬‭1‬

‭Masen‬‭Morgan‬

‭Jim‬‭Byrne‬

‭ENG401-‬‭Metamodernism‬‭and‬‭the‬‭Twenty-First‬‭Century‬‭Novel‬

‭December‬‭11,‬‭2023‬

‭Metamodernism‬‭in‬‭Myth:‬‭The‬‭Silence‬‭of‬‭the‬‭Girls,‬‭Semiotics‬‭the‬‭Oral‬‭Tradition,‬‭Misogyny‬‭and‬

‭Homeric‬‭Retellings‬

‭What‬‭value‬‭do‬‭ancient‬‭stories‬‭hold‬‭in‬‭today’s‬‭world?‬‭In‬‭the‬‭ever-evolving‬‭field‬‭of‬

‭storytelling,‬‭the‬‭invention‬‭of‬‭writing‬‭by‬‭the‬‭Sumerians‬‭nearly‬‭six‬‭millennia‬‭ago‬‭set‬‭a‬‭new‬

‭standard‬‭for‬‭telling‬‭stories.‬‭Throughout‬‭history,‬‭from‬‭the‬‭Sumerian‬‭cuneiform‬‭debt‬‭receipts‬‭to‬

‭Athenian‬‭plays‬‭and‬‭modern‬‭novels,‬‭writing‬‭has‬‭consistently‬‭carried‬‭profound‬‭significance‬‭for‬

‭both‬‭authors‬‭and‬‭audiences.‬‭Over‬‭the‬‭millennia,‬‭the‬‭evolution‬‭of‬‭writing‬‭styles‬‭has‬‭given‬‭rise‬‭to‬

‭literary‬‭movements‬‭and‬‭diverse‬‭styles‬‭in‬‭literature.‬‭Metamodernism‬‭is‬‭a‬‭modern‬‭literary‬‭and‬

‭artistic‬‭movement‬‭that‬‭often‬‭combines‬‭elements‬‭of‬‭both‬‭postmodernism‬‭and‬‭modernism.‬‭It‬‭seeks‬

‭to‬‭bridge‬‭the‬‭gap‬‭between‬‭modernist‬‭sincerity‬‭and‬‭postmodernist‬‭irony.‬‭Combining‬‭this‬‭with‬

‭ancient‬‭Greek‬‭myths‬‭can‬‭result‬‭in‬‭narratives‬‭that‬‭blend‬‭the‬‭ancient‬‭and‬‭the‬‭contemporary.‬‭In‬‭this‬

‭paper,‬‭I‬‭will‬‭explore‬‭the‬‭manifestation‬‭of‬‭metamodernist‬‭thought‬‭within‬‭contemporary‬‭retellings‬

‭of‬‭Homeric‬‭myths,‬‭with‬‭a‬‭focus‬‭on‬‭the‬‭novel‬‭The‬‭Silence‬‭of‬‭the‬‭Girls‬‭by‬‭Pat‬‭Barker.‬‭By‬

‭examining‬‭the‬‭intersection‬‭of‬‭the‬‭oral‬‭tradition,‬‭grand‬‭narratives,‬‭and‬‭the‬‭inherent‬‭challenges‬

‭posed‬‭by‬‭misogynistic‬‭narratives,‬‭we‬‭unveil‬‭how‬‭metamodernist‬‭elements‬‭are‬‭employed‬‭to‬

‭navigate‬‭the‬‭complexities‬‭of‬‭retelling‬‭ancient‬‭stories‬‭in‬‭a‬‭modern‬‭context.‬‭Through‬‭an‬‭analysis‬‭of‬

‭the‬‭novel's‬‭narrative‬‭structure,‬‭linguistic‬‭choices,‬‭and‬‭engagement‬‭with‬‭oral‬‭traditions,‬‭this‬‭paper‬

‭seeks‬‭to‬‭uncover‬‭the‬‭ways‬‭in‬‭which‬‭metamodernism‬‭serves‬‭as‬‭a‬‭lens‬‭for‬‭reinterpreting‬‭and‬
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‭challenging‬‭traditional‬‭myths,‬‭addressing‬‭issues‬‭of‬‭silence,‬‭agency,‬‭and‬‭gender‬‭dynamics‬‭within‬

‭the‬‭context‬‭of‬‭Homeric‬‭retellings.‬

‭The‬‭invention‬‭of‬‭writing‬‭marked‬‭a‬‭profound‬‭shift‬‭in‬‭the‬‭way‬‭stories‬‭were‬‭conveyed,‬

‭transforming‬‭the‬‭art‬‭of‬‭storytelling‬‭from‬‭an‬‭oral‬‭tradition‬‭to‬‭a‬‭literate‬‭one.‬‭Pura‬‭Nieto‬‭Hernandez,‬

‭a‬‭professor‬‭of‬‭classics‬‭at‬‭Brown‬‭University,‬‭defines‬‭oral‬‭and‬‭literate‬‭to‬‭be‬‭opposites,‬‭saying‬‭that‬

‭“‘Oral’‬‭is‬‭the‬‭conception‬‭that‬‭underlies‬‭a‬‭discourse,‬‭and‬‭oppose‬‭it‬‭not‬‭to‬‭written‬‭but‬‭to‬‭‘literate’”‬

‭(Hernandez‬‭30).‬‭In‬‭the‬‭preliterate‬‭era,‬‭narratives‬‭were‬‭transmitted‬‭orally,‬‭relying‬‭on‬‭the‬‭collective‬

‭memory‬‭and‬‭skillful‬‭oration‬‭of‬‭storytellers.‬‭With‬‭the‬‭creation‬‭of‬‭writing,‬‭stories‬‭could‬‭be‬

‭inscribed‬‭on‬‭durable‬‭mediums‬‭like‬‭clay‬‭tablets,‬‭papyrus,‬‭or‬‭parchment,‬‭enabling‬‭their‬

‭preservation‬‭and‬‭dissemination‬‭across‬‭time‬‭and‬‭space.‬‭Before‬‭this,‬‭as‬‭is‬‭the‬‭case‬‭with‬‭Greek‬

‭mythology‬‭as‬‭a‬‭whole,‬‭stories‬‭had‬‭the‬‭ability‬‭to‬‭change‬‭and‬‭shift‬‭as‬‭they‬‭were‬‭told,‬‭like‬‭an‬

‭ancient‬‭game‬‭of‬‭telephone.‬‭The‬‭invention‬‭of‬‭writing‬‭thus‬‭not‬‭only‬‭altered‬‭the‬‭mode‬‭of‬

