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Pasiphae
A queen. A mother. A monster. A throne built on blood.
Princess Pasiphae of Kolchis is sent to Knossos to secure the throne, but she soon finds herself entangled in a brutal power struggle. As the Mother cult demands blood and Minos seeks to overturn ancient rule, she fights to protect her children; Asterion, her gentle son marked as a monster, and Ariadne, the ambitious daughter who rejects her.
Betrayals, sacrifices, and shifting allegiances shape the kingdom’s fate. When Theseus arrives to claim his prize, Knossos falls, leaving Pasiphae to face the ghosts of all she has lost.
Princess Pasiphae of Kolchis is sent to Knossos to secure the throne, but she soon finds herself entangled in a brutal power struggle. As the Mother cult demands blood and Minos seeks to overturn ancient rule, she fights to protect her children; Asterion, her gentle son marked as a monster, and Ariadne, the ambitious daughter who rejects her.
Betrayals, sacrifices, and shifting allegiances shape the kingdom’s fate. When Theseus arrives to claim his prize, Knossos falls, leaving Pasiphae to face the ghosts of all she has lost.
Audible Audio
Published March 5, 2026
About the author
Jane Dougherty
26 books50 followersJane Dougherty is a product of the Irish diaspora. She was brought up in Yorkshire and educated in Manchester and London before moving to France to work in the wine trade. She spent fourteen years in Paris where she married and had four children, studied Irish for a year and taught herself Italian. Next move was to Laon in Picardy, a medieval gem of a town set in beautiful countryside, where her fifth child was born. She now lives in Bordeaux with her family, a Spanish greyhound and a posse of cats.
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Displaying 1 - 14 of 14 reviews
Review of advance copy received from Éditeur
Many thanks to The Book Social for giving me an early copy!
Trigger warnings: brief but clear scenes of SA, murder, animal death
Pasiphaë is a character I've been dying to see more of in myth retellings and I'm really glad she finally gets to tell her own story. I really enjoyed it!
I feel like there are two types of myth retellings, both that I love equally: the ones who embrace the fantastical elements of mythology, and the ones that attempt to give a historical version of mythological events. Pasiphaë is among the latter and I thought it worked very well, but if you're looking for gods and monsters, be aware that's not what you'll get here. I do hope someone does write the wacky version, if only for the curse Pasiphaë places on Minos (if you have no clue what I'm talking about, google "Pasiphaë curses Minos"; you're welcome). I liked this realistic version though and was really impressed with the author's research. I had to brush up on my knowledge of archaic minoan deities to keep up.
But while Dougherty embraced a more realistic version of the myth, all the key elements are still there: the great white bull, Asterion, Daedalus... But they're included in a way that makes sense for this story, and I enjoyed how different characters were introduced and their stories slowly woven together until the finale. I was especially intrigued by the inclusion of Crete (Kriti, here), as I feel like she's rarely featured. The biggest change to the myth is perhaps the identity of Pasiphaë's father, but the change made sense to me.
The myths as we know them are acknowledged in a way I found really clever: as rumours. I loved that because it really worked in the context of this book. What seems truer after all, a queen seducing a bull, or a queen's enemies spreading the rumour that she seduced a bull to cause her harm? In the case of Medea, who is also present in this book, it also added complexity: are they just rumours as she claims or is she lying to protect herself?
That complexity is present everywhere: it's not all evil men and badass women, and that was so refreshing. Besides, the threat of Minos looming even before he appeared in person created a sense of foreboding and the alternating POVs getting shorter and shorter towards the end gave an impression of urgency and stress that fit the story brilliantly.
The ending had me crying my eyes out. I do love a tragic ending. I hope everyone enjoys it as much as I did!
Trigger warnings: brief but clear scenes of SA, murder, animal death
Pasiphaë is a character I've been dying to see more of in myth retellings and I'm really glad she finally gets to tell her own story. I really enjoyed it!
I feel like there are two types of myth retellings, both that I love equally: the ones who embrace the fantastical elements of mythology, and the ones that attempt to give a historical version of mythological events. Pasiphaë is among the latter and I thought it worked very well, but if you're looking for gods and monsters, be aware that's not what you'll get here. I do hope someone does write the wacky version, if only for the curse Pasiphaë places on Minos (if you have no clue what I'm talking about, google "Pasiphaë curses Minos"; you're welcome). I liked this realistic version though and was really impressed with the author's research. I had to brush up on my knowledge of archaic minoan deities to keep up.
But while Dougherty embraced a more realistic version of the myth, all the key elements are still there: the great white bull, Asterion, Daedalus... But they're included in a way that makes sense for this story, and I enjoyed how different characters were introduced and their stories slowly woven together until the finale. I was especially intrigued by the inclusion of Crete (Kriti, here), as I feel like she's rarely featured. The biggest change to the myth is perhaps the identity of Pasiphaë's father, but the change made sense to me.
The myths as we know them are acknowledged in a way I found really clever: as rumours. I loved that because it really worked in the context of this book. What seems truer after all, a queen seducing a bull, or a queen's enemies spreading the rumour that she seduced a bull to cause her harm? In the case of Medea, who is also present in this book, it also added complexity: are they just rumours as she claims or is she lying to protect herself?
