THE TREND FOR feminist re-writes has long been upon us: Pat Barker’s The Silence of the Girls, Madeline Miller’s Song of Achilles, Jennifer Saint’s Atalanta to name a very few.
While a brilliant idea in its inception, there’s now a sense of jumping on the bandwagon, looking for new ways to sell old stories. But in, Sandra Newman resolves a problem that has beleaguered the seminal since its publication.