‭storytelling‬‭but‬‭also‬‭expanded‬‭access‬‭to‬‭narratives,‬‭shaping‬‭the‬‭cultural‬‭landscape‬‭and‬‭literature‬

‭we‬‭have‬‭today.‬

‭Hernandez‬‭also‬‭reflects‬‭on‬‭the‬‭different‬‭cultural‬‭connotations‬‭between‬‭oral‬‭and‬‭literate‬

‭texts.‬‭She‬‭explains‬‭how‬‭“We‬‭tend‬‭to‬‭consider‬‭texts‬‭that‬‭are‬‭oral‬‭to‬‭their‬‭conception‬‭as‬‭crude‬‭or‬

‭primitive…or,‬‭in‬‭another‬‭context,‬‭as‬‭‘archaic’‬‭simply‬‭because‬‭we‬‭use‬‭our‬‭own‬‭sense‬‭and‬

‭conception‬‭of‬‭writing‬‭as‬‭a‬‭norm”‬‭(Hernandez‬‭30).‬‭The‬‭permanence‬‭of‬‭written‬‭records‬

‭encouraged‬‭careful‬‭consideration‬‭of‬‭language‬‭and‬‭cultivated‬‭a‬‭sense‬‭of‬‭order‬‭and‬‭sophistication‬

‭in‬‭communication.‬‭In‬‭contrast,‬‭oral‬‭texts,‬‭being‬‭subject‬‭to‬‭the‬‭fluidity‬‭of‬‭spoken‬‭language‬‭and‬

‭reliant‬‭on‬‭the‬‭memory‬‭and‬‭improvisation‬‭of‬‭storytellers,‬‭were‬‭often‬‭viewed‬‭as‬‭more‬‭prone‬‭to‬

‭embellishments,‬‭inaccuracies,‬‭and‬‭a‬‭lack‬‭of‬‭decorum.‬‭The‬‭transition‬‭from‬‭oral‬‭to‬‭literate‬

‭traditions‬‭carried‬‭with‬‭it‬‭an‬‭implicit‬‭bias‬‭that‬‭equated‬‭the‬‭written‬‭word‬‭with‬‭a‬‭higher‬‭level‬‭of‬
 ‭Morgan‬‭3‬

‭intellectual‬‭and‬‭cultural‬‭refinement,‬‭while‬‭oral‬‭traditions‬‭were‬‭unfairly‬‭stereotyped‬‭as‬‭more‬

‭primitive‬‭or‬‭uncivilized.‬

‭This‬‭relates‬‭to‬‭metamodernism,‬‭as‬‭metamodernist‬‭texts‬‭tend‬‭to‬‭break‬‭traditional‬‭narrative‬

‭forms.‬‭As‬‭a‬‭successor‬‭to‬‭postmodernism,‬‭there‬‭is‬‭an‬‭oscillation‬‭between‬‭sincerity‬‭and‬‭irony,‬

‭unlike‬‭the‬‭absolute‬‭truth‬‭narrative‬‭of‬‭postmodernism‬‭and‬‭the‬‭chaos‬‭that‬‭is‬‭modernism.‬‭The‬

‭Silence‬‭of‬‭the‬‭Girls‬‭fits‬‭this‬‭trend‬‭of‬‭metamodernism’s‬‭break‬‭in‬‭form‬‭through‬‭the‬‭mixture‬‭of‬‭a‬

‭first-person‬‭perspective‬‭that‬‭switches‬‭between‬‭the‬‭past‬‭and‬‭present‬‭of‬‭Briseis’s‬‭life‬‭with‬‭added‬

‭tidbits‬‭of‬‭her‬‭internal‬‭dialogue‬‭in‬‭italics.‬‭In‬‭one‬‭scene‬‭in‬‭particular,‬‭we‬‭see‬‭this‬‭use‬‭of‬‭italics‬‭to‬

‭show‬‭a‬‭prayer‬‭Briseis‬‭makes‬‭for‬‭her‬‭captors‬‭to‬‭suffer:‬

‭“As‬‭the‬‭priest’s‬‭great‬‭prayer‬‭for‬‭vengeance‬‭mounted‬‭to‬‭the‬‭skies,‬‭I‬‭found‬‭myself‬‭praying‬

‭with‬‭him.‬

‭Lord‬‭of‬‭mice,‬‭hear‬‭me!‬

‭Lord‬‭of‬‭the‬‭silver‬‭bow,‬‭hear‬‭me!‬

‭Lord‬‭whose‬‭arrows‬‭strike‬‭from‬‭afar,‬‭hear‬‭me!‬

‭Until,‬‭finally,‬‭the‬‭forbidden‬‭words‬‭erupting‬‭from‬‭my‬‭mouth‬‭like‬‭blood‬‭or‬‭bile:‬

‭God‬‭of‬‭plague,‬‭hear‬‭me!”‬‭(Barker‬‭63)‬

‭This‬‭moment‬‭is‬‭a‬‭turning‬‭point‬‭for‬‭Briseis,‬‭and‬‭likewise,‬‭the‬‭form‬‭and‬‭structure‬‭of‬‭the‬‭novel‬

‭change‬‭to‬‭emphasize‬‭its‬‭importance.‬‭Briseis,‬‭a‬‭girl‬‭who‬‭had‬‭been‬‭stolen‬‭from‬‭her‬‭home‬‭and‬‭had‬

‭everything‬‭she‬‭had‬‭taken‬‭from‬‭her,‬‭was‬‭in‬‭this‬‭moment‬‭going‬‭to‬‭fight‬‭against‬‭her‬‭captors‬‭in‬

‭whatever‬‭way‬‭she‬‭could,‬‭in‬‭this‬‭case‬‭by‬‭invoking‬‭the‬‭vengeance‬‭of‬‭the‬‭god‬‭of‬‭plague‬‭to‬‭curse‬‭the‬

‭Greek‬‭heroes‬‭who‬‭had‬‭turned‬‭her‬‭life‬‭upside‬‭down.‬

‭An‬‭important‬‭aspect‬‭of‬‭Homer’s‬‭Iliad‬‭is‬‭the‬‭use‬‭of‬‭paranarratives‬‭to‬‭paint‬‭a‬‭full‬‭picture‬‭of‬

‭the‬‭events‬‭of‬‭the‬‭final‬‭year‬‭of‬‭the‬‭Trojan‬‭War.‬‭Hernandez‬‭references‬‭paranarratives,‬‭using‬
 ‭Morgan‬‭4‬

‭Alden’s‬‭definition‬‭that‬‭describes‬‭them‬‭as‬‭"secondary‬‭narratives‬‭related‬‭by‬‭the‬‭poet's‬‭characters‬

