As a university historian and archaeologist my focus has been the Early Middle Ages. In the 1990s I wrote several books about the fifth and sixth centuries which barely mentioned Arthur but popular histories and films based on his story just kept coming, so I decided to look again at his story and work out how and why it developed as it did. I have published three well-received books on the subject, each of which builds on the one before, plus articles that have been invited to be included in edited volumes. I disagree with much in the five books above but collectively they reflect the debate across my lifetime. It is a great debate, I hope you enjoy it.
Geoffrey’s History of the Kings is the work that picked Arthur up from the somewhat obscure backwater of Welsh story-telling and launched him onto the European stage, in the process creating a story that had an enormous influence on how the insular past was understood across the rest of the Middle Ages. Geoffrey was writing for the new Norman elite, who welcomed a view of the past which downplayed the Anglo-Saxons and centred instead on their rivals for control of ancient Britain, the Britons. He based his magnificent new work on the Historia Brittonum, a set of Welsh genealogies and various stories, all of which he embroidered from his own fertile imagination to construct a complex vision of insular history no closer to what had really happened than modern works such as Lord of the Rings or Star Wars.
But by tapping into political and cultural needs in…
This imaginative history of the Britons, written in the twelfth century, is the first work to recount the woes of Lear and the glittering career of Arthur. It rapidly became a bestseller in the British Isles and Francophone Europe, with over 200 manuscripts surviving. Here, an authoritative version of the text is presented with a facing translation, prepared especially for the volume. It also contains a full introduction and notes.
MICHAEL REEVEis Kennedy Professor of Latin Emeritus at the Faculty of Classics, University of Cambridge; Dr NEIL WRIGHT is a Senior Language Teaching Officer at the Faculty of History, University…
I have always been intrigued by fantastical world-building that is complex, detailed, forensically credible, and immeasurably encyclopedic in scope. It should propel you to a world that feels almost as real as the world you leave behind but with intricate magic systems and razor-shape lore. Ironically, some of my choices took a while to love, but once they “sunk in,” everything changed. Whenever life gets too much, it has been cathartic, essential even, to transport to another universe and find solace in prose dedicated to survival, soul, and renewal.
This may be considered an odd choice on the surface, given the true events of the Trojan War. This was also another I initially struggled with. Nevertheless, despite the factual elements, it’s viewed as one of the earliest epic fantasies in Western literature, along with The Odyssey, which came after.
Centered on just a few days of the ten-year siege of Troy, the lives of humans and their gods are intricately linked. It is one of the earliest examples of pathos with much sympathy actually lying with the enemies, the Trojans, a people based in Asia Minor, and their allies from all over the region. Outside the gods, it also references monsters such as Bellerophon, the Gorgon, and centaurs, with the gods often used as a plot device to refract the emotions and flaws of the characters.
The world-building is vivid and rich in dactylic hexameter, a rhythmic style.…
One of the greatest epics in Western literature, THE ILIAD recounts the story of the Trojan wars. This timeless poem still vividly conveys the horror and heroism of men and gods battling amidst devastation and destruction, as it moves to its tragic conclusion. In his introduction, Bernard Knox observes that although the violence of the Iliad is grim and relentless, it co-exists with both images of civilized life and a poignant yearning for peace.
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 was in Greece, and read the Odyssey by and on the wine dark sea, imagining that it was all real.
This is the Anthony Verity translation for Oxford University Press. I have read Fagles’s translation, too, which everyone raves about, but the Oxford classic editions have great notes, which help you appreciate the text. And they are smaller to pack.
'Tell me, Muse, of the man of many turns, who was driven far and wide after he had sacked the sacred city of Troy'
Twenty years after setting out to fight in the Trojan War, Odysseus is yet to return home to Ithaca. His household is in disarray: a horde of over 100 disorderly and arrogant suitors are vying to claim Odysseus' wife Penelope, and his young son Telemachus is powerless to stop them. Meanwhile, Odysseus is driven beyond the limits of the known world, encountering countless divine and earthly challenges. But Odysseus is 'of many wiles' and his cunning…
I became enthralled by the ancient world when as a child I first saw those sand and sandals movies back in the sixties, Ben Hur and Spartacus especially. I began learning Latin aged nine and Greek aged twelve. I started a Ph.D., abandoned it, went to drama school, became a schoolteacher, worked as a professional gardener, became a schoolteacher again, eventually finished my Ph.D., and was lucky to get a job at Colgate University. Over time I realised that what really fascinated me about history was trying to insert myself imaginatively into the ancient world, so I began to ask questions about what it was like to be disabled, to be a refugee, to be a child, and so on.
