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jeannekmele's review against another edition
challenging
dark
emotional
inspiring
reflective
sad
medium-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? It's complicated
5.0
cws: rape, child death, slavery, war, grief/trauma, genocide mention, spoilers
An exceptional collection of nearly universal tragedy across its heroines, pyrrhic victories are the norm for women whose darkest moments shine with vibrant human spirit on the pages of A THOUSAND SHIPS.
So often left footnotes--wives, mothers, sisters, sluts and daughters written to live, die, and love for the storied men of old--any background knowledge of the classical canon will lend an unerring hand to the conclusions we know these women will come to. Yet you cannot help but root for their success, or their peace if no such thing exist; despite the ends long since written for them, their human resilience and fragility and the womanly grit behind it all almost feels as if history could rewrite itself this time.
It doesn't, of course, but this in of itself is the devoted intersection of care and craft.
Though ATS is tragedy from the first page to last, the deluge of misery and loss roils and settles with the comfortable shape of a story until you're left with a sense of resolution that is not gratifying, but it is real. And that is the way of tragedy, trauma, and war: these things cannot be reversed, nor smoothed over, nor sated.Andromache's family, first husband and son are dead; but she has another husband, another son, and her freedom; perhaps that must be enough. Penelope loses twenty years of her life, marriage, queenship and motherhood waiting for a husband who never comes home to her. But there is a like man in their bed, and his name is Odysseus, and perhaps that will have to be enough.
What of Eris, the instigator? What of Helen, the adulteress, the end of a kingdom? It is very easy, in a song about war, to glorify and vilify to the whims of one's own biases, or heroes, or chosen themes. I don't believe you will find such binary in this book.A mother kills children to avenge her own. Slave-owners and rapists (we'll save the discussion on rape, duious consent, and power in the classical canon for another time) show gentleness and provision to their victims, even when regarded as property. The selfish goddesses who set a decade of devastation and a death toll unnumbered are, themselves, steered from the shadows by intentions as selfless and pragmatic as they are genocidal.
I will quote Natalie Haynes' afterword: 'Survivors, victims, perpetrators: these roles are not always separate. People can be wounded and wounding at the same time, or at different times in the same life.'
It would be erroneous to go into A THOUSAND SHIPS expecting anything less than complex women with rich inner lives under extraneous circumstances. In the man-made disaster that is war, it becomes impractical and impossible to keep an orderly measure of right and wrong. The human condition warps into something immeasurable under such extreme duress. Though by no means a soothing read, I nonetheless devoured ATS as I haven't done with a book in a long time.
I will close with this: Grief is a long-lived creature with many faces that may come in any amount or combination at any time, in three days or five years, or decades hence. Grief is angry, and loud, and dead-eyed; it is wasting away and endless tears and twists in our chests that by right of anatomy shouldn't twist there; it is jealousy and accusation and cruelty and violence and submission and insanity.
Grief is ugly, and so often in contemporary western culture it is unsightly and to be repressed. In women, grief is mockingly anticipated, oppressively levied, and mercilessly culled. A THOUSAND SHIPS is an excellent read across the board, but for those who are processing grief and trauma, who may be unsure how to (especially women), it is a cathartic and humanizing portrait of the externally-inflicted and yet worst, most unacceptable parts of ourselves that are too big for our bodies, and too loud for the world.
An exceptional collection of nearly universal tragedy across its heroines, pyrrhic victories are the norm for women whose darkest moments shine with vibrant human spirit on the pages of A THOUSAND SHIPS.
So often left footnotes--wives, mothers, sisters, sluts and daughters written to live, die, and love for the storied men of old--any background knowledge of the classical canon will lend an unerring hand to the conclusions we know these women will come to. Yet you cannot help but root for their success, or their peace if no such thing exist; despite the ends long since written for them, their human resilience and fragility and the womanly grit behind it all almost feels as if history could rewrite itself this time.
It doesn't, of course, but this in of itself is the devoted intersection of care and craft.
