Since 1980, over one hundred Young Adult (YA) novels relating the Persephone myth have been published. Yet, although burgeoning and profitable, the YA appropriation of mythic material has received little attention in classical scholarship. Cristina Salcedo González rectifies the oversight in her book, The Persephone Myth in Young Adult Fiction. From Girl to Woman, by analysing six English language novels that lean on, adapt, or allude to the ever-popular myth. These, all written by women, all published between 1980 and 2023 comprise Margaret Mahy, Dangerous Spaces (1991); Louise Tondeur, The Water’s Edge (2003); Laurie Halse Anderson, Wintergirls (2009); Laura Ruby, Bone Gap (2015); Lynn Freed, House of Women (1985)[1]; and Francesca Lia Block, Psyche in a Dress (2006). González’s objectives are to discover which mythic elements are incorporated and foregrounded, the myth’s transformations, and how contemporary YA retellings explore and mediate adolescent female lived experiences.[2] She broadly concludes that the novels are characterised by journeys, female life experiences and rites of passage, and the role of hell and hellish experiences as part of female maturation.
González has read and researched widely; she is familiar with the literature of classical antiquity, its scholarship, reception of the Persephone myth throughout the centuries, YA literature and its scholarship, as well as various theoretical frameworks brought to bear in the analyses. The methodology is straightforward (p. 6ff): identification of mythemes (gross constituent units) and mythemic structures (arrangement of mythemes) in the ‘original’ Persephone myth, and how these play out in her novels; secondly, to apply a modified version of Hardwick’s reception methodology: investigation of textual parallels and differences between source and ‘reworking’, followed by analysis of the ideas and objectives emerging from its context, as well as its position within the tradi;on of interpretations.[3]
The book’s structure is straightforward. González begins by surveying literary representations of Persephone from antiquity onwards. Part 1 (Chapters 1-4) covers anglophone retellings from antiquity through to the 20th century. Part 2 (Chapters 5-12) comprises a chapter-by-chapter analysis of each novel. In the final chapter, González comments on methodology, and summarises reception strategies employed by her authors and the importance of YA as a medium through which classical myth continues to be disseminated.
González’s wide-angle approach is fundamental. She familiarises readers with classical literary renditions and identifies the key mythemes for her analysis, including “heroic journeys to the Underworld … katabasis, and Persephone’s descent into the Underworld through abduction” (p. 26). She notes that classical retellings often depict Persephone as trapped, lacking the discovery or knowledge typically associated with catabasis. This distinction is important because YA authors reframe their protagonists’ journeys as heroic and transformative, with self-discovery and maturation at their core. González then surveys the myth’s reception from “the Middle Ages” to the 20th century, tracing its evolution through shifting socio-historical contexts. Early interpretations reflect theological concerns, while later versions explore family, marital, and societal relationships. By the 20th century, these retellings increasingly express the abuse endured by women. González argues that these interpretations set the scene for feminist appropriations and scholarly analyses in the latter half of the 20th century. [4] Additionally, González summarises theoretical perspectives and examines how theory influences interpretation, illustrating the socio-cultural context in which YA novels are produced.
In Part Two, González addresses reception of Persephone in the novels. González initially identifies YA characteristics, and the prevailing narratives concerning Persephone; evidently, the majority (63%) of YA publications fall into the ‘romance’ category, and the narratives generally describe a romantic, (mostly) consensual relationship between Persephone and Hades. González’s selected texts, however, focus on trauma; the ‘infernal experiences’ of young women, including mental health, gender, violence, death, and family relationships, particularly parent-child conflicts. González also outlines elements characterising reception of the myth: simplification; inclusion of symbols or motifs that appeal or are familiar to the target audience; references to contemporary retellings and media (González refers to “mediation”[5]); and a feminist perspective. Like previous chapters, this one is general but useful for those unfamiliar with the genre.