‭and‬‭also‬‭the‬‭interludes‬‭related‬‭in‬‭the‬‭voice‬‭of‬‭the‬‭poet‬‭himself‬‭which‬‭do‬‭not‬‭advance‬‭the‬‭progress‬

‭of‬‭the‬‭main‬‭narrative"‬‭(Hernandez‬‭47).‬‭The‬‭reader‬‭must‬‭“‬‭extract‬‭some‬‭information‬‭about‬‭the‬

‭characters‬‭from‬‭other‬‭speakers‬‭in‬‭the‬‭text,‬‭from‬‭the‬‭situations‬‭in‬‭which‬‭they‬‭are‬‭placed,‬‭and‬‭also‬

‭from‬‭the‬‭epithets‬‭and‬‭patronymics‬‭that‬‭often‬‭accompany‬‭their‬‭names”‬‭(Hernandez‬‭32-33).‬‭In‬

‭order‬‭for‬‭a‬‭reader‬‭to‬‭fully‬‭understand‬‭the‬‭contents‬‭of‬‭The‬‭Iliad‬‭,‬‭they‬‭are‬‭required‬‭to‬‭be‬‭at‬‭least‬

‭somewhat‬‭familiar‬‭with‬‭the‬‭rest‬‭of‬‭the‬‭Trojan‬‭Cycle,‬‭the‬‭dozens‬‭of‬‭stories‬‭and‬‭plays‬‭that‬‭are‬

‭associated‬‭with‬‭it‬‭that‬‭tell‬‭the‬‭stories‬‭of‬‭Agamemnon‬‭and‬‭Clytemnestra,‬‭Menelaus‬‭and‬‭Helen,‬

‭Achilles‬‭and‬‭Patroclus,‬‭many‬‭other‬‭heroes‬‭and‬‭fools,‬‭as‬‭well‬‭as‬‭the‬‭gods‬‭who‬‭themselves‬‭have‬‭a‬

‭main‬‭role‬‭in‬‭the‬‭narrative.‬‭Hernandez‬‭says‬‭“There‬‭is‬‭no‬‭way‬‭of‬‭telling...whether‬‭Homer‬‭refers‬

‭here‬‭to‬‭common‬‭stories‬‭or‬‭particular‬‭poems.‬‭The‬‭number‬‭of‬‭these‬‭references,‬‭however,‬‭does‬

‭show‬‭his‬‭concern‬‭to‬‭place‬‭his‬‭own‬‭work‬‭in‬‭a‬‭context‬‭of‬‭other‬‭epics‬‭and‬‭to‬‭give‬‭it‬‭a‬‭sense‬‭of‬

‭reaching‬‭out‬‭to‬‭the‬‭rest‬‭of‬‭the‬‭legendary‬‭world”‬‭(Hernandez‬‭35).‬‭Metamodernism‬‭often‬‭uses‬

‭overarching,‬‭all-encompassing‬‭stories‬‭or‬‭ideologies‬‭to‬‭attempt‬‭to‬‭make‬‭sense‬‭of‬‭the‬‭world,‬

‭known‬‭by‬‭the‬‭term‬‭‘grand‬‭narratives.’‬‭In‬‭this‬‭case,‬‭the‬‭Trojan‬‭Cycle‬‭serves‬‭as‬‭an‬‭overall‬‭grand‬

‭narrative‬‭that‬‭The‬‭Iliad‬‭fits‬‭into,‬‭serving‬‭as‬‭the‬‭final‬‭year‬‭of‬‭the‬‭ten-year‬‭conflict‬‭between‬‭the‬

‭Greeks‬‭and‬‭Trojans.‬‭The‬‭paranarratives‬‭necessary‬‭for‬‭the‬‭full‬‭understanding‬‭of‬‭these‬‭grand‬

‭narratives‬‭serve‬‭as‬‭secondary‬‭narratives‬‭that‬‭add‬‭layers‬‭to‬‭the‬‭story,‬‭mainly‬‭through‬‭the‬

‭characterization‬‭of‬‭the‬‭main‬‭players‬‭of‬‭the‬‭war,‬‭mainly‬‭the‬‭gods‬‭and‬‭heroes.‬‭This‬‭series‬‭of‬

‭paranarratives‬‭and‬‭grand‬‭narratives‬‭is‬‭continued‬‭through‬‭to‬‭the‬‭present,‬‭through‬‭modern‬

‭retellings‬‭of‬‭the‬‭Trojan‬‭Cycle‬‭and‬‭Homer’s‬‭stories,‬‭such‬‭as‬‭The‬‭Silence‬‭of‬‭the‬‭Girls‬‭.‬‭Through‬‭this‬

‭text,‬‭Pat‬‭Barker‬‭reinterprets‬‭the‬‭story‬‭of‬‭Homer,‬‭further‬‭placing‬‭importance‬‭on‬‭these‬‭narratives,‬

‭and‬‭continuing‬‭to‬‭string‬‭the‬‭web‬‭connections‬‭even‬‭more‬‭intricately.‬
 ‭Morgan‬‭5‬

‭Modern‬‭retellings‬‭of‬‭ancient‬‭Greek‬‭stories‬‭often‬‭serve‬‭as‬‭a‬‭platform‬‭for‬‭reexamining‬‭and‬

‭interpreting‬‭misogyny‬‭embedded‬‭in‬‭the‬‭original‬‭narratives.‬‭Contemporary‬‭authors,‬‭such‬‭as‬‭Pat‬

‭Barker,‬‭engage‬‭with‬‭classical‬‭myths‬‭to‬‭challenge‬‭and‬‭subvert‬‭traditional‬‭gender‬‭dynamics.‬

‭Through‬‭their‬‭retellings,‬‭these‬‭authors‬‭offer‬‭nuanced‬‭perspectives,‬‭giving‬‭agency‬‭and‬‭voice‬‭to‬

‭silenced‬‭female‬‭characters,‬‭thus‬‭fostering‬‭a‬‭critical‬‭dialogue‬‭on‬‭the‬‭historical‬‭and‬‭cultural‬

‭implications‬‭of‬‭misogyny‬‭within‬‭the‬‭context‬‭of‬‭ancient‬‭Greek‬‭mythology.‬‭For‬‭example,‬‭in‬‭the‬

‭original‬‭Iliad‬‭written‬‭by‬‭Homer,‬‭Briseis‬‭speaks‬‭only‬‭once,‬‭when‬‭she‬‭mourns‬‭the‬‭untimely‬‭death‬