Though ATS is tragedy from the first page to last, the deluge of misery and loss roils and settles with the comfortable shape of a story until you're left with a sense of resolution that is not gratifying, but it is real. And that is the way of tragedy, trauma, and war: these things cannot be reversed, nor smoothed over, nor sated.
What of Eris, the instigator? What of Helen, the adulteress, the end of a kingdom? It is very easy, in a song about war, to glorify and vilify to the whims of one's own biases, or heroes, or chosen themes. I don't believe you will find such binary in this book.
I will quote Natalie Haynes' afterword: 'Survivors, victims, perpetrators: these roles are not always separate. People can be wounded and wounding at the same time, or at different times in the same life.'
It would be erroneous to go into A THOUSAND SHIPS expecting anything less than complex women with rich inner lives under extraneous circumstances. In the man-made disaster that is war, it becomes impractical and impossible to keep an orderly measure of right and wrong. The human condition warps into something immeasurable under such extreme duress. Though by no means a soothing read, I nonetheless devoured ATS as I haven't done with a book in a long time.
I will close with this: Grief is a long-lived creature with many faces that may come in any amount or combination at any time, in three days or five years, or decades hence. Grief is angry, and loud, and dead-eyed; it is wasting away and endless tears and twists in our chests that by right of anatomy shouldn't twist there; it is jealousy and accusation and cruelty and violence and submission and insanity.
Grief is ugly, and so often in contemporary western culture it is unsightly and to be repressed. In women, grief is mockingly anticipated, oppressively levied, and mercilessly culled. A THOUSAND SHIPS is an excellent read across the board, but for those who are processing grief and trauma, who may be unsure how to (especially women), it is a cathartic and humanizing portrait of the externally-inflicted and yet worst, most unacceptable parts of ourselves that are too big for our bodies, and too loud for the world.
Content Warnings
Graphic: Grief, Gore, Slavery, Violence, Murder, War, Schizophrenia/Psychosis , Misogyny, and Suicide
Moderate: Child death, Infidelity, Emotional abuse, Incest, Self harm, Suicide attempt, Trafficking, Rape, Fire/Fire injury, Adult/minor relationship, Blood, Body horror, Suicidal thoughts, Torture, Classism, Death of parent, and Domestic abuse
Minor: Ableism, Death, Fatphobia, Eating disorder, Pregnancy, Vomit, Alcohol, and Confinement
abbieinwonderland's review against another edition
dark
emotional
sad
slow-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? No
2.5
I originally rated this as a three star book, but I woke up the next day after reading it and chose violence.
In my opinion, this book does not do what it claims which is the biggest flaw. It promises to tell the stories of the unsung women of the Trojan War. What we get is just a few pages for some of the characters, which I can only assume is an extension of the one line they were given in the original poems. It felt like the author was telling a very simple rendition of these characters. I never felt like they had real depth. The only moments we saw of some of their lives were the moments before their deaths.
I also felt this book was quite repetitive. Especially the first chapter which felt like an effort to add some drama and tension at the beginning as a hook. There were some phrases throughout which kept getting repeated, particularly about Hector's body being dragged around the battlefield by Achilles. This was brought up over and over.
I enjoyed the idea of the Calliope chapters. This was a nice touch. However, it did get heavy handed with the feminist themes.
Speaking of feminism. The author clearly hates Helen of Troy. Calliope literally says she's trash and won't tell the poet anything about her. Um, this is a book claiming to tell the stories of ALL the women in the tales. Helen is the most important. Her choices or lack thereof led to the whole war. Why should she be left out? Even if Helen is not a "pure", brave and heroic character, why not explore her story anyway? It would have been interesting to see a complex interpretation of her. There are many different types of women. We can't all be crammed into the same box or label. When telling the story of multiple women, shouldn't there be a level of variation? There was an opportunity here to explore a woman who makes a bad decision and the consequences. But no, the author has decided she must be shunned instead and have her voice taken away... feminism? Really?
