- Hardcover: 592 pages
- Publisher: W. W. Norton & Company; 1 edition (November 7, 2017)
- Language: English
- ISBN-10: 0393089053
- ISBN-13: 978-0393089059
- Product Dimensions: 9.3 x 6 x 1.3 inches
- Shipping Weight: 2.1 pounds (View shipping rates and policies)
- Average Customer Review: 137 customer reviews
- Amazon Best Sellers Rank: #2,297 in Books (See Top 100 in Books)
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The Odyssey 1st Edition
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“A masterpiece of translation―fluent, elegant, vigorous.”
- Rowan Williams, Master of Magdalene College, University of Cambridge
“Irresistibly readable…turns Homeric epic into a poetic feast.”
- Froma Zeitlin, Princeton University
“A staggeringly superior translation―true, poetic, lively and readable, and always closely engaged with the original Greek―that brings to life the fascinating variety of voices in Homer’s great epic.”
- Richard F. Thomas, Harvard University
“This will surely be the Odyssey of choice for a generation.”
- Lorna Hardwick, The Open University, London
“Emily Wilson has produced a clear, vigorous, sensitive Odyssey that conveys both the grand scale and the individual pathos of this foundational story. This is the most accessible, and yet accurate, translation of Homer’s masterwork that I have ever read.”
- Susan Wise Bauer, author of The History of the Ancient World
“'Each generation must translate for itself,' T. S. Eliot declared. Emily Wilson has convincingly answered this call: hers is a vital Odyssey for the twenty-first century that brings into rhythmic English the power, dignity, variety, and immediacy of this great poem.”
- Laura Slatkin, New York University
“Having a female scholar and translator look with fresh eyes upon one of the foundational myths of Western civilization is nothing short of revolutionary. Emily Wilson’s riveting translation of The Odyssey ripples with excitement and new meaning. This important and timely addition to our understanding of Homer will be enjoyed for generations to come.”
- Aline Ohanesian, author of Orhan’s Inheritance
“Emily Wilson's Odyssey sings with the spare, enchanted lucidity of a minstrel fallen through time. Ever readable but endlessly surprising, this translation redefines the terms of modern engagement with Homer’s poetry.”
- Tim Whitmarsh, author of Battling the Gods
“A remarkable new translation. Poised and unadulterated―a feast for the senses.”
- Daisy Dunn, author of Catullus’ Bedspread
“This is it―a translation of The Odyssey that is 'eminently rapid…plain and direct,' as Matthew Arnold famously described Homer himself. It is also contemporary and exciting. A gift.”
- Barbara Graziosi, author of The Gods of Olympus
About the Author
Emily Wilson is a professor of classical studies at the University of Pennsylvania. She lives in Philadelphia.
Top customer reviews
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A good intro if you haven't read the Odyssey before. It's clear and direct, more so than other translations. Reading it, you get a sense of pounding, unapologetic simplicity, like that of Greek architecture and sculpture. More than in other translations, the Odyssey comes across here strongly as a historical document, the product of a culture from a particular time and place. For a document written 3,000 years ago, this clarity is no easy task.
But the Odyssey is also a work of poetry; and as a work of art, 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 roll off the tongue, they feel pedestrian. Its opening lines:
"Tell me about a complicated man.
Muse, tell me how he wandered and was lost
when he had wrecked the holy town of Troy,
and where he went, and who he met, the pain
he suffered in the storms at sea, and how
he worked to save his life and bring his men
back home. He failed to keep them safe; poor fools,"
The first line may be a great translation, but it's not great English poetry. (And almost interchangeable with "He's a complicated man, but no one understands him but his woman.")
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 poems by 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 story
of that man skilled in all ways of contending,
the wanderer, harried for years on end,
after he plundered the stronghold
on the proud height of Troy. He saw the townlands
and learned the minds of many distant men,
and weathered many bitter nights and days
in his deep heart at sea, while he fought only
to 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.
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.