Editorial Reviews
The New York Times Book Review, Chris Hedges
He has brought his laconic wit and love of the ribald, as well as his clever use of idiomatic American slang, to his version of the Odyssey.
Douglass Parker
"'This is wonderful, to listen to a singer / Such as this. . . ' So Odysseus on the bard Demodocus. And the singer, the oral poet, the 'aoidos', is what Lombardo embodies in his Homer. With a line and a language hammered out 'in public performance,' he has made a verse that can move his audience to tears and even to laughter. At first glance, the simplicity startles - spare syntax, the highest proportion of short word in modern English poetry, colloquialism in the saddle, sudden and direct contact with the matter. But then the wonders of how he works become evident. So much was already to be seen/heard in Lombardo's version of the Iliad [Hackett, 1997]. But his Odyssey [Hackett, 2000] moves beyond, its verse widening its range to everything in between tears and laughter, able to present a storm, a battle, a chiding, a fable, a tale, and a whine with equal deftness. No version of the Odyssey is more immediate. No version shows better one of Homer's essentials: the oral poet at work. The persona is there, and it's real."
Odyssey
Odyssey,Homer,Sheila Murnaghan,Stanley Lombardo,Hackett Publishing Company,0872204847,Ancient and Classical,Ancient, Classical & Medieval,Epic poetry, Greek,Literary Criticism,Literature: Classics,Odysseus (Greek mythology),Poetry,Translations into English,Ancient (Classical) Greek,BCE to c 500 CE,Other prose: classical, early & medieval,Poetry & poets: classical, early & medieval
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