But of course the affairs male gods have with mortal women are often best described as rape, a term that likewise fits Calypso’s sexual domination of Odysseus as she replicates the very system with which she finds fault.
As Mary Beard has ably demonstrated, “We have no template for what a powerful woman looks like, except that she looks rather like a man.” This is exceedingly true of Calypso in the Odyssey, who uses her divine authority in ways that replicate the nastiest aspects of patriarchal power, such as sexual domination and enslavement. As long as Calypso’s island mirrors Zeus’s own hierarchical structure, as long as she occupies the masculinized position of power, there are no feminist lessons to be learned here, only new iterations of the same ancient forms of male domination.
Like its hero, Homer’s epic cannot imagine its way into a new paradigm even as it recognizes the precarious positions that women and the oppressed too often find themselves in. Though it fails to offer better solutions, it does have lessons to teach about the damaging ways authority gets wielded and about those who unjustly get to wield it — and perhaps that is why we should all read it, for its negative rather than positive representations of power so that we can be on guard against them.
Or, to quote Mary Beard, “You cannot easily fit women into a structure that is already coded as male; you have to change the structure. That means thinking about power differently.” Calypso offers not a hopeful possibility for women but a warning to any woman who climbs the tiers of power without questioning or transforming the asymmetrical system that keeps women as a whole in check. If the structure is not changed, in can waltz Hermes, armed with Zeus’s authoritative command, to overpower you in turn. As long as it is built upon the oppression of others, the same hierarchy that at one moment works for you can now work against you. Unlike Odysseus, we can choose to really see ourselves in the disempowered and by doing so change who we are for the better. That is the challenge for anyone reading the Odyssey today.
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Get in gear – it's finally here! The #CoverReveal for the #sequel to #TheAutomation has been birthed from the subterranean publishing forge. 🌋🌋🌋 Do judge us by our glitchy cover!. . 🎠🎪🎠Follow the blog tour on our Twitters ( @circofootnotes & @circoringmaster ) for a chance to win a print copy of Vol. 1 and to read an excerpt from Vol. 2🎠🏛🎠. . [[[The crippled god of #metallurgy, fire, and #alchemy has many names and many faces—sometimes #Hephaestus, #Ptah, or #Vulcan. He changes to suit his needs. And just like his names, his creations have gone through countless revisions. This time, he’s finally onto something—his #Automata have turned the heads of other #gods. They’ve noticed their pre-programmed potential. There’s a reason Vulcan didn’t scrap the Automata—a reason he left them in the care of humans all this time. They were just the beta testers for his most intricate windup toy yet… . Vulcan’s ancient Automata find their purpose rebooted in the second installment of the CIRCO DEL HERRERO/THE BLACKSMITH’S CIRCUS series. Their immortal human Masters will drop like flies—superfluous in the next round as the gods shuffle in a new deck of fateful cards. The Masters can choose how and when, but they will all die to free the Automata of their earthly chains. Odys and his Automaton, Maud, struggle to protect his twin sister from the plotting of his dual-bodied adversaries. But his sister, Odissa, finds herself a willing participant in The Blacksmith’s latest exhibition—could she be the missing cog to the god’s tightly wound machine all along? . In this thrilling sequel to THE AUTOMATION, the #Narrator and #Editor drag readers deeper into the dark history and even darker future of Automata. When the subterranean god emerges with his postlapsarian blueprint, so will the truth about B.L.A. and G.B. Gabbler.]]] #whatthehammer🔨 #whatthechain🔗 #inwhatfurnace🔥 #wasthybrain🎠
‘The notion that Homeric epic must be rendered in grand, ornate, rhetorically elevated English has been with us since the time of Alexander Pope. It is past time, I believe, to reject this assumption. Homer’s language is markedly rhythmical, but it is not difficult or ostentatious. The Odyssey relies on coordinated, not subordinated syntax (“and then this, and then this, and then this,” rather than “although this, because of that, when this, which was this, on account of that”). I have frequently aimed for a certain level of simplicity, often using fairly ordinary, straightforward, and readable English. In using language that is largely simple, my goal is not to make Homer sound “primitive,” but to mark the fact that stylistic pomposity is entirely un-Homeric. I also hope to invite readers to respond more actively with the text. Impressive displays of rhetoric and linguistic force are a good way to seem important an invite a particular kind of admiration, but they tend to silence dissent and discourage deeper modes of engagement. A consistently elevated style can make it harder for readers to keep track of what is at stake in the story. My translation is, I hope, recognizable as an epic poem, but it is one that avoids trumpeting its own status with bright, noisy linguistic fireworks, in order to invite a more thoughtful consideration of what the narrative means, and they ways it matters.
All modern translation of ancient texts exist in a time, a place, and a language that are entirely alien from those of the original. All modern translations are equally modern…I have tired to make my translation sound markedly poetic and sometimes linguistically distinctive, even odd. But I have also aimed for a fresh and contemporary register. The shock of encountering an ancient author speaking in largely recognizable language can make him seem more strange, and newly strange. I would like to invite readers to experience a sense of connection to this anent text, while also recognizing its vast distance from our own place and time. Homer is, and is not, our contemporary.’ -Emily Wilson, “Introduction,” The Odyssey.