Maria Dahvana Headley
“I’m deeply interested in the way we’ve used hero myths to construct political narratives, and the ways we’ve used them to justify violence and injustice against “others” whomever the others may be.”
“Beowulf is an ancient tale of men battling monsters, but Headley has made it wholly modern, with language as piercing and relevant as Kendrick Lamar’s Pulitzer Prize-winning album ‘DAMN.’ With scintillating inversions and her use of au courant idiom—the poem begins with the word ‘Bro!’ and Queen Wealhtheow is ‘hashtag: blessed’—Headley asks one to consider not only present conflicts in light of those of the past, but also the line between human and inhuman, power and powerlessness, and the very nature of moral transformation, the ‘suspicion that at any moment a person might shift from hero into howling wretch.’ The women of Beowulf have often been sidelined. Not so here.”
“Brash and belligerent, lunatic and invigorating, with passages of sublime poetry punctuated by obscenities and social-media shorthand.”
“Smart, tough modern flip of Beowulf, told through Grendel’s mother.”
“The most surprising novel I’ve read this year. It’s a bloody parody of suburban sanctimony and a feminist revision of macho heroism. In this brash appropriation of the Anglo-Saxon epic, Headley swoops from comedy to tragedy, from the drama of brunch to the horrors of war.”
Maria Dahvana Headley is the New York Times-bestselling, World Fantasy and Hugo Award-winning author of eight books, most recently Beowulf: A New Translation (FSG, 2020), which won the Harold Morton Landon Translation Prize from the Academy of American Poets, and The Mere Wife (FSG, 2018), a contemporary novel adaptation of Beowulf. Her full cast musical adaptation of The Aeneid, titled Vergil: a Mythological Musical, came out from Audible in 2023. She delivered the Tolkien Lecture on Fantasy Literature at Oxford in 2023, and has taught writing at Sarah Lawrence and Bennington, among many others.
When asked by Slate about her use of contemporary slang in her Beowulf translation, Headley responded, “My whole career has been grabbing bits of folklore and repurposing them, and testing out different meters and repurposing them. That’s the writer I am. But in terms of using some of the more recent slang, I was really just interested in how much of the English language has been constructed out of slang always. That’s just the nature of the language. It’s a language that grabs culturally, jumps class.”
Headley grew up in the high desert of Idaho on a survivalist sled dog ranch, where she spent summers plucking the winter coat from her father’s wolf.
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(c) Beowulf Sheehan
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