THE PENELOPIAD
Also by Margaret Atwood
Fiction
Oryx and Crake (2003) The Blind Assassin (2000) Alias Grace (1996) The Robber Bride (1993) Good Bones (1992) Wilderness Tips (1991) Cat’s Eye (1988) The Handmaid’s Tale (1985) Bluebeard’s Egg (1983) Murder in the Dark (1983) Bodily Harm (1981) Life Before Man (1979) Dancing Girls (1977) Lady Oracle (1976) Surfacing (1972) The Edible Woman (1969)
For Children
Bashful Bob and Doleful Dorinda (2004) Rude Ramsay and the Roaring Radishes (2003) Princess Prunella and the Purple Peanut (1995) For the Birds (1990) Anna’s Pet [with Joyce Barkhouse] (1980) Up in the Tree (1978)
Non-Fiction
Moving Targets: Writing with Intent 1984—2002 (2004) Negotiating with the Dead: A Writer on Writing (2002) Two Solicitudes: Conversations [with Victor-Lévy Beaulieu] (1998) Strange Things: The Malevolent North in Canadian Literature (1996) Second Words (1982) Days of the Rebels 1815–1840 (1977) Survival: A Thematic Guide to Canadian Literature (1972)
Poetry
Morning in the Burned House (1995) Selected Poems II: Poems Selected and New 1976—1986 (1986) Interlunar (1984) True Stories (1981) Two-Headed Poems (1978) Selected Poems (1976) rou Are Happy (1974) Power Politics (1971) Procedures for Underground (1970) The Journals of Susanna Moodie (1970) The Animals in That Country (1968) The Circle Game (1966) Double Persephone (1961)
Myths are universal and timeless stories that reflect and shape our lives—they explore our desires, our fears, our longings, and provide narratives that remind us what it means to be human. The Myths series brings together some of the world’s finest writers, each of whom has retold a myth in a contemporary and memorable way. Authors in the series include: Chinua Achebe, Margaret Atwood, Karen Armstrong, AS Byatt, David Grossman, Milton Hatoum, Victor Pelevin, Donna Tartt, Su Tong and Jeanette Winterson..
THE PENELOPIAD
Margaret Atwood
Copyright © 2005 by O. W. Toad Ltd.
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First published in Great Britain in 2005 by Canongate Books Ltd., Edinburgh, Scotland
Printed in the United States of America
ISBN-13: 978-1-84195-798-2
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For my family
‘… Shrewd Odysseus!… You are a fortunate man to have won a wife of such pre-eminent virtue! How faithful was your flawless Penelope, Icarius’ daughter! How loyally she kept the memory of the husband of her youth! The glory of her virtue will not fade with the years, but the deathless gods themselves will make a beautiful song for mortal ears in honour of the constant Penelope.’
—The Odyssey, Book 24 (191-194)
…he took a cable which had seen service on a blue-bowed ship, made one end fast to a high column in the portico, and threw the other over the round-house, high up, so that their feet would not touch the ground. As when long-winged thrushes or doves get entangled in a snare… so the women’s heads were held fast in a row, with nooses round their necks, to bring them to the most pitiable end. For a little while their feet twitched, but not for very long.
—The Odyssey, Book 22 (470-473)
Introduction
The story of Odysseus’ return to his home kingdom of Ithaca following an absence of twenty years is best known from Homer’s Odyssey. Odysseus is said to have spent half of these years fighting the Trojan War and the other half wandering around the Aegean Sea, trying to get home, enduring hardships, conquering or evading monsters, and sleeping with goddesses. The character of ‘wily Odysseus’ has been much commented on: he’s noted as a persuasive liar and disguise artist—a man who lives by his wits, who devises stratagems and tricks, and who is sometimes too clever for his own good. His divine helper is Pallas Athene, a goddess who admires Odysseus for his ready inventiveness.
In The Odyssey, Penelope—daughter of Icarius of Sparta, and cousin of the beautiful Helen of Troy—is portrayed as the quintessential faithful wife, a woman known for her intelligence and constancy. In addition to weeping and praying for the return of Odysseus, she cleverly deceives the many Suitors who are swarming around her palace, eating up Odysseus’ estate in an attempt to force her to marry one of them. Not only does Penelope lead them on with false promises, she weaves a shroud that she unravels at night, delaying her marriage decision until its completion. Part of The Odyssey concerns her problems with her teenaged son, Telemachus, who is bent on asserting himself not only against the troublesome and dangerous Suitors, but against his mother as well. The book draws to an end with the slaughter of the Suitors by Odysseus and Telemachus, the hanging of twelve of the maids who have been sleeping with the Suitors, and the reunion of Odysseus and Penelope.
But Homer’s Odyssey is not the only version of the story. Mythic material was originally oral, and also local—a myth would be told one way in one place and quite differently in another. I have drawn on material other than The Odyssey, especially for the details of Penelope’s parentage, her early life and marriage, and the scandalous rumours circulating about her.
I’ve chosen to give the telling of the story to Penelope and to the twelve hanged maids. The maids form a chanting and singing Chorus which focuses on two questions that must pose themselves after any close reading of The Odyssey: what led to the hanging of the maids, and what was Penelope really up to? The story as told in The Odyssey doesn’t hold water: there are too many inconsistencies. I’ve always been haunted by the hanged maids; and, in The Penelopiad, so is Penelope herself.
i
A Low Art
Now that I’m dead I know everything. This is what I wished would happen, but like so many of my wishes it failed to come true. I know only a few factoids that I didn’t know before. Death is much too high a price to pay for the satisfaction of curiosity, needless to say.
Since being dead—since achieving this state of bonelessness, liplessness, breastlessness—I’ve learned some things I would rather not know, as one does when listening at windows or opening other people’s letters. You think you’d like to read minds? Think again.
Down here everyone arrives with a sack, like the sacks used to keep the winds in, but each of these sacks is full of words—words you’ve spoken, words you’ve heard, words that have been said about you. Some sacks are very small, others large;