In the introduction, the author makes the reader aware that knowing Greek myths is necessary for people who do not want to appear ignorant. The book serves this need by presenting the main Greek gods and some myths they are involved with. The Olympians are seen here as a family and presented on separate pages.
The text is simple and easy to read, resulting in stereotyped presentations of the gods and a language based on contemporary vocabulary traditionally not associated with the Greek gods (e. g., Zeus is called "olimpijska szycha", a “big shot”, Dionysus "bóg napoju rozweselającego", “the god of joyful drinking”). The gods’ characters are very simply labelled; they are one-dimensional, and no analysis is provided, probably to make it easier to remember their function, attributes and related myths. However, some labels can be regarded as potentially inappropriate if the reading is left without comment from an adult. A good example is the myth of Apollo and Daphne, where Apollo is called a “god whose love was unrequited” while the perspective of his victim, Daphne – who escaped rape – is not developed. An unopposed point of view is used while depicting Zeus and Hera. The chapter “Zeus the Thunderer, the Olympian Fat Cat” begins with Zeus’ attributes and the people and causes he supports. The general impression is that he favours troublemakers or hooligans. A mention of his love affairs with Leda, Europa and Danae leaves the reader with an image that mighty fat cats were allowed to do to women what they wanted, whether women gave their consent or not. The chapter on Hera is entitled “A Proud Protectress of Women”, but the goddess is presented as haughty and vindictive, and there is a separate story: “How Hera persecuted Io”. The plot again follows a man’s point of view, ignoring the perspective of a repeatedly cheated-on wife or Io, seduced by the husband and punished by the wife.
Hades is described as gloomy, unapproachable, and grim. This impression is reinforced by the illustration showing him wearing black garments and holding a devilish pitchfork, surrounded by nightmares. The black background is designed to heighten the terror. The child reader may be concerned to learn that Hades’ servants, the Erinyes, also haunted children who were disobedient (p. 44).
The myth of Aphrodite is told from a different perspective. She is presented as a person constant in her feelings: she rejected all suitors because of her love for Adonis. Because of Persephone’s envy, she lost her beloved and mourned him desperately – that was why Zeus allegedly divided the year into two parts to comfort her in her bereavement – Adonis was allowed to return every six months to join her. In the myth of Hephaestus, the marriage with Aphrodite is perceived by the bridegroom not as a reward but as a mockery of his unattractive appearance. On the other hand, as Aphrodite’s love affair with Ares is not developed, also Ares is presented as a dismal, aggressive killer, a bully, quarrelsome and without any redeeming features. Only Hades likes him for sending so many warriors to their death.
Some characters seem more complex and even ambiguous, like Artemis, who, on the one hand, is shown as the guardian of balance, divine norms of the hunt, and protectress of game and wildlife from unnecessary cruelty, highlighting the importance of sustainable forest management. Still, on the other, she is unusually cruel to those who “sinned” without the intention of offence, like Actaeon and Callisto.
In conclusion, the book provides a basic introduction to Greek mythology but does not confront it with today’s interpretations. The title, Greek Myths for Fun, alludes to quite a few changes in the myths meant to lighten up the stories, which are often not funny.
