School Library Journal
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Gr 6 Up-Concise and briskly paced, this dynamic comic-book version streamlines Homer's plot and zooms in on the all-out monster-trouncing, enchantress-encountering, death-defying action. The exploits of the square-jawed Odysseus are resplendent in bold lines and jewel tones while the fickle gods and goddesses shimmer in translucent hues. A reader-grabbing intro to the epic. (c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Library Journal
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Translations of Homer tend to fall on a spectrum, ranging from those of Lattimore or Murray and Dimock (Loeb Classics), which aim to be faithful to the subtleties of the Greek, to those of Fagles and Fitzgerald, which aim to be good English poetry as well. This new version of the Odyssey falls in the middle. McCrorie (English, Providence Coll.) is a poet and translator whose accomplishments include a version of Virgil's Aeneid. For his Odyssey, he developed a modified dactyl that allows him to achieve the swiftness and rhythmic variety of Homer. Bringing a sensitive ear to Homer's diction and verbal formulas, he transliterates names rather than using their Latin equivalents in order to remain close to the sound of the Greek. If this translation does not stand out from the others available, it is nevertheless a worthy addition. Recommended for all academic libraries.-T.L. Cooksey, Armstrong Atlantic State Univ., Savannah, GA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Library Journal
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
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 © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Library Journal
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There is no better way to encounter an epic that derives from an oral tradition than to hear it narrated by a fine Shakespearean actor. This requires a great translation, and this shining new verse translation by Robert Fagleswho also translated The Iliad (Audio Reviews, LJ 7/92)has been rightly hailed as a masterpiece. It captures, in swift rhythms and flawless utterance, the tone, the temper, the very life of Homer's antic world without once sounding antiquated. The tale of Odysseus's long-awaited return from the Trojan Wars is majestically realized by Ian McKellan (seen most recently on film in Cold Comfort Farm and Richard III). Resisting every temptation to ham Homer's bardic lines, the sonorous-voiced McKellan hits home with truthful simplicity throughout, as if he were spinning out a heartfelt story during a long night in a pub. A fine introduction by Bernard Knox is included, but Penguin has reached new heights in bad presentation values, insuring instant destruction of the plastic containers within, while the music sounds like a petrified chicken on an infant's keyboard. But the words, like Homer's gods, are deathless. What more can a listener ask for? Highly recommended for all collections.Peter Josyph, New York (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
School Library Journal
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Gr 6 Up-It is nearly impossible to condense such an enormous story into 123 pages, but Mucci manages to hit all of the action-packed highlights. These include many of the adventures that Odysseus had on his long voyage back home from the Trojan War, such as his dangerous encounters with Circe, Calypso, the lotus-eaters, the Cyclops, and the sirens, as well as his detour into Hades. The colorful artwork skillfully captures the dynamic action, and artistic touches like making the gods translucent in the world of men are especially eye-catching. With its fast pace and cartoony yet cinematic artwork, this adaptation will entice reluctant readers. In a bit of savvy marketing, the last page directs readers to the Action Cartooning website to learn more about the story of Odysseus and to see additional artwork, which should generate interest in the other books in the series.-Andrea Lipinski, New York Public Library (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
School Library Journal
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Gr 3-5-This smoothly written retelling may interest the same audience that enjoyed Neil Philip's The Adventures of Odysseus (Orchard, 1997). Covering mostly the same selections with approximately the same detail, Mitchell places small bits of background information in the margins of the stories and on pages in between them. These tidbits won't be enough for researchers, but could whet the interest of those reading for pleasure. However, some students may find them distracting. Full-color drawings, photographs of sites and artifacts, and reproductions appear throughout. The best illustrations surround the text on all sides, imparting a sense of the drama of the tales. Mitchell's casual writing style may interest children not ready for the elevated text of the original and reluctant readers but there is no fire in this telling, making it an additional purchase.-Nancy Call, Santa Cruz Public Libraries, Aptos, CA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Choice
Copyright American Library Association, used with permission.
A poet and English professor, McCrorie (Providence College) has produced a lively and engaging version of Homer's Odyssey that brilliantly blends pleasurable readability with fidelity to the original. He preserves the force of Homer's distinctive formulaic repetitions, the hallmark of an originally oral and musical mode of presentation, while avoiding the jackhammer impact on a reading audience of verbatim replication. Among his more inspired renditions: "glow-eyed Goddess Athene," "Dawn with rose-fingered daylight," "stunningly crowned Aphrodite." McCrorie even succeeds in echoing the rhythm of Homer's line endings at the same place in his English verses. Martin (classics, Stanford) contributes a useful introduction and 50 pages of endnotes. A minor blemish is the profusion of taglines: for instance, "Drunk on Wine," "The Name of No-One," "Grisly Burps," "The Blinding," on one page in the Kuklops episode. 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. ^BSumming Up: Highly recommended. All collections; all levels. J. P. Holoka Eastern Michigan University
Choice
Copyright American Library Association, used with permission.
Translator of an acclaimed Iliad (CH, Mar'09, 46-3686), Jordan (independent scholar) enters the Homeric fray again, earnestly attempting to render the story of the many-faceted "inventive one"--of twisting and turning, cunning intelligence, to cite opening epithets he unfortunately glosses over. Readability is the goal here, but transforming the 12,110 lines of Greek dactylic hexameter into line-by-line English iambic pentameter leads to tedium, given the necessary elimination of many key textual epithets and patronyms. To do so is a translator's privilege, but it is a process some will question. Jordan's handling of the great Greek hero's emotional moments is revealing yet shortsighted. For instance, compare Jordan and Robert Fagles (The Odyssey, 1996) on Odysseus's weeping. Listening to the rhapsode's account of his quarrel with Achilles, Odysseus, Jordan writes, covered "his head to hide his face"--Fagles has the more expressive "handsome face." After the minstrel's description of the Trojan Horse, Odysseus "let go restraint and tears bedewed his cheeks" (literally, tears ran down his eyelids onto his cheeks)--Fagles has "melted into tears." In the arms of Penelope finally, Odysseus is urged to weep "and weep he did"--Fagles: "tears welled up inside his breast.") The robust introduction by E. Christian Kopff redeems the volume. Summing Up: Optional. Large collections. R. Cormier emeritus, Longwood University