That complexity is present everywhere: it's not all evil men and badass women, and that was so refreshing. Besides, the threat of Minos looming even before he appeared in person created a sense of foreboding and the alternating POVs getting shorter and shorter towards the end gave an impression of urgency and stress that fit the story brilliantly.
The ending had me crying my eyes out. I do love a tragic ending. I hope everyone enjoys it as much as I did!
Review of advance copy received from Publisher
Myth retelling can go horribly wrong if handled improperly and become something of a marvel if the writer has a good historical background and unique slant on the myth, though it is always risky to reimagine something without extensive research. The ancient Greek world is vibrantly and provocatively reborn in Jane Dougherty’s sweeping novel Pasiphaë. Daughter of sun god, Helios, Kolchis Princess, Circe’s sister, young fifteen-year-old Pasiphaë as key character in the eponymous book, possesses the fantastical elements that make mythology such appealing source-material, without losing the historical veracity and thus, ultimate credibility. It is at once, a female-lens version of the reign of Queens and Priestesses in ancient times, yet, as we think we know the ‘monster’ at the center of this myth, we are surprised by what is revealed and the consequences of our main protagonists’ decisions.
Pasiphaë’s specific story-arc is briefly known; she married Minos, becoming Queen of ancient Crete. But once beyond this two-dimensional outline, Dougherty shapes her into a fully realized woman, caught between intrigue and the need to protect her own. It’s a literary tight-rope to achieve this and she’s succeeded with Pasiphaë, not only because of her own background in ancient history, but a clear love of her subject-matter, making this less about traditional gods and monsters, and more of a feminist updating of the much-neglected Pasiphaë story.
When I say feminist, that’s generalizing, because the writer doesn’t embark on re-writing a male canon, so much as delving into the Pasiphaë story to the point of reclaiming her without succumbing to archaic cliches and it is this, which is strictly feminist, though a good story is without doubt, the basis of this creation, more than a social polemic. The other element that is woman-based is the idea of women ruling (until a man deems that should change) which is exactly what occurred many times throughout ancient history (and one could argue, still does). As a fan of realistic histories, I connected with this fierce well-crafted adaptation of the Pasiphaë myth far more than if it were more of a monsters/gods version, because Dougherty has done her research and where else in modern literature will you encounter and have to refresh yourself about Minoan deities, all but lost to history?
I remember reading about the great white bull as a child, so it’s exciting to revisit this universe, learning about those deities I was less familiar with, as well as discovering more about the neglected mythos in the pantheon of Greek mythology where the female characters are no longer two dimensional or simply vessels for rape. It would be easy for Dougherty to have succumbed to cliché given this incomplete ancient history, whereby a 15 year old marries a man old enough to be her father (sigh), but she weaves the featured characters into a well-structured storyline very naturalistically, where each one is relevant and not simply present because some textbook says they were. Without giving too much away, I will say there are some unpredictable revisions to the existing lore, but these are both intelligently accomplished and fully add to the story, rather than detracting from it.
With myth writing, there’s a tendency to be precious about adhering strictly to what we think we know of them. I find that can be redundant or stultifying and it behooves a modern interpretation to offer something to the pantheon and concepts of ‘destiny,’ that’s in some way unique. At the same time, myths are, in some ways, mere rumors that have proliferated through time and a modern reader may tire at their cultural redundancy, so it’s worthy to invest sufficiently in a re-building of worlds, whereby we’ve not inherited a prior history, but become part of a new-lived one. Likewise, Mediterranean history is examined in the context of matriarchal societies being threatened and ultimately overturned, by patriarchal ones that relied on physical violence to subdue the established matriarchal.
Revising the idea of ‘mother of a monster;’ a more nuanced concept of motherhood is re-considered. Pasiphaë, as mother of the infamous ‘Minotaur,’ is reimagined beyond the usual interpretation of monstrosity tied to cannibalism. Asterion emerges as a gentle child, undeserving of the label of monster and not confined to the identity of the ‘Minotaur.’ Meanwhile, Ariadne is portrayed as an ambitious daughter shaped by fear, having seen the cost women pay when power is lost, and she turns against her mother as Pasiphaë’s authority fades.
Pasiphaë’s story is at the heart of this novel; Considering how young women (children really) becoming mothers in an unsafe world and how that lack of safety and vulnerability, challenges any mother’s desire to protect her children. It also examines how rumor erodes safety from within, a familiar and persistent force across history. The narrative remains centered on Pasiphaë’s perspective, avoiding a male-dominated lens and offering a rare portrayal of the Bronze Age in which women’s experiences take precedence. How refreshing!
