Publishers Weekly - Publisher's Weekly
Zwerger's (The Wizard of Oz) captivating cover image of the Mad Tea-Party for this edition of Carroll's 1865 tale conveys the psychological tension of the interior artwork: Alice, at the head of an elongated table with a pristine white linen cloth, stares at the pocket watch that the March Hare is about to lower into his cup of tea. The Hare, bug-eyed, gazes out at readers while the Mad Hatter to his right, wearing a hat box, fixates on a black upturned chapeau (in lieu of a place setting), and the Dormouse between them sleeps. Across the table, an empty red mug is placed in front of a vacant green chair, and a teacup and saucer trimmed in red seems to be set for the reader. The painting conveys the way in which Zwerger brilliantly manages both to invite readers into the story and to keep them at a distance. From the heroine's first appearance, as she falls down a well while chasing the White Rabbit, with a glimpse of orderly bookshelves at the upper left corner, Zwerger demonstrates the many layers to Alice's journey: a cutaway view reveals that the bulk of the other "shelves" are the result of rats and insects tunneling underground. The supporting cast conveys the artist's nearly sardonic perspective. The contrary caterpillar, with six of its eight arms crossed, would be at home in New York's East Village: instead of a hookah it smokes a cigarette and sips red wine, yet--unlike Sir John Tenniel's sedated counterpart--this caterpillar is lucid, defiantly staring out at an Alice (and readers) absent from the scene. Zwerger's penetrating interpretation reinvents Carroll's situations and characters and demands a rereading of the text. All ages. (Oct.) Copyright 1999 Cahners Business Information.
From the Publisher
McCrorie's new translation can be recommended without reservation to the generations of students to whom it is bound to be assigned and to any reader who'd like to get as close to the original as is possible without reading the original Greek. It is refreshing, accurate, and direct.
—Jay Kenney, Bloomsbury Review
Edward McCrorie's translation of the Odyssey into English hexameter has much to recommend it . . . I have developed an appreciation for the clarity and briskness of McCrorie's verse.
—G.S. Bowe, Bryn Mawr Classical Review
A lively and engaging version of Homer's Odyssey that brilliantly blends pleasurable readability with fidelity to the original. . . McCrorie has simplified the choice of an English Odyssey even in a field of very skillful competitors (Lattimore, Fitzgerald, Mandelbaum, Fagles, Lombardo), providing the best available verse translation of the Odyssey for Greekless readers.
—Choice
McCrorie has produced an epic with its own rhythms, idioms and developing pleasures.
—Anglo-Hellenic Review
Bold new translation.
—Emily Anhalt, Classical Bulletin
Richard P. Martin
"The expertly crafted work of a true scholar-poet, Mendelsohn’s rich and rhythmical version hews closely to the Homeric verse-lineit feels like the original. He brings into contemporary English not just the precise meaning of the Greek at every turn, but also fine-grained variations in the poem’s soundscape, diction, pace, and speech-styles. Sharply focused on narrative nuance, lucid, vivid, and smart, this superb translation will entice new audiences to delight in the ancient epic."
Francine Prose
"Neither jarringly contemporary nor distractingly archaic, Daniel Mendelsohn's brilliant and necessary translation of The Odyssey is a testament to the enduring power and grace and beauty of Homer's narrative."
Deborah Roberts
Daniel Mendelsohn has accomplished something that no recent translator has done so well: a translation that shows a striking fidelity not only to the poem’s language and thought but also to its formal properties. His approach makes this translation ideal for any class in which an instructor wants the students to have a full sense of the poetics of Homeric epic and other orally based literature.
Rosanna Warren
"Daniel Mendelsohn’s Odyssey is a majestic living poem, keenly responsive to the surge and subtlety of Homer’s Greek. He conveys the dignity of an ancient aristocratic world as well as the timeless drama of homecoming, monstrous encounters, fidelity, and self-revelation. A momentous achievement."
Bloomsbury Review - Jay Kenney
McCrorie's new translation can be recommended without reservation to the generations of students to whom it is bound to be assigned and to any reader who'd like to get as close to the original as is possible without reading the original Greek. It is refreshing, accurate, and direct.
