In The Penelopiad (2005), which was inspired by Homer's The Odyssey, Margaret Atwood enables Penelope's voice to take over the narrative – hitherto told by a male voice, the voice of Odysseus. Decisions like Atwood's, which resulted in the circulation of a new perspective on the story of Odysseus, are increasingly necessary in a world where inequalities between men and women persist in maintaining themselves in the most diverse sectors of society. Translators who base their projects on positions and deliberations that do not tend to value one genre over another have also contributed to changing the literary tradition that is rooted in patriarchal culture which, among other problems, impacts female writing. An example of this is Emily Wilson who has gained prominence with her translation of Homer's The Odyssey (2018) into English. When rewriting this poem, she takes a different pathway from other translators who preceded her in this task. With that in mind, a discussion is proposed involving The Penelopiad and The Odyssey, as well as the literary peritexts that accompany these works, with the purpose of discussing how women as writers, translators and adapters, through their feminist projects, provide access to new literary and historical perspectives. This article is based on the assumptions of Translation Studies and its intersections with feminisms and gender developed by Luise Von Flotow (1997, 2011, 2020), Olga Castro (2009, 2017, Sherry Simon (2005), among others.