Medea v Jason. No winners here but full of drama

4 stars

Heading off to Greece what better than to indulge in rich stories of the ancient Greek world care of the talented Natalie Haynes? No Friend to this House gave fresh perspectives to the main characters of Medea and Jason along with a host of other characters who feature on the fringes. The early chapters live-streaming a variety of goddesses, demi-goddesses and nymphs, before Medea is mentioned, smacked of a social media rant against whomever did them wrong. Nine times out of ten the one wronging will be some flavour of male. God, or otherwise. I agree, women had it rough in the ancient world, and there is much to pity, but it felt a targetted attack. Heavy in sarcasm (thank you, Natalie!) and fun goddess bickering is always a delight but in the end we came to hear of Medea and Jason.

The story of Jason v. Medea is likely the first really ugly divorce publicised in history. I felt a definite tilt in support of Medea whilst demonising Jason. Unfair, maybe, to take the view that mens’ desires are petty and small whilst womens’ are good and necessary? I well know our skilled author doesn’t like heroes, and with good reason, but Jason cannot be all bad. A lucky, charismatic fool, perhaps. He may be bursting with hubris but is not Medea, as well? She wants her power recognised just as much. Being a woman does not absolve her of that sin. She is linked with far too many murders to be thought naive as this text suggests. No innocent trad wife, our Medea. She is too worldly, too knowledgable in dark arts to be believable as an innocent victim. Agreed Jason is no saint but she isn’t either. Bonnie and Clyde, these two, in it for adventure and acclaim. So this retelling doesn’t sit entirely comfortably with me, as much as I appreciate and revere Natalie Haynes and her encyclopaedic brain for all things ancient. 

What I do appreciate is her empathetic ability of giving voice to those who feel excruciating pain. Mothers, mainly, such as Theopane. Her tale of sadness is heartbreaking as she mourns the loss of her beautiful child. Also ace is the tirade of a bitterly aggrieved woman. Looking at you, Medea. You may not be a sympathetic character, in my eyes, but your anger and vengeance feels wholly authentic. And who better to voice passionate, strong emotions than Natalie Haynes? The climax of the story is well worth the price of admission. Bravo.