Without doubt, the pinnacle of detailed narrated retelling for me, was the incredibly nuanced choice Dougherty made to introduce the idea of rumor as social-tool, specifically concerning the much-abused story of Pasiphaë seducing the white bull. I’d long felt this was a misogynist cliché that distorts the myth, and Dougherty challenges it by reframing it as a rumor spread by Pasiphaë’s enemies to gain the upper hand. This reading feels both more credible and more redemptive, especially given how often women have been misrepresented throughout history. The novel also carries a strong psychological dimension, examining how truth can be shaped by misdirection. Yes this is a complex tale, but not in a suffocating way; like any mythos, there’s no easy reading, but it’s a wholly developed tale that keeps you as riveted to its outcome, as a story you don’t already know the end of, and that’s the hallmark of a naturalistic writer and born story teller, which I can attest Dougherty is, having read several of her other titles over the years.
Moreover, Pasiphaë doesn’t reduce itself to a series of mythological stereotypes and cliches, hackneyed retellings and clumsily written revisions. It avoids the familiar binaries that many myths fall into, sustaining instead a layered and nuanced narrative. The writing is often poetic, rich in description, capturing both the beauty and harshness of the Aegean landscape. A strong sense of foreboding, pathos, and tension runs throughout, drawing the reader into deeper engagement with the story. If you’re sensitive about tragic endings, that’s not going to be avoided, but you probably already know that if you know the Pasiphaë story. That said, please do not be put off by such inevitability. A gifted storyteller will never underwhelm you with an ending you think you already know. They will continue to surprise and reveal, through a close-crafting of character and that’s the beauty of stellar story telling; to present what you are familiar with, in a cliché-shedding, compelling and electric light.
Pasiphaë’s specific story-arc is briefly known; she married Minos, becoming Queen of ancient Crete. But once beyond this two-dimensional outline, Dougherty shapes her into a fully realized woman, caught between intrigue and the need to protect her own. It’s a literary tight-rope to achieve this and she’s succeeded with Pasiphaë, not only because of her own background in ancient history, but a clear love of her subject-matter, making this less about traditional gods and monsters, and more of a feminist updating of the much-neglected Pasiphaë story.
When I say feminist, that’s generalizing, because the writer doesn’t embark on re-writing a male canon, so much as delving into the Pasiphaë story to the point of reclaiming her without succumbing to archaic cliches and it is this, which is strictly feminist, though a good story is without doubt, the basis of this creation, more than a social polemic. The other element that is woman-based is the idea of women ruling (until a man deems that should change) which is exactly what occurred many times throughout ancient history (and one could argue, still does). As a fan of realistic histories, I connected with this fierce well-crafted adaptation of the Pasiphaë myth far more than if it were more of a monsters/gods version, because Dougherty has done her research and where else in modern literature will you encounter and have to refresh yourself about Minoan deities, all but lost to history?
I remember reading about the great white bull as a child, so it’s exciting to revisit this universe, learning about those deities I was less familiar with, as well as discovering more about the neglected mythos in the pantheon of Greek mythology where the female characters are no longer two dimensional or simply vessels for rape. It would be easy for Dougherty to have succumbed to cliché given this incomplete ancient history, whereby a 15 year old marries a man old enough to be her father (sigh), but she weaves the featured characters into a well-structured storyline very naturalistically, where each one is relevant and not simply present because some textbook says they were. Without giving too much away, I will say there are some unpredictable revisions to the existing lore, but these are both intelligently accomplished and fully add to the story, rather than detracting from it.
With myth writing, there’s a tendency to be precious about adhering strictly to what we think we know of them. I find that can be redundant or stultifying and it behooves a modern interpretation to offer something to the pantheon and concepts of ‘destiny,’ that’s in some way unique. At the same time, myths are, in some ways, mere rumors that have proliferated through time and a modern reader may tire at their cultural redundancy, so it’s worthy to invest sufficiently in a re-building of worlds, whereby we’ve not inherited a prior history, but become part of a new-lived one. Likewise, Mediterranean history is examined in the context of matriarchal societies being threatened and ultimately overturned, by patriarchal ones that relied on physical violence to subdue the established matriarchal.
Revising the idea of ‘mother of a monster;’ a more nuanced concept of motherhood is re-considered. Pasiphaë, as mother of the infamous ‘Minotaur,’ is reimagined beyond the usual interpretation of monstrosity tied to cannibalism. Asterion emerges as a gentle child, undeserving of the label of monster and not confined to the identity of the ‘Minotaur.’ Meanwhile, Ariadne is portrayed as an ambitious daughter shaped by fear, having seen the cost women pay when power is lost, and she turns against her mother as Pasiphaë’s authority fades.
Pasiphaë’s story is at the heart of this novel; Considering how young women (children really) becoming mothers in an unsafe world and how that lack of safety and vulnerability, challenges any mother’s desire to protect her children. It also examines how rumor erodes safety from within, a familiar and persistent force across history. The narrative remains centered on Pasiphaë’s perspective, avoiding a male-dominated lens and offering a rare portrayal of the Bronze Age in which women’s experiences take precedence. How refreshing!
