A Thousand Ships

by Natalie Haynes

There are so many ways of telling a war: the entire conflict can be encapsulated in just one incident. One man’s anger at the behaviour of another, say. A whole war – all ten years of it – might be distilled into that. But this is the women’s war, just as much as it is the men’s, and the poet will look upon their pain – the pain of the women who have always been relegated to the edges of the story, victims of men, survivors of men, slaves of men – and he will tell it, or he will tell nothing at all. They have waited long enough for their turn. And for what reason? Too many men telling the stories of men to each other. Do they see themselves reflected in the glory of Achilles? Do their ageing bodies feel strong when they describe his youth? Is the fat belly of a feasted poet reminiscent of the hard muscles of Hector? The idea is absurd. And yet, there must be some reason why they tell and retell tales of men. If he complains to me again, I will ask him this: is Oenone less of a hero than Menelaus? He loses his wife so he stirs up an army to bring her back to him, costing countless lives and creating countless widows, orphans and slaves. Oenone loses her husband and she raises their son. Which of those is the more heroic act?