The Odyssey, with eBook

The Odyssey, with eBook

by Homer, Simon Prebble
     
 

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Ulysses's reliance on his wit and wiliness for survival in his encounters with divine and natural forces during his ten-year voyage home to Ithaca after the Trojan War is at once a timeless human story and an individual test of moral endurance.

Homer is a legendary ancient Greek poet, traditionally said to be the author of the epic poems the Iliad and the Odyssey

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Overview

Ulysses's reliance on his wit and wiliness for survival in his encounters with divine and natural forces during his ten-year voyage home to Ithaca after the Trojan War is at once a timeless human story and an individual test of moral endurance.

Homer is a legendary ancient Greek poet, traditionally said to be the author of the epic poems the Iliad and the Odyssey. The ancient Greeks generally believed that Homer was a historical individual, but modern scholars are skeptical: no reliable biographical information has been handed down from classical antiquity, and the poems themselves manifestly represent the culmination of many centuries of oral storytelling and a well-developed "formulaic" system of poetic composition. It has been suggested that "Homer" is "not the name of a historical poet, but a fictitious or constructed name." British-born Simon Prebble has built a successful career that spans the Atlantic. As a stage and television actor, he has played in everything from soaps to Shakespeare, but it is as a veteran narrator of over four hundred audiobooks that he has made his mark since coming to the United States in 1990. As one of AudioFile magazine's Golden Voices, Simon has received over twenty Earphones Awards and five Publishers Weekly Listen-Up Awards, and he has been a finalist fourteen times for an Audie Award, the audiobook industry's version of the Oscar. In 2006, Publishers Weekly named him Narrator of the Year, and he was named Booklist's 2010 Voice of Choice.

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Editorial Reviews

Washington Post
Susan Sarandon reads an introduction by Tom Palaima as well as synopses of each book, all of which are included in a useful little booklet. Lombardo, a veteran of many performances of his translation, delivers the poem himself in a well-modulated, walnutty voice that occasionally roars out dramatically to handle the more exuberant, even bumptious, passages.
—Katherine A. Powers
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.
Children's Literature - Marilyn Courtot
Charles Dodgson wrote this story at the request of Alice Liddell, and for close to 150 years, it has been a favorite of young readers. Lisbeth Zwerger brings her award-winning artistic skill to the story and offers a very different look for a new generation. Her palette is brighter, the art has more of a layered look than in her previous works, and she offers more frontal views. The whimsy is there and the White Rabbit, Queen, Cheshire Cat and others will be quickly recognized. The illustrations range from full pages to spot art liberally sprinkled throughout the twelve chapters. The story can be read on one level as a magical adventure in which Alice faces a host of very strange things and variety of bizarre characters. It fills a child's need for fantasy and escape. The actual social commentary and satire will elude most contemporary readers, but it in no way diminishes the joy of reading this classic story.
From the Publisher

"A lively, brief retelling with colorful, action-filled pictures."--Los Angeles Times Book Review

"This serious retelling of the Odyssey, illustrated with lush watercolors and line drawings, is a modern prose version of Homer's epic tale about Odysseus's return from Troy. A good introduction to Homer and an exciting story."--Reviews from Parent Council

"A real winner."--Children's Bookwatch

"McCaughrean's fine retelling of Odysseus' wanderings is a heroic tale in the truest sense of the It captures all the drama and bloodcurdling action of the original work while making the story accessible to young people in language that is still vigorous and expressive.... Illustrations by Victor Ambrus complement McCaughrean's style perfectly, their bold colors and lively portrayals displaying all the energy of the text."--Booklist

Stephen Coonts

"Homer's ancient song, The Odyssey, is a treasure waiting to be discovered by every generation. Eickhoff's fresh, bold, contemporary translation rival's Fitzgerald's. I highly recommend it."
Bloomsbury Review

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

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.

Bryn Mawr Classical 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

Classical Bulletin

Bold new translation.

— Emily Anhalt

Anglo-Hellenic Review

McCrorie has produced an epic with its own rhythms, idioms and developing pleasures.

The El Paso Times

"Why didn't something like this come sooner. Maintains the dignity of Homer's work while folding comfortably and well into today's vernacular. allows reders to read this masterpiece as comfortably as a modern novel."