Without doubt, the pinnacle of detailed narrated retelling for me, was the incredibly nuanced choice Dougherty made to introduce the idea of rumor as social-tool, specifically concerning the much-abused story of Pasiphaë seducing the white bull. I’d long felt this was a misogynist cliché that distorts the myth, and Dougherty challenges it by reframing it as a rumor spread by Pasiphaë’s enemies to gain the upper hand. This reading feels both more credible and more redemptive, especially given how often women have been misrepresented throughout history. The novel also carries a strong psychological dimension, examining how truth can be shaped by misdirection. Yes this is a complex tale, but not in a suffocating way; like any mythos, there’s no easy reading, but it’s a wholly developed tale that keeps you as riveted to its outcome, as a story you don’t already know the end of, and that’s the hallmark of a naturalistic writer and born story teller, which I can attest Dougherty is, having read several of her other titles over the years.
Moreover, Pasiphaë doesn’t reduce itself to a series of mythological stereotypes and cliches, hackneyed retellings and clumsily written revisions. It avoids the familiar binaries that many myths fall into, sustaining instead a layered and nuanced narrative. The writing is often poetic, rich in description, capturing both the beauty and harshness of the Aegean landscape. A strong sense of foreboding, pathos, and tension runs throughout, drawing the reader into deeper engagement with the story. If you’re sensitive about tragic endings, that’s not going to be avoided, but you probably already know that if you know the Pasiphaë story. That said, please do not be put off by such inevitability. A gifted storyteller will never underwhelm you with an ending you think you already know. They will continue to surprise and reveal, through a close-crafting of character and that’s the beauty of stellar story telling; to present what you are familiar with, in a cliché-shedding, compelling and electric light.
Review of advance copy received from Publisher
Thank you so much to The Book Social for the early copy! As always all opinions shared below are 100% my own.
Pasiphaë by Jane Dougherty is a realistic myth retelling that takes everything you thought you knew about her and turns it around. No divine influences can be found here and certainly no curses (at least in the magical sense as you will find yourself cursing often at Minos). It was a unique take that humanized a figure that I admit I never really bothered much about before.
The book starts with Pasiphaë still with her family and takes the reader through her journey from her birth home to her marriage and her children. Everything you knew about the myth is still there. Daedalus, Circe, Medea, the Minotaur, everything. They're just handled cleverly through rumours, political intrigue and realism. I really applaud the author for handling this so well and the research that went into this.
I, also, appreciated that almost all of the characters we meet along the way were nuanced (yes, including Minos which surprised me). This was especially evident when it comes to darker subjects like animal death.
That being said, the book as a whole is definitely a darker read with plenty of murder and heartache all throughout. This might be a modern retelling, but it does not shy away from the injustices and pain inflicted (especially on women) at the time. While I can't say I emotionally connected with Pasiphaë (or most of the characters), I was still sobbing by the end. The tension leading up to the final events and the way the book wraps up is still haunting me days later. So, be prepared and take courage.
The only thing that I will say could've made this an even better read for me is the pacing. I appreciated the change in pacing, and even chapter length, as the story went on to reflect the building tension and urgency, but there was a definite lull around the middle of the book. I believe that is partially due to me not quite being able to connect emotionally with Pasiphaë during the read coupled with the fact that, realistically, there were many times when Pasiphaë simply could do nothing but wait and observe. I do not blame the author or Pasiphaë as, again, this felt very realistic to me, but it definitely held back the pacing a bit. But, it was not too bad and I still kept reading to see what happened next.
All in all, I enjoyed this book. It's refreshing to see a more nuanced modern retelling and this was definitely a unique well-researched take on the myth. I highly recommend it!
You can also find me on: Instagram (MoonlightCocoa) and Instagram (MoonlightCupOfStories)
Pasiphaë by Jane Dougherty is a realistic myth retelling that takes everything you thought you knew about her and turns it around. No divine influences can be found here and certainly no curses (at least in the magical sense as you will find yourself cursing often at Minos). It was a unique take that humanized a figure that I admit I never really bothered much about before.
The book starts with Pasiphaë still with her family and takes the reader through her journey from her birth home to her marriage and her children. Everything you knew about the myth is still there. Daedalus, Circe, Medea, the Minotaur, everything. They're just handled cleverly through rumours, political intrigue and realism. I really applaud the author for handling this so well and the research that went into this.
I, also, appreciated that almost all of the characters we meet along the way were nuanced (yes, including Minos which surprised me). This was especially evident when it comes to darker subjects like animal death.
That being said, the book as a whole is definitely a darker read with plenty of murder and heartache all throughout. This might be a modern retelling, but it does not shy away from the injustices and pain inflicted (especially on women) at the time. While I can't say I emotionally connected with Pasiphaë (or most of the characters), I was still sobbing by the end. The tension leading up to the final events and the way the book wraps up is still haunting me days later. So, be prepared and take courage.
The only thing that I will say could've made this an even better read for me is the pacing. I appreciated the change in pacing, and even chapter length, as the story went on to reflect the building tension and urgency, but there was a definite lull around the middle of the book. I believe that is partially due to me not quite being able to connect emotionally with Pasiphaë during the read coupled with the fact that, realistically, there were many times when Pasiphaë simply could do nothing but wait and observe. I do not blame the author or Pasiphaë as, again, this felt very realistic to me, but it definitely held back the pacing a bit. But, it was not too bad and I still kept reading to see what happened next.
