{"id":9882,"date":"2018-09-11T23:30:44","date_gmt":"2018-09-12T03:30:44","guid":{"rendered":"http:\/\/www.philpaine.com\/?p=9882"},"modified":"2018-12-25T17:57:53","modified_gmt":"2018-12-25T22:57:53","slug":"27492-homer-the-odyssey-tr-stephen-mitchell","status":"publish","type":"post","link":"http:\/\/www.philpaine.com\/?p=9882","title":{"rendered":"27492. (Homer) The Odyssey [tr. Stephen Mitchell]"},"content":{"rendered":"
\"Ulysse<\/a>

Ulysse et T\u00e9l\u00e9\u00admaque mas\u00adsacrent les pr\u00e9\u00adten\u00addants de P\u00e9n\u00e9\u00adlope<\/em> (1812) by Thomas Degeorge<\/p><\/div>\n

Before the fatal attrac\u00adtion of Sci\u00adence Fic\u00adtion, my ear\u00adly child\u00adhood read\u00ading was dom\u00adi\u00adnat\u00aded by dinosaurs, jun\u00adgles, vol\u00adca\u00adnoes and tales of explor\u00aders and sci\u00aden\u00adtists. But there was also a niche set aside for ancient myth, par\u00adtic\u00adu\u00adlar\u00adly Greek myths. I read a crum\u00adbling old copy of Charles Kings\u00adley\u2019s The Heroes: Perseus, Jason, The\u00adseus<\/em>, and Jason in par\u00adtic\u00adu\u00adlar appealed to me, a taste firm\u00adly cement\u00aded by repeat\u00aded view\u00adings of Har\u00adry Har\u00adri\u00adhausen\u2019s mag\u00adi\u00adcal stop-motion effects in the film Jason and the Arg\u00adonauts<\/em>. I also pos\u00adsessed (I\u2019m not sure how) a lit\u00adtle blue book, some\u00adthing pro\u00adferred as \u201cedu\u00adca\u00adtion\u00adal\u201d from a Cana\u00addi\u00adan pub\u00adlish\u00ader, enti\u00adtled Clas\u00adsi\u00adcal Mythol\u00ado\u00adgy in Song and Sto\u00adry: Part Two, Epic Heroes<\/em>. It was choc full of line draw\u00adings from some uncred\u00adit\u00aded artist. These were rea\u00adson\u00adably good, and some were quite sexy. But most delight\u00adful of all, the two end\u00adpa\u00adpers were maps, show\u00ading in a ser\u00adpen\u00adtine dot\u00adted line the jour\u00adney \u2014 it actu\u00adal\u00adly said \u201cwan\u00adder\u00adings\u201d in the map \u2015 of Odysseus. The land of the lotus-eaters was Tunisia. Scyl\u00adla and Charib\u00addis stood fero\u00adcious\u00adly on either side of the straight sep\u00ada\u00adrat\u00ading Sici\u00adly from Cal\u00adabria. No doubt this explains the pre\u00adpon\u00adder\u00adance of Ital\u00adian immi\u00adgrants to Cana\u00adda from those two provinces. I can\u2019t express how much maps meant to me at that age. Maps were my cat\u00adnip. Put a map on the end-papers of any\u00adthing<\/em>, and I would read it. <\/span><\/p>\n

