Review: "The Firebrand" by Marion Zimmer Bradley

I finished reading Marion Zimmer Bradley's The Firebrand early this morning, and found it to be an excellent book, and one that I look forward to rereading again at some point in time.  This novel, at just over 600 pages, tells the story of the Trojan War from the perspective of Kassandra the Prophetess, one of the daughters of Priam and Hecuba, the king and queen of Troy.  Zimmer Bradley does a terrific job of incorporating the commonly accepted mythological elements of all of the major characters in the novel, including several of the gods and goddesses, e.g., Apollo, Zeus, Athena, Aphrodite, Hera, Poseidon, and even the great Earth Mother herself.  I have to say that I was quite intrigued with Zimmer Bradley's character development of the great Achaean warrior, Akilles, and the portrayal of his rage, which is the subject of Homer's epic poem, The Iliad.  Zimmer Bradley may be closer to the truth of the matter with Akilles than that generally thought, but I'll leave the reader to form their own opinions.

While the novel is clearly intended to be read for its fantasy entertainment value, there is also the intriguing thread of cultural anthropology woven throughout that causes the reader to at least consider the differences between the matriarchal societies of some earlier Paleolithic and Neolithic cultures and the inexorable establishment of the more widespread patriarchal system in the Bronze and Iron Ages.  For example, she explores this in a social context through the roles of Priam, Hecuba, and even the Amazon leader, Penthesilea; as well as through the role that religion and religious beliefs played with the Trojans, Achaeans, and other tribes and peoples encountered in the novel.  It might be easy to just attribute this to Zimmer Bradley's brand of literary feminism, but I personally choose to think that she is really trying to remind us of the Myth of the Goddess, and that the balance of female and male in our own psyche is important even now.  Zimmer Bradley's portrayal of Kassandra in telling this story is compelling and thought-provoking.  Frankly, I enjoyed this novel even more than her wildly popular The Mists of Avalon.  This was a well-written story and a real page-turner from start-to-finish.  I have given this novel 4/5 stars.

***

The Firebrand
By Marion Zimmer Bradley
Hardcover
Simon & Schuster, 1987, 608 pages.
ISBN--0671641778
[This book is from my personal collection]

Review: "The Iliad" by Homer, Translated by Stephen Mitchell

Maybe Stephen Mitchell answers the question of "Why we should read the Iliad?" best in the 'Introduction' to his new translation of this epic poem--

We return to the Iliad because it is one of the monuments of our own magnificence.  Its poetry lifts even the most devastating human events into the realm of the beautiful, and it shows us how vast and serene the mind can be even when it contemplates the horrors of war.

Frankly, I'm not sure that I've ever before encountered such an eloquent or concise description of the relevance and true value of this great literary work to Humankind.

Some might say, "Do we really need another translation of the Iliad?"  I think the pertinent response to the question should be, "If the new translation advances our appreciation for Homer and deepens our understanding of the story he was attempting to tell and its impact on our lives today--then bring it on!"  This is, in my opinion, precisely what Stephen Mitchell has done with his new translation of The Iliad.

Mitchell's translation is based upon a re-working of the original Greek text by the scholar, Martin L. West.  West identified sections in the text that he classified as "probable interpolations by other rhapsodes" that were spliced into the poem over the decades and centuries after it was written down.  A "rhapsode" is the term for the classical Greek professional performer of epic poetry, i.e., kind of like a bard of the middle ages, and they were apparently common in the fifth and fourth centuries B.C.E., and perhaps even earlier.  West and other scholars believe that what happened was that as the poem was recounted, time and time again, modifications and adaptations were made, and that some of these were ultimately transcribed and included in the Greek text that has been handed down over the ages.  That this likely occurred is not particularly surprising to me, given that the Homeric tradition really was an oral tradition.  Stories told over time and by different story-tellers are quite likely to end up being somewhat different.

So, based upon West's work, Mitchell decided to omit these interpolated sections from his translation.  This has resulted in a translation that excludes something like 1,200-1,300 lines from a poem of approximately 16,000 lines, or just under ten-percent! The most noticeable deletion is Book 10 ("The Doloneia") which recounts the night-time raid by Odysseus and Diomedes into the Trojan camp.  The great majority of scholars confidently acknowledge that Book 10 was a later addition to the poem.  About his translation, Mitchell says--

I am under no illusion that I have translated the original text of the Iliad, as written or dictated by the anonymous poet called Homer--just the most intelligent attempt we have at getting back to an original, and a text that I could use as the basis for the most intense possible poetic experience in English.

