Some contemporary or sort-of contemporary translations of Homer try to disguise their status as contemporary English by using deliberately odd, clunky, “foreignizing” English, as if to replicate the experience of the struggling student in introductory Greek class. But only one of those translations is by a woman. Dawn, with her rosy fingers and her golden throne, appears far more often in the That was a long way of saying: I love the Dawns of the The first driving reason, for me, was that none of the most-read contemporary English versions are in a regular meter. Homer, Emily Wilson (trans.) )The Greek text is much better, as literature and as ethics, for not limiting its narrative focus to Odysseus, and for not presenting him as a model for unquestioning adulation, and I hated the fact that so many English versions seemed to want to dumb it down in these ways. Homer, Emily Wilson The first great adventure story in the Western canon, the Odyssey is a poem about violence and the aftermath of war; about wealth, poverty, and power; about marriage, family, and identity; and about travelers, hospitality, and the changing meanings of home in a strange world. Repetition, in a primarily or largely oral culture (like that from which this poem emerged) serves a particular function. By Anna North Nov 20, 2017, 12:50pm EST Share this story But in fact, since I wasn’t looking at any other translations while I worked on the Greek and my own version, I didn’t really know whether (or if so, how exactly) the text I was creating was different from those created by men. So I wanted to produce a translation that wouldn’t do that: that would avoid being too slangy and would be markedly poetic, markedly artificial and musical and varied and sometimes weird, but that wouldn’t be pompous or foreignizing.

A lean, fleet-footed translation that recaptures Homer’s “nimble gallop” and brings an ancient epic to new life.The first great adventure story in the Western canon, The Odyssey is a poem about violence and the aftermath of war; about wealth, poverty, and power; about marriage and family; about travelers, hospitality, and the yearning for home.In this fresh, authoritative version―the first English translation of The Odyssey by a woman―this stirring tale of shipwrecks, monsters, and magic comes alive in an entirely new way. So maybe Dawn is the first poet; maybe her fingers of roses challenge or complement the fingers of the singer’s lines. It may takes up to 1-5 minutes before you received it. It felt to me an enormous loss to read the There were also stylistic motives.

Thanks to both the author and the interviewer!I love the determination to avoid bias & be as true to the Greek as possible, but I’m wary of the bias implicit from someone who is comfortable with terms such as feminist & cis gendered.. I’ve always deeply enjoyed the Fagles, Lombardo & Pope renderings of Homer, having begun with Rieu as a child, so I’m very interested to begin Wilson’s…Fill in your details below or click an icon to log in: Other readers will always be interested in your opinion of the books you've read. Others use a particularly grandiose, sometimes bombastic style, as if to make the doings of Homeric characters unquestionably important, big, grand and cartoonishly simple—to evoke a world of superheroes and supervillains. By Rebekah Kirkman. his Dawn is sometimes not even a goddess). Her writing has appeared in Oprah, The Village Voice, Pacific Standard, The New Republic, McSweeney's, and elsewhere. So I made rosy fingered Dawn appear just as often as she does in the original, always with roses or flowers or pink, always with fingers or touching, always early or new-born or early-born, but I created multiple variations on how those repeated elements appear, to make sure that the metaphors and the imagery always feel alive to the reader—even if they appear ten or twenty times over. Richmond Lattimore is very repetitive; Stanley Lombardo probably repeats even less than me (and certainly reproduces fewer of the epithets—e.g. T he Odyssey—the ancient Greek epic attributed to Homer—has been translated into English at least 60 times since the seventeenth century.

Her name is Emily Wilson (photo credit: Imogen Roth), and she’s a professor of classical studies at the University of Pennsylvania.Her brilliant new translation hit shelves in November. Its characters are unforgettable, from the cunning goddess Athena, whose interventions guide and protect the hero, to the awkward teenage son, Telemachus, who struggles to achieve adulthood and find his father; from the cautious, clever, and miserable Penelope, who somehow keeps clamoring suitors at bay during her husband’s long absence, to the “complicated” hero himself, a man of many disguises, many tricks, and many moods, who emerges in this translation as a more fully rounded human being than ever before.A fascinating introduction provides an informative overview of the Bronze Age milieu that produced the epic, the major themes of the poem, the controversies about its origins, and the unparalleled scope of its impact and influence.

I think we should aim not to be “unbiased,” but to be responsible, and that involves being as conscious as possible about our biases and preferences, as well as being informed as possible about the material at hand (which includes our society and the English language, as well as the Greek text). The epic's first female English translator examined the gender bias of her male predecessors.Translation, like any work of reporting or reading or interpreting or narrating, isn’t like that. It means, “This is unimportant and cliché, you can skip.” I very much wanted to convey the repetitiveness of Homeric type scenes and formulae, but mostly without using exact verbal repetition, since that seems like a surefire way to send the reader to sleep.I wanted to create a similar effect by different rhetorical means (because using the same means would have produced a totally different effect). You can write a book review and share your experiences. Professor Wilson has contributed articles and reviews to publications such as The Atlantic, The Guardian, London Review of Books, The New Republic, The New Yorker, The New York Review of Books, Paris Review, Slate, The Times Literary Supplement, and Time. So begins Emily Wilson’s new translation, which reveals how the ancient story is relevant today. The original is regular, metrical and beautifully musical. It’s not OK and it’s not true.

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