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Though there are plenty of finely wrought moments, she isn’t looking to gild the poetic lily but rather to emphasize the emotional arc of the story, engaging readers first and foremost with the plight and character of Odysseus. It also contains passages of stillness and sheer delight. © 2020 Guardian News & Media Limited or its affiliated companies. Barbara Graziosi, "Seneca: A Life by Emily Wilson", Times Higher Education, 30 April 2015.
So let me anticipate the inevitable criticism with an observation: Emily Wilson is not breaking norms of behavior as the first woman to translate Homer’s Odyssey … "“Wilson’s Odyssey feels like a restoration of an old, familiar building that had over the years been encrusted with too much gilt. Translator of The Odyssey (Norton 2017) 2019 MacArthur Fellow - 2020 Guggenheim Fellow Emily Wilson. Welcome to the 21stCentury, Odysseus, you problematic old monster,you.Quality is awful. Amazon you should be embarrassed! I hope she finishes the Iliad soon, but, alas, I think it may take her a few more years to complete. But there’s a further wrinkle. She made me hear for the first time the veiled menace when the disguised Odysseus answers an insult from one of the nastier suitors:This is the man whose curved bow will mow down Eurymachus and all the other suitors just a few books later.The “Odyssey” is notable for the range of its female characters, and for the sympathy and respect with which it treats them. Wilson is good too with the poem’s undertones and double meanings. All rights reserved. The Greek is The poem is full of bloodshed and excitement, monsters and witches, plots and lies. Never have I been so aware at once of the beauty of the poetry, the physicality of Homer’s world, and the moral ambiguity of those who inhabit it. The introduction is brilliant too, explaining some of the weirder moments and putting some context to the story. Emily Gowers, "Seneca: A Life by Emily Wilson review – temptation and virtue in imperial Rome", The Guardian, 4 April 2015. Emily Wilson’s crisp and musical version is a cultural landmark. W. W. Norton & Company. But then she goes on to give us Penelope’s ordinary grief: “She cried a long, long time, / then spoke again ...” — where “cried” (not “wept”) and the repeated “long” evoke Penelope’s sobbing as powerfully as any other words could do.To read a translation is like looking at a photo of a sculpture: It shows the thing, but not from every angle. Now we have an excellent new translation of the epic by the British classicist Emily Wilson. Emily Wilson is professor of classical studies and graduate chair of the Program in Comparative Literature and Literary Theory at the University of Pennsylvania. Among modern renderings hers is perhaps closest to Robert Fitzgerald’s 1961 version. If you’ve heard Emily Wilson’s name in the last year, it probably had the almost-Homerian epithet “first woman translator of The Odyssey” attached to it. About Wilson.
The language is vivid and it avoids the kind of ye- oldiness which can bog translations down. At Los Angeles Review of Books, Richard H. Armstrong writes about Emily Wilson's recently published translation of Homer's "Odyssey." In 2006, she was named a Fellow of the American Academy in Rome in Renaissance and Early Modern … Emily Wilson has done something remarkable in presenting an Odysseus who’s part Jason Bourne, part Dr Who and part Hannibal Lecter. Brings added depth to Odyssey, especially for the female characters September brought us Daniel Mendelsohn’s “An Odyssey,” his memoir of teaching this poem about fathers and sons to a class at Bard College that included his own father. His “Odyssey” was archaic and fragmentary, an artifact forged by firelight and rusted by time. “Shall I conceal my thoughts or speak?” she says. Amazon calculates a product’s star ratings based on a machine learned model instead of a raw data average. But only one of those translations is by a woman. If Wilson’s version has an English model, it is rather the moving plainness of Matthew Arnold’s “Sohrab and Rustum”:Arnold wrote a famous essay, “On Translating Homer.” Though he never produced a translation himself, I think he would have recognized his Homer — a poet “eminently rapid…, eminently plain and direct” — in Wilson’s.Some trade-offs are inevitable.
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