Personally, I think Mitchell has succeeded in creating a beautifully spare, but powerfully compelling poem that seems to sing to the reader as though it had been originally composed in English.

Mitchell has generally utilized an iambic five-beat line as his meter.  In contrast with the earlier translations of Lattimore (six-beat), or Fagles (six- or seven-beat lines), Mitchell's poetry seems rhythmically cleaner and more lyrical.  In many respects, I think that what Mitchell has achieved is somewhat akin to the translation of Stanley Lombardo that endeavors to restore the Iliad to its proper place in the oral tradition.  In other words, Mitchell's translation, like Lombardo's, begs to be read aloud.  I am not saying that Mitchell's translation is better than those of Fagles, Lattimore, or Fitzgerald.  No, I am simply saying that it is noticeably different, and that I believe that this will aesthetically appeal to some readers.  Toward this end, I am going to provide an example by comparing a passage from the translation by Robert Fagles (1990), and then the same passage from Mitchell's translation, and you can be the judge of which you prefer.  The section I have selected is from the latter portion of Book 24, the last book of the Iliad, and describes the return to Troy of Priam as he accompanies the body of his slain son, Hector.  First, the Fagles' translation--

"Once they reached the ford where the river runs clear,
the strong, whirling Xanthus sprung of immortal Zeus,
Hermes went his way to the steep heights of Olympus
as Dawn flung out her golden robe across the earth,
and the two men, weeping, groaning, drove the team
toward Troy and the mules brought on the body.
No one saw them at first, neither man nor woman,
none before Cassandra, golden as goddess Aphrodite.
She had climbed to Pergamus heights and from that point
she saw her beloved father swaying tall in the chariot,
flanked by the herald, whose cry could rouse the city.
And Cassandra saw him too...
drawn by the mules and stretched out on his bier.
She screamed and her scream rang out through all Troy:
"Come, look down, you men of Troy, you Trojan women!
Behold Hector now--if you ever once rejoiced
to see him striding home, home alive from battle!
He was the greatest joy of Troy and all our people!"

(Fagles, Book 24, Lines 813-830)

And now the same passage from Mitchell's translation--

"And when they came to the ford of the swirling Xanthus,
Hermes left them and went to Olympus, as dawn
was spreading its saffron glow over all the earth.
With groaning and lamentation they drove the horses
on toward Troy, and the mule cart carried the body.
No one saw them at first, neither man nor woman.
But Cassandra, who was as lovely as Aphrodite,
from the top of Pergamus caught sight of her father
coming to Troy in the chariot...then the herald...
and then she saw him, on a pallet inside the mule cart.
She let out a scream and shouted to the whole city,
'Come and see Hector, you men and women of Troy,
if you ever were glad to see him return from the war,
so great a joy he was to our city and people.'"

(Mitchell, Book 24, Lines 686-699)

Personally, I think Mitchell's crafting of those lines is the more poetic--at any rate, it is poetry that has been structurally organized that very much appeals to me on an emotional and intellectual level.  For example, Fagles describes the coming dawn of the morning with--

Dawn flung out her golden robe across the earth

which, while a wonderful metaphor, is perhaps a bit formal and somewhat abstract.  In contrast, Mitchell keeps it simple and natural with--

as dawn was spreading its saffron glow over all the earth.

Now that is a sunrise that I can see in my mind's eye--the 'saffron-colored' low angled light of the rising sun.  This makes me think of beautiful sunrises that I've actually seen, and then I realize that this beautiful early morning light is actually illuminating and coloring a scene of profound sadness and grief--a father bringing his dead son home.  That is the power of great poetry, in my humble opinion.

In conclusion, this was a powerful and very impressive interpretation, and one that I look forward to carefully reading again and doing more side-by-side comparisons with the other translations that I own and cherish.  For me, I guess what it comes down to is that I'm not sure that there is any such thing as a bad translation of The Iliad, it is just that some are better than others.  Stephen Mitchell's translation is one of the better ones. It gets a solid five stars from me, and I highly recommend reading it.