The retellings of the myths in these two books were in old-fash\u00adioned styles, a mix\u00adture of late 19th cen\u00adtu\u00adry British and 1930\u2019s Cana\u00addi\u00adan prose. I rat\u00aded the var\u00adi\u00adous heroes dif\u00adfer\u00adent\u00adly. Her\u00adcules, a mere mus\u00adcle\u00adman with obvi\u00adous\u00adly lim\u00adit\u00aded intel\u00adli\u00adgence, struck me as more of a \u201chero\u201d for the bul\u00adlies that wait\u00aded to pounce on me on the way to school. The pompous char\u00adac\u00adters of the Ili\u00adad did not impress me at all, and the Tro\u00adjan War did\u00adn\u2019t seem very inter\u00adest\u00ading. For all that I liked Jason, he was too depen\u00addent on help from var\u00adi\u00adous gods, ora\u00adcles, and crew\u00admen. The Arg\u00adonau\u00adti\u00adca<\/em> is a pret\u00adty good sto\u00adry, but Jason him\u00adself is basi\u00adcal\u00adly just a gener\u00adic teen adven\u00adture hero. It\u2019s with the retelling of the Odyssey<\/em> that the book hit gold. Odysseus was no pink-cheeked ado\u00adles\u00adcent, cer\u00adtain\u00adly no wimp, and obvi\u00adous\u00adly had a brain\u2026 though not nec\u00ades\u00adsar\u00adi\u00adly the best judge\u00adment. The adven\u00adtures were not a mere parade of mon\u00adsters. The Cyclops was not just a dan\u00adger\u00adous ani\u00admal, but a par\u00adtic\u00adu\u00adlar\u00adly grue\u00adsome oppo\u00adnent that Odysseus could con\u00adverse with and out\u00adwit. There were sub\u00adtler per\u00adils, most\u00adly vari\u00adants of the femme fatale<\/em>, and the temp\u00adta\u00adtions of drug-induced ecsta\u00adsy and time\u00adless\u00adness. Odysseus even goes to Hell \u2015 the mor\u00adbid cold and misty Hell of the Greeks, not the sil\u00adly bar\u00adbe\u00adcued Chris\u00adt\u00adian Hell. <\/span><\/p>\n

Even\u00adtu\u00adal\u00adly, I read the actu\u00adal epic, first in the Richard Lat\u00adti\u00admore trans\u00adla\u00adtion, then lat\u00ader in the Pen\u00adguin Clas\u00adsics ver\u00adsion trans\u00adlat\u00aded by E. V. Rieu. But it was\u00adn\u2019t quite the same. As a teenag\u00ader and an adult, read\u00ading could not have the same sense of spon\u00adta\u00adneous rev\u00ade\u00adla\u00adtion that it had for a small child. The Odyssey<\/em> ceased to be a \u201csto\u00adry\u201d and became \u201clit\u00ader\u00ada\u00adture,\u201d con\u00adsumed with the same pedan\u00adtic indus\u00adtry that I read Chaucer, Hem\u00ading\u00adway or Tobias Smol\u00adlett. That is to say, not with\u00adout appre\u00adci\u00ada\u00adtion and plea\u00adsure, but not<\/em> with the wide-eyed gus\u00adto of a small child unwrap\u00adping a Crispy Crunch bar. <\/span><\/p>\n

Clas\u00adsics are sel\u00addom reread, even by omniv\u00ado\u00adrous read\u00aders. Most of the book\u00adish peo\u00adple I know have read an assort\u00adment of clas\u00adsics in their high school or col\u00adlege years, then filed them away in mem\u00ado\u00adry, feel\u00ading lit\u00adtle urge to look at them again with the per\u00adspec\u00adtive of age. There are far too many new\u00ader things com\u00adpet\u00ading for atten\u00adtion. Grad\u00adu\u00adal\u00adly, such clas\u00adsics dim into vague impres\u00adsions, sta\u00adt\u00adic snap\u00adshots of par\u00adtic\u00adu\u00adlar scenes, or trun\u00adcat\u00aded plot sum\u00admaries. Moby Dick the whale is God. Anna Karen\u00adi\u00adna throws her\u00adself under a train. Gar\u00adgan\u00adtua wipes his ass with a duck.<\/span><\/p>\n

