Emily Hauser – författare

THE INSTANT TIMES BESTSELLERAward-winning classicist and historian Emily Hauser takes readers on an epic journey to uncover the astonishing true story of the real women behind ancient Greece’s greatest legends, and the real heroes of those ancient epics, Homer's Iliad and Odyssey . . . 'Bold and intellectually thrilling . . . blending history and science, rigorous scholarship and dazzling feats of imagination.' TOM HOLLAND, historian and co-host of 'The Rest is History' podcast'Absolutely blew me away . . . rich, evocative and original work . . . this book is quite wonderful.' ELODIE HARPER, author of The Wolf Den'Offers a dazzling new way of thinking about the ancient world . . . a wonderful, beautifully written and important book.' DAN JONES, author of Henry V'A book the world has been waiting for . . . I loved it.' BETTANY HUGHES, author of The Seven Wonders of the Ancient WorldContrary to perceptions built up over three millennia, ancient history is not all about men – and it's not only men's stories that deserve to be told.In Mythica Emily Hauser tells, for the first time, the extraordinary stories of the real women behind some of the western world’s greatest legends. Following in their footsteps, digging into the history behind Homer’s epic poems, piecing together evidence from the original texts, recent astonishing archaeological finds and the latest DNA studies, she reveals who these women – queens, mothers, warriors, slaves – were, how they lived, and how history has (or has not – until now) remembered them.A riveting new history of the Bronze Age Aegean and a journey through Homer’s epics charted entirely by women – from Helen of Troy, Briseis, Cassandra and Aphrodite to Circe, Athena, Hera, Calypso and Penelope – Mythica is a ground-breaking reassessment of the reality behind the often-mythologized women of Greece’s greatest epics, and of the ancient world itself as we learn ever more about it.

How the idea of the author was born in the battleground of genderWhen Sappho sang her songs, the only word that existed to describe a poet was a male one—aoidos, or “singer-man.” The most famous woman poet of ancient Greece, whose craft was one of words, had no words with which to talk about who she was and what she did. In How Women Became Poets, Emily Hauser rewrites the story of Greek literature as one of gender, arguing that the ways the Greeks talked about their identity as poets constructed, played with, and broke down gender expectations that literature was for men alone. Bringing together recent studies in ancient authorship, gender, and performativity, Hauser offers a new history of classical literature that redefines the canon as a constant struggle to be heard through, and sometimes despite, gender.Women, as Virginia Woolf recognized, need rooms of their own in order to write. So, too, have women writers through history needed a name to describe what it is they do. Hauser traces the invention of that name in ancient Greece, exploring the archaeology of the gendering of the poet. She follows ancient Greek poets, philosophers, and historians as they developed and debated the vocabulary for authorship on the battleground of gender—building up and reinforcing the word for male poet, then in response creating a language with which to describe women who write. Crucially, Hauser reinserts women into the traditionally all-male canon of Greek literature, arguing for the centrality of their role in shaping ideas around authorship and literary production.

How the idea of the author was born in the battleground of genderWhen Sappho sang her songs, the only word that existed to describe a poet was a male one—aoidos, or “singer-man.” The most famous woman poet of ancient Greece, whose craft was one of words, had no words with which to talk about who she was and what she did. In How Women Became Poets, Emily Hauser rewrites the story of Greek literature as one of gender, arguing that the ways the Greeks talked about their identity as poets constructed, played with, and broke down gender expectations that literature was for men alone. Bringing together recent studies in ancient authorship, gender, and performativity, Hauser offers a new history of classical literature that redefines the canon as a constant struggle to be heard through, and sometimes despite, gender.Women, as Virginia Woolf recognized, need rooms of their own in order to write. So, too, have women writers through history needed a name to describe what it is they do. Hauser traces the invention of that name in ancient Greece, exploring the archaeology of the gendering of the poet. She follows ancient Greek poets, philosophers, and historians as they developed and debated the vocabulary for authorship on the battleground of gender—building up and reinforcing the word for male poet, then in response creating a language with which to describe women who write. Crucially, Hauser reinserts women into the traditionally all-male canon of Greek literature, arguing for the centrality of their role in shaping ideas around authorship and literary production.