By the bye, I am going to attend a reading and book-signing featuring Stephen Mitchell being held at Vroman's Bookstore in Pasadena, California on November 5th.  I'm very excited to hear more about his experiences with The Iliad over the past few years.  I may even have to buy another copy just to have one signed just for me! ;-)

Bonus Feature

If you're looking for some interesting and well-written fiction to follow your reading of Homer's The Iliad, I might suggest the following--

Helen of Troy by Margaret George (Viking, 2006) tells the story of the Trojan War from the perspective of Helen of Sparta who leaves her husband, Menelaus, and runs off with Paris to Troy.  George does a wonderful job of placing her reader in the Bronze Age of the Greeks and Trojans, and an even better job of creating and exploring the personalities of the various characters involved in the war. An easy and fun read.

Perhaps an even better written and more interesting novel is Firebrand by Marion Zimmer Bradley (Simon and Schuster, 1987).  This is a decidedly intriguing and feminist perspective of the Trojan Prophetess, Kassandra (Cassandra).  Kassandra has always fascinated me, with her story in Greek mythology, and later treatment by the great dramatists, Aeschylus and Euripides.  Bradley expertly continues telling her story masterfully in Firebrand.

***

Review: "The War That Killed Achilles" by Caroline Alexander

Caroline Alexander says in her Preface to The War That Killed Achilles that "this book is about what the Iliad is about; this book is about what the Iliad says of war."

I loved this book!  It is extraordinarily well-written, and to the point at 225 pages in length (plus another nearly 50 pages of end-notes).  While scholarly, it reads very well.  Alexander takes us through the Trojan War's cast of characters in chapters that cover topics like "Chain of Command", the "Terms of Engagement", "In God We Trust", "Man Down", "No Hostages", "The Death of Hektor", and the last chapter "Everlasting Glory".  Alexander's book hones in on the seven or eight months that are covered in Homer's Iliad, and while it speaks to the historical context of Troy, Mycenaean Greece, and the Trojan War itself, I think the real message of her book is the psychology of the War and the psychology of the humans involved in it.

It is perhaps easy to come to the conclusion that the Iliad is really the story of the "rage" of Achilles.  I don't know if it is that simple though, and I don't think Alexander does either.  She spends a lot of the book discussing why Achilles is 'angry' with Agamemnon, and it is much more complicated than Agamemnon having forcibly taken Achilles' concubine, Briseis, from him.  She postulates that Achilles had reached the conclusion that Agamemnon is an inept and incompetent military commander, and that this war between the Trojans and Achaeans was unjust, and that he--Achilles--really 'doesn't have an axe to grind' in this fight.  All of this was very thought-provoking for me, and caused me to carefully reread the Iliad and rethink my feelings about Achilles' actions (or, inaction, as the case may be).

Alexander makes a strong case too, that both sides in this nasty little war were just plain worn out.  The Greeks and the Trojans had been fighting for nearly ten years, with little in the way of tangible results other than seeing hundreds of their comrades killed or maimed.  That can't be good for your overall mental health.  The psychological toll of losing friends in combat must have been huge, and anger and guilt (i.e., 'survivor's guilt'), and post-traumatic stress disorder must have, by this time, affected all of the combatants.  When Achilles' best-loved friend, Patroclus, is killed by Hektor, one can begin to understand how Achilles could have simply 'snapped' and just gone berserk with 'rage'.  Particularly as one knows from Homer that Achilles, in essence, facilitated Patroclus' death at the hands of Hektor (i.e., Achilles let Patroclus borrow his armor and lead the Myrmidons into combat against the Trojans).  Combat is violent, combat is horrific--whether it is in the Bronze Age on the Plain of Troy, or in 2011 in the Korangal River Valley in Afghanistan--and the human cost is always incalculably high.

Finally, Alexander finishes her book with a discussion about Achilles coming to terms with his own role in the Trojan War, and his acceptance of his own destiny and what Fate ultimately had in store for him, and the choices involved.  Could Achilles have really packed up his 2,500 Myrmidon warriors and sailed back home in his 50 'black-hulled' ships to a peaceful and quiet obscurity?  Could he have left without avenging the death of his beloved friend, Patroclus?  Alexander is compelling as she lays out the case that Achilles was able to, as Homer alludes to in the poem, sort through the pros and cons of what faced him, and was able to 'make peace' with himself.  Alexander, I think, believes that it was through Achilles reaching a resolution to these issues that freed him to fully embrace the warrior ethos of his time and meet his destiny and fate with honor and integrity--on the battlefield, or late at night in the parley with the Trojan king, Priam.  Maybe the great Lycian warrior, Sarpedon, a Trojan ally said it best in describing the warrior's code when he tells his friend, Glaukos--

"Man, supposing you and I, escaping this battle,
would be able to live on forever, ageless, immortal,
so neither would I myself go on fighting in the foremost
nor would I urge you into fighting where men win glory.
But now, seeing that the spirits of death stand close about us
in their thousands, no man can turn aside nor escape them,
let us go on and win glory for ourselves, or yield it to others."

