Emily Hauser wanted to make classics accessible and exciting to a wider audience, particularly young people. She felt that writing fiction allowed her to break down the boundaries of traditional academic scholarship and reach a broader audience while still demonstrating her philological expertise.
Hauser wrote her dissertation in the mornings and her novels in the afternoons during her PhD at Yale. She kept her fiction writing a secret from her dissertation advisor to avoid potential judgment from the academic field.
The starting point was Hauser's realization that Sappho, a renowned ancient Greek poet, did not have a specific word to describe herself as a poet in her own language. This absence of a feminine term for a poet suggested a deliberate exclusion of women from the poetic tradition.
The absence of a feminine term for a poet indicates a deliberate strategy to exclude women from the poetic tradition. Even though women like Sappho were recognized for their excellence, they were never given the same terms as male poets, suggesting a gendered ring fencing of the poetic profession.
In the Homeric Hymn to Hermes, Hermes invents the lyre by disemboweling a tortoise, which Hauser interprets as a rape metaphor. The hymn suggests that women's access to poetic power is violently taken by men and turned into an instrument for male voices, symbolizing the silencing of women in the poetic tradition.
The word 'aeidos' means 'singer man' and is gendered male. It was used by Homer and Hesiod to describe the bard, but it could also be used in a feminine context, as seen in Hesiod's fable of the nightingale. This word's gendered nature highlights the masculine framing of the poetic profession.
Euripides uses the word 'aeidos' in the feminine form in his plays, which is unusual for the time. He also creates complex female characters like Medea, who challenge societal norms but ultimately get pushed into the role of the monstrous other, reflecting the tension between his desire to portray women as real people and the constraints of his society.
The term 'musopoios' means 'music maker' and was used by Herodotus to describe Sappho. However, Sappho herself used the term 'musopolos,' which means 'attendant of the muses.' This shift from 'attendant' to 'maker' by Herodotus suggests a deliberate effort to strip Sappho of her poetic agency and reduce her role to that of a passive inspirer rather than an active poet.
Penelope is silenced by Telemachus in the Odyssey when she tries to influence the bard's song. This moment reflects the broader exclusion of women from the realm of myth and poetry, as Telemachus asserts that 'mythos' (myth) is for men, not women. Penelope's silencing is emblematic of the way women were excluded from the poetic and mythological traditions.
Hauser's book focuses on the historical women of the Bronze Age and how their experiences inform the myths that later arose. By starting with the Bronze Age, she challenges the notion that the age of heroes in Homer was devoid of feminine influence and argues that women were central to the historical and mythological narratives of ancient Greece.
Liv speaks with author Emily Hauser about her book How Women Became Poets. They look at women in Greek myth, literature, etymology, and, very specifically, the long and arduous history of women 'poets' in Greek literature. Plus, a sneak peak at Emily's next work: Mythica/Penelope's Bones. Find more from Emily here).
CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing.
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