But I\u2019m a chron\u00adic reread\u00ader. Even some appar\u00adent\u00adly sim\u00adple books nev\u00ader seem to come out the same on suc\u00adces\u00adsive read\u00adings. I\u2019ve read Edgar Pang\u00adborn\u2019s A Mir\u00adror For Observers<\/em> eight times. I\u2019m look\u00ading for\u00adward to the ninth. I would no more be fin\u00adished with it than I would cease lis\u00adten\u00ading to \u201cSt. James Infir\u00admary Blues\u201d because I\u2019ve already heard it. So I\u2019ve just reread The Odyssey<\/em>, after many years, this time in the 2013 trans\u00adla\u00adtion by Stephen Mitchell, whose prodi\u00adgious indus\u00adtry has already pro\u00adduced an Ili\u00adad<\/em>, a Gil\u00adgamesh<\/em>, and a Bha\u00adgavad Gita<\/em>. Any\u00adone tak\u00ading on the task of trans\u00adlat\u00ading an ancient work is faced with a basic choice at the very start: whether to use \u201cele\u00advat\u00aded\u201d lan\u00adguage or \u201ccol\u00adlo\u00adqui\u00adal\u201d lan\u00adguage, or some com\u00adpro\u00admise between the two. Mitchell chose the col\u00adlo\u00adqui\u00adal approach with\u00adout com\u00adpro\u00admise, notice\u00adably more than either Lat\u00adti\u00admore or Rieu. I can under\u00adstand this, because an \u201cele\u00advat\u00aded\u201d style does not come eas\u00adi\u00adly either to an Eng\u00adlish lan\u00adguage read\u00ader or to an Eng\u00adlish lan\u00adguage writer. In soci\u00adeties where caste and class are inte\u00adgral to every aspect of life the use of a spe\u00adcial \u201chigh\u201d lan\u00adguage in poet\u00adry or prose comes nat\u00adu\u00adral\u00adly enough \u2015 in some lan\u00adguages there is an entire\u00adly dif\u00adfer\u00adent sys\u00adtem of gram\u00admar for aris\u00adto\u00adcrat\u00adic or poet\u00adic speech. But most Eng\u00adlish-speak\u00ading soci\u00adeties do not hold class and caste as sacred ideals, and in Eng\u00adlish such a lin\u00adguis\u00adtic dis\u00adtinc\u00adtion con\u00adveys only insin\u00adcer\u00adi\u00adty. As a triv\u00adial, but illus\u00adtra\u00adtive exam\u00adple, con\u00adsid\u00ader record\u00adings of pop\u00adu\u00adlar songs by opera stars. Oper\u00adat\u00adic singers are taught a very spe\u00adcif\u00adic for\u00admu\u00adla of enun\u00adci\u00ada\u00adtion, based on the Ital\u00adian val\u00adues of vow\u00adels and con\u00adso\u00adnants, designed to make opera lyrics clear\u00ader and show off the exact\u00ading vocal dis\u00adci\u00adpline of oper\u00adat\u00adic singing. We are not expect\u00aded to fall into a sus\u00adpen\u00adsion of dis\u00adbe\u00adlief in which we are tru\u00adly expe\u00adri\u00adenc\u00ading the pow\u00ader\u00adhouse lungs of the diva as a frail con\u00adsump\u00adtive waif com\u00admit\u00adting sui\u00adcide. Opera singers can\u2019t aban\u00addon this dis\u00adci\u00adpline and enun\u00adci\u00adate like a Cana\u00addi\u00adan accoun\u00adtant, a sheep ranch\u00ader in the Aus\u00adtralian out\u00adback, or a teenag\u00ader in Van Nuys, Cal\u00adi\u00adfor\u00adnia. So no mat\u00adter how much verve or tech\u00adni\u00adcal skill they put into a pop\u00adu\u00adlar song, it is bound to give an impres\u00adsion of arti\u00adfi\u00adcial\u00adi\u00adty and false emo\u00adtion. The pop\u00adu\u00adlar singer\u2019s enun\u00adci\u00ada\u00adtion match\u00ades that of col\u00adlo\u00adqui\u00adal lan\u00adguage, and thus sounds more sin\u00adcere. How\u00adev\u00ader, an Ital\u00adian oper\u00adat\u00adic aria does not sound the least bit insin\u00adcere to an Ital\u00adian. The same dis\u00adci\u00adplined enun\u00adci\u00ada\u00adtion can be applied to an Ital\u00adian folk\u00adsong or pop song, and Pavarot\u00adti could switch from Verdi\u2019s \u201c<\/em>De\u2019 miei bol\u00adlen\u00adti spir\u00adi\u00adti\u201d<\/em> to the folksy Neapoli\u00adtan \u201c<\/em>Fen\u00ades\u00adta vas\u00adcia\u201d<\/em> with\u00adout bat\u00adting an eye. The clos\u00adest that one usu\u00adal\u00adly comes to see\u00ading the use of the \u201cele\u00advat\u00aded\u201d lan\u00adguage con\u00adven\u00adtion in Eng\u00adlish is in 1950\u2019s his\u00adtor\u00adi\u00adcal movies set in ancient Rome, where the Sen\u00ada\u00adtors all speak in British Shake\u00adspear\u00adi\u00adan Stage accents, the cen\u00adtu\u00adri\u00adons are Amer\u00adi\u00adcans, and the slaves are Cock\u00adneys or come from Brook\u00adlyn. This is not a viable tem\u00adplate for trans\u00adlat\u00ading the Odyssey<\/em> if one expects it to be read with\u00adout laughing.<\/span><\/p>\n