This book made a deep impact on me when I first read it decades ago and it influenced me in the way I try to understand and write history to this day. I’d already read The Odyssey when I encountered Finley’s book, but Finley made me believe in a world that became real despite being imaginary. The World of Odysseus is an amalgam of the half-remembered world in which it is set – the twelfth century BC – and of the world in which Homer was composing – the eighth century BC – and of the big gap in between the two, known as the Dark Ages.
It’s a completely artificial world but it’s wholly convincing and coherent – a world, incidentally, dominated by a large cast of formidable women. Finley provides by far the best introduction to it, and he writes in an engaging, unpedantic, highly accessible, and informative…
The World of Odysseus is a concise and penetrating account of the society that gave birth to the Iliad and the Odyssey--a book that provides a vivid picture of the Greek Dark Ages, its men and women, works and days, morals and values. Long celebrated as a pathbreaking achievement in the social history of the ancient world, M.I. Finley's brilliant study remains, as classicist Bernard Knox notes in his introduction to this new edition, "as indispensable to the professional as it is accessible to the general reader"--a fundamental companion for students of Homer and Homeric Greece.
I’ve always loved military history. Over time, the ancient Greeks won out. They have the coolest equipment! The more you find out about their culture, the more interesting they are. I studied Classics and English Lit. as an undergrad and went to Athens for my Master's. My PhD research was on ancient Greek warfare and historiography–how the Greeks wrote history. That became part of my first book, Military Leaders and Sacred Space in Classical Greek Warfare. I’ve taught in several universities, including courses on warfare, mythology, art, and historiography. I run the Panoply Vase Animation Project, which makes educational animations from ancient antiquities. I am an Assistant Professor at the University of Warsaw.
This book is a graphic novel re-telling of The Iliad from Ares’ perspective. It looks amazing and it’s an absolute blast. I really enjoy the attention to detail in the illustrations, which look very dynamic and are full of information drawn from decent sources.
The storytelling is very sophisticated, so while Ares is the focal point, we move around the Trojan War and see it from different perspectives, divine and human. It is simply a great retelling of the Trojan War story with as much blood, glory, and tragedy as anyone could ask for.
Journeys of discovery are my favorite kind of story and my favorite vehicle for (mental) travel. From Gilgamesh to last week’s bestseller, they embody how we live and learn: we go somewhere, and something happens. We come home changed and tell the tale. The tales I love most take me where the learning is richest, perhaps to distant, exotic places—like Darwin’s Galapagos—perhaps deep into the interior of a completely original mind—like Henry Thoreau’s. I cannot live without such books. Amid the heartbreak of war, greed, disease, and all the rest, they remind me in a most essential way of humanity’s redemptive capacity for understanding and wonder.
Once, on a weeks-long gig far from home, I stayed in a bare attic room with no TV, no internet, not even a radio. I didn’t mind. I had this translation of the Odyssey to settle down with every evening after work. I would think about it all day long: the vivid language, the fantastical events, the struggle and suffering of the protagonist. Reading it was like going to a technicolor movie every night, except that the movie was inside my head.
Talk about an essential human story—the Odyssey is four thousand years old, but its characters have the same emotions, fears, vices, and virtues we have today. Their struggles make my heart race and my eyes tear up. My imagination goes into overdrive, and I revel in the wonder.
Homer's best-loved and most accessible poem, recounting the great wandering of Odysseus during his ten-year voyage back home to Ithaca, after the Trojan War. A superb new verse translation, now published in trade paperback, before the standard Penguin Classic B format.
My interest in the heroes and myths of the Trojan War came from a dream. My father was a wounded Greek youth and I carried him down into the Underworld. As I explored that dream and my relationship to my father, the world of Greek mythology opened to me. I absorbed The Iliad and The Odyssey, read the fragments and summaries of the other six poems that in antiquity had been part of the Epic or Trojan Cycle, immersed myself in Greek myths and gods, wondered if Homer wrote both surviving epics (I don’t think he did), and found within myself the voice of Telemachus ready to narrate On Wine-Dark Seas.