That's powerful stuff, and this is a very powerful book that Caroline Alexander has written.  She's right too.  This book is about "...what the Iliad is about; this book is about what the Iliad says of war."  The War That Killed Achilles is a wonderful complement to a reading of Homer's The Iliad, and gets a solid 4/5 stars from me.

The War That Killed Achilles
By Caroline Alexander
Viking, 296 pp., 2009.

 ***

"The Iliad" Redux--Which Translation?

I know, I know, you're probably getting mighty tired of my postings on The Iliad by now.  I'm almost done, I promise.  I only have one major translation left to read, and I'm not getting to it until early next week while I'm on a three-day business trip to Santa Fe, New Mexico.  Having said that though, I thought I'd spend some time putting together a posting that compares and contrasts the translations that I have read, and also provide some suggestions for some pleasurable side reading.  This information may prove useful to readers who want to tackle Homer's epic poem, and are wondering which translation to read.  It may also be interesting to those who've read The Iliad and are considering reading a different translation at some point in time.  I am going to list the translations that I've read organized by date of translation and/or publication.

Richmond Lattimore (1951)--

This is, of the modern translations, probably the most classical, formal, and elegant rendition.  Lattimore uses what he calls a "free six-beat line" in his verse translation of Homer's dactylic hexameter verse of the original Greek.  Based upon all that I've read about these translations, Lattimore was ruthlessly faithful to the Greek spellings of places and names, and utilization of the formal epithets (e.g., "grey-eyed" for Athena, or "father of gods" for Zeus, etc.) when describing the cast-of-characters.  It is colorful and incredibly descriptive stuff to read.  If you love Homer, and specifically The Iliad, Lattimore's poetic interpretation is one that you should eventually read.  It is the 'Elder Big Brother' of modern 20th century Iliads.

Robert Fitzgerald (1974)--

Fitzgerald's translation reads easier, in my opinion, than Lattimore's.  This is a qualitative statement on my part, and is probably more a function of the kind of reader that I am these days.  Fitzgerald also doesn't include all of the repetition that the original Greek text has, as this is really a relict of The Iliad's oral tradition.  Fitzgerald chose blank verse as the meter for his translation, and it really does seem to correspond better to the dactylic hexameter of the Greek than using English hexameter or rhymed verse.  While Fitzgerald's blank verse reads very, very well, it still manages to sound traditional and is not flamboyant at all--it is simply good poetry.  I have to say that 'at the end of the day' I really enjoyed the Fitzgerald translation.


Robert Fagles (1990)--

The translation of The Iliad by Robert Fagles was the first one that I read cover-to-cover, and it really was a life-altering experience, and the beginning of my love-affair with Homer and all-things 'Iliadic'.  Fagles believed in the performance-driven aspects of The Iliad, and he did his very best to emphasize this element with his translation.  Fagles did a terrific job at translating the Greek into his lines of verse that maintain a lyrical and rhythmic five or six beats per line while maintaining a very sensible and readable text.  As I read his translation I found myself completely caught up in the beauty of the mythology, and fully able to experience the pathos, drama, and tragedy of this great story.  I have to say that by the time I was finished with this translation, my overall reading experience was something approaching the sublime.  I guess I'll probably always be partial to Fagles' translation as 'it was my first'.  Finally, I should note that the Introduction to the Fagles translation was written by Bernard Knox and is simply magnificent in its own right and a 'must-read' for any reader of Homer and The Iliad.

Stanley Lombardo (1997)--

Lombardo's translation was fun to read!  Apparently, Lombardo is very interested in restoring the oral tradition associated with people experiencing Homer and The Iliad and The Odyssey.  His translations very much lend themselves to being read aloud and hearing (and even feeling) the lyricism and rhythms of the words and verse.  In fact, it is my understanding that Lombardo does performances of various books of The Iliad on the stage for audiences (would I ever love to attend one of these!).  Frankly, Lombardo's translation begs to be read aloud and shared with others.  Trust me, it works in a similar fashion for the reader reading it alone too--it is a performance on every page!

