By Fiona Cox and Elena Theodorakopoulos. "When George Steiner was musing in 2002 (in his review of Logue’s War Music) on the shapes and forms that responses to Homer seemed likely to take in the new millennium, he welcomed the work of Louise Glück and Jorie Graham as the first shoots of a female reworking of Homer. In Glück’s Meadowlands (1998) we find a lyric Odyssey in the depiction of a modern marriage disintegrating, while in The End of Beauty (1987) Graham’s Penelope delights in unravelling and thereby deconstructing earlier poetic forms. The fact that both writers draw on the Odyssey rather than the Iliad appears to lend substance to Samuel Butler’s conviction, remembered by Steiner, that the Odyssey is ‘woman’s work.’"
Via Caroline Claeys