Here are 100 books that Achilles in Vietnam fans have personally recommended if you like
Achilles in Vietnam.
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Moral injury, post-traumatic stress, and the dark night of the soul are human conditions I understand well. See, over the course of a lengthy military career, I deployed overseas many times, including to Afghanistan. In my last two deployments, I served as the legal advisor to a joint special operations task force. In this role, I advised on more than 500 “strikes”: air attacks intended to kill humans. When I returned from Afghanistan in 2018, I noticed a change in me, and I’ve been living with moral injury and post-traumatic stress since. This list helped me, particularly with the lesser-known “moral injury,” and I sincerely hope it helps you too.
Few today know of moral injury, and I found this book to be a great introduction to the condition. The heart of it concerns betrayal—by those above and even ourselves.
Often seen as the father of “moral injury,” Jonathan Shay reveals that the condition itself actually stretches deep into the bowels of history, at least as far as Shakespeare, if not the Homeric epics written 2,400 years earlier: a reminder that everything old is new again.
Rather than acting as ventriloquist, Shay quotes his patients, allowing the veterans to speak for themselves; to express their traumas and the consequences thereof. And he emphasizes, as few do, the responsibility of society to aid in healing those traumas.
An accessible, practical read for understanding moral injury, trauma, and our communal responsibilities.
In this ambitious follow-up to Achilles in Vietnam, Dr. Jonathan Shay uses the Odyssey, the story of a soldier's homecoming, to illuminate the pitfalls that trap many veterans on the road back to civilian life.
Seamlessly combining important psychological work and brilliant literary interpretation with an impassioned plea to renovate American military institutions, Shay deepens our understanding of both the combat veteran's experience and one of the world's greatest classics.
In Achilles in Vietnam, Dr. Jonathan Shay used the story of the Iliad as a prism through which to examine how ancient and modern wars have battered the psychology of…
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…
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 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!
I get it. People read Homer’s Odysseybecause of the adventures and gods and monsters, but for me, his best was his first epic poem, The Iliad. The opening word of the story is “rage,” and the action never stops until the last line. From clashing swords to souls sent down to the house of death, this could have been a heavy metal opera if only Homer had played an electric guitar instead of a lyre. I chose the Lombardo translation because it captures best the action and heroism and pulse-pounding excitement that keeps me reading this one over and over.
"Gripping. . . . Lombardo's achievement is all the more striking when you consider the difficulties of his task. . . . [He] manages to be respectful of Homer's dire spirit while providing on nearly every page some wonderfully fresh refashioning of his Greek. The result is a vivid and disarmingly hardbitten reworking of a great classic." -Daniel Mendelsohn, The New York Times Book Review
As a writer, I'm fascinated by the experiences that affect people's identity. I want my characters to have this multiplicity and depth too, and since I was born and grew up in Lebanon, an obvious place for me to start was by looking at the impact that war had on people's everyday lives. The characters I write about simply want to get on with the business of living, but can't do this without taking into account the bigger events that are happening around them.
An interpretation of part of The Iliad where King Priam journeys to Achilles' camp to beg for the return of his son Hector's body. Malouf gives us access to Priam's thoughts and feelings as he dresses as a carter and drives straight into the enemy camp, wondering at all the things that, as a king, he has never noticed before. Once in the camp, he must face the man who has been dragging his son's body behind his chariot day after day, only to wake up each morning and find it magically restored. This is a story about those who are left behind, told in heart-stoppingly beautiful writing.
In his first novel in more than a decade, award-winning author David Malouf reimagines the pivotal narrative of Homer’s Iliad—one of the most famous passages in all of literature.
This is the story of the relationship between two grieving men at war: fierce Achilles, who has lost his beloved Patroclus in the siege of Troy; and woeful Priam, whose son Hector killed Patroclus and was in turn savaged by Achilles. A moving tale of suffering, sorrow, and redemption, Ransom is incandescent in its delicate and powerful lyricism and its unstated imperative that we imagine our lives in the glow of…
As a kid, I was fascinated by Greek mythology. Through myth, I encountered many powerful female characters—Athena was my favorite—but I felt frustrated by how women’s lives were told in my books. My interest in Greek myth and curiosity about untold stories led me to become a Classics professor. I love teaching and writing about women in the ancient world, helping people to understand how they navigated their lives. Luckily for me, many recent books across various genres, from novels to translations to histories, have illuminated the lives of ancient women. There’s so much more to read than when I was growing up!
This book is an epic about a war fought over a woman (Helen, the “face that launched a thousand ships”), yet this is the first major translation by one. Emily Wilson’s translation sounds fresh and up-to-date yet stays closer to Homer than the versions I encountered growing up.
I love how Wilson treats Homer’s women, avoiding the clichés and derogatory language used by previous translators. And her work has the narrative drive that Homer deserves, making this very old, very familiar story a real page-turner.