‭of‬‭Patroclus‬‭(Homer‬‭19.282-300).‬‭In‬‭great‬‭contrast,‬‭Barker‬‭deeply‬‭develops‬‭Briseis‬‭as‬‭not‬‭only‬‭a‬

‭prize‬‭for‬‭Achilles‬‭to‬‭win‬‭and‬‭lose,‬‭but‬‭a‬‭fully-fledged‬‭human‬‭being‬‭with‬‭thoughts,‬‭fears,‬‭and‬

‭emotions.‬‭The‬‭first‬‭one‬‭hundred‬‭pages‬‭of‬‭The‬‭Silence‬‭of‬‭the‬‭Girls‬‭,‬‭also‬‭known‬‭as‬‭‘Part‬‭One,’‬

‭takes‬‭place‬‭entirely‬‭before‬‭the‬‭start‬‭of‬‭The‬‭Iliad‬‭as‬‭Homer‬‭wrote‬‭it.‬‭These‬‭pages‬‭depict‬‭the‬‭life‬‭of‬

‭Briseis‬‭before‬‭Lyrnessus,‬‭her‬‭home‬‭city,‬‭is‬‭sacked,‬‭her‬‭family‬‭is‬‭killed,‬‭and‬‭the‬‭women‬‭are‬

‭enslaved‬‭to‬‭be‬‭concubines‬‭for‬‭the‬‭Greek‬‭heroes‬‭who‬‭committed‬‭those‬‭atrocities.‬‭Barker‬‭shows‬

‭Briseis‬‭as‬‭she‬‭first‬‭experiences‬‭the‬‭horrors‬‭of‬‭her‬‭new‬‭existence,‬‭as‬‭well‬‭as‬‭the‬‭person‬‭Briseis‬

‭becomes‬‭as‬‭she‬‭becomes‬‭desensitized‬‭to‬‭these‬‭atrocities,‬‭and‬‭when‬‭her‬‭life‬‭is‬‭once‬‭again‬

‭uprooted‬‭when‬‭she‬‭is‬‭reclaimed‬‭by‬‭Agamemnon.‬‭Homer,‬‭however,‬‭begins‬‭his‬‭narrative‬‭far‬‭later‬

‭than‬‭this,‬‭after‬‭Briseis‬‭is‬‭taken‬‭by‬‭Agamemnon‬‭and‬‭Achilles‬‭swears‬‭not‬‭to‬‭fight‬‭in‬‭the‬‭war‬‭due‬‭to‬

‭this‬‭slight.‬‭The‬‭first‬‭words‬‭of‬‭Homer’s‬‭Iliad‬‭are‬‭“Wrath,‬‭goddess,‬‭sing‬‭of‬‭Achilles‬‭Pēleus’s‬‭son’s‬

‭calamitous‬‭wrath,‬‭which‬‭hit‬‭the‬‭Achaians‬‭with‬‭countless‬‭ills—”‬‭(Homer‬‭1.1-2).‬‭In‬‭this‬‭act‬‭alone,‬

‭it‬‭is‬‭clear‬‭to‬‭see‬‭that‬‭Barker‬‭is‬‭centering‬‭her‬‭novel‬‭not‬‭only‬‭on‬‭the‬‭contents‬‭of‬‭The‬‭Iliad‬‭from‬‭the‬

‭perspective‬‭of‬‭Briseis,‬‭the‬‭woman‬‭at‬‭the‬‭center‬‭of‬‭the‬‭conflict,‬‭but‬‭by‬‭rehumanizing‬‭Briseis‬‭and‬

‭her‬‭experiences‬‭as‬‭a‬‭victim‬‭of‬‭war‬‭and‬‭men.‬
 ‭Morgan‬‭6‬

‭Melissa‬‭Marturano,‬‭who‬‭has‬‭experience‬‭as‬‭both‬‭a‬‭professor‬‭of‬‭classics‬‭and‬‭as‬‭a‬‭high‬

‭school‬‭teacher‬‭of‬‭classical‬‭civilization,‬‭explicitly‬‭teaches‬‭ancient‬‭history‬‭and‬‭mythology‬‭through‬

‭a‬‭feminist‬‭lens.‬‭Through‬‭the‬‭example‬‭of‬‭Polyphemus‬‭and‬‭Galatea,‬‭she‬‭introduces‬‭her‬‭students‬‭to‬

‭the‬‭idea‬‭of‬‭toxic‬‭masculinity‬‭in‬‭classical‬‭literature,‬‭relating‬‭Polyphemus‬‭to‬‭the‬‭typical‬‭“nice‬‭guy”‬

‭archetype‬‭from‬‭modern‬‭times‬‭(Marturano‬‭147).‬‭This‬‭sentiment‬‭is‬‭echoed‬‭in‬‭Deborah‬‭Ross’‬

‭article‬‭“Homer’s‬‭Odyssey:‬‭‘The‬‭Iliad’s‬‭Wife’‬‭(ca.‬‭700‬‭B.C.E.),”‬‭which‬‭focuses‬‭on‬‭how‬‭women‬

‭were‬‭used‬‭only‬‭as‬‭the‬‭spoils‬‭of‬‭war‬‭instead‬‭of‬‭as‬‭humans‬‭with‬‭inherent‬‭value:‬‭“The‬‭life‬‭of‬‭a‬

‭Greek‬‭epic‬‭hero‬‭could‬‭be‬‭said‬‭to‬‭consist‬‭of‬‭going‬‭out‬‭to‬‭get‬‭treasure,‬‭through‬‭conquest‬‭or‬‭gift,‬

‭and‬‭coming‬‭back‬‭home‬‭to‬‭add‬‭it‬‭to‬‭his‬‭pile.‬‭The‬‭Iliad‬‭is‬‭a‬‭story‬‭of‬‭going‬‭out;‬‭the‬‭Odyssey,‬‭of‬

‭coming‬‭back”‬‭(Ross‬‭218).‬‭The‬‭Silence‬‭of‬‭the‬‭Girls‬‭exemplifies‬‭these‬‭themes‬‭of‬‭searching‬‭for‬‭a‬

‭feminist‬‭lens‬‭in‬‭a‬‭story‬‭filled‬‭with‬‭male‬‭violence.‬‭Rather‬‭than‬‭shying‬‭away‬‭from‬‭the‬

‭dehumanization‬‭of‬‭Briseis‬‭and‬‭the‬‭other‬‭Trojan‬‭women,‬‭Barker‬‭directly‬‭centers‬‭it‬‭in‬‭her‬

