Tag Archives: Christian Ward
Guest blogger, Madeleine Gavaler:
Greek mythology is, at its core, about rape. This makes a gender-flipped telling of the Odyssey an interesting endeavor. In ODY-C, two white boys, Matt Fraction (writer) and Christian Ward (artist), depict Odyssia and her gals’ long, intergalactic journey home after the war in Troiia (yes, even the city of Troy gets a fun gender change).
At its surface the book is a retelling of the Odyssey, but Fraction’s own convoluted gender mythology overshadows any deep engagement with the source text. ODY-C turns out to be a little more complicated than a binary-implying gender swap—Homer’s male characters become women, but the meager supply of female characters doesn’t all become men. Instead, Fraction has a very busty and plus-sized female Zeus kill all the boys.
In Homer’s vision, the Trojan War was fought because men think they can own women. All of this violence was inspired by rape culture, so giving the characters vaginas doesn’t suddenly turn the Odyssey into a fun, feminist adventure—the story is still about rape, only its object is (very subtly) not Helen but He.
Instead of an innocent gender swap, Fraction chooses to have a very powerful woman violently destroy all men out of her own greed and egocentrism:
“I am Zeus, who murdered her own father in violent spite, in Olympus itself, on his bloody throne from which he created all things… To make sure no child could ever be born to a woman again that might come for my head the way I came for my father’s… I destroyed all men.”
Womankind can still reproduce, however: Prometheus-turned-Promethene, rather than giving fire to man, gives women a new gender to fuck: Sebex, “who could implant the released ovum from a woman and fertilize it within its womb.”
Instead of there simply not being men, or women being able to reproduce by themselves, Fraction finds it necessary to introduce a new slave-sex gender and make men the victims of a bloodthirsty female tyrant. Women rule the galaxy, but Fraction implies that this is not of their own merit but rather Zeus’s villainy. Girl Power is overshadowed by the injustice of the men Zeus destroyed.
There are still a few men left however, including “He” (Helen). He walks on all fours, with his wife yanking on the leash around his neck. Riffing on Faustus, Fraction writes “Thousands of swiftships once launched in his name.”
Odyssia asks He, “Was that face of yours really so beautiful?”
“Once, maybe, yes,” Ene (Menelaus) admits. “Yet across it I carved my own name so that no one could want him again.”
In both Ene’s treatment of He and Zeus’s destruction of man, Fraction highlights the politics of gender and violence that are central to Homer and Greek mythology. After all, Menelaus abusing and disfiguring Helen to show his rapey power of her would not be entirely out of character or out of place for Homer. Nor would Zeus’s actions—Greek gods, especially Zeus, are known for being petty and violent and deeply flawed. Homer is violent and weird and even upsetting, and Fraction ends up being more honest to these themes of the poet than his awkward attempt at matching Homeric syntax.
Fraction (partially and problematically) hits on what has always fascinated me about Ancient Greece and its deities: the mythology is so deeply misogynistic, and yet occasionally incredibly feminist and liberating (not to mention incredibly gay). Athena and Artemis, some (arguably sapphic) bad ass bitches, have always been role models of mine, and even Homer’s more male-focused masterpieces feature empowered women: Helen might fall short (although I’ve always liked her), but Athena, Hera, Penelope, and Circe are each certainly more deserving of an epic than Aeneas.
ODY-C isn’t a feel-good story about female empowerment, but it is a fascinating exploration of gender and power in Homer. By villainizing characters such as Zeus and Menelaus far more than Homer or Virgil ever did, Fraction acknowledges the unspoken horrors of our beloved classic literature. Still, depicting genocide of the boys is a convoluted way to criticize rape culture.
Fraction makes a valiant feminist attempt to reveal the ugly gender roles in the Odyssey, but by both feminizing the characters and making them more villainous, his result is anti-feminist: he implies that if women were in charge, they would be more possessive and violent to men than men were to women in the Odyssey.
When asked about the book’s inspiration, Fraction said, “I wanted to write a classic mythological hero for my daughter.” Seeing Odysseus as one of the original heroes, he made her Odyssia and went from there. He hoped that his “inversion of the patriarchal structure” would “show how women have been treated for 26 centuries.” However, creating an evil matriarchy didn’t exactly serve that end.
He had sweet intentions, but Fraction’s daughter is better off reading Bitch Planet.