Thereafter, González addresses the novels individually. Each chapter starts with an introduction to the author and their oeuvre; summary of the narrative; and a brief analysis of reception of the Persephone myth. This is followed by a “Structural and Comparative Perspective: How Is the Text Received and Refigured by the Writer and How Does the Later Work Relate to the Source?” . Narrative elements from classical myth are identified including whether they are “copied, adapted or subverted” (p. 147). González also demonstrates the utility of the Persephone myth as a vehicle for her chosen authors: structurally, the familiar narrative trajectory of separation, transition, reintegration; thematically, interpersonal relationships (mother-daughter, daughter-partner), trauma (grief and desolation of death and illness, etc), the pomegranate, seasonal cycles, and Hell/Hades/Underworld. It is here that González is at her best, offering sensitive and insightful analyses of the novels, and discussing their relatability and resonances for target audiences.
To focus briefly on González’s treatment of one of these: a common feature of the novels, as noted, is that young women’s experiences are figured as journeys – sometimes as catabases – involving transportation into literal and/or metaphorical underworlds (or “innerworlds”). Thus, in Mahy’s Dangerous Spaces, a literal underworld is described, although the protagonist, Anthea (character names are regularly symbolic in these novels) also experiences profound depression (an ‘infernal’ psychological experience); in Tondeur’s The Water’s Edge, the hotel where Rice lives following her mother’s death is experienced as an (initiatory) underworld; similarly, in Freed’s House of Women, Nalia’s would-be husband takes her to a remote island; in Ruby’s Bone Gap, Roza’s abductor transports her to not just one but three underworld-like locations; and in Block’s Psyche in a Dress, the protagonist endures various traumas, including a relationship with “Hades”; conversely, in Anderson’s Wintergirls, Lia’s anorexia results in enforced hospital stays, and her grief on her best friend’s suicide is also figured as ‘infernal’ suffering. While González effectively demonstrates how these journeys portray young women enduring adversity, her analysis lacks consistency—for instance, in distinguishing between heroic and catabatic journeys (p. 85; cf. p. 74, 115 etc). The distinction is important because it shapes the reader’s understanding of the Persephone character’s development. Nevertheless, González’s point stands that the journeys portray young women demonstrating perseverance and fortitude in ways that galvanise and encourage readers.
As interesting as González’s discussions are, each chapter reads as a stand-alone book review rather than part of a unified analysis. For instance, González includes interesting but seemingly unrelated digressions (e.g., the Persephone character’s storytelling style and narrating skills, p. 89) that do not clearly contribute to the project’s stated aims. Similarly, González notes that “female mythological figures, including Persephone, are instrumental in advancing feminist arguments” (p. 3), yet concluding comments regarding the appropriation of the Persephone myth to this end are superficial and brief (p. 177). I was anticipating a deeper analysis of the novels’ utilisation and mediation of popular retellings and multimedia references “as a layered meme-like cultural possession” (p. 176) but this too was lacking. González’s objectives would have been better realised if she had more comprehensively integrated her findings to do with reception strategies – enumerated in the conclusion – across the entirety of the book. As it stands, the lack of cross-referencing and overarching analysis detracts from the book’s coherence.
Another problem for González is lack of scholarly familiarity with the primary sources. She claims, for instance, (p. 22) that the Homeric Hymn to Demeter, vv. 4-6, describes Persephone as a “radiant and noble figure,” who “suffers and withers away” in the realm of the dead (vv. 430-35); these descriptions do not align with the original text.[6] Additionally, González fails to interrogate the translations she relies on. This is problematic given her emphasis on mediation throughout the book; thus, while she notes the media through which contemporary authors and audiences engage with Greek myths (e.g., popular compendia), the same critical lens is not applied to the translations she uses. Elsewhere González argues her selected authors give voice to Persephone, thereby effecting a “radical subversion” of Persephone’s “prototypical silence in the ancient sources” (p. 73, p. 167; see also p. 89, 111, 143, etc). Yet Persephone’s speech recounting her abduction is the longest in the HHD (406-33). Persephone’s grief is also evident in visual representations from antiquity (e.g., a 4th century BCE wall painting at Vergina; vase paintings (e.g., Apulian Hydria, Baltimore Painter, ca. 320-12 BCE). If González means that Persephone is voiceless in the sense that she did not consent to abduction and marriage, this should be stated. Such oversights undermine the rigour of González’s analysis, and for a study focused on mediation, more critical engagement with translations would strengthen and nuance González’s arguments.