I also really liked how Lombardo inset and italicized the similes in the poem (and there's gobs of 'em).  It makes it so much easier for the reader to relate each simile to section of the poem it applies to.  It was really quite clever (and makes it ever so much easier when reading aloud).  Lombardo is a firm believer that The Iliad is a living poem (after all, it has been translated into English approximately 150 times since the 17th century!), and that "living poetry means living speech".  I completely agree.  For new readers, or readers who might be unsure of whether they'd like The Iliad, this might be a great translation to start with.  If you're an Iliad junkie, like me, you ought to read it too.  Lombardo's translation is powerful and relevant.

Stephen Mitchell (2011)--

Stay tuned!  I do plan to provide a review of Mitchell's new translation (October 2011) some time in the next couple of weeks.  I have it sitting on the TBR shelf right now, and I plan on starting it early next week while on my business trip.  Apparently, Mitchell has utilized a relatively recent reworking of the Greek text by the scholar, Martin West.  If you're interested in this new translation by Stephen Mitchell, you can read about it in an earlier posting of mine here.  I'm pretty excited to read this and compare and contrast it with the other versions I've read.  It should be really interesting.

Bonus Material--

If you read The Iliad, any of the translations referenced above, or others, I also strongly recommend that you consider picking up the following books.  I think they'll add significantly to your overall experience with Homer and his epic poem.

The Odyssey--Obviously, if you've read The Iliad, you probably ought to go ahead and read The Odyssey.  All of the translators referenced above have translations of The Odyssey, with exception of Stephen Mitchell, and he's working on his rendition even as I write.

Ransom--This little book by Australian writer, David Malouf, is seriously one of the most gorgeous works of fiction I've ever encountered.  It focuses and expands upon events occurring in the last three or four books of The Iliad.  It is hauntingly beautiful and powerful prose that borders on poetic for much of the time.  If you're interested in Malouf's novel, you can check out my review here.

War Music, All Day Permanent Red, and Cold Calls--These little books of poetry by British poet, Christopher Logue, are his retelling of significant portions of The Iliad and are not to be missed.  Once you've read The Iliad, dip into War Music and prepare to be 'gobsmacked' up side the head!  If you're interested in Logue's poetry, have a look at my posting here.

The War That Killed Achilles--This non-fiction book by Caroline Alexander (2009) is superb, and places Homer's epic poem in historical context.  It is just over 200 pages, and is extremely well written.  I am so glad that I read this as it really shed a lot of light on the events associated with the Trojan War, as well as the psychology of the major players.

A Brief Iliadic Glossary--

Some interesting words and definitions that I've encountered during my reads:

androktasia = combat death description (these abound within The Iliad)

aristeia = display of martial prowess (e.g., Book 5 is the aristeia of Diomedes)

eris = refers to 'strife between heroes' (mortal or immortal)

teichoskopia = viewing from the walls (refers to Helen and Priam up on the walls of Troy looking down on the Greek commanders)

***

Review: "Ransom" By David Malouf

This is without a doubt one of the best books I've read in a while.  It was so damned good that I turned around and read it again as soon as I had finished reading it the first time.  It doesn't take long to read, at just over 200 pages, but it packs a big wallop.  Ransom, published in 2009, is Australian poet and author David Malouf's most recent offering after nearly ten years; and I have to say that it was well worth the wait.

Malouf's novel takes as its inspiration a series of events that occur near the end of Homer's The Iliad (my review of the Fagles translation of The Iliad can be found here), including the following:  the death of Achilles' friend Patroclus (Book 16), Achilles' killing of Hector (Book 22), the funeral of Patroclus (Book 23), and Priam's late-night visit to Achilles to beg for the return of his son's body (Book 24).  With little more than passing references in his novel, Malouf wisely leaves it to Homer to tell the story of the first three events, and instead focuses most of his book on the last--that of the Trojan King, Priam, and his efforts to claim his son's body from Achilles.  Homer's description of Priam's meeting with Achilles is, in my opinion, the most emotionally charged and powerful scene in the whole poem.  In his novel, Malouf, the poet/author, lyrically and tenderly delves into the psychology of the grieving warrior over the loss of his friend, and the grieving father and his efforts to retrieve the body of his slain son.  While this is surely one of the saddest stories I have read of late, at the same time the reader cannot help but be buoyed up by Malouf's beautiful portrayal of the innate sense of decency, goodness, and the inherent need for redemption that resides in each of us--even in the face of great adversity and tragedy.