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Product Details

ISBN-13:
9781400162185
Publisher:
Tantor Media, Inc.
Publication date:
05/01/2009
Edition description:
MP3 - Unabridged CD
Product dimensions:
5.30(w) x 7.50(h) x 0.60(d)

Read an Excerpt

 ‘”Strangers!” he cried. “And who are you? Where do you come from over the watery ways? Is yours a trading venture; or are you cruising the main on chance, like roving pirates, who risk their lives to ruin other people?”

‘Our hearts sank. The booming voice and the very sight of the monster filled us with panic. Still, I managed to find words to answer him. “We are Achaeans,” I said, “on our way back from Troy – driven astray by contrary winds across a vast expanse of sea – we’re making our way home but took the wrong way – the wrong route – as Zeus, I suppose, intended that we should. We are proud to say that we belong to the forces of Agamemnon, Atreus’ son, who by sacking the great city of Ilium and destroying all its armies has made himself the most famous man in the world today. We find ourselves here as suppliants at your knees, in the hope that you may give us hospitality, or even give us the kind of gifts that hosts customarily give their guests. Good sir, remember your duty to the gods; we are your suppliants, and Zeus is the champion of suppliants and guests. He is the god of guests: guests are sacred to him, and he goes alongside them.”

‘That is what I said, and he answered me promptly out of his pitiless heart: “Stranger, you must be a fool, or must have come from very far afield, to order me to fear or reverence the gods. We Cyclopes care nothing for Zeus with his aegis, nor for the rest of the blessed gods, since we are much stronger than they are. I would never spare you or your men for fear of incurring Zeus’ enmity, unless I felt like it. But tell me where you moored your good ship when you came. Was it somewhere along the coast, or nearby? I’d like to know.”

‘His words were designed to get the better of me, but he could not outwit someone with my knowledge of the world. I answered with plausible words: “As for my ship, it was wrecked by the Earthshaker Poseidon on the borders of your land. The wind had carried us on to a lee shore. He drove the ship up to a headland and hurled it on the rocks. But I and my friends here managed t o escape with our lives.”

‘T this the gruel brute made no reply. Instead, he jumped up, and reaching out towards my men, seized a couple and dashed their heads against the floor as though they had been puppies. Their brains ran out on the ground and soaked the earth. Limb by limb he tore them to pieces to make his meal, which he devoured like a mountain lion, leaving nothing, neither entrails nor flesh, marrow nor bones, while we, weeping, lifted up our hands to Zeus in horror at the ghastly sight. We felt completely helpless. When the Cyclopes had filled his great belly with this meal of human flesh, which he washed down with unwatered milk, he stretched himself out for sleep among his flocks inside his cave.

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What People are saying about this

Stephen Coonts
Homer's ancient song, The Odyssey, is a treasure waiting to be discovered by every generation. Eickhoff's fresh, bold, contemporary translation rival's Fitzgerald's. I highly recommend it.
William F. Wyatt

Edward McCrorie's translation of the Odyssey answers the demands of movement and accuracy in a rendition of the poem. His verse line is brisk and efficient, often captures the rhythm and the sound of the Greek, and functions well as an English equivalent of the Greek hexameter. Unlike most translators, he wishes to preserve at least some of the sound of the Greek, and his rendition of the formula glaukôpis Athene as glow-eyed Athene is inspired. He remains true to the formulae of Homeric verse, and several of his choices—such as rose-fingered daylight or words had a feathery swiftness—delight. Homer, Zeus-like, would have nodded his approval.

William F. Wyatt, Jr., Brown University

Keith Stanley

This is a fine, fast-moving version of the liveliest epic of classical antiquity. With a bracing economy, accuracy, and poetic control, Edward McCrorie conveys the freshness and challenge of the original in clear, sensitive, and direct language. Instead of the uncertain solemnity of some previous translations or the free re-creation of others, McCrorie has managed a version that will have immediate appeal to this generation of students and general readers alike.

Keith Stanley, Duke University, author of The Shield of Homer

From the Publisher

Wonderfully readable... Just the right blend of roughness and sophistication. (Ted Hughes)

Robert Fagles is the best living translator of ancient Greek drama, lyric poetry, and epic into modern English. (Garry Wills, The New Yorker)

Mr. Fagles has been remarkably successful in finding a style that is of our time and yet timeless. (Richard Jenkyns, The New York Times Book Review)

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