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Product details

File Size: 8787 KB

Print Length: 575 pages

Publisher: W. W. Norton & Company; 1 edition (November 7, 2017)

Publication Date: November 7, 2017

Sold by: Amazon Digital Services LLC

Language: English

ASIN: B06XKNHGN1

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I have read and taught the Odyssey at least five times over the past twenty years. And Emily Wilson's version is a godsend. It is, by far, the most readable version out there. It never strains to be "epic" the way so many translations do. Instead, she uses today's English while also hewing faithfully to the unrhymed iambic pentameter that Shakespeare, Milton, and Wordsworth established as the epic form in English poetry. The result is a perfect blend between an Odyssey for today's reader and a "poetic" narrative. I read it all in three sittings because I couldn't put it down. Who would have thought someone could turn the Odyssey into a page turner? I can't wait to try out this new translation on my students. Hats off to Emily Wilson!

Emily Wilson's new translation of Homer's Odyssey is extraordinary in so many ways. Among its many attributes is clear, and finely-tuned language set in iambic pentameter that puts the poetry back in one of the Western cannon's greatest poems. Readers need not wade through purple and overblown blank verse, twice the length of the original text to finally arrive, with Odysseus in Ithaca. His story and character, as well as those of Penelope and Telemachus are fashioned in direct, active language that lets the hero's deeds and trials, as well as those of his wife and son, impress or disappoint the reader. Reading Wilson's version was like reading The Odyssey for the first time. There has been much fuss about her choice of a few words--"complicated, canapes, tote". Those complaining can't possibly have read the work or at least not her introduction where she explains quite convincingly the choices she made and purpose in providing yet another interpretation.Wilson is equally fearless in wading into the politics of translation arguing it is chauvinism to translate the slave women/concubines as "maids or servants". More than inaccurate it distorts the unpleasant truth about Greek civilization: it was a culture sustained by slave labor (as were nearly all others at the time). She ratchets things up another notch when she takes on Robert Fagles translation of the slave girls as "sluts" and "whores" who deserve to be slain. Why she wonders if they had no agency in life can they be responsible for the deeds of men who are at best coercing sex, at worst raping them? Wilson says flat out his attitude and translation are misogynistic. She also makes convincing arguments in her introduction that Penelope is more dimensional than credited and Helen of Troy refreshingly free of guilt for deeds committed in her name.The introduction, translator's notes, maps and glossary all enhance the reader's enjoyment, making it a truly epic experience.

NOTE: This review is for Emily Wilson's translation of the Odyssey. A computer glitch seems to be including reviews for other translations and the Iliad on this page.Review:A good intro if you haven't read the Odyssey before. It's clear and direct, more than other translations. It has a pounding, unapologetic simplicity, like that of Greek architecture and sculpture. More than in other translations, the Odyssey comes across here as a historical document, the product of a time and place. For a document written 3,000 years ago, this is no small task.But the Odyssey is also a poem; and in that regard, this is weaker than other translations. It has some of the muscularity of ancient Greece, with a solid rhythm and a steady flow of English monosyllables. Although many lines are smooth, they feel pedestrian. Its opening lines:"Tell me about a complicated man.Muse, tell me how he wandered and was lostwhen he had wrecked the holy town of Troy,and where he went, and who he met, the painhe suffered in the storms at sea, and howhe worked to save his life and bring his menback home. He failed to keep them safe; poor fools,"The first line may be a fine translation, but it's a poor line of poetry. (And almost interchangeable with "He's a complicated man, but no one understands him but his woman.")The other lines are stronger, especially the final line ("He failed to keep them safe; poor fools"), which has no counterpart in other translations.Should a translation of an ancient Greek poem be a great modern English poem in itself? Maybe not, and maybe trying too hard will take us too far from the original. Homer has been translated by major English poets back to Alexander Pope, whose version was called a major English poem in itself. If that's what you're expecting, you may feel let down by many of the word choices here. Compare Wilson's language with that of the opening of Robert Fitzgerald's translation:"Sing in me, Muse, and through me tell the storyof that man skilled in all ways of contending,the wanderer, harried for years on end,after he plundered the strongholdon the proud height of Troy. He saw the townlandsand learned the minds of many distant men,and weathered many bitter nights and daysin his deep heart at sea, while he fought onlyto save his life, to bring his shipmates home.But not by will nor valor could he save them,"Wilson's translation is clear and economical. She renders Homer's "polytropos" (in the first line) as "complicated." Fitzgerald translates it as "skilled in all ways of contending," and Fagles as "the man of twists and turns." Both are less clear, but strike me as a more interesting grouping of words and syllables.Some other nice things about this version: it comes with a long, thoughtful introduction. At 100 pages in the hardback version, it's almost a book by itself. The typesetting is new and beautiful, and a pleasure to read.

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