By Christa Wolf
Medea is without doubt one of the such a lot infamous girls within the canon of Greek tragedy: a lady scorned who sacrifices her personal young children to her jealous rage. In her gripping new novel, Christa Wolf explodes this fable, revealing a fiercely self sustaining girl ensnared in a brutal political battle.
Medea, pushed by means of her judgment of right and wrong to depart her corrupt place of origin, arrives in Corinth together with her husband, the hero Jason. he's welcomed, yet she is branded the outsider-and then she discovers the appalling mystery at the back of the king's declare to strength. Unwilling to disregard the scary fact in regards to the country, she turns into a hazard to the king and his ruthless advisors; deserted via Jason and made a public scapegoat, she is reviled as a witch and a murderess.
Long a sharp-eyed political observer, Christa Wolf transforms this historical story right into a startlingly suitable statement on our instances. Possessed of the long-lasting truths so precious within the classics, and but with a completely modern spin, her Medea is a stunningly perceptive and probingly sincere paintings of fiction.
With an advent by way of Margaret Atwood. Translated from the German by means of John Cullen.
From Kirkus Reviews
German novelist Wolf's discursive retelling of the conventional Greek legend, a logical outgrowth from her prior novel Cassandra (1984), ispace Margaret Atwood, who contributes an informative ``Introduction''a humorless and primarily predictable political allegory envisioning the reviled sorceress and assassin (of her childrens) as a sufferer of male vanity and sexual lack of confidence. Medea's place of origin Colchis is a ``darker'' counterpart to the dominion of Corinth, a self-aggrandizing nation that brutally distorts fact to justify its imperialistic crimes. Wolf deals a refrain of ``Voices'' herethe eponymous heroine, her weak-willed adventurer husband Jason, and different avid gamers within the drama of Corinth's energy struggleto chronicle the scapegoating of an insubordinate woman goaded to develop into ``immoderate . . . a Fury, simply what the Corinthians wanted her to be.'' Overwrought, and markedly not so good as Wolf's greater fiction. -
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Additional resources for Medea: A Modern Retelling
W hat was this supposed to mean. Was it a trap. Should I let myself get mixed up in this. I tried to catch the eyes of my men: general cluelessness. If I'd had a choice, I would have jumped to my feet, overturned the table, and left the hall. But we were hopelessly outnumbered. The serpent. I still dream about it. The Colchian monster-snake that wrapped its monstrous length around the trunk of the oak tree. I see it in my dreams the way my men describe it: three-headed, as thick as the tree trunk, and, it goes without saying, spewing fire.
I knew what she was thinking about. I've never seen a man weep as that young Colchian did, the one Lyssa loved with such devotion, but w hom she left behind to follow me onto the Argo for an uncertain journey. She gave birth to her daugh ter, Arinna, during the voyage, and thereafter there has been no man in Lyssa's life, and I can't help asking myself what price Lyssa has paid, and the other Colchians, and all of us, because I didn't want to live in Colchis anymore and they followed me, blinded by my good repute among them.
She was sitting beside King Creon w ithout a word, she seemed to hate him and he seemed to fear her— anyone w ith eyes in his head could have seen that. I mean something else. I mean that suddenly it became completely quiet. That I had that flickering in front of m y eyes that comes before second sight. That in the vast banquet hall this w om an and I were alone. I saw her there, her aura almost completely darkened by inconsolable grief, so much so that I was horror-stricken and I had to follow her when she stood up stiffly in her gold-embroidered formal dress as soon as the meal was over and left the room without a word of explanation, without so much as a good night for the foreign merchants and emissaries, thus forcing the King to cover up her impertinence by talking fast and laughing loudly.