My impression of the Trojan War comes from reading The Iliad, and largely seems to be nothing more than a game board set up on a table and surrounded by the pantheon of gods and goddesses who reached down and pushed playing pieces about; with one side gaining a brief advantage, and then the other.  The upshot was that for ten long years the war between the Achaeans and Trojans reeled back and forth across the Scamander Plain outside of the walls of Troy, and resulted in the bloody slaughter of hundreds, if not thousands, of Greeks and Trojans alike.  Reading The Iliad left me with the overwhelming feeling that it all seemed preordained, and that the story just had to play out as foretold.  What Malouf does so brilliantly in Ransom is to 'liberate' a portion of this epic tragic tale from the control of the gods and Fate, and gives the power of 'free choice' and decision-making to two of the primary protagonists--Priam and Achilles.

For ten days in a row, following the death of Hector in single-combat with Achilles, Priam and the Trojans have watched Achilles drag Hector's body behind his chariot around the funeral mound of his slain friend, Patroclus.  Finally, Priam can take it no longer, he must do something.  Late one night he has a vision of something "new" occurring.  He sees that he must go to Achilles, not as King of Troy, but as the father of a dead son, and appeal to him man-to-man for the body of his son.  He will ride to the Achaean camp without all of the trappings of his authority on an old and unadorned cart pulled by two mules with an old grey-haired Trojan country rustic as the cart-driver.

A goodly portion of this little novel is the story of the carter, Somax, and Priam and their journey out of the city and through the countryside to the Achaean camp.  The two old men begin to get to know one another, and slowly but surely develop a tremendous amount of empathy for one another.  After a few hours of slow plodding in the wagon, Somax stops at the bank of the river they have to ford and has the King wade out into the river just to feel the coolness of the water.  He feeds the King some of his daughter-in-law's simply-made buttermilk griddle cakes.  He tells the King about the loss of each of his children, and that all he has left is his daughter-in-law, his little four-year-old granddaughter, and his two mules ('Beauty' and 'Shock').  What Malouf has masterfully done in this part of the novel is to help the King reestablish his connection with his own humanity and the land around him.  It is precisely the preparation that he needs in order to be successful in his upcoming supplication to Achilles.

I don't want to say too much more about the meeting between Priam and Achilles, as it really is the climax of the novel, but suffice it to say that it is an emotionally riveting experience.  With tears in my eyes, I found myself almost holding my breath as the two men quietly talk in a dark corner of Achilles' tent in the middle of the night.  It is heart-wrenching stuff.  I do want to share just a bit of Malouf's beautiful writing of this intimate meeting too, especially these few words from Priam--

"'Achilles,' he says, his voice steady now, 'you know, as I do, what we men are.  We are mortals, not gods.  We die.  Death is in our nature.  Without that fee paid in advance, the world does not come to us.  That is the hard bargain life makes with us--with all of us, every one--and the condition we share.  And for that reason, if for no other, we should have pity for one another's losses.  For the sorrows that must come sooner or later to each one of us, in a world we enter only on mortal terms."

Upon reading this I suddenly realized that Malouf wants us to realize, just as Priam and Achilles have, that being Human, and therefore mortal, is better than being one of the Immortals.  Humans, with all of our warts and short-comings, have reasons to live and love, reasons to do the right things, and reasons to make our brief lives mean something that might be remembered through the ages, or even just for a few moments.  Homer, through The Iliad, makes us remember Achilles and King Priam, and Malouf's novel helps us better understand why we should.

I suppose that there is always the danger of trying to retell even a portion of a story that is so well-known as The Iliad.  I submit that Malouf has not run that risk here at all, and has not over-reached one-jot in telling this powerful story.  This compact novel, with its Homericly noble prose, is rich with pathos, emotion, empathy, compassion and humanity.  It is not the story of the gods and goddesses; no, it is the story of humans and human failings and feelings.  Most of all I think it is the story of the triumph of the human spirit even in the depths of despair and tragedy.  Priam takes a chance to retrieve his son and finds his humanity.  Achilles takes a chance by giving up his rage and finds his inner peace and redemption.  Nearly three-thousand years later we still weep for and admire both of these men for what they suffered and went through.  Malouf's superbly well-written Ransom poignantly and touchingly reinforces those feelings we harbor in our hearts, but may not have fully understood why.