Bryn Mawr Classical Review - G.S. Bowe
Edward McCrorie's translation of the Odyssey into English hexameter has much to recommend it . . . I have developed an appreciation for the clarity and briskness of McCrorie's verse.
Classical Bulletin - Emily Anhalt
Bold new translation.
Choice
A lively and engaging version of Homer's Odyssey that brilliantly blends pleasurable readability with fidelity to the original. . . McCrorie has simplified the choice of an English Odyssey even in a field of very skillful competitors (Lattimore, Fitzgerald, Mandelbaum, Fagles, Lombardo), providing the best available verse translation of the Odyssey for Greekless readers.
Anglo-Hellenic Review
McCrorie has produced an epic with its own rhythms, idioms and developing pleasures.
Library Journal
10/15/2017
The enduring character of the epic poem The Odyssey invites repeated attempts at translation, here most recently an energetic verse rendition by Wilson (classical studies, Univ. of Pennsylvania), who has authored books on the nature of tragedy, Socrates, and Seneca, as well as translations of plays by Euripides and Seneca. Wilson's goal is for the work to sound natural to the modern reader without falling into contemporizing anachronisms, such as those found in the translation of Stanley Lombardo. Unlike Robert Fagles or Robert Fitzgerald, Wilson deploys a natural English syntax, while closely following Homer's lines. Like Fagles and Barry P. Powell, she adopts iambic pentameter and seeks a diction that does not sound archaic, using the Latinate version of names and submerging many of the recurrent epithets. Thus Odysseus, "the man of many turns," becomes the "complicated man," or "bright-eyed goddess, Athena" becomes "she looked him straight into the eye," true to the spirit of the text if not always the word. Wilson is particularly sensitive to the tone and description applied to the many women throughout the narrative, especially Helen and Penelope. VERDICT Wilson offers a fluent, straightforward, and accessible version of the Homeric epic; a solid reading edition.—Thomas L. Cooksey, formerly with Armstrong Atlantic State Univ., Savannah
OCT/NOV 06 - AudioFile
The story of THE ODYSSEY is laden with archetypal images and themes, but often the tangled motives and layered desires of the gods and mortals alike get lost in translation. Stanley Lombardo provides a welcome translation, contemporary in its rhythms, assurance, and clarity. Lombardo's knowledgeable pacing and warm voice reflect his strong sensibilities for both academics and live performance. This version of the Greek classic sounds honest, intimate, and, most importantly, clear. Academy Award winner Susan Sarandon lends her calm and well-known voice to reading the synopses of the epic's 24 chapters. With this ODYSSEY, the 3,000-year-old Homer may find himself with a whole new generation of fans. Timeless. B.P. © AudioFile 2006, Portland, Maine
Kirkus Reviews
2017-09-04
Fresh version of one of the world's oldest epic poems, a foundational text of Western literature.Sing to me, O muse, of the—well, in the very opening line, the phrase Wilson (Classical Studies, Univ. of Pennsylvania) chooses is the rather bland "complicated man," the adjective missing out on the deviousness implied in the Greek polytropos, which Robert Fagles translated as "of twists and turns." Wilson has a few favorite words that the Greek doesn't strictly support, one of them being "monstrous," meaning something particularly heinous, and to have Telemachus "showing initiative" seems a little report-card-ish and entirely modern. Still, rose-fingered Dawn is there in all her glory, casting her brilliant light over the wine-dark sea, and Wilson has a lively understanding of the essential violence that underlies the complicated Odysseus' great ruse to slaughter the suitors who for 10 years have been eating him out of palace and home and pitching woo to the lovely, blameless Penelope; son Telemachus shows that initiative, indeed, by stringing up a bevy of servant girls, "their heads all in a row / …strung up with the noose around their necks / to make their death an agony." In an interesting aside in her admirably comprehensive introduction, which extends nearly 80 pages, Wilson observes that the hanging "allows young Telemachus to avoid being too close to these girls' abused, sexualized bodies," and while her reading sometimes tends to be overly psychologized, she also notes that the violence of Odysseus, by which those suitors "fell like flies," mirrors that of some of the other ungracious hosts he encountered along his long voyage home to Ithaca.More faithful to the original but less astonishing than Christopher Logue's work and lacking some of the music of Fagles' recent translations of Homer; still, a readable and worthy effort.