One thing I noticed this time around is that the Odyssey<\/em> is noth\u00ading like a \u201cfolk epic\u201d. I\u2019ve read or heard quite a few exam\u00adples of gen\u00aduine folk epics, and this work does\u00adn\u2019t even remote\u00adly resem\u00adble them. It gives every indi\u00adca\u00adtion of being the con\u00adscious prod\u00aduct of a sin\u00adgle author who con\u00adceived of it as a uni\u00adfied work, in short of being \u201clit\u00ader\u00ada\u00adture\u201d, even if it was com\u00adposed and per\u00adformed oral\u00adly. That is not to say that it does\u00adn\u2019t con\u00adtain folk\u00adloric ele\u00adments. I think what Homer (or whomev\u00ader) was doing was tak\u00ading a body of exist\u00ading folk song, itself based on an estab\u00adlished mythol\u00ado\u00adgy, and embed\u00adding it into a coher\u00adent nar\u00adra\u00adtive, which is in turn framed by an over\u00adar\u00adch\u00ading meta-nar\u00adra\u00adtive. There is noth\u00ading impromp\u00adtu about any of this con\u00adstruc\u00adtion. Every\u00adwhere in it one sees the fin\u00adger\u00adprints of a writer<\/em>, some\u00adone care\u00adful\u00adly select\u00ading ele\u00adments, view\u00ading them from mul\u00adti\u00adple angles, cal\u00adcu\u00adlat\u00ading their tim\u00ading and effect, and using them as instru\u00adments of emo\u00adtion\u00adal manip\u00adu\u00adla\u00adtion. The \u201chero\u201d of the con\u00adstruct\u00aded work is not Odysseus, but young Telemachus, who occu\u00adpies a large part of the total nar\u00adra\u00adtive, and whose trans\u00adfor\u00adma\u00adtion from inef\u00adfec\u00adtu\u00adal youth to effec\u00adtive adult is deter\u00admined at first by the absence of his father, then by his uncov\u00ader\u00ading indi\u00adrect evi\u00addence of his father\u2019s adven\u00adtures from tes\u00adti\u00admo\u00adny, then final\u00adly by Odysseus\u2019 return\u00ading and re-estab\u00adlish\u00ading his her\u00aditage. As a reflec\u00adtion of this process, Telemachus is guid\u00aded by Athena in the form of the vis\u00adi\u00adtor Men\u00adtor. Odysseus\u2019 fan\u00adtas\u00adtic adven\u00adtures are embed\u00added in this meta-frame in frag\u00admen\u00adtary form. Every\u00adwhere in the nar\u00adra\u00adtive it is the psy\u00adcho\u00adlog\u00adi\u00adcal, not the phys\u00adi\u00adcal events that are empha\u00adsized. No mat\u00adter how many mon\u00adsters appear, most of the nar\u00adra\u00adtive is like a real\u00adis\u00adtic novel:<\/span><\/p>\n

