59 pages 1 hour read

Wrath of the Triple Goddess

Fiction | Novel | YA | Published in 2024

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Symbols & Motifs

Statue of Athena

Grover, Annabeth, and Percy begin their search for Hecuba in Astoria, a neighborhood in the New York City borough of Queens known historically for its large Greek American community. During their search, they come upon Athens Square, a real location that Rick Riordan accurately describes in Chapter 14. Featured prominently in the square is a large statue of Athena, a replica of an ancient sculpture that the then-mayor of Athens gifted to the city in 1998.

The presence of the statue provides Riordan with an opportunity to reference a motif from earlier novels: Athena’s animosity toward Percy. One of ancient Athens’s foundational myths is that Poseidon and Athena competed for patronage of the city and that Athena won. In the overall series, Riordan draws on this in his characterization of the relationship between Percy (the son of Poseidon) and Annabeth (the daughter of Athena): Athena opposes it initially due to hostility toward Poseidon, though she eventually grudgingly accepts him as her daughter’s boyfriend. Nevertheless, the tensions between the gods inform their children’s responses to the statue. When they pass, Annabeth greets it, saying, “Hi, mom […] Just looking for a hellhound” (107). Percy, on the other hand, expects the statue “to smack [him] upside the head” (107), and when it does not, he assumes that leaving him in suspense amuses Athena. It is a passing moment that nevertheless illustrates The Relevance of Greek Mythology in the Modern World.

The absence of response is significant in another respect. In ancient Greece, cult statues of gods were believed to hold an essence of their divinity, which Riordan draws on in his earlier series. Here, however, the statue symbolizes the remoteness of the gods—their tendency to observe dispassionately as the demigods struggle to figure out what they expect and need—which reflects the novel’s broader emphasis on human struggles and triumphs.

Hecate’s Mansion

Riordan provides an elaborate description of Hecate’s town house in Chapter 4. An optical illusion hidden by the Mist (the magical haze that prevents mortals from seeing otherworldly objects and events), the mansion is reached via a walkway crafted of human skulls. The building itself is “a five-story patchwork of weather granite slabs” that are “literal tombstones” (31). Gargoyles grace the gabled roof, and “[b]lack cast-iron filigree” is draped around the windows and main entrance “like a mourning shawl made of metal lace” (31). When Hecate first introduces herself to Percy in his principal’s office, she describes herself as “[g]oddess of magic, crossroads, necromancy” (11), and the mansion as Riordan describes it symbolizes these powers, with even those elements that do not directly relate to her domain (e.g., the filigree) being described in macabre imagery and similes.

Hecate’s Strawberry Milkshake

Riordan establishes Grover’s weakness for strawberry-flavored treats in Chapter 2, setting the scene for his fateful encounter with Hecate’s magical strawberry milkshake in Chapter 5. Hecate emphasizes the “dire consequences” that will ensue if anyone drinks it but then invites the pet sitters to transfer it from its canister to her freezer, ramping up the temptation for Grover. Left to his own devices when the demigods are at school, he cannot resist tasting it. Percy later wonders at the coincidence of Grover’s very favorite food being left out in the open to tempt him, suspecting that Hecate was trying to tempt him into an error by making it available to him. Hecate, Percy further observes, is a goddess of crossroads, so inviting Grover and the demigods to a place where they have to make a choice, especially a choice that has significant consequences, fits her function. In this sense, the strawberry milkshake symbolizes choice itself.

In Chapter 36, after the demigods, Grover, and their friends have successfully dispelled the ghosts, Annabeth isolates herself, reflecting on the mistakes she made. To comfort her, Percy reminds her that having a fatal flaw is not something to feel guilty about because everyone has one, adding, “Grover’s fatal flaw is apparently strawberry milkshakes” (259). The strawberry milkshake is Grover’s specific fatal flaw, but it also symbolizes the fatal flaw more generally, a reminder that everyone will eventually make mistakes. However, where this idea furnishes the basis for much of ancient Greek tragedy, Riordan instead uses it as an opportunity to showcase The Importance of Friendship and Teamwork. Percy follows up by telling Annabeth that the existence of fatal flaws is why “you gotta count on your friends to look out for you” (269). When a person makes a mistake, the novel suggests, their community will be there to support them.

Halloween

The Wrath of the Triple Goddess was released in October, in the lead-up to Halloween, and the holiday features prominently across the narrative, serving as a motif that helps illustrate the relevance of Greek mythology in the modern world.

The Halloween connection begins with Hecate, goddess of magic and necromancy, being featured as the central deity in the novel. Her mansion resembles a haunted house, and (according to Hecate) Halloween is her personal sacred day. In actuality, Halloween is descended from the ancient Celtic harvest festival of Samhain. Because it marked the end of summer and approach of winter, the holiday was associated with death, and it was believed that the veil between living and dead thinned at this time, enabling spirits to visit the world of the living. However, Hecate believes the holiday honors her because elements of it correspond with what she represents and oversees: For instance, her torches can summon spirits and are used to this end by Percy and Annabeth. Thus, Riordan shows how cultures connect through shared human concerns, which is one of the reasons ancient mythology continues to be relevant.

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