Here are 100 books that Iliad fans have personally recommended if you like
Iliad.
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As a historian, journalist, and travel writer, Tony Perrottet has made a career out of bringing the past to vivid life. Born in Australia, he started writing as a foreign correspondent in South America, where he covered guerrilla wars in Peru, drug running in Colombia, and military rebellions in Argentina. He continues to commute to Athens, Iceland, Tierra del Fuego, and Havana, while contributing to the Smithsonian Magazine, The New York Times, and TheWall Street Journal, amongst others. He has written six books on subjects ranging from classical tourism to the Pope's "pornographic bathroom" in the Vatican, and most recently, ¡Cuba Libre!, an anecdotal account of the Cuban Revolution. His travel stories have been selected seven times for the Best American Travel Writing series, and he is a regular guest on the History Channel, where he has spoken about everything from the Crusades to the birth of disco.
Of the over 1,000 independent city-states that made up the Hellenic world -- and competed in the Olympic Games -- Sparta is today the most notorious and influential (after Athens). This book provides a wonderful insight into its extraordinary culture, where Spartan males were brought up in a strict, even ruthless regime of military training, discipline, and self-sacrifice for the communal good -- but where women were given unexpected freedom and power.
The Spartan legend has inspired and captivated subsequent generations with evidence of its legacy found in both the Roman and British Empires. The Spartans are our ancestors, every bit as much as the Athenians. But while Athens promoted democracy, individualism, culture and society, their great rivals Sparta embodied militarism, totalitarianism, segregation and brutal repression. As ruthless as they were self-sacrificing, their devastatingly successful war rituals made the Spartans the ultimate fighting force, epitomized by Thermopylae. While slave masters to the Helots for over three centuries, Spartan women, such as Helen of Troy, were free to indulge in education, dance and…
When I voyaged into the ancient world in the readings of my youth, it led me to realize that the gay-straight divide in modern perceptions of sexuality and relationships is an artifice. It was constructed by the conceit of the ascetic religions that the only legitimate purpose of sex is the production of children within a sanctified marital relationship. In Antiquity, the divide followed a more natural course between the groups who were the sexually active partners (mainly adult men) and those who were sexually passive (mainly women, youths, and eunuchs). My hope is to disperse some of the confusion that the obscuration of this historical reality has caused.
Davidson demonstrates that sexual relationships with courtesans and youths in ancient Athens paralleled the markets in other luxuries such as fish and wine rather more than resembling the modern ideal of romantic love. In a society where marriages were mainly business arrangements made between families to ensure the production of legitimate heirs to their estates, such formal relationships were frequently loveless. This led the male partners and those as yet unmarried to resort to employing mistresses, courtesans, and youths as luxurious distractions from the mundane matter of marital maintenance of the bloodline.
A brilliantly entertaining and innovative history of the ancient Athenians' consuming passions for food, wine and sex.
Sex, shopping and fish-madness, Athenian style.
This fascinating book reveals that the ancient Athenians were supreme hedonists. Their society was driven by an insatiable lust for culinary delights - especially fish - fine wine and pleasures of the flesh. Indeed, great fortunes were squandered and politicians' careers ruined through ritual drinking at the symposium, or the wooing of highly-coveted, costly prostitutes.
James Davidson brings an incisive eye and an urbane wit to this refreshingly accessible and different history of the people who invented…
As a historian, journalist, and travel writer, Tony Perrottet has made a career out of bringing the past to vivid life. Born in Australia, he started writing as a foreign correspondent in South America, where he covered guerrilla wars in Peru, drug running in Colombia, and military rebellions in Argentina. He continues to commute to Athens, Iceland, Tierra del Fuego, and Havana, while contributing to the Smithsonian Magazine, The New York Times, and TheWall Street Journal, amongst others. He has written six books on subjects ranging from classical tourism to the Pope's "pornographic bathroom" in the Vatican, and most recently, ¡Cuba Libre!, an anecdotal account of the Cuban Revolution. His travel stories have been selected seven times for the Best American Travel Writing series, and he is a regular guest on the History Channel, where he has spoken about everything from the Crusades to the birth of disco.
A juicy account of the most dubious of the modern Olympics, held as a propaganda event in Hitler's Berlin in 1936. For classical history buffs, the most intriguing element is how the Nazis purloined certain "ancient Greek" legacies for their own purposes -- creating the pseudo-tradition of the Olympic torch being carried from Greece, for example, which remains popular to this day. (And of course, it was all captured and glorified by the director Leni Riefenstahl in her film Olympia).
The Nazi Olympics is the unsurpassed expose of one of the most bizarre festivals in sport history. Not only does it provide incisive portraits of such key figures as Adolf Hitler, Jesse Owens, Leni Riefenstahl, Helen Stephens, Kee Chung Sohn, and Avery Brundage, it also vividly conveys the entire dazzling charade that reinforced and mobilized the hysterical patriotism of the German masses.