This ground-breaking volume connects the situatedness of genre in English poetry with developments in classical scholarship, exploring how an emphasis on the interaction between English literary criticism and Classics changes, sharpens, or perhaps even obstructs views on genre in English poetry. “Genre” has classical roots: both in the etymology of the word and in the history of genre criticism, which begins with Aristotle. In a similar vein, recent developments in genre studies have suggested that literary genres are not given or fixed entities, but subjective and unstable (as well as historically situated), and that the reception of genre by both writers and scholars feeds back into the way genre is articulated in specific literary works.Classical scholarship, literary criticism, and genre form a triangle of key concepts for the volume, approached in different ways and with different productive results by contributors from across the disciplines of Classics and English literature. Covering topics from the establishment of genre in the Middle Ages to the invention of female epic and the epyllion, and bringing together the works of English poets from Milton to Tennyson to Josephine Balmer, the essays collected hereargue that the reception and criticism of classical texts play a crucial part in generic formation in English poetry.

This ground-breaking volume connects the situatedness of genre in English poetry with developments in classical scholarship, exploring how an emphasis on the interaction between English literary criticism and Classics changes, sharpens, or perhaps even obstructs views on genre in English poetry. “Genre” has classical roots: both in the etymology of the word and in the history of genre criticism, which begins with Aristotle. In a similar vein, recent developments in genre studies have suggested that literary genres are not given or fixed entities, but subjective and unstable (as well as historically situated), and that the reception of genre by both writers and scholars feeds back into the way genre is articulated in specific literary works.Classical scholarship, literary criticism, and genre form a triangle of key concepts for the volume, approached in different ways and with different productive results by contributors from across the disciplines of Classics and English literature. Covering topics from the establishment of genre in the Middle Ages to the invention of female epic and the epyllion, and bringing together the works of English poets from Milton to Tennyson to Josephine Balmer, the essays collected hereargue that the reception and criticism of classical texts play a crucial part in generic formation in English poetry.

From Madeline Miller’s The Song of Achilles (2011) to Pat Barker’s The Voyage Home (2024), there has been a huge rise in women’s rewritings of ancient myths and texts in recent years. Women writers are looking back to the classical past more than ever before, and there is serious public interest in women’s reworkings of the ancient world. But at the same time, this is nothing new: women have been responding to the worlds of Greece and Rome for hundreds of years, across many different time periods, and multiple cultures and languages.This first volume in a two-volume set explores the different ways that women have retold and responded to Classics across the ages, as well as how these responses might resist or unpack the tensions inherent in notions of gender, race, canonicity, class and cultural heritage—in a context in which classical education and scholarship have been confined to the ivory tower, studied by men in pursuit of an understanding of the ‘great men’ of history. Looking at extraordinary women writers across thousands of years, from Sappho, Marguerite de Navarre, Lucrezia Marinella and Renée Vivien to Tayari Jones, Roz Kaveney, Zadie Smith and Anne Carson, from ancient Greece to the Venezuelan diaspora, this volume demonstrates the urgency and the centrality of women's creations in the world of Classics.

From Madeline Miller’s The Song of Achilles (2011) to Pat Barker’s The Voyage Home (2024), there has been a huge rise in women’s rewritings of ancient myths and texts in recent years. Women writers are looking back to the classical past more than ever before, and there is serious public interest in women’s reworkings of the ancient world. But at the same time, this is nothing new: women have been responding to the worlds of Greece and Rome for hundreds of years, across many different time periods, and multiple cultures and languages.This first volume in a two-volume set explores the different ways that women have retold and responded to Classics across the ages, as well as how these responses might resist or unpack the tensions inherent in notions of gender, race, canonicity, class and cultural heritage—in a context in which classical education and scholarship have been confined to the ivory tower, studied by men in pursuit of an understanding of the ‘great men’ of history. Looking at extraordinary women writers across thousands of years, from Sappho, Marguerite de Navarre, Lucrezia Marinella and Renée Vivien to Tayari Jones, Roz Kaveney, Zadie Smith and Anne Carson, from ancient Greece to the Venezuelan diaspora, this volume demonstrates the urgency and the centrality of women's creations in the world of Classics.