‭narrative:‬‭“I‬‭lay‬‭there,‬‭hating‬‭him,‬‭though‬‭of‬‭course‬‭he‬‭wasn’t‬‭doing‬‭anything‬‭he‬‭didn’t‬‭have‬‭a‬

‭perfect‬‭right‬‭to‬‭do.‬‭If‬‭his‬‭prize‬‭of‬‭honour‬‭had‬‭been‬‭the‬‭armour‬‭of‬‭a‬‭great‬‭lord‬‭he‬‭wouldn’t‬‭have‬

‭rested‬‭till‬‭he’d‬‭tried‬‭it‬‭out:‬‭lifted‬‭the‬‭shield,‬‭picked‬‭up‬‭the‬‭sword,‬‭assessed‬‭its‬‭length‬‭and‬‭weight,‬

‭slashed‬‭it‬‭a‬‭few‬‭times‬‭through‬‭the‬‭air.‬‭That’s‬‭what‬‭he‬‭did‬‭to‬‭me.‬‭He‬‭tried‬‭me‬‭out‬‭”‬‭(‬‭Barker‬‭31).‬

‭Barker‬‭connects‬‭fighting‬‭to‬‭the‬‭male‬‭ego,‬‭and‬‭the‬‭insistence‬‭on‬‭acquiring‬‭the‬‭shiniest,‬‭prettiest‬

‭new‬‭toy.‬‭In‬‭her‬‭refusal‬‭to‬‭sweep‬‭this‬‭victimization‬‭and‬‭brutalization,‬‭Barker’s‬‭interpretation‬‭of‬

‭The‬‭Iliad‬‭is‬‭able‬‭to‬‭hit‬‭even‬‭closer‬‭to‬‭home‬‭the‬‭cultural‬‭norms‬‭of‬‭ancient‬‭Greek‬‭nationalism,‬‭war‬

‭prizes,‬‭and‬‭honor.‬‭The‬‭strongest‬‭warriors‬‭get‬‭the‬‭best‬‭prizes,‬‭the‬‭most‬‭craftily‬‭made‬‭weapons,‬‭and‬

‭the‬‭most‬‭beautiful‬‭concubines.‬‭This‬‭even‬‭further‬‭explains‬‭the‬‭conflict‬‭of‬‭The‬‭Iliad:‬‭why‬

‭Agamemnon’s‬‭reclamation‬‭of‬‭Briseis,‬‭his‬‭theft‬‭of‬‭Achilles’‬‭war‬‭prize,‬‭was‬‭a‬‭true‬‭spit‬‭in‬‭the‬‭face‬

‭of‬‭not‬‭only‬‭Achilles‬‭but‬‭all‬‭warriors‬‭of‬‭Greece.‬‭In‬‭The‬‭Silence‬‭of‬‭the‬‭Girls,‬‭Achilles‬‭attempts‬‭to‬
 ‭Morgan‬‭7‬

‭assert‬‭the‬‭honor‬‭he‬‭has‬‭earned‬‭in‬‭battle,‬‭claiming‬‭that‬‭that‬‭has‬‭earned‬‭him‬‭ownership‬‭over‬

‭Briseis:‬‭“I‬‭fought‬‭for‬‭that‬‭girl,”‬‭he‬‭said.‬‭“She’s‬‭my‬‭prize,‬‭awarded‬‭by‬‭the‬‭army‬‭in‬‭recognition‬‭of‬

‭my‬‭services.‬‭You‬‭have‬‭no‬‭right‬‭to‬‭take‬‭her.‬‭But‬‭it’s‬‭always‬‭the‬‭same;‬‭I‬‭bear‬‭the‬‭brunt‬‭of‬‭the‬

‭fighting‬‭and‬‭you‬‭get‬‭the‬‭lion’s‬‭share‬‭of‬‭everything‬‭we‬‭take.‬‭All‬‭I‬‭ever‬‭get’s‬‭a‬‭scrap,‬‭a‬

‭trifle…while‬‭you‬‭sit‬‭there‬‭on‬‭your‬‭fat‬‭arse‬‭‘guarding‬‭the‬‭ships.’‬‭(Barker‬‭89).‬‭In‬‭this‬‭way,‬‭Barker‬

‭is‬‭able‬‭to‬‭masterfully‬‭weave‬‭modern‬‭feminist‬‭thought‬‭with‬‭the‬‭culture‬‭of‬‭Greece‬‭from‬‭antiquity,‬

‭reinterpreting‬‭it‬‭for‬‭modern‬‭audiences.‬

‭Barker,‬‭throughout‬‭the‬‭novel,‬‭juxtaposes‬‭the‬‭ideas‬‭of‬‭beauty‬‭and‬‭cruelty‬‭to‬‭express‬‭her‬

‭thoughts‬‭on‬‭the‬‭misogyny‬‭of‬‭ancient‬‭Greece‬‭and‬‭The‬‭Iliad‬‭,‬‭infusing‬‭the‬‭ancient‬‭story‬‭with‬

‭modern‬‭feminist‬‭thought.‬‭The‬‭novel,‬‭itself,‬‭begins‬‭with‬‭this‬‭idea‬‭by‬‭including‬‭an‬‭epigraph‬

‭quoting‬‭Philip‬‭Roth:‬

‭“You‬‭know‬‭how‬‭European‬‭literature‬‭begins?”‬‭he’d‬‭ask,‬‭after‬‭taking‬‭the‬‭roll‬‭at‬‭the‬‭first‬

‭class‬‭meeting.‬‭“With‬‭a‬‭quarrel.‬‭All‬‭of‬‭European‬‭literature‬‭springs‬‭from‬‭a‬‭fight.”‬‭And‬‭then‬

‭he‬‭picked‬‭up‬‭his‬‭copy‬‭of‬‭The‬‭Iliad‬‭and‬‭read‬‭to‬‭the‬‭class‬‭the‬‭opening‬‭lines.‬‭“‬‭‘Divine‬

‭Muse,‬‭sing‬‭of‬‭the‬‭ruinous‬‭wrath‬‭of‬‭Achilles…Begin‬‭where‬‭they‬‭first‬‭quarrelled,‬

‭Agamemnon,‬‭the‬‭King‬‭of‬‭men,‬‭and‬‭great‬‭Achilles.’‬‭And‬‭what‬‭are‬‭they‬‭quarrelling‬‭about,‬

‭these‬‭two‬‭violent,‬‭mighty‬‭souls?‬‭It’s‬‭as‬‭basic‬‭as‬‭a‬‭barroom‬‭brawl.‬‭They‬‭are‬‭quarrelling‬