All in all, I enjoyed this book. It's refreshing to see a more nuanced modern retelling and this was definitely a unique well-researched take on the myth. I highly recommend it!
You can also find me on: Instagram (MoonlightCocoa) and Instagram (MoonlightCupOfStories)
February 9, 2026
It’s been a while since I read a story about Greek mythology but this one reminded me just how much I love them.
Pasiphae was the daughter of the sun god, Helios, a Princess of Kolchis and sister of Circe. She married Minos, and became the Queen of Crete. This story is a reimagining of Pasiphae’s story so while many characters are the same, the story is slightly different to the one which has been passed down over the years.
I was totally captivated by this tale of an ancient, mythological, Greek world ruled by the ‘Mistresses’ who deemed that only a Queen should rule. These women were all powerful…until a man aspired to rule instead.
I was completely immersed in this story of a 15 year old girl who left her home to marry a man, old enough to be her father, in accordance to the wishes of the ‘Mistresses’. Pasiphae has no doubt that this is her destiny; and her belief in herself and the path she must tread is just so fascinating to read about.
I adored the descriptions of the stunning landscapes and buildings, and felt as though I was there staring down at the immensity and beauty of the Barley Court, as the colourful masses gathered for sheer entertainment.
I’m always intrigued by civilisations who believed in omens; thinking that thunder meant the gods had been angered and a good harvest was a sign that the gods were happy with their rituals. I’m not as keen reading about the sacrifices which were made, but it sheds light on the beliefs and customs of the peoples of that era.
This is a richly detailed narrative which had me engrossed from beginning to end, and I can’t recommend it enough.
I was sent an ARC by the publisher in exchange for an honest review. All opinions are my own.
Pasiphae was the daughter of the sun god, Helios, a Princess of Kolchis and sister of Circe. She married Minos, and became the Queen of Crete. This story is a reimagining of Pasiphae’s story so while many characters are the same, the story is slightly different to the one which has been passed down over the years.
I was totally captivated by this tale of an ancient, mythological, Greek world ruled by the ‘Mistresses’ who deemed that only a Queen should rule. These women were all powerful…until a man aspired to rule instead.
I was completely immersed in this story of a 15 year old girl who left her home to marry a man, old enough to be her father, in accordance to the wishes of the ‘Mistresses’. Pasiphae has no doubt that this is her destiny; and her belief in herself and the path she must tread is just so fascinating to read about.
I adored the descriptions of the stunning landscapes and buildings, and felt as though I was there staring down at the immensity and beauty of the Barley Court, as the colourful masses gathered for sheer entertainment.
I’m always intrigued by civilisations who believed in omens; thinking that thunder meant the gods had been angered and a good harvest was a sign that the gods were happy with their rituals. I’m not as keen reading about the sacrifices which were made, but it sheds light on the beliefs and customs of the peoples of that era.
This is a richly detailed narrative which had me engrossed from beginning to end, and I can’t recommend it enough.
I was sent an ARC by the publisher in exchange for an honest review. All opinions are my own.
Review of advance copy received from Publisher
I bought this in Waterstones. I think it must have the wrong publication date on Goodreads. I had to mark it as received from publisher in order to be allowed to review it, though.
It is wonderful. I have read a few myth retellings, but this is more than that. It is a shedding of myth and a reclaiming by history. Monsters, gods and magic are debunked back to a believable, reality-based historical novel, set at the point in Mediterranean history when matriarchal societies were being replaced by war-mongering patriarchal ones.
In myths of Theseus, Pasiphaë was the mother of the Minotaur, the half bull who ate Athenian youths and maidens at the heart of the labyrinth designed by Daedalus. In this story, she is a priestess and princess who comes to Crete at the age of fifteen to be its Queen Regent, finding it full of cults, court intrigue, feasts and festivals, herbal knowledge (particularly of poppy drugs) and too close to bellicose Athens. The labyrinth is a ritual dance floor.
Pasiphaë is a very sympathetic character, wary and quiet, sensitive and trying to do her best. The other characters are well described and believable. The palace at Knossos is conjured well, its opulence and dark under-layers. The language is lilting, well-observed, detailed. There is a good balance between the exoticism and mystery of the far past and the recognisable human and humane elements.
Above all, Pasiphaë, is about womanhood. It is about how young women become mothers, how they navigate their lack of physical power to keep themselves and their children safe. It is about intelligence, cunning and vulnerabilities, heroism and ambition. Love and fear guide characters of all genders through the mazes of their own lives, while rumour warps their legacies.
It is wonderful. I have read a few myth retellings, but this is more than that. It is a shedding of myth and a reclaiming by history. Monsters, gods and magic are debunked back to a believable, reality-based historical novel, set at the point in Mediterranean history when matriarchal societies were being replaced by war-mongering patriarchal ones.
In myths of Theseus, Pasiphaë was the mother of the Minotaur, the half bull who ate Athenian youths and maidens at the heart of the labyrinth designed by Daedalus. In this story, she is a priestess and princess who comes to Crete at the age of fifteen to be its Queen Regent, finding it full of cults, court intrigue, feasts and festivals, herbal knowledge (particularly of poppy drugs) and too close to bellicose Athens. The labyrinth is a ritual dance floor.