In the last few years, there has been a major and unmissable surge in women’s retellings and re-creations of ancient myths and texts that has put women’s re-creations of Classics centre-stage. Drawing together an interdisciplinary range of creative and scholarly voices, this volume asks why classical creative retellings by women are so popular now—and considers what creativity can do to foster new ways of thinking and writing about Classics, thus blurring the boundary between the creative and the critical. Contributors engage with debates on how to make Classics more accessible through the medium of creative works, so that it is not just a discipline for the select few.This second volume in a two-volume set brings together original creative work by some of the many women writers who are pushing forward changes in the landscape of re-creating Classics, from Madeline Miller to Jennifer Saint, Emily Hauser, Caroline Lawrence, Roz Kaveney, Nikita Gill, Fiona Benson, Anne Carson and many more. These are set alongside discussions and interviews between writers and academics, roundtable conversations among poets and critics, and reflections on creative and inclusive pedagogy—thus offering a cutting-edge collaboration between practitioners and researchers, and underlining the centrality of women’s re-creations of Classics to the contemporary shaping of the field.

In the last few years, there has been a major and unmissable surge in women’s retellings and re-creations of ancient myths and texts that has put women’s re-creations of Classics centre-stage. Drawing together an interdisciplinary range of creative and scholarly voices, this volume asks why classical creative retellings by women are so popular now—and considers what creativity can do to foster new ways of thinking and writing about Classics, thus blurring the boundary between the creative and the critical. Contributors engage with debates on how to make Classics more accessible through the medium of creative works, so that it is not just a discipline for the select few.This second volume in a two-volume set brings together original creative work by some of the many women writers who are pushing forward changes in the landscape of re-creating Classics, from Madeline Miller to Jennifer Saint, Emily Hauser, Caroline Lawrence, Roz Kaveney, Nikita Gill, Fiona Benson, Anne Carson and many more. These are set alongside discussions and interviews between writers and academics, roundtable conversations among poets and critics, and reflections on creative and inclusive pedagogy—thus offering a cutting-edge collaboration between practitioners and researchers, and underlining the centrality of women’s re-creations of Classics to the contemporary shaping of the field.

THE INSTANT TIMES BESTSELLERAward-winning classicist and historian Emily Hauser takes readers on an epic journey to uncover the astonishing true story of the real women behind ancient Greece’s greatest legends, and the real heroes of those ancient epics, Homer's Iliad and Odyssey . . . 'Bold and intellectually thrilling . . . blending history and science, rigorous scholarship and dazzling feats of imagination.' TOM HOLLAND, historian and co-host of 'The Rest is History' podcast'Absolutely blew me away . . . rich, evocative and original work . . . this book is quite wonderful.' ELODIE HARPER, author of The Wolf Den'Offers a dazzling new way of thinking about the ancient world . . . a wonderful, beautifully written and important book.' DAN JONES, author of Henry V'A book the world has been waiting for . . . I loved it.' BETTANY HUGHES, author of The Seven Wonders of the Ancient WorldContrary to perceptions built up over three millennia, ancient history is not all about men – and it's not only men's stories that deserve to be told.In Mythica Emily Hauser tells, for the first time, the extraordinary stories of the real women behind some of the western world’s greatest legends. Following in their footsteps, digging into the history behind Homer’s epic poems, piecing together evidence from the original texts, recent astonishing archaeological finds and the latest DNA studies, she reveals who these women – queens, mothers, warriors, slaves – were, how they lived, and how history has (or has not – until now) remembered them.A riveting new history of the Bronze Age Aegean and a journey through Homer’s epics charted entirely by women – from Helen of Troy, Briseis, Cassandra and Aphrodite to Circe, Athena, Hera, Calypso and Penelope – Mythica is a ground-breaking reassessment of the reality behind the often-mythologized women of Greece’s greatest epics, and of the ancient world itself as we learn ever more about it.