I highly recommend this novel, and unhesitatingly award it five of five stars.  If you do read this novel at some point, and I sincerely hope you will, please consider going back and reviewing the books of The Iliad that I referenced in the opening paragraph.  When you finish reading David Malouf's Ransom, please drop me a note and let me know what you thought.

***

Review: "The Iliad" By Homer (Translated by Robert Fagles)

"Homer makes us Hearers, and Virgil leaves us Readers."  So wrote Alexander Pope, in 1715, in the preface to his translation of The Iliad.

I have just completed reading a magnificent translation of Homer's The Iliad, and couldn't have enjoyed the experience more.  I had read bits and pieces of The Iliad over the course of my life, but I had never read the entire poem from start to finish.  I recently purchased the Penguin Classics Deluxe Edition of a translation by Robert Fagles that was completed in 1990.  While I am not qualified to compare or judge the work of one translator versus that of another, I can say that I truly enjoyed Fagles' lyrical translation that largely maintains the hexameter verse structure (i.e., six beats per line) of the original Greek texts.  For a six-hundred page poem, it was eminently readable, and a darn good story too!

Simply put, The Iliad is the story of the last year of the ten-year long Trojan War, long thought to have been fought between the Achaean (Greek) forces and the Trojans in the 12th or 11th century BCE.  The Iliad is thought to be about 2,700 years old and is, in essence, a transcript of an epic poem in hexameter verse that was originally shared via an oral or bardic tradition.  As I was reading the poem, I couldn't help but stop and imagine a traveling story-teller stopping in a small village, and standing in the village square next to a bonfire at night and recounting this tale to a rapt and wide-eyed audience.

In some respects, The Iliad could have been easily titled "The Rage of Achilles" (and indeed, that is the title of Book One).  The poem opens with Achilles, and it essentially concludes with Achilles.  In between is recounted the tales of the battles of egos among the primary characters and among most, if not all, of the gods on Mount Olympus.  For example, the Greek leader, Agamemnon, and the Greek's greatest warrior, Achilles clearly don't like one another; and this initially leads to significant problems for the Greeks as they battle Hector and his Trojan battalions.  Similarly, on the Trojan side, Hector doesn't think much of his younger brother, the "magnificent" Paris (a simpering dilettante).  Unfortunately, for the Greeks, because of his ongoing 'tiff' with Agamemnon, Achilles sits on the beach drinking wine and sulking for much of the poem, and doesn't enter the fray until his best friend, Patroclus, is killed in combat with Hector.  Once Achilles commits to the fight though, he becomes the true definition of a 'berserker,' and is clearly the indomitable and heroic warrior; although I have to say that Diomedes and Great Ajax are pretty darned impressive fighters too!

I very much enjoyed how the poem wove in the politics and actions of the gods and goddesses as they continually intervened and influenced the human protagonists during the course of the tale.  Some of the gods side with the Achaeans (e.g., Hera, Athena, Poseidon, Thetis, etc.), and others with the Trojans (e.g., Ares, Apollo, Aphrodite, etc.), with Zeus paternally watching over them all.  The poem also makes quite the point of describing the hubris, selfishness, deceit, and the treachery behavior exhibited by both mortals and immortals alike.  While the poem assigns the blame for the Trojan War on Paris' abduction of Menelaus' wife, Helen (i.e., "the face that launched a thousand ships"), I happen to think the poem also implies that the war was fought because of prideful stubbornness on both sides.  Also, from a historical perspective, I have to wonder if the Trojan War really wasn't the result of a Greek desire to expand its hegemony for simple economic reasons--i.e., to control the trade routes through the Aegean Sea.  Anyway, it doesn't matter, it was simply grand to read the poem and to be completely swept up in the drama and passion of it all.

I must caution readers that The Iliad contains some of the most savage, intense, and vivid combat imagery that I have ever encountered in literature.  This ain't your typical 'So-and-so slew So-and-so' nondescript poetic characterization.  Oh no, this is gory, explicit, and very descriptive writing that tells precisely where the great bronze spearhead struck some poor fellow, and then what it did to his body, face, or internal organs.  After one reads The Iliad, one realizes that hand-to-hand combat and butchery with spears, swords, bows and arrows, chariots, and rocks and clubs is a very personal business, messy and very, very dangerous.