‭over‬‭a‬‭woman.‬‭A‬‭girl,‬‭really.‬‭A‬‭girl‬‭stolen‬‭from‬‭her‬‭father.‬‭A‬‭girl‬‭abducted‬‭in‬‭a‬‭war.”‬

‭—The‬‭Human‬‭Stain,‬‭Philip‬‭Roth‬‭(Barker‬‭Epigraph).‬

‭The‬‭most‬‭popular‬‭line‬‭from‬‭The‬‭Iliad‬‭is‬‭the‬‭first,‬‭as‬‭mentioned‬‭above,‬‭that‬‭evokes‬‭the‬‭wrath‬‭of‬

‭Achilles.‬‭The‬‭first‬‭thing‬‭the‬‭audience‬‭hears‬‭from‬‭this‬‭cycle‬‭is‬‭violence‬‭and‬‭rage,‬‭the‬‭rage‬‭of‬‭a‬

‭man‬‭scorned.‬‭Barker,‬‭however,‬‭chooses‬‭to‬‭focus‬‭on‬‭the‬‭female‬‭perspective‬‭of‬‭this‬‭story,‬‭choosing‬

‭to‬‭center‬‭the‬‭experiences‬‭of‬‭women‬‭who‬‭have‬‭previously‬‭been‬‭pushed‬‭to‬‭the‬‭side‬‭or‬‭fully‬
 ‭Morgan‬‭8‬

‭excluded‬‭from‬‭the‬‭narrative.‬‭This‬‭action‬‭is‬‭a‬‭direct‬‭move‬‭against‬‭the‬‭prevalence‬‭of‬‭toxic‬

‭masculinity‬‭and‬‭misogyny‬‭in‬‭the‬‭field‬‭of‬‭classics‬‭which‬‭tends‬‭to‬‭deify‬‭the‬‭violence‬‭of‬‭men‬‭under‬

‭the‬‭guise‬‭of‬‭heroism.‬‭Similar‬‭to‬‭The‬‭Iliad‬‭,‬‭Barker‬‭opens‬‭The‬‭Silence‬‭of‬‭the‬‭Girls‬‭with‬‭a‬‭reference‬

‭to‬‭Achilles,‬‭choosing‬‭to‬‭emphasize‬‭his‬‭impact‬‭on‬‭the‬‭people‬‭he‬‭killed‬‭and‬‭victimized‬‭rather‬‭than‬

‭a‬‭vague‬‭description‬‭of‬‭his‬‭violence:‬‭“Great‬‭Achilles.‬‭Brilliant‬‭Achilles,‬‭shining‬‭Achilles,‬‭godlike‬

‭Achilles…How‬‭the‬‭epithets‬‭pile‬‭up.‬‭We‬‭never‬‭called‬‭him‬‭any‬‭of‬‭those‬‭things;‬‭we‬‭called‬‭him‬‭‘the‬

‭butcher.’”‬‭(Barker‬‭3).‬‭Barker‬‭continues‬‭this‬‭depiction‬‭of‬‭Achilles’‬‭brutality‬‭when‬‭he‬‭breaches‬

‭Lyrnessus‬‭and‬‭begins‬‭the‬‭slaughter‬‭of‬‭Briseis’‬‭family,‬

‭“I‬‭saw‬‭my‬‭brother‬‭lying‬‭on‬‭the‬‭ground‬‭wriggling‬‭like‬‭a‬‭stuck‬‭pig.‬‭And‬‭at‬‭that‬‭moment‬

‭Achilles,‬‭as‬‭if‬‭he‬‭had‬‭all‬‭the‬‭time‬‭in‬‭the‬‭world,‬‭turned‬‭his‬‭head‬‭and‬‭glanced‬‭up‬‭at‬‭the‬

‭tower….Then,‬‭with‬‭a‬‭kind‬‭of‬‭fastidious‬‭precision…he‬‭put‬‭his‬‭foot‬‭on‬‭my‬‭brother’s‬‭neck‬

‭and‬‭pulled‬‭the‬‭spear‬‭out.‬‭Blood‬‭spurted‬‭from‬‭the‬‭wound,‬‭my‬‭brother‬‭struggled‬‭for‬‭a‬‭full‬

‭minute‬‭to‬‭go‬‭on‬‭breathing,‬‭and‬‭then‬‭lay‬‭still.‬‭I‬‭saw‬‭my‬‭father’s‬‭sword‬‭drop‬‭from‬‭his‬

‭loosening‬‭grip.‬

‭Achilles‬‭had‬‭already‬‭moved‬‭on,‬‭to‬‭the‬‭next‬‭man,‬‭and‬‭the‬‭next.‬‭He‬‭killed‬‭sixty‬‭men‬‭that‬

‭day”‬‭(Barker‬‭19).‬

‭‘Godlike‬‭Achilles’‬‭had‬‭the‬‭ability‬‭to‬‭slaughter‬‭sixty‬‭men,‬‭including‬‭young‬‭boys‬‭attempting‬‭to‬

‭save‬‭their‬‭families,‬‭and‬‭revel‬‭in‬‭ruthlessness.‬‭To‬‭raise‬‭Marturano’s‬‭argument,‬‭is‬‭this‬‭ruthlessness‬

‭what‬‭the‬‭modern-day‬‭would‬‭refer‬‭to‬‭as‬‭‘toxic‬‭masculinity?’‬‭Ancient‬‭Greek‬‭culture‬‭glorified‬

‭aggression,‬‭dominance,‬‭and‬‭physical‬‭prowess‬‭in‬‭battle.‬‭The‬‭idealized‬‭image‬‭of‬‭the‬‭warrior,‬

‭epitomized‬‭by‬‭figures‬‭like‬‭Achilles,‬‭promoted‬‭a‬‭hyper-masculine‬‭ethos‬‭that‬‭valorized‬‭violence‬‭as‬

‭a‬‭means‬‭of‬‭asserting‬‭dominance‬‭and‬‭prowess.‬‭However,‬‭Barker’s‬‭text‬‭places‬‭violence‬‭as‬‭the‬‭root‬

‭of‬‭the‬‭issue.‬‭It‬‭is‬‭less‬‭a‬‭push‬‭against‬‭toxic‬‭masculinity‬‭and‬‭more‬‭against‬‭violent‬‭masculinity.‬‭By‬
 ‭Morgan‬‭9‬

‭modern‬‭standards,‬‭this‬‭contributed‬‭to‬‭the‬‭normalization‬‭of‬‭toxic‬‭masculinity,‬‭fostering‬‭an‬

‭environment‬‭where‬‭aggression,‬‭power,‬‭and‬‭control‬‭were‬‭prioritized‬‭over‬‭emotional‬‭expression‬