If you've been gripped by Pat Barker's The Women of Troy and The Silence of the Girls, then For the Most Beautiful is a must-read for you . . .Three thousand years ago a war took place that gave birth to legends - to Achilles, the greatest of the Greeks, and Hector, prince of Troy. It was a war that shook the very foundations of the world. But what if there was more to this epic conflict? What if there was another, hidden tale of the Trojan War?Now is the time for the women of Troy to tell their story.Thrillingly imagined and startlingly original, For the Most Beautiful reveals the untold story of Krisayis, daughter of the Trojans' High Priest, and of Briseis, princess of Pedasus, who fight to determine the fate of a city and its people in this ancient time of mischievous gods and mythic heroes.In this novel full of passion and revenge, loyalty and betrayal, bravery and sacrifice, Emily Hauser breathes exhilarating new life into one of the greatest legends of all - in a tale that has waited millennia to be told.'Brings ancient Troy wildly, raucously, passionately alive' Manda Scott, author of Boudica

Some three thousand years ago, in a time before history, the warriors of Greece journeyed to the ends of the earth in the greatest expedition the world had ever seen.One woman fought alongside them.Abandoned at birth on the slopes of Mount Pelion, Atalanta is determined to prove her worth to the father who cast her aside. Having taught herself to hunt and fight, and disguised as a man, she wins a place on the greatest voyage of that heroic age: with Jason and his band of Argonauts in search of the legendary Golden Fleece. And it is here, in the company of men who will go down in history as heroes, that Atalanta must battle against the odds – and the will of the gods – to take control of her destiny and change her life forever.With her unrivalled knowledge and captivating storytelling, Emily Hauser brings alive an ancient world where the gods can transform a mortal’s life on a whim, where warriors carve out names that will echo down the ages . . . and where one woman fights to determine her own fate.

'Offers a fresh and feminist take' Madeline Miller, bestselling author of CirceThousands of years ago, two remarkable women found themselves swept up in one of the greatest legends of all . . . and discovered the price that must be paid for immortality.Desperate to save her dying brother, Admete persuades her father, the king of Tiryns, to allow her to accompany Hercules on one of his celebrated twelve labours. They travel to the land of the Amazons in the hopes of finding a cure – but their arrival causes tension with the infamous female warriors. Hippolyta, the revered queen of the tribe, sees their presence as a threat – both to her people, but also to the long-guarded secret she has been keeping from them.As battle lines are drawn between the Greeks and the Amazons, Admete and Hippolyta soon learn the inevitable truth – that in war, sacrifices must be made; especially if they are to protect the ones they love most . . .PRAISE FOR EMILY HAUSER:'Hauser recreates one of the oldest tales in Greek myth with great skill and panache.' The Times'Once in a while something comes along that's so utterly right, so necessary for now, that you wonder why nobody thought of it before. Emily Hauser's stunning debut novel . . . brings ancient Troy wildly, raucously, passionately alive.' Manda Scott, bestselling author of Boudica and Into the Fire'A delight from start to finish. Hauser's fresh perspective on one of the great archetypal epics, in focusing on the marginalised women's stories, makes for fascinating reading . . . a clever premise and thoroughly enjoyable.' Elizabeth Fremantle, author of Sisters of Treason'Kept me utterly absorbed. Here is a heroine to cheer for, and a book to cherish.' Margot Livesey, author of The House on Fortune Street'Beautifully descriptive . . . drawing the reader into a lost world of gods and heroes.' Glyn Iliffe, author of King of Ithaca