There is no better email to receive than a new post on salvage. Enjoyed reading this all day.
First off, this is spot on, “we are engaging wonders and marvels beyond the margins of what’s commonly known in our own places and time, if only in our imaginations.”
Also, the idea we are now living in the margin of medieval Europe, but more importantly what margin do wonders play on now?
You and I are thinking the same direction on this, Lars. I think the space race opened a new margin for us last century, and our attention is now shifting from the moon to Mars. But in recent research we also see a concerted effort to drum up new margins. For example, the emergence of UUV (unmanned underwater vehicles) has quickly opened up the margin of the ocean floor, leading to all kinds of interesting scientific and archaeological discoveries. And then you have research by people like David Pike, who's insisting that subterranean space is the greatest new frontier. And I think he and others like him are onto something.
This is wonderful. I’ve been reading Homer for the first time with a group of folks, and this is how I have thought about the transition from illiad to Odyssey, but didn’t quite have the language for it.
Fagles is great. His language is grand. Pick a passage from 'Iliad' or 'Odyssey' that means something to you, and post the book/line numbers here. I have Samuel Butler's, Robert Fagles's, and Stanley Lombardo's translations of 'Iliad,' and all of those translators' plus Emily Wilson's 'Odyssey.' I'll post photos of your passage in a note or post and we can go wild in the comments.
As you're undoubtedly aware, just like with Bible translations, translations of Homer's works each have nuance to them and the differences are sometimes profoundly important. Lombardo's is one of my favorites because it makes the War at Troy sound like a street fight at times. It really humanizes the soldiers for a twenty-first-century readership. But Fagles's language is epic--feels epic--and lends the work a heft that makes the entire scene seem dipped in bronze.
There is no better email to receive than a new post on salvage. Enjoyed reading this all day.
First off, this is spot on, “we are engaging wonders and marvels beyond the margins of what’s commonly known in our own places and time, if only in our imaginations.”
Also, the idea we are now living in the margin of medieval Europe, but more importantly what margin do wonders play on now?
You and I are thinking the same direction on this, Lars. I think the space race opened a new margin for us last century, and our attention is now shifting from the moon to Mars. But in recent research we also see a concerted effort to drum up new margins. For example, the emergence of UUV (unmanned underwater vehicles) has quickly opened up the margin of the ocean floor, leading to all kinds of interesting scientific and archaeological discoveries. And then you have research by people like David Pike, who's insisting that subterranean space is the greatest new frontier. And I think he and others like him are onto something.
This is wonderful. I’ve been reading Homer for the first time with a group of folks, and this is how I have thought about the transition from illiad to Odyssey, but didn’t quite have the language for it.
Hey, Myles--whose translation of Homer are you all reading? I've found the translator matters a great deal when reading 'Iliad' and 'Odyssey.'
Ive been using Fagles
Fagles is great. His language is grand. Pick a passage from 'Iliad' or 'Odyssey' that means something to you, and post the book/line numbers here. I have Samuel Butler's, Robert Fagles's, and Stanley Lombardo's translations of 'Iliad,' and all of those translators' plus Emily Wilson's 'Odyssey.' I'll post photos of your passage in a note or post and we can go wild in the comments.
As you're undoubtedly aware, just like with Bible translations, translations of Homer's works each have nuance to them and the differences are sometimes profoundly important. Lombardo's is one of my favorites because it makes the War at Troy sound like a street fight at times. It really humanizes the soldiers for a twenty-first-century readership. But Fagles's language is epic--feels epic--and lends the work a heft that makes the entire scene seem dipped in bronze.
Plus, I have a bonus I'll add in as well.