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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.
“Your life at every instant up for― / Gone. / And, candidly, who gives a toss? / Your heart beats strong. Your spirit grips,” writes Christopher Logue in his original version of Homer’s Iliad, the uncanny “translation of translations” that won ecstatic and unparalleled acclaim as “the best translation of Homer since Pope’s” (The New York Review of Books).
Logue’s account of Homer’s Iliad is a radical reimagining and reconfiguration of Homer’s tale of warfare, human folly, and the power of the gods in language and verse that is emphatically modern and “possessed of a very terrible beauty” (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published volumes War Music, Kings, The Husbands, All Day Permanent Red, and Cold Calls, along with previously unpublished material, in one final illuminating volume arranged by his friend and fellow poet Christopher Reid.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 poet’s complete vision and confirms what his admirers have long known: that “Logue’s Homer is likely to endure as one of the great long poems of the twentieth century” (The Times Literary Supplement).
- Sales Rank: #95906 in Books
- Published on: 2016-01-05
- Released on: 2016-01-05
- Original language: English
- Number of items: 1
- Dimensions: 8.47" h x 1.26" w x 5.83" l, .0 pounds
- Binding: Hardcover
- 352 pages
Review
"This is not Homer: it’s Logue’s Homer. Like all translations, it departs fundamentally from the language of the original. Unlike many translations, it arrives at a version that, because of its radical departures, gets us closer to the original than many more defensibly 'faithful' translations have ever managed . . . He died before he could conclude much more than half of a full account of those ancient sounds. But, oh, what he managed to leave us: a vision of Homer as intimate and alive as a breath." ―Wyatt Mason, New York Times Magazine
"I still grasp Zeus by the knees and ask that he bless the translators. And Christopher Logue, among them, bless him highly . . . [Homer's Iliad] was strange from the beginning, wonderfully, heroically strange. And Logue, in turn, is wonderfully, Homerically strange . . . In War Music, Christopher Logue has worked from what is still the greatest story of war ever told and created a vivid and fresh poem in a language he knew very well, indeed. My advice: 'Drop into it,' friends." ―Jeffrey Brown, New York Times Book Review
About the Author
Christopher Logue (1926–2011), poet, playwright, scriptwriter, and actor, was born in Portsmouth, Hampshire. He moved to Paris in 1951, where he published his first books, Wand and Quadrant; Seven Sonnets; and Devil, Maggot and Son. Logue won the Paris Review / Bernard F. O’Connor Award and was made a Commander of the Most Excellent Order of the British Empire for his contributions to literature.
Most helpful customer reviews
17 of 17 people found the following review helpful.
Thrilling, compelling - grand achievement, in its definitive edition
By Richard Horsley
One of the great poems of the last century. Christopher Logue's "account of" the Iliad is not a translation (he didn't read Greek), but a loose re-telling, reproducing for modern audiences more of the austere chill of the original than any translation I've read (including Peter Green's recent version, for which I had greater hopes).
In the result, numerous anachronisms are deliberately introduced, mostly in the long similes. They bring you up short a bit, but then you notice all the more their aptness. The anachronism that I have most difficulty with is the use of "Ave" as a salutation/cheer in many places. It just sounds so Roman to me, but to many people (and perhaps to Logue) it might just sound generically ancient, sword-and-sandally. On reflection, though, anachronisms are a well-documented feature of the Homeric original, so who can argue?
The project was, alas, unfinished at Logue's death, but it is a grand and satisfying achievement just the same.
For those already familiar with the work from previous books, there is an additional section, not previously published in book form, "Big Men Falling a Long Way" (which, incidentally, was Logue's jokey characterisation of the genre, tragedy), and there is some interesting information from widow and editor. The rest is not new, EXCEPT that Logue never stopped going back and tinkering with the parts already published, and apparently this version includes the results -- so, there will be some differences, and this can perhaps be the definitive version. For many it will be worth having the final version, collected in one convenient volume that sits neatly on the shelf (my copies of the previously-published books are a jumble of odd sizes, colours, and shapes); it also allows one to express again one's thanks and admiration for this mighty achievement; and it is a good spur to re-read the whole thing, and gasp anew.
The only thing I could have wished for is more from Logue himself about the poem. Including his introduction from the first War Music compilation would have been a good start. I might photocopy it and slip it in.
13 of 13 people found the following review helpful.
Fantastic
By Matthew C. Henderson
War Music, the final compilation of Christopher Logue's Homer, is a phenomenal poetic achievement -- at once a new and fresh poem in English that remains unmistakably moored in the plot and characters of the Iliad. This is not a translation of Homer's epic, it's a refraction through the prism of Logue's prodigious talent. This is verse at its best -- it is metrical without monotony, free-flowing yet structured, and the metaphors are vivid and inventive, continually invigorating the narrative.
If you're new to Logue's Homer, this is the book to get -- it collects all of the previously published pieces in order. If you've already read the prior versions of War Music, Cold Calls, The Husbands, etc., you may find the new material in this edition a little skinny. The previously unpublished draft fragments do serve to emphasize what a shame it is that Logue never got to finish the work. I would have loved to read his version of the final battle between Hector and Achilles.
Even if you've read the earlier books, it's worth buying this volume if only to have everything collected in one place (including the very first piece of the Iliad story Logue published, the fight between Achilles and the river Scamander). The author's notes, editor's commentary, and previously unpublished material are nice additions, but ultimately it's the body of War Music itself that shines through.
11 of 11 people found the following review helpful.
I waited more than thirty years for the whole thing and regret not having CL's hand on the last bits but the editor has given us
By J. S. Manning
Finally.... I've read many well-written runs at the "Iliad"; they all had their appeal; they all read well. I think Logue's brings us the thrill of hearing it for the first time; in our time and place. I waited more than thirty years for the whole thing and regret not having CL's hand on the last bits but the editor has given us enough to chew on and love. Thank you....
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