As a historian, journalist, and travel writer, Tony Perrottet has made a career out of bringing the past to vivid life. Born in Australia, he started writing as a foreign correspondent in South America, where he covered guerrilla wars in Peru, drug running in Colombia, and military rebellions in Argentina. He continues to commute to Athens, Iceland, Tierra del Fuego, and Havana, while contributing to the Smithsonian Magazine, The New York Times, and TheWall Street Journal, amongst others. He has written six books on subjects ranging from classical tourism to the Pope's "pornographic bathroom" in the Vatican, and most recently, ¡Cuba Libre!, an anecdotal account of the Cuban Revolution. His travel stories have been selected seven times for the Best American Travel Writing series, and he is a regular guest on the History Channel, where he has spoken about everything from the Crusades to the birth of disco.
The Eastern tradition of "sports" is entirely different from the Western (indeed, many practitioners of martial arts in the East don't regard them as competitive sports at all, but disciplines where one competes, in a sense, with oneself). I wrote a piece on the history of karate for Smithsonian Magazine, since it is making its debut in Tokyo in August, and found this book (despite its dry and academic title) to be a fascinating introduction to the surprising growth of Japanese martial arts around the world.
I heard a Jordan Peterson interview in which he boiled down my entire life’s struggle in a single phrase. The interviewer was pushing Jordon on the subject of male toxicity. Jordon said something like, “If a man is entirely unwilling to fight under any circumstance, he is merely a weakling. Ask in martial arts trainer and they will tell you they teach two things – the ability to fight and self-control. A man who knows how and also knows how to control himself is a man.”
As a teenager Alexander, to become The Great, is given to one of his father’s warriors – Telamon – to go on a life-threatening winter wolf hunt. A risk of building character and spirit his father is willing to take. Later in life, during Alexander’s conquest, Telemon never wishes to rise above a colonel’s rank. He wants to remain in the midst of the fighting.
When Alexander finally departs India to end his conquests Telamon leaves him to go off with a group of monks. When Alexander asks why that choice Telamon responds, “I schooled you as a boy Alexander, to be superior to fear and anger. You vanquished hardship and hunger and cold and fatigue. But you have not learned to master your victories. These hold you. You are their slave.” What more can a man learn from a book?
As for my liking this book, Pressfield is one of my favorite authors and this…
I have always been a soldier. I have known no other life. So begins Alexander’s extraordinary confession on the eve of his greatest crisis of leadership. By turns heroic and calculating, compassionate and utterly merciless, Alexander recounts with a warrior’s unflinching eye for detail the blood, the terror, and the tactics of his greatest battlefield victories. Whether surviving his father’s brutal assassination, presiding over a massacre, or weeping at the death of a beloved comrade-in-arms, Alexander never denies the hard realities of the code by which he lives: the virtues of war. But as much as he was feared by…
As a graduate student in library science, I stumbled across an entry on Macbeth in a biographical dictionary. It stated he was actually a good king who ruled for seventeen years. Furthermore, he claimed the throne in his own name and that of his wife. I was hooked. I did extensive research trying to find the man behind the legend, and how the tale got twisted into what Shakespeare gave us. From Celtic, Norse, and English sources, I extrapolated the culture of 11th-century Scotland, and a man who might well have been the historical high king Macbeatha.
Mentions of the historical Arthur—a war duke, not a king—date him to the late 5th and early 6th centuries. Merlin’s dates are fuzzier. Whyte sets this tale of Merlin’s origins in Roman Britain, consistent with the historical Arthur, as the withdrawal of Rome’s legions leaves the colony subject to invasion and insurrection. Young Publius, nicknamed Merlin, is a soldier and a blacksmith. He and his cousin Uther battle to keep Britannia from crumbling around them as Roman society is beset by external marauders and internal strife. Through it all, Merlin is intrigued by stories of a stone that fell from the sky—an iron-rich meteorite that has rendered steel, and which Merlin can forge into an incredible sword. In this richly developed story, Merlin is not a druid or a sorcerer, but a smith.
In a time preceding King Arthur and Camelot, two Roman men, Publius Varrus and Caius Britannicus, Arthur's great-grandfathers, try to preserve the best of Roman life and build a new culture out of the wreckage of the old and, in doing so, create a legend, in a new edition of the first volume in the
I like books to grab and hold my attention. That’s what I like about music, too, which is why I co-host a heavy metal podcast when I’m not teaching Latin or writing books and articles. Having taught Latin and Classics for over thirty years from middle school through undergrad, I know what people enjoy about the Greco-Roman world and what they often missed out on in school. I love reading this stuff, too, whether prepping for class, doing research for my next publication, or while listening to head-banging greats of the ‘70s and ‘80s, so dig in and get ready to rock with the Romans and groove with the Greeks!
When people think of the great rock bands, they think of the hits, the songs that raced to #1. True fans know that there are some great, even better songs, on the flip sides of the albums, the so-called deep cuts. The same is true with writers like Plato. Few are familiar with his Theaetetus, but it is my favorite. It explores how we know what we know and proves the error of a slogan that is as popular today as it was in his time, “Man is the measure of all things.” Plato shows how logically silly that is, and in a fairly humorous way…if you like philosophical wit, that is.
