As a child, I read Ursula Le Guin’s Earthsea Quartet, which I loved for its wizards and fantasy (I hope to reread it soon). In my early twenties, I read her Left Hand of Darkness, which was one of the first books that made me think seriously about gender. And now I’ve turned to what I thought would be a comparatively straightforward historical novel: her book about Lavinia, princess of Latium, who becomes the wife of Aeneas. But Le Guin is never simple. Her Lavinia is a bright, demanding person: full of questions. She probes at the limitations of the way she has been preserved for posterity, rebelling against the strictures of a poem in which she doesn’t even get to speak. Playful, intelligent and just a little bit angry, this novel reimagines one of the great epics of the Western tradition. Le Guin, and Lavinia, take Virgil to task for his omissions but this isn’t just a scolding. It’s also a great love letter from one author to another: a tribute to the power of story-telling, which can give the figures of the past a voice.