I suppose that one's experience with reading The Iliad is influenced by the particular translation that you pick up, and there are a great number of them out there.  I chose the translation by Robert Fagles, largely based upon reading reviews and my own experience reading his translation of Aeschylus' The Oresteia.  Fagles' translation of The Iliad, for me was just magical and the poem seemed alive with richness in a contemporary framework that I could readily understand.  As I mentioned above, his translation is quite lyrical and loosely maintains a meter of five- and six-beats per line throughout.  Read it aloud, it just rolls off of the tongue, and becomes simply enchanting.

I wanted to provide a couple of examples of the poetic flavor of The Iliad for you to experience.  The first example is from Book 4: "The Truce Erupts In War" and is a description of the Greek Army advancing across the Scamander Plain to meet the Trojan Army in combat--

"As a heavy surf assaults some roaring coast,
piling breaker on breaker whipped by the West Wind,
and out on the open sea a crest first rears its head
and then pounds down on the shore with hoarse, rumbling thunder
and in come more shouldering crests, arching up and breaking
against some rocky spit, exploding salt foam to the skies--
so wave on wave they came, Achaean battalions ceaseless,
surging on to war." (Book 4: Lines 489-496)

One can almost imagine the soldiers, shoulder to shoulder, spears pointed forward, rank upon rank, advancing across the dusty plain, screaming and bellowing at the top of their lungs as they move toward their Trojan foes.  What a terrifying sight it must have been!

The next sample I want to provide is from the last book of The Iliad, and recounts the late-night meeting between Achilles and the Trojan King, Priam.  I don't want to spoil the poem for any first-time readers, but suffice it to say that Priam is there for a very important reason; and after nearly ten years of war, the two adversaries sit together talking in Achilles' tent late at night.  It is truly a tender, touching, and most poignant scene; especially this almost pensive reflection on the human cost of the war that Achilles shares with King Priam--

"Come, please, sit down on this chair here...
Let us put our griefs to rest in our own hearts,
rake them up no more, raw as we are with mourning.
What good's to be won from tears that chill the spirit?
So the immortals spun our lives that we, we wretched men
live on to bear such torments--the gods live free of sorrows.
There are two great jars that stand on the floor of Zeus's halls
and hold his gifts, our miseries in one, the other blessings.
When Zeus who loves the lightning mixes gifts for a man,
now he meets with misfortune, now good times in turn.
When Zeus dispenses gifts from the jar of sorrows only,
he makes a man an outcast--brutal, ravenous hunger
drives him down the face of the shining earth,
stalking far and wide, cursed by gods and men."
(Book 24: Lines 609-622)

So, so sad; and somehow one suddenly realizes that Achilles has become a very, very wise young man.

Almost 3,000 years ago, the Human Race was given a gift--a great gift from a largely unknown itinerant poet--The Iliad.  It is a treasure for all humanity.  Read it, think about it, learn from it, and most of all pass it on--tell this great story to all who will listen.  It is their story too.

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Book Beginnings on Friday

Book Beginnings on Friday is a meme hosted by Becky at Page Turners. Anyone can participate; just share the opening sentence of your current read, making sure that you include the title and author so others know what you're reading. If you like, share with everyone why you do, or do not, like the sentence.

This week's book beginning sentence comes from The Iliad by Homer (translated by Robert Fagles)--

"Rage--Goddess, sing the rage of Peleus' son Achilles, murderous, doomed, that cost the Achaeans countless losses, hurling down to the House of Death so many sturdy souls, great fighters' souls, but made their bodies carrion, feasts for the dogs and birds, and the will of Zeus was moving toward its end." (Book One: Lines 1-6)

This is an awesome translation!  I have come to profoundly admire Robert Fagles's skill at translating the Greek classics and giving them life and lyricism for new generations.  I am also participating in a group-read of Fagles' translation of The Oresteia by Aeschylus in one of my book groups on Goodreads (see my earlier review of The Oresteia here).  My version of The Iliad is the Penguin Classics Deluxe Edition, 1998, 683 pp.  I also highly recommend Fagles' translation of The Odyssey.

I wish you all a wonderful weekend, and Happy Reading!