The major problem, however, is that the book suffers from poor editing. Despite efforts to organise the material by means of subheadings there is a considerable repetition, content appears in the wrong subsections, and ideas introduced are either not anticipated in the introduction and/or not discussed in the conclusion. Various infelicities jar: thus, González claims the Odyssey’s depiction of Persephone contrasts with that of earlier authors (p. 23); elsewhere that Demeter’s feelings for Persephone are not reciprocated, and she (Demeter) receives no recognition and affection in classical myth. Therefore, González argues, the female sorority described by some YA authors is a vindication of feminine bonds (e.g., p. 73; c.f. p. 82, the Persephone myth “emphasizes the mother daughter bond” p. 82). Yet HHD 434-7 describes a joyful reunion that reflects the close bond between mother and daughter.
Inconsistencies in González’s writing style further detracts from the book’s readability. For instance, the text transitions abruptly between a high academic register to a conversational tone; thus, González writes, “Lia’s being trapped … has got a real-world justification,” (p. 98), while elsewhere technical terms such as “axiogenic” and “onomastic” (p. 99, 117) are employed.
In addition to structural and stylistic issues, the text contains numerous typographical and formatting errors. Examples include inconsistent word spacing (e.g., p. 70, 79, 97, 134, 138) and inconsistent italicisation of terms including “kore” (p. 164 etc.), “apud”, “ibid.” (p. 61, 68, 80, 82 etc). These undermine the book’s professional presentation and readability. González notes that young adult literature is abbreviated to YA on p. 2 yet refers to “young adult (YA)” throughout the remainer of the book (e.g., p. 52, 94, 103, 145, 163 etc.). I also noted incorrect publication dates; thus, the publication date of Glück’s “Averno” is 1943, the author’s birth year (p. 46, 59, 102; similarly, Boland’s ‘The Pomegranate’ and Ostriker’s ‘Demeter to Persephone’). Referencing is inconsistent; González often cites classical texts, providing author, title, and line number, yet elsewhere references only titles where a line reference would be helpful (p. 117; cf., 119, 120 etc.).
These editorial shortcomings detract from the accessibility of the text, which is unfortunate given the ambitious scope of González’s project and the insights she offers. Nevertheless, the book has strong points: as a comprehensive survey of the Persephone myth, its originality, and the author’s sensitivity in teasing out the themes and nuances of the texts. Additionally, it is well-presented, with an excellent table of contents, accurate footnotes, and a reasonably comprehensive bibliography. Finally, González directs scholarly attention to a varied selection of novels that showcase how contemporary writers utilise, to greater and lesser degrees, the Persephone myth to explore female adolescence. I hope that this paves the way for further research.
Notes
[1] Only this book was not written for the YA audience.
[2] ‘Feminist’ retellings of myths have received scholarly attention, e.g., by Pat Barker, Natalie Haynes, Charlotte Higgins, Madeline Miller, etc; also Jennifer Saint, Claire North, Laura Shepperson etc.
[3] Hardwick L., Reception Studies (Cambridge 2003).
[4] E.g., by Adrienne Rich, Susan Friedmann, Alicia Ostriker, amongst others.
[5] González defines this as “classical receptions that build on previous works, rather than original myth itself” (p. 55). The term “intertextuality” is not used.
[6] The Homeric Hymns and Apocrypha. Translated by H.G. Evelyn-White. Loeb Classical Library 57. Cambridge, MA: Harvard University Press 1914. Claudian gives Proserpina a lengthy speech at DRP 2.250-272. (Claudian. Volume II. Translated by Maurice Platnauer. Loeb Classical Library 136. Cambridge, MA: Harvard University Press, 1922)