Pasiphaë is a very sympathetic character, wary and quiet, sensitive and trying to do her best. The other characters are well described and believable. The palace at Knossos is conjured well, its opulence and dark under-layers. The language is lilting, well-observed, detailed. There is a good balance between the exoticism and mystery of the far past and the recognisable human and humane elements.
Above all, Pasiphaë, is about womanhood. It is about how young women become mothers, how they navigate their lack of physical power to keep themselves and their children safe. It is about intelligence, cunning and vulnerabilities, heroism and ambition. Love and fear guide characters of all genders through the mazes of their own lives, while rumour warps their legacies.
Review of advance copy received from Publisher
[Comprei antecipadamente e comecei a ler o e-book na primeira data de lançamento 12/02, mas parece que agora há uma segunda data para setembro]
Mesmo sabendo que era uma tragédia anunciada, não deixei de ficar devastado com esse livro.
Diferente de outros recontos famosões de mitologia, o livro tem uma abordagem mais próxima da ficção histórica do que da fantasia, digamos que é semelhante à corrente do evemerismo.
Gostei muito da trama político-religiosa que serve como pano de fundo, mostrando um período de instabilidade e transição entre sociedades matriarcais (como acredita-se ser o caso da Creta pré-Micênica) e patriarcais (Atenas e Micenas). O contraste entre o culto das Senhoras e o da Grande Mãe também é interessante e aterrador.
Há pouquíssimos elementos mágicos (sendo o com maior presença a prática divinatória) e, diferente da mãe e da irmã, Perseis e Circe, Pasiphaë não desenvolveu habilidades desse tipo. E sua própria linhagem divina não se faz presente aqui, já que não há divindades, o que há é a fé e o culto a elas; os elementos mitológicos são tornados mundanos. O famoso Minotauro não é um monstro devorador de homens, ele é apenas uma criança que nasceu com deficiências físicas, motoras e mentais, que foi muito amado e protegido pelos pais.
Asterion é a maior preciosidade dessa história. As cenas com ele são uma graça, muito fofas. Porém, apesar dessa fofura, a autora não se furta de descrever, bem visceral e detalhadamente, cada desgraça que acontece aqui, e olha que são muitas desgraças.
Recomendo muito a leitura. Esta é uma maravilhosa recepção que expande e aprofunda a complexidade de Pasiphaë, que foi, sim, injustiçada pelos mitos, assim como tantas outras personagens. Leia, porém, como mencionei no começo, sabendo que é uma tragédia anunciada.
Mesmo sabendo que era uma tragédia anunciada, não deixei de ficar devastado com esse livro.
Diferente de outros recontos famosões de mitologia, o livro tem uma abordagem mais próxima da ficção histórica do que da fantasia, digamos que é semelhante à corrente do evemerismo.
Gostei muito da trama político-religiosa que serve como pano de fundo, mostrando um período de instabilidade e transição entre sociedades matriarcais (como acredita-se ser o caso da Creta pré-Micênica) e patriarcais (Atenas e Micenas). O contraste entre o culto das Senhoras e o da Grande Mãe também é interessante e aterrador.
Há pouquíssimos elementos mágicos (sendo o com maior presença a prática divinatória) e, diferente da mãe e da irmã, Perseis e Circe, Pasiphaë não desenvolveu habilidades desse tipo. E sua própria linhagem divina não se faz presente aqui, já que não há divindades, o que há é a fé e o culto a elas; os elementos mitológicos são tornados mundanos. O famoso Minotauro não é um monstro devorador de homens, ele é apenas uma criança que nasceu com deficiências físicas, motoras e mentais, que foi muito amado e protegido pelos pais.
Asterion é a maior preciosidade dessa história. As cenas com ele são uma graça, muito fofas. Porém, apesar dessa fofura, a autora não se furta de descrever, bem visceral e detalhadamente, cada desgraça que acontece aqui, e olha que são muitas desgraças.
Recomendo muito a leitura. Esta é uma maravilhosa recepção que expande e aprofunda a complexidade de Pasiphaë, que foi, sim, injustiçada pelos mitos, assim como tantas outras personagens. Leia, porém, como mencionei no começo, sabendo que é uma tragédia anunciada.
Review of advance copy received from Publisher
This is for the readers who are tired of myths where women are the warning and want stories where they are the voice.
I found it really hard to put into words how this book made me feel, it was a very moving read, so perhaps Natalie Haynes said it best 'And if history has taught us anything, it is that women making a noise – whether speaking or shouting – tend to be viewed as intrinsically disruptive' most fitting for this incredible feminist retelling of a woman wronged by myth.
Paisphae tells the story of the famous Greek Minotaur myth from the perspective of his mother, Pasiphaë and centres her in the story for the first time. Passion, betrayal, and divine legacy collide in this dramatic reimagining of a story long overshadowed by male driven narratives.
To put it simply, this is an emotionally charged exploration of power, motherhood, and the stories history chooses to tell, and those it condemns as monstrous.
