“Bronze Thresholds” is a narrative balancing act, an annex, an unauthorized structure in the mansion of the Homeric world. There, within its four walls, we privately witness the Trojan War and Odysseus’ return told in a different way. The kings are stripped of their heroic ideal, the slaves—men and women—have voices and eyes, interpreting and reconstructing the world of power and divine descent.

The novel is the beginning of yet another myth alongside the dominant myth. It narrates what could have happened if a character, invented by the author, infiltrated the camp of the Achaeans and, through gradual influence, changed the fate of the war and the course of the return to Ithaca.

“Bronze Thresholds” speaks of the proximity of civilizations, the gap between outcasts and worldly or divine authority, and the relationship between slave and master when its bonds are loosened. It is a fictional tale of billowing sails and open horizons, of the healing presence of women in a world flooded with blood and bronze. It is an accusatory depiction of the brutality of war, a commentary on the tragic constants of human fate, but at times also a farcical novel, as the powers that be, often unfortified, attract traces of parody and satire.