Greek mythology includes a lot of geographical names not always well known from contemporary geography. The atlas places mythological names in their ancient location, even though some of them are difficult, even today, to identify precisely (e.g., the Simoeis river whose course has changed), some never existed in reality (e.g., Tartarus) or disappeared (e.g., the Copais lake in Boeotia which was drained). In addition, Grimaud provides answers to questions often asked by children when they listen to the stories, like where? Where was Nemea? Where did the Hydra live? What does Erymanthian or Stymphalian mean – all these questions are answered in Grimaud’s book. Thus the atlas not only satisfies readers’ curiosity but is also a great tool in learning more about Greek mythology through a useful blend of colourful visualizations, mythological stories and additional explanations.
The book combines a dictionary of mythology with entries in alphabetical order, an atlas with maps, retellings of myths, legends and fun facts, and references to ancient literature and contemporary literary culture. Myths are retold, not in a chronological order starting with chaos and the beginnings of the world nor by stories about particular gods, heroes. The geographical location serves as a reference point; each place is described along with mythical stories connected to it (see below). For example, when describing Argolis, the entire region is mentioned and its cities, each with its sub-chapter: Argos, Corinth, Epidaurus, Mycenae, Nemea, Sicyon and Troezen. Each description refers to the geographical location, the origins and legendary history, myths and characters connected with each city.
Ancient figures are not the only ones mentioned. For instance, Jean Racine used ancient archetypes in his dramatic works, Albert Camus wrote his famous essay Le Mythe de Sisyphe*, and Heinrich Schliemann conducted archaeological excavations at Mycenae. The author directly refers to ancient literature and quotes from great authors, like Aeschylus, Sophocles, Euripides (see below) or Pindar, to add authenticity to the myths. At the same time, she familiarizes the child reader with the reception of ancient myths and literature in the culture of subsequent generations, including mythological references, collocations and idioms present in the contemporary language.
The lands known solely from mythology are also presented. The ancient sources describe them in detail, and their themes are still present in today’s culture. For instance, the author presents Atlantis, Cimmeria or Tartarus as universally known mythological places.
Besides the educational and entertaining value of the maps and the text, the illustrations by Daniel Maja are an undeniable asset: they draw children’s attention. The cover presents Heracles wearing the lion’s hide. He establishes the title pillars by separating two mountains. His feet rest on the rocks, resembling the pose which the Ceutan artist Ginés Serrán Pagán used later, in 2007, designing the statue of Heracles in Ceuta. All the illustrations maintain a light pastel tonality and include as many mythological and cultural elements as possible, with direct reference to the book’s text. For example, the picture of Arcas hunting the she-bear, who is his mother Callisto, shows precisely the moment in the story when Arcas is about to pierce the big animal with his spear. The spear is held by the hand of Zeus to prevent the boy from committing matricide.
The picture of Theseus picking up the rock covering his father’s sword underlines his supernatural strength by showing the size of the rock – a massive piece of land on which grow big trees. The large illustrations, referring to the whole region or chapter and not to a particular myth, are filled with many creatures, characters, statues of gods, buildings and/or other recognizable features discussed in the chapter.
* Camus, Albert, Le mythe de Sisyphe: essai sur l'absurde, Paris: Gallimard, 1942.
