Originally written in German, Reading the Odyssey is a refreshing and scholarly analysis of the text that is worthy of a place in the vast range of academic work on this poem. Having taught the Odyssey for over a decade and engaged in much additional reading around it, I was keen to know what more could be offered. Grethlein’s study offers a variety of well-evidenced and new ideas, which encourages the reader to stop and reconsider previous interpretations of the text. It also introduces scholarship outside the traditional British Key Stage 5 teacher’s repertoire (or at least certainly mine). This review summarises some of these views, while at the same time leaving plenty for the new reader to discover.

Grethlein opens the book with a wonderful Beckmann painting of Odysseus and Calypso which sets the tone for the whistlestop tour in the opening pages on Classical Reception, which is incredibly useful, as students often find classical reception particularly engaging. This is followed by a somewhat lengthy summary of the text, which, given the complexity of some of his later arguments, feels a little unnecessary for the target audience of the book.

However, Grethlein gives an excellent account of the history of the study of Homer and the Homeric question, with plenty of references for further reading, all of which will be useful for the more able and EPQ students. I found his observations about what he calls a ‘paradigm shift’ in the study of Homer particularly interesting, along with his outline of the oralist versus unitarian positions. The introduction also gives detail about formulaic language, typical scenes and the poet’s language and style, all of which are extremely useful for an A level teacher to inform their teaching.

In the introduction, the author sets out something that will be key to his arguments throughout – the Odyssey is fundamentally a narrative about narrating, which is what marks this study out as being different from others I have encountered. He begins by addressing the Telemachy. These are the books (2–4) that are not included in the A level specification and therefore often studied in less (if any) detail. He sets out to prove that these books are not later additions, as some have previously thought, but actually play a key role in the narrative as a form of suspense before Odysseus’s introduction. It is no secret how the Odyssey ends, and Grethlein demonstrates that the Homeric expertise lies in how he forces his audience to want to know the ‘how’ as opposed to the ‘what’. Grethlein argues that the narration of various different nostoi in the Telemachy forces the audience to become more focussed and excited about the approaching nostos of Odysseus. Will his journey and arrival home surpass those of other heroes?

The power of narrative is highlighted by Grethlein’s detailed discussion of the effects the different narratives in books 1-4 have on a range of audiences and what can be revealed by their audience’s reactions, such as Penelope’s reaction to the narrative of Phemius in Book 1. Of particular interest is Grethlein’s rejection of the idea that the Telemachy is to be interpreted as a coming-of-age story. He convincingly demonstrates that actually Telemachus does not come of age at all; he is on the edge of manhood throughout. Furthermore, Grethlein suggests that the Odyssey is not a poem about characters: it is a plot-driven text with very little attention to personality. This is an idea that he will return to when he suggests that the modern interpretations of Penelope as having hidden motives have got it wrong. Her role is simply to move the narrative along.

The apologoi is discussed at length, and Grethlein puts forward a good defence of its validity. While students often seize upon this as evidence of Odysseus’s deceptive nature, Grethlein shows that parts of his story are confirmed in other places such as Athene and Zeus’ discussion about the blinding of the Cyclops. Grethlein actually sees the purpose of this part of the narrative as helping Odysseus process his trauma and move on in anticipation of his return to Ithaca, rather than manipulating the Phaeacians into helping him. Thus, the apologoi has a key role in enabling the narrative to continue.

Odysseus’s role as a narrator is explored throughout, and Grethlein uses the minstrel simile at the end of Book 21 to demonstrate how Homer wants us to understand Odysseus: he is both a hero and a story teller. He goes on to study the whole ream of stories told by Odysseus and illustrates how these reveal key features of Odysseus’s identity as son, husband and father. The juxtaposition between truth and falsehood throughout is explored, and Grethlein is careful to remind us that Odysseus is admired by the gods for his trickery and that this part of his identity would not have been viewed negatively.

Grethlein’s study of ethics and narrative is succinct and clear, with the emphasis on divine justice. He suggests that Odysseus’s slaughter of the suitors may have been admired by the ancient audience, who saw revenge as ‘a legitimate and even required defence of honour’ and demonstrates how the language of Homer clearly shows the abhorrent nature of the suitors’ behaviour. He shows how narrative can aid a more subtle exploration of ethics and ethical questions, something which I have certainly found to be true in the classroom.

This book was full of thought-provoking ideas and studies, for many of which there is not room to expand on here. It will be very useful for any teacher for provoking class discussion and encouraging students to think beyond the usual character-based scholarship, in order to view the Odyssey as a narrative masterpiece.