‭and‬‭empathy,‬‭perpetuating‬‭harmful‬‭stereotypes‬‭that‬‭have‬‭endured‬‭over‬‭time.‬

‭This‬‭representation‬‭of‬‭Achilles‬‭as‬‭the‬‭epitome‬‭of‬‭ancient‬‭Greek‬‭masculinity‬‭is‬‭meant‬‭to‬

‭juxtapose‬‭his‬‭overwhelming‬‭beauty.‬‭In‬‭one‬‭scene‬‭of‬‭The‬‭Silence‬‭of‬‭the‬‭Girls,‬‭Barker‬‭depicts‬

‭Achilles‬‭playing‬‭the‬‭lyre‬‭before‬‭bed,‬‭playing‬‭songs‬‭of‬‭“deathless‬‭glory,‬‭heroes‬‭dying‬‭on‬‭the‬

‭battlefield,‬‭or‬‭(rather‬‭less‬‭often)‬‭returning‬‭home‬‭in‬‭triumph”‬‭(Barker‬‭56).‬ ‭Barker‬‭continues‬‭this‬

‭scene,‬‭showing‬‭Briseis’‬‭response‬‭as‬‭his‬‭victim,‬‭“At‬‭that‬‭time,‬‭he‬‭was‬‭probably‬‭the‬‭most‬‭beautiful‬

‭man‬‭alive,‬‭as‬‭he‬‭was‬‭certainly‬‭the‬‭most‬‭violent,‬‭but‬‭that’s‬‭the‬‭problem.‬‭How‬‭do‬‭you‬‭separate‬‭a‬

‭tiger’s‬‭beauty‬‭from‬‭its‬‭ferocity?‬‭Or‬‭a‬‭cheetah’s‬‭elegance‬‭from‬‭the‬‭speed‬‭of‬‭its‬‭attack?‬‭Achilles‬

‭was‬‭like‬‭that—the‬‭beauty‬‭and‬‭the‬‭terror‬‭were‬‭two‬‭sides‬‭of‬‭a‬‭single‬‭coin”‬‭(Barker‬‭56).‬‭If‬‭beauty‬

‭and‬‭violence‬‭are‬‭meant‬‭to‬‭coincide,‬‭as‬‭the‬‭‘two‬‭sides’‬‭of‬‭a‬‭coin,‬‭it‬‭makes‬‭sense‬‭that‬‭Briseis‬‭says‬

‭“‘I‬‭watched‬‭him’‬‭I‬‭very‬‭nearly‬‭added‬‭‘like‬‭a‬‭hawk,’...But‬‭it‬‭was‬‭nothing‬‭like‬‭that.‬‭Achilles‬‭was‬

‭the‬‭hawk.‬‭I‬‭was‬‭his‬‭slave‬‭to‬‭do‬‭what‬‭he‬‭liked‬‭with;‬‭I‬‭was‬‭completely‬‭in‬‭his‬‭power.‬‭If‬‭he’d‬‭woken‬

‭up‬‭one‬‭morning‬‭and‬‭decided‬‭to‬‭beat‬‭me‬‭to‬‭death,‬‭nobody‬‭would‬‭have‬‭intervened.‬‭Oh,‬‭I‬‭watched‬

‭him‬‭all‬‭right,‬‭I‬‭watched‬‭him‬‭like‬‭a‬‭mouse‬‭”‬‭(Barker‬‭39).‬‭This‬‭dichotomy‬‭encourages‬‭a‬

‭reevaluation‬‭of‬‭traditional‬‭narratives‬‭that‬‭glorify‬‭such‬‭violent‬‭qualities,‬‭offering‬‭a‬‭metamodern‬

‭perspective‬‭that‬‭invites‬‭critical‬‭reflection‬‭on‬‭the‬‭complexities‬‭of‬‭heroism‬‭and‬‭the‬‭intertwining‬

‭nature‬‭of‬‭beauty‬‭and‬‭brutality‬‭in‬‭the‬‭context‬‭of‬‭ancient‬‭Greek‬‭mythology.‬

‭The‬‭other‬‭male‬‭figure‬‭seen‬‭in‬‭‘Part‬‭One’‬‭of‬‭The‬‭Silence‬‭of‬‭the‬‭Girls‬‭is‬‭Patroclus,‬

‭Achilles’‬‭brother-in-arms‬‭and‬‭trusted‬‭friend.‬‭Patroclus‬‭is‬‭visibly‬‭less‬‭beautiful‬‭than‬‭Achilles,‬

‭having‬‭a‬‭severely‬‭broken‬‭nose,‬‭but‬‭he‬‭is‬‭immediately‬‭much‬‭warmer‬‭and‬‭kinder‬‭to‬‭Briseis‬‭than‬

‭Achilles,‬‭who‬‭violently‬‭sexually‬‭assaults‬‭her‬‭upon‬‭their‬‭first‬‭night‬‭together‬‭(Barker,‬‭24).‬‭Later‬‭in‬
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‭the‬‭novel,‬‭this‬‭kindness‬‭is‬‭explained‬‭when‬‭Patroclus’‬‭history‬‭is‬‭revealed:‬‭he‬‭had‬‭killed‬‭one‬‭of‬‭his‬

‭friends‬‭when‬‭he‬‭was‬‭a‬‭child‬‭and‬‭was‬‭sent‬‭to‬‭live‬‭in‬‭Achilles’‬‭household‬‭as‬‭a‬‭servant‬‭and‬

‭companion‬‭to‬‭the‬‭young‬‭boy,‬‭explaining‬‭to‬‭Briseis‬‭that‬‭he‬‭knows‬‭“what‬‭it’s‬‭like‬‭to‬‭lose‬

‭everything‬‭and‬‭be‬‭handed‬‭to‬‭Achilles‬‭as‬‭a‬‭toy”‬‭(Barker‬‭71).‬‭His‬‭repeated‬‭kindness‬‭and‬‭empathy‬

‭towards‬‭Briseis‬‭leads‬‭to‬‭some‬‭sort‬‭of‬‭friendship‬‭and‬‭shared‬‭understanding‬‭between‬‭them.‬‭In‬

‭Homer’s‬‭Iliad‬‭,‬‭it‬‭is‬‭only‬‭at‬‭Patroclus’‬‭death‬‭that‬‭Briseis‬‭speaks,‬‭lamenting‬‭the‬‭loss‬‭of‬‭her‬‭dear‬

‭friend,‬‭referring‬‭to‬‭him‬‭as‬‭“Patroklos,...the‬‭man‬‭most‬‭dear‬‭to‬‭my‬‭heart”‬‭(Homer‬‭19.283).‬

