James Joyce and T. S. Eliot advanced a ‘double consciousness’ in their approach to myth that pervades Tony Harrison’s Metamorpheus(2000) and Sandeep Parmar’s Eidolon(2015). This double consciousness is not unique to modernism, but it intensifies in early twentieth-century literature, inscribing modernists’ desire to explore what Michael Bell describes as ‘the problematics of history under the sign of myth’. The mythic counterpointing that underpins Harrison’s work indicates that his modernist influences have been neglected by critics and poets such as Simon Armitage, eager to position his poetry as eschewing unnecessary complexity. However, whereas Metamorpheus and Eidolon would both be symptomatic of metamodernist literature in Andre Furlani’s understanding of the term, it is only in Eidolon that the legacies of ‘fractured’ writing allow for an enigmatical account of Helen, one of the most elusive figures in Greek myth.