When I was a senior in high school, I was given the option of studying mythology instead of the ordinary twelfth-grade English curriculum, thus igniting a lifelong obsession from which I’ll likely never recover. My goal was to study myths at a higher education level, but when my tiny Canadian university didn’t offer such a course, I signed up for the next best thing: a minor in World Religions. (That course of study resulted in a fascinating archeological dig in the Middle East, but that’s a story for another time.) The point is, I love myths, and I know I’m not the only one.
My contemporary adult fantasy, The Café of Infinite Doors, repurposes the Celtic mythological character of the Morrígan, a fierce battle-goddess who can see the future and turn into a crow. The book also follows a trapped housewife trying to emancipate herself from a controlling relationship, and believe it or not, the two threads do intertwine, though to find out how you’ll have to read the book! But why are we, as human beings, so obsessed with myths? What is so universally compelling about these ancient stories?
Naturally, we know that mythological characters are often based on archetypes, representing a societal role or universally recognizable character trait. Gaia the mother. Anansi the trickster. Dionysus the drunk. Is it because these characters still feel relevant and relatable, even thousands of years after they were first created? Regardless of the answer, even the most superficial analysis of publishing trends shows us that contemporary readers are just as eager to consume mythology as ever. Relletings, particularly of the Greek variety, are selling like hot-cakes. (Who came up with this expression? Why hot cakes and not fidget spinners? These are questions for another time.)
The question I’d like to examine is this: How much of a myth must be present in a work of modern fiction in order to be classified as a retelling? Does the answer lie in the number of plot points preserved from the original? How do you even find the original, when so many ancient cultures shared stories orally? And how does one quantify something as specific as “plot points” if the original source material is vague? Take, for example, characters who appear on the periphery of other characters’ stories, without having a myth of their own. I’m thinking of Greek muses like Urania, a goddess of astrology who sometimes guides others (men) on their quests but seldom appears as a protagonist… For the purposes of this list, I’d like to keep the parameters vague: if a mythological character is present, but their journey does not mirror the source material, I will classify them a work of mythology that is not a retelling. And before you ask: I have nothing against retellings. In fact, I adore them. But they are so popular in the current zeitgeist that they could easily have their own list. I’m sure someone has written one already. My goal is to showcase the broader use of mythology in newer works of fiction instead.
In the spirit of full disclosure, I must confess that I am not an expert in the myths of every culture on the planet. (Wouldn’t that be an amazing flex?) Also, I’m aware that many of us in the “Western world” automatically associate mythology with the stories of Ancient Greece and Rome, which is why I’ve based my list on novels showcasing other traditions, in the spirit of diversity and education. Finally, I’d like to state the obvious: due to the fact that mythology so often contains elements of magic, the books on this list will all fall under the speculative umbrella. So, with all of that in mind, here are eight novels that incorporate mythology without being retellings.
Thistlefoot by GennaRose Nethercott
Like many of novel mentioned on this list, you’ll find that Thistlefoot is many things: a family saga, a modern-day fairytale, a ghost story, an Odyssee across the Eastern half of the United States, a reminder of the violent pogroms of Eastern Europe in the 19th and 20th centuries. North Americans with Jewish heritage (like yours truly) are sure to recognize echoes of their own family histories in this captivating book. The story centers around the modern-day descendants of a character from Slavic folklore, a witch named Baba Yaga. Baba Yaga lives in an ambulatory cottage which propels itself around on giant chicken legs. THISTLEFOOT incorporates this tradition with Jewish history, an exploration of cultural trauma, loss, and perseverance. Also, expect puppets.
The Magician’s Daughter by H.G. Parry
Set in 1912, THE MAGICIAN’S DAUGHTER is a YA fantasy that resuscitates the Celtic myth of the island of Hy-Brasil, a supernatural fog-shrouded island said to appear off the Western coast of Ireland every seven years. Biddy, the novel’s protagonist, grows up on this isolated island, which is also populated by other mythic creatures such as the Tuatha Dé Danaan, a supernatural race of ancient people in Irish mythology. Also present on the island is the Púca, a mischievous (and possibly malevolent) Celtic mythological horse capable of shapeshifting as well as bringing good—or bad—fortune. All of these elements work together to form an enchanting mythic backdrop which stands in sharp contrast to the book’s other setting: The grim streets of Edwardian London.
The Fox Wife by Yangsze Choo
This 2024 novel incorporates Chinese mythology related to shape-shifting fox spirits called huli jing. Fox spirits are not unique to China, and can actually be encountered in the myths of several East Asian cultures, such as the Japanese kitsune, associated with prosperity, and the more predatory Korean kumiho/ gumiho, who were said to eat human organs. These fox spirits can take on various forms, each with different magical abilities and symbolism. Often fulfilling the classic trickster archetype, they sometimes transform into beautiful and seductive humans. Told in dual perspective, Choo’s novel mixes historical fiction (1908 Manchuria, at the end of the Qing Dynasty) with a supernatural murder mystery, incorporating themes of revenge and cultural upheaval.
A Master of Djinn by Djèlí Clark
Djèlí’s Nebula award winning book, the first in a trilogy, incorporates all sorts of myths and folklore: There are Egyptian gods, such as a Sobek the crocodile god and Hathor the cow-headed fertility goddess, there’s Middle Eastern (SAWA) folklore, such as djinn (It’s in the title!), and there’s Islamic mysticism, like the Seal of Solomon. All of this set in a steampunk version of 1912 Cairo, centering around Fatma, a dapper lesbian detective, her possibly-magical girlfriend, and her new partner at the ministry of Alchemy, Enchantments, and Supernatural Entities. There are even some American jazz musicians thrown into the mix, for good measure. In Clark’s universe, the previously mundane, human world was forever changed when a worldwide event brought back all the supernatural entities that had previously disappeared. Now, the natural and supernatural must find a way to coexist in a swiftly modernizing society.