Dougherty’s tone and imagery is metaphorical, raw and unflinching and she beautifully brings to light the story of Pasiphaë, the mother of the Minotaur, shamed and reduced to scandal and is exactly the kind of figure modern readers want to see reclaimed especially in a society that is becoming more and more patriarchal.
If you enjoyed Circe, Clytemnestra or The Silence of the Girls, this book needs to be on your tbr.
I found it really hard to put into words how this book made me feel, it was a very moving read, so perhaps Natalie Haynes said it best 'And if history has taught us anything, it is that women making a noise – whether speaking or shouting – tend to be viewed as intrinsically disruptive' most fitting for this incredible feminist retelling of a woman wronged by myth.
Paisphae tells the story of the famous Greek Minotaur myth from the perspective of his mother, Pasiphaë and centres her in the story for the first time. Passion, betrayal, and divine legacy collide in this dramatic reimagining of a story long overshadowed by male driven narratives.
To put it simply, this is an emotionally charged exploration of power, motherhood, and the stories history chooses to tell, and those it condemns as monstrous.
Dougherty’s tone and imagery is metaphorical, raw and unflinching and she beautifully brings to light the story of Pasiphaë, the mother of the Minotaur, shamed and reduced to scandal and is exactly the kind of figure modern readers want to see reclaimed especially in a society that is becoming more and more patriarchal.
If you enjoyed Circe, Clytemnestra or The Silence of the Girls, this book needs to be on your tbr.
Review of advance copy received from Publisher
Think you know the story of Theseus and the Minotaur? Think again.
In Pasiphae, Dougherty reimagines the tale of monsters and heroes, focusing instead on mothers and priestesses. It tells the story of Pasiphae, the woman behind the famous Minotaur myth.
The strength of this book lies in its female lens, which explores the roles women held in the Ancient Bronze Age and the real cost of power on their families and identities. Pasiphae’s narrative is swept up into a changing world of ancient cults, political rivalry, and the hunger of men, forming the basis of a myth where there are no heroes, and the monster is not what it seems.
The narrative is rich in descriptions, vividly recreating the majestic Palace of Knossos and its haunting, deeper chambers. If you’ve visited Greece, you’ll recognise the scent of thyme and the blue skies of Pasiphae’s world. At times, these descriptions can be overwhelming, but they effectively transport the reader to this Aegean island.
Pasiphae turns a myth we think we know into something original, human and with a powerful female focus.
Thanks to FMC Associates for providing the review copy.
In Pasiphae, Dougherty reimagines the tale of monsters and heroes, focusing instead on mothers and priestesses. It tells the story of Pasiphae, the woman behind the famous Minotaur myth.
The strength of this book lies in its female lens, which explores the roles women held in the Ancient Bronze Age and the real cost of power on their families and identities. Pasiphae’s narrative is swept up into a changing world of ancient cults, political rivalry, and the hunger of men, forming the basis of a myth where there are no heroes, and the monster is not what it seems.
The narrative is rich in descriptions, vividly recreating the majestic Palace of Knossos and its haunting, deeper chambers. If you’ve visited Greece, you’ll recognise the scent of thyme and the blue skies of Pasiphae’s world. At times, these descriptions can be overwhelming, but they effectively transport the reader to this Aegean island.
Pasiphae turns a myth we think we know into something original, human and with a powerful female focus.
Thanks to FMC Associates for providing the review copy.
Review of advance copy
4.5*
Thank you @thebooksocial for sending me an early copy of this book.
Pasiphae is a reimagining of the story of the Queen of Crete before Theseus and the myth of the Minotaur replaced her historical reality. We follow Pasiphae from childhood, watching as her and her family fight for the continuation of the reign of Queens and Priestesses. But after Pasiphae is sent to Knossos to secure the throne, she soon finds herself in a brutal power struggle with Minos, who seeks to overthrow ancient matriarchal customs and gain the power of the crown for himself.
This is a story unlike any other reimagining of this story, with numerous changes to the 'facts' we often think we know. Whilst I usually don’t like re-imaginings that stray too far from the original source materials, I really loved this book. Rather than being focused on the role and rule of the Gods and Goddesses, this story is profoundly human. It is about human decisions, human cost and consequences. We are finally able to learn about Pasiphae as a young girl, a neglected daughter and sister, a wife, a mother, and someone deeply afraid of the consequences of the threat to the very fabric of her beliefs about leadership, ruling and religion. I definitely felt like I actually got to know Pasiphae, rather than her simply being ‘mother of a monster’.
Pasiphae’s portrayal as a fierce mother, desperate to protect her children at all costs, was particularly moving. I also loved that Asterion was shown to be a gentle child who never deserved the label of a monster, as opposed to being simply the ‘Minotaur’, whilst Ariadne is portrayed as an ambitious daughter who turns away from her mother after witnessing her public loss of power.
I also liked that we get to see snippets of Kriti and the barbaric religious practices she is forced to partake in - if anything, I would have liked to have seen more about her character, largely because she is so often forgotten.
This was a story that felt easy to get swept up in, that was engaging and fast-paced whilst being emotional and profound. It is gritty and dark and endlessly clever. I would highly recommend this book.
