A remarkable hybrid of translation, adaptation, and invention Picture the east Aegean sea by night, And on a beach aslant its shimmering Upwards of 50,000 men Asleep like spoons beside their lethal Fleet. âYour life at every instant up forâ / Gone. / And, candidly, who gives a toss? / Your heart beats strong. Your spirit grips,â writes Christopher Logue in his original version of Homerâs Iliad, the uncanny âtranslation of translationsâ that won ecstatic and unparalleled acclaim as âthe best translation of Homer since Popeâsâ (The New York Review of Books). Logueâs account of Homerâs Iliad is a radical reimagining and reconfiguration of Homerâs tale of warfare, human folly, and the power of the gods in language and verse that is emphatically modern and âpossessed of a very terrible beautyâ (Slate). Illness prevented him from bringing his version of the Iliad to completion, but enough survives in notebooks and letters to assemble a compilation that includes the previously published volumes War Music, Kings, The Husbands, All Day Permanent Red, and Cold Calls, along with previously unpublished material, in one final illuminating volume arranged by his friend and fellow poet Christopher Reid. The result, War Music, comes as near as possible to representing the poetâs complete vision and confirms what his admirers have long known: that âLogueâs Homer is likely to endure as one of the great long poems of the twentieth centuryâ (The Times Literary Supplement).
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