— A Classic — Includes Active Table of Contents — Includes Religious Illustrations
SOME dialogues of Plato are of so various a character that their relation to the other dialogues cannot be determined with any degree of certainty. The Theaetetus, like the Parmenides, has points of similarity both with his earlier and his later writings. The perfection of style, the humour, the dramatic interest, the complexity of structure, the fertility of illustration, the shifting of the points of view, are characteristic of his best period of authorship. The vain search, the negative conclusion, the figure of the midwives, the constant…
I like books to grab and hold my attention. That’s what I like about music, too, which is why I co-host a heavy metal podcast when I’m not teaching Latin or writing books and articles. Having taught Latin and Classics for over thirty years from middle school through undergrad, I know what people enjoy about the Greco-Roman world and what they often missed out on in school. I love reading this stuff, too, whether prepping for class, doing research for my next publication, or while listening to head-banging greats of the ‘70s and ‘80s, so dig in and get ready to rock with the Romans and groove with the Greeks!
Decades ago I wouldn’t have recommended Vergil’s Aeneid. It’s a scandal for a Latin teacher to say that, but there you have it. And then one day the light came on, and I saw the incredible depth of the characters, to say nothing of the artistry of the poetry itself. As I have taught the poem to juniors and seniors each year and worked on my own translation along the way, I never cease to be amazed by Vergil as a writer. He crafts each scene, each character, as if he were a sculptor or a jeweler working the most exquisite cameo. Don’t miss out on a world classic that is too often overlooked in the modern age. For this, I chose a prose translation that really showcases Vergil’s storytelling.
'The most truthful translation ever, conveying as many nuances and whispers as are possible from the original' The Times
After a century of civil strife in Rome and Italy, Virgil wrote the Aeneid to honour the emperor Augustus by praising his legendary ancestor Aeneas. As a patriotic epic imitating Homer, the Aeneid also set out to provide Rome with a literature equal to that of Greece. It tells of Aeneas, survivor of the sack of Troy, and of his seven-year journey: to Carthage, where he falls tragically in love with Queen Dido; then to the underworld,; and finally to Italy,…
The Mediterranean is in my family’s history. My dad was a naval officer who worked in the sea in peace and war and took us to Malta when I was nine. I was entranced by the island’s history, by an evocative sensory world of sunlight, brilliant seas, and antiquity. I’ve been travelling in this sea ever since, including a spell living in Turkey, and delved deep into its past, its empires, and its maritime activity. I’m the author of three books on the subject: Constantinople: the Last Great Siege, Empires of the Sea, and Venice: City of Fortune.
Logue’s modernist reworking of the Iliad – the Trojan war - mother of all Mediterranean contests, is quite unlike anything you’ll ever read. Logue doesn’t translate, he remakes. It’s as cinematic as a film script, cast in a poetic language as brilliant as anything in modern times, full of jump cuts, staccato effects, and startling contemporary references. The violence of the fighting has a slamming immediacy (‘Dust like red mist/Pain like chalk on slate’), the Mediterranean – ‘the sea that is always counting’ - glimmers and sighs, the Gods behave like spoiled children, helicopters go whumping over the dunes.
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).
I am a historical fiction writer living in a landlocked village in the Chilterns, UK. I became obsessed with long sea voyages while researching my debut novel, On Wilder Seas, which is inspired by the true story of Maria, the only woman aboard the Golden Hind during Francis Drake’s circumnavigation voyage in 1577-1580. I immersed myself in the literature of the sea, in early modern sailors’ accounts of their terrifying voyages, in their wills and diaries, in maps and sea-logs. A ship is the perfect setting for a novel: the confined space, the impossibility of escape, the ever-present danger – and the hostile, unforgiving sea is the ultimate antagonist.
Not a novel, but it reads like one, as Nicolson tells the story of how the greatest sea voyage tale of all time – The Odyssey, and its sister epic The Iliad – came to be, with a cast of characters including the Greek heroes, gods and goddesses crossing the land and seascapes of Ancient Greece.
Nicolson argues that these poems emerged not in the 8th century BC, when they were first written down, but a thousand years earlier in the oral tradition. In them, he sees the origin myths of the people who became the Greeks – the fusion of the native people of the Eastern Mediterranean and invaders from the northern steppes.
But it is Nicolson’s personal investment in his subject that is so beguiling. A sailor himself, he brings his deep knowledge of the sea, of sailing, navigation, the capriciousness of wind, the knife-edge between…
"Complex, personal, and profound ... a brash and brave piece of writing ... filled with the swords and spears that inflict the carnage of the Iliad." -The Wall Street Journal
Why Homer Matters is a magical journey of discovery across wide stretches of the past, sewn together by the Iliad and the Odyssey and their metaphors of life and trouble. Homer's poems-transmitted orally across the generations, shaped and reshaped in a living, self-renewing tradition-occupy, as Adam Nicolson writes "a third space" in the way we relate to the past: not as memory, which lasts no more than three generations, nor…
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