The author, a professor of classics at Bard College, invites his father to attend his class on The Odyssey. What unfolds is a marvelous father-son story as his opinionated father vigorously participates and the author limns his complicated relationship to this endearing and perplexing man. All this is set against insightful discussions of The Odyssey and the father-son relationship of Odysseus and Telemachus. A surprising and very pleasurable read.
From award-winning memoirist and critic, and bestselling author of The Lost: a deeply moving tale of a father and son's transformative journey in reading--and reliving--Homer's epic masterpiece.
When eighty-one-year-old Jay Mendelsohn decides to enroll in the undergraduate Odyssey seminar his son teaches at Bard College, the two find themselves on an adventure as profoundly emotional as it is intellectual. For Jay, a retired research scientist who sees the world through a mathematician's unforgiving eyes, this return to the classroom is his "one last chance" to learn the great literature he'd neglected in…
I’ve been playing in the sandbox of Greek myth as a writer for two decades, and passionately absorbed by it for even longer. My mother raised us all to love ancient history, and I was further encouraged by my brother at age 7, who brought home a copy of Bulfinch and taught me the difference between Heracles and Hercules, cementing my delight and inspiring me to pursue a BA in Classical Studies. The result was not only my Helen of Sparta duology, by a plethora of other works exploring our relationships to the divine in the retelling of historically-grounded myths, some well-known, and some half-forgotten.
Hand of Fire was one of the first books to truly win me over on Achilles as a real hero worthy of romanticism and admiration. Starkston’s exploration of Briseis’s character and her relationship to and with Achilles is so well-wrought, pulling both from the Hittites (the empire in which Briseis was born) and the Greek mythology and archeology. The way she weaves the two cultures together to create this story, priming Briseis for Achilles’s arrival to create a narrative that gives Briseis both power and agency is absolutely masterful. I loved that Starkston didn’t shy away from the supernatural hallmarks of the Iliad, either, allowing the gods and their direct influence to breathe inside her retelling of the Trojan War.
Briseis steps out from the handful of lines she gets in Homer's epic, and fearlessly tells her own story as healer, war prize, and partner to the famous Achilles—here a godlike hero who manages to be all too human. Recommended! –Kate Quinn, NYT Times Bestselling author of The Alice Network
A legendary war, an invincible warrior, a woman forced to defend her family and realm—and her independent spirit. Will she become the captive or the captor?
Briseis struggles to protect her city, an ally of Troy, from marauding Greeks and her husband’s arrogant violence. She finds strength in visions of…
Perhaps because I get bored easily, or maybe because I hear voices, I have found that my writing lends itself to exploration (different points of view, traditions, styles). I write to learn and to play. I distrust writers whose characters all sound like them, live lives like their own. It feels completely unfanciful, completely disinterested in the long literary tradition of make-believe. Writing and reading, at the end of the day, are ways for me to escape boredom meaningfully, and why should I wish to do that with stories that don’t offer up a small amount of the great kaleidoscope that is life?
Whether we are told a story by the collective voice of dying and dead girls after a horrific accident, or one about an Ottoman wrestling champ on a world tour, or even the reflections of the god Apollo on the human affinity for war, Bucak is adept at bringing the reader along as a confidant through some truly bizarre tales (one of my favorites is about the chess-playing robot “the Turk” falling in love).
Whether the story is close to its characters or respectfully removed, the tenderness and care the writer gives to evocatively portraying so many different stories is at the forefront so even if they might not be as tonally different as some others in this list, they make such diverse threads feel unified and, together, satisfying.
In Ayse Papatya Bucak's dreamlike narratives, dead girls recount the effects of an earthquake and a chess-playing automaton falls in love. A student stops eating and no one knows whether her act is personal or political. A Turkish wrestler, a hero in the East, is seen as a brute in the West. The anguish of an Armenian refugee is "performed" at an American fund-raiser. An Ottoman ambassador in Paris amasses a tantalizing collection of erotic art. And in the masterful title story, the Greek god Apollo confronts his personal history and bewails his Homeric reputation as he tries to memorialize,…