Thank you @thebooksocial for sending me an early copy of this book.
Pasiphae is a reimagining of the story of the Queen of Crete before Theseus and the myth of the Minotaur replaced her historical reality. We follow Pasiphae from childhood, watching as her and her family fight for the continuation of the reign of Queens and Priestesses. But after Pasiphae is sent to Knossos to secure the throne, she soon finds herself in a brutal power struggle with Minos, who seeks to overthrow ancient matriarchal customs and gain the power of the crown for himself.
This is a story unlike any other reimagining of this story, with numerous changes to the 'facts' we often think we know. Whilst I usually don’t like re-imaginings that stray too far from the original source materials, I really loved this book. Rather than being focused on the role and rule of the Gods and Goddesses, this story is profoundly human. It is about human decisions, human cost and consequences. We are finally able to learn about Pasiphae as a young girl, a neglected daughter and sister, a wife, a mother, and someone deeply afraid of the consequences of the threat to the very fabric of her beliefs about leadership, ruling and religion. I definitely felt like I actually got to know Pasiphae, rather than her simply being ‘mother of a monster’.
Pasiphae’s portrayal as a fierce mother, desperate to protect her children at all costs, was particularly moving. I also loved that Asterion was shown to be a gentle child who never deserved the label of a monster, as opposed to being simply the ‘Minotaur’, whilst Ariadne is portrayed as an ambitious daughter who turns away from her mother after witnessing her public loss of power.
I also liked that we get to see snippets of Kriti and the barbaric religious practices she is forced to partake in - if anything, I would have liked to have seen more about her character, largely because she is so often forgotten.
This was a story that felt easy to get swept up in, that was engaging and fast-paced whilst being emotional and profound. It is gritty and dark and endlessly clever. I would highly recommend this book.
March 21, 2026
I liked Pasiphaë by Jane Dougherty and thought it was a really clever retelling of Greek myth. The writing is vivid and descriptive, and it does a great job of bringing the world of Ancient Greece and its traditions to life.
I found the focus on women and how their voices and roles are diminished in a male-dominated society really interesting, and it added an extra layer to the story. I also felt a lot of empathy for Pasiphaë and Kriti.
It wasn’t a disturbing as the original myth, but I did find it a little hard to fully enjoy at times, — there’s a certain emotional distance that made it harder to connect in a way I usually like. That said, it definitely kept me reading and I wanted to see how it would all play out.
Overall, I thought it was well done and appreciated how the myth was retold in a more believable way. I liked it, a solid 3 stars.
I found the focus on women and how their voices and roles are diminished in a male-dominated society really interesting, and it added an extra layer to the story. I also felt a lot of empathy for Pasiphaë and Kriti.
It wasn’t a disturbing as the original myth, but I did find it a little hard to fully enjoy at times, — there’s a certain emotional distance that made it harder to connect in a way I usually like. That said, it definitely kept me reading and I wanted to see how it would all play out.
Overall, I thought it was well done and appreciated how the myth was retold in a more believable way. I liked it, a solid 3 stars.
March 3, 2026
AWFUL. Maddening, even.
Narration is all over the place, pacing is awkward, and as far as I’m aware, no where was I warned that it was going to be a more ‘realistic’ depiction of the story (in as far as any mythology can be realistic)
I know that there are no ‘definite’ truths in Greek mythology, but this REALLY pushes it. So many characters, relationships, and events were SO far removed from anything previously written that it begs the question as to if the author actually did any research.
Of course, it is all the author‘s prerogative, but I would’ve liked a heads up so I didn’t waste my time and money on something I know I wouldn’t enjoy.
Narration is all over the place, pacing is awkward, and as far as I’m aware, no where was I warned that it was going to be a more ‘realistic’ depiction of the story (in as far as any mythology can be realistic)
I know that there are no ‘definite’ truths in Greek mythology, but this REALLY pushes it. So many characters, relationships, and events were SO far removed from anything previously written that it begs the question as to if the author actually did any research.
Of course, it is all the author‘s prerogative, but I would’ve liked a heads up so I didn’t waste my time and money on something I know I wouldn’t enjoy.
March 15, 2026
I found this a really interesting and unique take on the story of Pasiphaë and the Cretan Bull. Rather than being a promiscuous, insatiable, cursed monster, she was instead a woman the victim of the propaganda of Minos who doggedly grasped for power.
I found the first third of the book especially poignant. A young 15 year old thrust into limelight and motherhood and her struggles to adapt into these new roles created an especially powerful image.
I found the first third of the book especially poignant. A young 15 year old thrust into limelight and motherhood and her struggles to adapt into these new roles created an especially powerful image.
March 12, 2026
for Mary Renault fans
A woman from Greek myth whose story is usually told in one or two sniggering sentences is here fleshed out and given a proper story of her own. If you like Natalie Haynes’ No Friend to This House or Mary Renault’s The King Must Die, this is for you.
A woman from Greek myth whose story is usually told in one or two sniggering sentences is here fleshed out and given a proper story of her own. If you like Natalie Haynes’ No Friend to This House or Mary Renault’s The King Must Die, this is for you.
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