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…
Before fan fiction was popular, I would often daydream about the lives of my favorite book characters. Did Jane Eyre gain more confidence from her inheritance? Did Ponyboy find a way to survive his tragic childhood? Decades later, I gravitate toward retellings, often picking them up simply because I like the source material. Still, when I started working on this list, I realized what a daunting task I’d set myself. There are so many! And I haven’t even read two recently lauded titles: Barbara Kingsolver’s Demon Copperhead and Percival Everett’s James. So hat in my hand, I present these favorites ranging from serious to light-hearted.
I saw Alice Oswald recite this entire collection after accidentally getting locked into the Carlos Museum at Emory University (a story for another day). To say that I was moved is an understatement.
This book-length poem memorializes the two hundred soldiers mentioned in Homer’s Iliad. Its unflinching portraits of the war’s sacrificed men are in Oswald’s singularly sharp, melodic style.
In this daring new work, the poet Alice Oswald strips away the narrative of the Iliad-the anger of Achilles, the story of Helen-in favor of attending to its atmospheres: the extended similes that bring so much of the natural order into the poem and the corresponding litany of the war-dead, most of whom are little more than names but each of whom lives and dies unforgettably and unforgotten in the copious retrospect of Homer's glance. The resulting poem is a war memorial and a profoundly responsive work that gives new voice to Homer's level-voiced version of the world. Through a…
As a professor emeritus of history at the Hebrew University, Jerusalem, over the years I’ve been widely mentioned as one of the world’s foremost experts on military theory and history. On these and other topics I have written 34 books, which between them have been published in 19 languages. I’ve also consulted with defense departments, taught and lectured all over the world, etc., etc.
The Iliadis not a book on strategy. Nor on tactics, nor on logistics, nor on command and control, nor on any other individual aspect of warfare about which any number of lesser authors have written. An epic poem, it provides an unparalleled panorama of men (and, playing a secondary yet crucially important role, a few women) at war: the hope, the despair, the fear, the elation, the kindness, the rage, the horror, the love and the sex (which both increases the horror and to some extent makes up for it). All intertwined, and all pulsating along with the human heart. Probably written down around 750 BCE, but making use of much older material, for almost three millennia now it has been regarded not just as a classic but as the greatest classic of all. Unquestionably it will continue doing so for millennia more.
In a companion volume to his award-winning adaptation of The Odyssey, the incomparable graphic novelist Gareth Hinds masterfully adapts Homer’s classic wartime epic.
More than three thousand years ago, two armies faced each other in an epic battle that rewrote history and came to be known as the Trojan War. The Iliad, Homer's legendary account of this nine-year ordeal, is considered the greatest war story of all time and one of the most important works of Western literature. In this stunning graphic novel adaptation — a thoroughly researched and artfully rendered masterwork — renowned illustrator Gareth Hinds captures all the…
I love reading stories that are a good mix of reality and fantasy, just as much as I like to write them myself. And I guess that comes from my background as a journalist. But perhaps not so, as the first stories I wrote in my teens that were published in a Dutch women’s magazine were retellings of Biblical stories. I recounted those from the point of view of women: the (future) wives of Joseph (with the ten brothers) and of Moses. I was a writer long before I became a journalist, a profession I needed to gather the knowledge I could then use to write my books, so it seems.
I loved to read about the women who went to Vietnam, mostly as nurses, to treat the many wounded Americans fighting there. They are a forgotten category. The main character, Frankie, did not exist, but the writer based her on several nurses she spoke to.
I use that way of working myself, too: I make up characters and put them in what looks very much like reality. Hanah showed how powerful trauma is and how it changes lives, which is another theme of mine. She really made me love Frankie.
From master storyteller Kristin Hannah, #1 New York Times bestselling author of The Nightingale and The Four Winds, comes the story of a turbulent, transformative era in America: the 1960s. The Women is that rarest of novels—at once an intimate portrait of a woman coming of age in a dangerous time and an epic tale of a nation divided by war and broken by politics, of a generation both fueled by dreams and lost on the battlefield.
“Women can be heroes, too.”
When twenty-year-old nursing student Frances “Frankie” McGrath hears these unexpected…
I'm a historian who teaches strategic studies at the National Defense University and Georgetown University in Washington, DC. I'm fascinated by how we write and teach history, how we interpret it, and how we use it. To use history, we have to “get it right,” but we also have to think about how the past impacts the present. One of the foremost challenges confronting historians is how to write the history of their particular subject well while making it applicable (and interesting) more universally. The following books are all particular to the region I study most closely—the Eastern Mediterranean—but their grasp of humanity is profound. Their power and perspectives ring true across millennia.
Kazantzakis is perhaps most famous for being excommunicated after he wrote The Last Temptation of Christ, but I think his best book is Freedom and Death. Freedom and Deathwas described as Kazantzakis’ “modern Iliad,” but it is more than a tale of heroes and war. It is about the struggle of the Cretan people for liberty and their desire to end the Ottoman occupation of their island at the end of the 19th century. In spite of the obvious morality of the cause of freedom, Kazantzakis paints a complex picture in which there are no obvious heroes and humanity’s faults are clearly visible. No character is more noble than the Turk, Nuri Bey. None more flawed than the novel’s Greek protagonist, Captain Michalis. Freedom and Deathis also the powerful story of a man’s struggle against himself and the conflict between our personal interests and our…