And don't get me started on Penelope. She is such an interesting, clever and resourceful character, a match for Odysseus, but she was reduced to retelling the story of Odysseus instead. I did enjoy how her letters grew more sassy as the war went on. Her voice was the most distinct to me out of all the other women. But she spent most of her chapters retelling Odysseus's story and not her own.
I enjoyed certain characters more than others, for example Cassandra.
I'm not saying I hated this book, I was in it for the ride at the time of reading but on reflection I feel like I've been scammed.
Maybe it's because I've read Circe and I've been spoiled by having a whole book about an unsung woman. But I don't think it is. I think some of the decisions made while writing or editing are the cause of it.
In my opinion, this book does not do what it claims which is the biggest flaw. It promises to tell the stories of the unsung women of the Trojan War. What we get is just a few pages for some of the characters, which I can only assume is an extension of the one line they were given in the original poems. It felt like the author was telling a very simple rendition of these characters. I never felt like they had real depth. The only moments we saw of some of their lives were the moments before their deaths.
I also felt this book was quite repetitive. Especially the first chapter which felt like an effort to add some drama and tension at the beginning as a hook. There were some phrases throughout which kept getting repeated, particularly about Hector's body being dragged around the battlefield by Achilles. This was brought up over and over.
I enjoyed the idea of the Calliope chapters. This was a nice touch. However, it did get heavy handed with the feminist themes.
Speaking of feminism. The author clearly hates Helen of Troy. Calliope literally says she's trash and won't tell the poet anything about her. Um, this is a book claiming to tell the stories of ALL the women in the tales. Helen is the most important. Her choices or lack thereof led to the whole war. Why should she be left out? Even if Helen is not a "pure", brave and heroic character, why not explore her story anyway? It would have been interesting to see a complex interpretation of her. There are many different types of women. We can't all be crammed into the same box or label. When telling the story of multiple women, shouldn't there be a level of variation? There was an opportunity here to explore a woman who makes a bad decision and the consequences. But no, the author has decided she must be shunned instead and have her voice taken away... feminism? Really?
And don't get me started on Penelope. She is such an interesting, clever and resourceful character, a match for Odysseus, but she was reduced to retelling the story of Odysseus instead. I did enjoy how her letters grew more sassy as the war went on. Her voice was the most distinct to me out of all the other women. But she spent most of her chapters retelling Odysseus's story and not her own.
I enjoyed certain characters more than others, for example Cassandra.
I'm not saying I hated this book, I was in it for the ride at the time of reading but on reflection I feel like I've been scammed.
Maybe it's because I've read Circe and I've been spoiled by having a whole book about an unsung woman. But I don't think it is. I think some of the decisions made while writing or editing are the cause of it.
Content Warnings
Graphic: Blood, Miscarriage, Misogyny, Rape, Child death, Suicidal thoughts, Violence, Classism, Grief, Infidelity, Injury/Injury detail, Death, Death of parent, Domestic abuse, Murder, Sexual assault, Slavery, and War
alexisgarcia's review against another edition
dark
emotional
sad
tense
medium-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? It's complicated
5.0
This book was amazing. I absolutely adore greek retellings and this women based greek retelling was beautiful. It reads in chronological order with some chapters involving the writing process of the book from a perspective of a man and letters from Penelope. It was beautifully written and so enlightening. I would 100% recommend anyone to read this book.
Content Warnings
Graphic: Slavery, Cursing, Pregnancy, Schizophrenia/Psychosis , Sexual harassment, Animal death, Death, Emotional abuse, Violence, Child death, Infertility, Sexual assault, Sexual content, Adult/minor relationship, Animal cruelty, Blood, Body horror, Classism, Death of parent, Injury/Injury detail, Misogyny, Murder, Suicidal thoughts, Suicide, Sexism, War, Abandonment, Abortion, Gore, Grief, Infidelity, Rape, and Self harm
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