The Wolf and The Woodsman by Ava Reid
This debut novel by the now prolific Ava Reid incorporates Hungarian legends alongside Jewish history and mysticism. Reader, this one is not for the faint of heart. The novel explores themes of ethnic cleansing and genocide through the medium of body horror. (Case in point, one god demands its devotees cut off parts of themselves in order to gain power through sacrifice.) Reid stated in a Reddit AMA (Ask Me Anything) that THE WOLF AND THE WOODSMAN is loosely based on the Jewish story of Esther. Also present is the turul, a mythical bird of prey connected to the Hungarian national myth. Though Reid has said that actual Pagan myths and practices have been long buried, they borrowed certain names, like those of the gods Isten and Ördög, from existing traditions. Characters also refer to a mythical hero named Vilmötten, who is based on the Finnish epic tales of the Kalevala.
The Sun and The Void by Gabriela Romero Lacruz
If you’re like the average American, you might not have been particularly aware of Venezuelan culture until it entered the news cycle. (Do not talk about current political shitshow do not talk about current political shitshow do not talk about current political shitshow… Okay, I’m done hyperventilating. We can proceed.) I, however, lived in Caracas, Venezuela for a year after high school, where I attended theatre school, lived with two different host families, and met a ton of wonderful friends that I still keep in touch with today. Hence, my special interest in Venezuela. Enter THE SUN AND THE VOID. Author Gabriela Romero-Lacruz uses elements of Venezuelan mythology and South American folklore to tell the story of Reina and Eva, two women of mixed heritage trying to prove themselves in a world full of prejudice. The novel centers around the conflict between indigenous beliefs and the religion of the conquerors, and Romero-Lacruz’s fictional god Ches appears to be based on Inti, the major sun god in Incan mythology.
The Scorpio Races by Maggie Stiefvaters
Those Celts sure loved their horses, didn’t they? I already alluded to the Púca in the section about THE MAGICIAN’S DAUGHTER, but wait, there’s more! THE SCORPIO RACES deals with another Celtic horse-related myth: namely kelpies, the fearsome Scottish shape-shifting water horses who lure riders from the shore before whisking them away to drown in lochs. If you ever find yourself in Falkirk, Scotland, you can see two massive steel statues of said creatures emerging from the waters at Helix Park. (Incidentally, Falkirk is also the name of a very important raven in THE CAFE OF INFINITE DOORS.) Traditionally, kelpies were said to sometimes take human form, though this isn’t a thing in SCORPIO RACES. Stiefvaters’ version of the horses are no less fearsome, and the novel revolves around an annual race on the fictional island of Thisby, in which riders must capture and race these dangerous, flesh-eating creatures—or die trying.
City of Brass by S.A. Chakraborty
Hey, remember way back in the intro when I mentioned my degree in World Religions? Well, Zoroastrianism is a classic example of a dualistic (good versus evil) religion, and thus, we learned about it on the very first day of classes. For those who don’t know, Zoroastrianism was the official religion of the Persian Empire, and it still exists today, though there are currently only 100,000 to 200,000 practicing Zoroastrians worldwide, according to my good friend Google. All of this to say, I get very excited when I hear mention of this little-discussed religion. Why bring it up? Because CITY OF BRASS is an epic fantasy novel that draws from Zoroastrianism, as well as from Islamic stories and Middle Eastern myth, especially THE ARABIAN NIGHTS. Most fantasy fans will already be familiar with this immensely popular series, but still, it would be unthinkable to eliminate Charkoborty’s work from such a list. Like in MASTER OF DJINN, CITY OF BRASS is also set in Cairo, involves djinn, and is the first book in a trilogy. The title itself is borrowed from THE ARABIAN NIGHTS to describe the mythical djinn-ruled city of Daevabad.
If this were an exhaustive list of mythology-inspired fantasy novels, I could probably expect to finish writing it sometime around my 400th birthday. Still, why not throw in some honorable mentions? Masquerade by O.O. Sangoyomi is technically a retelling of the Greek myth of Persephone (hence why it didn’t make the list), but it is set in an alternate 15th-century West Africa. Also, Gods of Jade and Shadow by Silvia Moreno-Garcia mirrors the story of Cinderella, except with Mayan mythology, and set in Jazz-Age Mexico. While Cinderella could certainly be considered a folktale, and many cultures have their own versions, its most famous incarnation is the one by Charles Perrault in 1697. Feel free to disagree, but personally I wouldn’t qualify something as a bonafide myth if it has a known author. Finally, I want to give a shout-out to The Mermaid of the Black Conch by Monique Raffey, a retelling of a Caribbean mermaid myth, if only because it’s one of the few novels I’ve read from that particular region, and it deserves attention. If I’ve missed out on any obvious contenders, I’d love to hear about them.
ABOUT THE AUTHOR: Zara Marielle hails from a Northern Californian hippy town and a rustic village high in the French Alps. A former ESL teacher, she loves to travel and has lived in Canada, Venezuela, England, and Scotland. Marielle earned a master’s in creative writing from the University of Edinburgh in 2015.