‭Patroclus,‬‭with‬‭his‬‭broken‬‭nose‬‭and‬‭a‬‭history‬‭marred‬‭by‬‭tragedy,‬‭emerges‬‭as‬‭a‬‭beacon‬‭of‬‭kindness‬

‭in‬‭the‬‭novel,‬‭challenging‬‭conventional‬‭notions‬‭of‬‭beauty‬‭and‬‭showcasing‬‭the‬‭transformative‬

‭power‬‭of‬‭compassion‬‭in‬‭forging‬‭meaningful‬‭connections.‬

‭The‬‭exploration‬‭of‬‭metamodernism‬‭within‬‭contemporary‬‭retellings‬‭of‬‭Homeric‬‭myths,‬

‭particularly‬‭in‬‭The‬‭Silence‬‭of‬‭the‬‭Girls‬‭by‬‭Pat‬‭Barker,‬‭serves‬‭as‬‭a‬‭lens‬‭through‬‭which‬‭to‬‭critically‬

‭engage‬‭with‬‭the‬‭complex‬‭issues‬‭of‬‭semiotics,‬‭the‬‭oral‬‭tradition,‬‭misogyny,‬‭and‬‭the‬‭reimagining‬‭of‬

‭ancient‬‭narratives.‬‭The‬‭metamodernist‬‭elements‬‭employed‬‭by‬‭Barker,‬‭such‬‭as‬‭the‬‭breaking‬‭of‬

‭traditional‬‭narrative‬‭form,‬‭emphasize‬‭the‬‭dynamic‬‭tension‬‭between‬‭sincerity‬‭and‬‭irony,‬‭allowing‬

‭for‬‭a‬‭nuanced‬‭reinterpretation‬‭of‬‭classical‬‭myths.‬‭Metamodernist‬‭works‬‭deconstruct‬‭traditional‬

‭narratives,‬‭just‬‭as‬‭ancient‬‭Greek‬‭myths‬‭were‬‭deconstructed‬‭and‬‭reinterpreted‬‭by‬‭different‬‭authors‬

‭and‬‭thinkers‬‭throughout‬‭history.‬‭Additionally,‬‭the‬‭existence‬‭of‬‭The‬‭Iliad‬‭as‬‭an‬‭example‬‭of‬‭the‬

‭historical‬‭transition‬‭from‬‭oral‬‭to‬‭literate‬‭traditions‬‭highlights‬‭the‬‭bias‬‭associated‬‭with‬‭the‬

‭perceived‬‭civility‬‭of‬‭written‬‭texts‬‭compared‬‭to‬‭the‬‭perceived‬‭barbarism‬‭of‬‭oral‬‭traditions.‬‭The‬

‭study‬‭further‬‭connects‬‭these‬‭historical‬‭shifts‬‭to‬‭metamodernist‬‭literature's‬‭inclination‬‭to‬‭challenge‬

‭and‬‭reshape‬‭grand‬‭narratives,‬‭particularly‬‭those‬‭embedded‬‭in‬‭ancient‬‭Greek‬‭stories.‬‭Barker's‬

‭nuanced‬‭portrayal‬‭of‬‭Briseis‬‭and‬‭the‬‭exploration‬‭of‬‭toxic‬‭masculinity‬‭contribute‬‭to‬‭a‬‭feminist‬
 ‭Morgan‬‭11‬

‭reevaluation‬‭of‬‭classical‬‭literature,‬‭urging‬‭readers‬‭to‬‭reflect‬‭on‬‭the‬‭enduring‬‭impact‬‭of‬‭ancient‬

‭stories‬‭in‬‭today's‬‭world‬‭and‬‭prompting‬‭a‬‭critical‬‭examination‬‭of‬‭cultural‬‭norms‬‭surrounding‬

‭gender‬‭and‬‭violence.‬‭Ultimately,‬‭the‬‭metamodernist‬‭lens‬‭offers‬‭a‬‭powerful‬‭tool‬‭for‬‭navigating‬‭the‬

‭complexities‬‭of‬‭retelling‬‭ancient‬‭stories‬‭in‬‭a‬‭modern‬‭context,‬‭inviting‬‭readers‬‭to‬‭reconsider‬‭the‬

‭narratives‬‭that‬‭shape‬‭our‬‭understanding‬‭of‬‭the‬‭past‬‭and‬‭present.‬
 ‭Morgan‬‭12‬

‭Works‬‭Cited‬

‭Barker,‬‭Pat.‬‭The‬‭Silence‬‭of‬‭the‬‭Girls‬‭.‬‭Penguin‬‭Books,‬‭2018.‬

‭Hernández,‬‭Pura‬‭Nieto.‬‭“Reading‬‭Homer‬‭in‬‭the‬‭21st‬‭Century.”‬‭College‬‭Literature‬‭,‬‭vol.‬‭34,‬‭no.‬‭2,‬
‭2007,‬‭pp.‬‭29–54.‬‭JSTOR,‬‭http://www.jstor.org/stable/25115420‬‭.‬

‭Homer.‬‭The‬‭Iliad:‬‭A‬‭New‬‭Translation‬‭by‬‭Peter‬‭Green‬‭,‬‭University‬‭of‬‭California‬‭Press,‬‭2015.‬
‭ProQuest‬‭Ebook‬‭Central‬‭,‬
‭https://ebookcentral.proquest.com/lib/wheatonma-ebooks/detail.action?docID=1882108‬‭.‬

‭Marturano,‬‭Melissa.‬‭“Ovid,‬‭Feminist‬‭Pedagogy,‬‭Toxic‬‭Manhood,‬‭and‬‭the‬‭Secondary‬‭School‬
‭Classroom.”‬‭The‬‭Classical‬‭Outlook,‬‭vol.‬‭95,‬‭no.‬‭4,‬‭2020,‬‭pp.‬‭147–51.‬‭JSTOR,‬
‭https://www.jstor.org/stable/26983714‬‭.‬

‭Ross,‬‭Deborah.‬‭“‘Homer’s‬‭Odyssey:‬‭“The‬‭Iliad’s‬‭Wife”‬‭(ca.‬‭700‬‭B.C.E.).’”‬‭in‬‭Women‬‭in‬
‭Literature:‬‭A‬‭Guide‬‭to‬‭Gender‬‭Issues‬‭,‬‭Fisher,‬‭Jerilyn,‬‭et‬‭al.‬‭Greenwood‬‭Press,‬‭Westport,‬
‭CT,‬‭2003,‬‭pp.‬‭218–220.‬