When I tell people I think about Greek myths for a living, they tend not to believe me. But I’ve never considered Greek myths to be at all odd or mysterious. After all, telling stories is a very normal human activity. Most recently I’ve been working to better understand how ancient communities attached stories to the places they lived in and this has resulted in MANTO, a huge mapping project, which anyone can look at here: https://www.manto-myth.org/manto
Honestly, just dive right in at the beginning. Homer’s epics were the earliest Greek stories to be written down (in around 800 BCE). They drew on traditions passed down by word-of-mouth for generations before that, and they shaped almost everything that came after.
The Iliad is set towards the end of the Trojan War. Against a vast background of violent battles and claims about heroic valour we get a story of the dysfunction that runs riot as Achilles takes offence and withdraws from the fighting.
Emily Wilson’s extraordinary translation manages to balance simultaneously the unironic grandeur of Homer’s world and the human shortcomings and utter destruction that undercut it all.
When Emily Wilson's translation of The Odyssey appeared in 2017-revealing the ancient poem in a contemporary idiom that "combines intellectual authority with addictive readability" (Edith Hall, The Sunday Telegraph)-critics lauded it as "a revelation" (Susan Chira, The New York Times) and "a cultural landmark" (Charlotte Higgins, The Guardian) that would forever change how Homer is read in English. Now Wilson has returned with an equally revelatory translation of the first great Homeric epic: The Iliad.
In Wilson's hands, this exciting and often horrifying work now gallops at a pace befitting its battle scenes, roaring with the clamour of arms, the…
Once Troy was conquered, the Greeks had to get back home. Few heroes managed this without drama, but even on this benchmark, Odysseus’ ten-year (a-hem) odyssey was an outlier.
You can read this as the first great traveller’s tale: the Odyssey will immerse you in a giant, detailed story world of gods, heroes, and monsters traversed by a protagonist famous for his clever schemes and his stretching of the truth.
Emily Wilson’s translation really can’t be beaten: she brings before our eyes and ears again a fantasy world given weight by very human stories of loss and longing.
Thoughtful, personal, passionate, insightful, and humane. This is the book I wish I could write.
Helen Morales puts a pin in the lazy “glory that was Greece” trope and gives us the darker side of antiquity and its influence, showing us how stories have been used to enslave bodies and tame minds, to belittle and exclude. But this plasticity is what also makes Greek myth a potentially restorative force.
Helen’s message is that such capacity for continual reinvention gives the ultimate power to the teller of tales, whoever she might be.
A witty, inspiring reckoning with the ancient Greek and Roman myths and their legacy, from what they can illuminate about #MeToo to the radical imagery of Beyonce.
The picture of classical antiquity most of us learned in school is framed in certain ways -- glossing over misogyny while omitting the seeds of feminist resistance. Many of today's harmful practices, like school dress codes, exploitation of the environment, and rape culture, have their roots in the ancient world.
But in Antigone Rising, classicist Helen Morales reminds us that the myths have subversive power because they are told -- and read --…
Julia looks at this question through ten ancient stories about animals ranging from the every day (bees and birds) to the fantastical (the Sphinx and the Cyclops). These are, of course, stories produced out of human creativity and curiosity, and out of them emerges some surprising insights about how we understand our place in the world.
If animals could talk to us, what would they say about us?
What makes us human? What, if anything, sets us apart from all other creatures? Ever since Charles Darwin's theory of evolution, the answer to these questions has pointed to our own intrinsic animal nature. Yet the idea that, in one way or another, our humanity is entangled with the non-human has a much longer and more venerable history. In the West, it goes all the way back to classical antiquity. This grippingly written and provocative book boldly reveals how the ancient world mobilised concepts of 'the animal' and 'animality' to conceive of the human in a variety of illuminating ways.…
This book is all you could ever have wanted to know about the monsters of Greek myth and the impact they have had on our imaginations. It’s a collaboration resulting in 40 articles that range across various monsters, monster theory, and the strange borders between the real and the imaginary.
The Oxford Handbook of Monsters in Classical Myth presents forty chapters about the unique and terrifying creatures from myths of the long-ago Near East and Mediterranean world, featuring authoritative contributions by many of the top international experts on ancient monsters and the monstrous. The first part provides original studies of individual monsters such as the Chimaera, Cerberus, the Hydra, and the Minotaur, and of monster groups such as dragons, centaurs, sirens, and Cyclopes. This section also explores their encounters with the major heroes of classical myth, including Perseus, Jason, Heracles, and Odysseus. The second part examines monsters of ancient folklore…
Greek myths were part and parcel of how Greeks in antiquity understood the places they lived in and travelled to. This book lays out all these intricate connections between landscapes and stories using a quite unique surviving text: the account of Pausanias, who travelled in Greece in the 2nd century AD and recorded what could be seen there, and the stories that people were telling.
I come by my interest in history and the years before, during, and after the Second World War honestly. For one thing, both my father and my father-in-law served as pilots in the war, my father a P-38 pilot in North Africa and my father-in-law a B-17 bomber pilot in England. Their histories connect me with a period I think we can still almost reach with our fingertips and one that has had a momentous impact on our lives today. I have taken that interest and passion to discover and write true life stories of the war—focusing on the untold and unheard stories often of the “Average Joe.”
October 24, 1944, is not a day of national remembrance. Yet, more Americans serving in World War II perished on that day than on any other single day of the war.
The narrative of No Average Day proceeds hour by hour and incident by incident while focusing its attention on ordinary individuals—clerks, radio operators, cooks, sailors, machinist mates, riflemen, and pilots and their air crews. All were men who chose to serve their country and soon found themselves in a terrifying and otherworldly place.
No Average Day reveals the vastness of the war as it reaches past the beaches in…
October 24, 1944, is not a day of national remembrance. Yet, more Americans serving in World War II perished on that day than on December 7, 1941, when the Japanese attacked Pearl Harbor, or on June 6, 1944, when the Allies stormed the beaches of Normandy, or on any other single day of the war. In its telling of the events of October 24, No Average Day proceeds hour by hour and incident by incident. The book begins with Army Private First-Class Paul Miller's pre-dawn demise in the Sendai #6B Japanese prisoner of war camp. It concludes with the death…