While they were speak\u00ading Eur\u00fdnome and the nurse were mak\u00ading the bed by torch\u00adlight, spread\u00ading upon it soft sheets and blan\u00adkets. And when they had fin\u00adished their work, soft sheets and blan\u00adkets. And when they had fin\u00adished their work, Eurycl\u00e9a went back to her room for the night, and Eur\u00fdnome, hold\u00ading a torch, accom\u00adpa\u00adnies them to the bed\u00adroom and left them there. And in great joy the two of them lay at last in each oth\u00ader\u2019s arms. Telemachus and the cowherd and swine\u00adherd stopped danc\u00ading, and told the women to stop as well and dis\u00admissed them, and then they went to sleep in the shad\u00adowy hall. When Pene\u00adlope and Odysseus had tak\u00aden their plea\u00adsure in the joys of love, they told each oth\u00ader their sto\u00adries. She told him of every\u00adthing she had endured in the palace with the despi\u00adca\u00adble crowd of suit\u00adors encamped there, using her as an excuse to slaugh\u00adter so many cat\u00adtle and sheep and to drink so much of their wine. And Odysseus told her of his great exploits in war, the suf\u00adfer\u00ading he had inflict\u00aded and what he had suf\u00adfered on his way home, and she lis\u00adtened to him, enchant\u00aded, and she did not close her eyes until he had finished.<\/em><\/span><\/p>\n

There are as many female char\u00adac\u00adters in the Odyssey as there are male, and the nar\u00adra\u00adtive either puts them in fore\u00adfront, has them behav\u00ading proac\u00adtive\u00adly, or attempts to describe their points of view. It is Helen, not Menelaus, who tells Telemachus and the assem\u00adbled ban\u00adqueters the tale of Odysseus\u2019 fight\u00ading at Troy. Folk epics sim\u00adply don\u2019t do these things, and they are not the prod\u00aduct of the sim\u00adple accre\u00adtion of folk tales or folk songs into a col\u00adlec\u00adtive tra\u00addi\u00adtion\u00adal epic. This is a delib\u00ader\u00adate, uni\u00adfied work of lit\u00ader\u00ada\u00adture. Yes, there is a body of mythol\u00ado\u00adgy and song already known to the audi\u00adence, just as Her\u00admann Melville expect\u00aded his read\u00aders to already know the bible sto\u00adries that make Moby Dick<\/em> com\u00adpre\u00adhen\u00adsi\u00adble, but they are made into some\u00adthing which the audi\u00adence under\u00adstands exists for and of itself. In fact, when\u00adev\u00ader Homer is about to use a pre-exist\u00ading seg\u00adment of nar\u00adra\u00adtive, he telegraphs this by his phras\u00ading and the way he leads into it. These ele\u00adments are like film-clips. We are invari\u00adably told how they are known, and why we are being told them \u2014 some\u00adthing which folk epics rarely, if ever, do. The result is no more a folk epic or a col\u00adlec\u00adtive endeav\u00adour than is Mil\u00adton\u2019s Par\u00adadise Lost<\/em>.<\/span><\/p>\n

Anoth\u00ader thing I noticed is the promi\u00adnent role that drugs play in the nar\u00adra\u00adtive. There are more than the Lotus Eaters and the potions of Circe:<\/span><\/p>\n

And as they were wash\u00ading, Helen had an idea. Into the wine that they were to drink, she slipped a drug that dis\u00adsolved all grief and anger and ban\u00adished remem\u00adbrance of every sor\u00adrow. Who\u00adev\u00ader drank this, once it was mixed in, would not be able to feel a moment of sad\u00adness that day, or to shed one tear \u2015 not even if both their moth\u00ader and father died or if some\u00adone came and stabbed his son or broth\u00ader in front of his eyes and he looked on as it hap\u00adpened. It was one of the potent drugs that the daugh\u00adter of Zeus had been giv\u00aden by Poly\u00add\u00e1m\u00adna, the wife of Thon, a woman of Egypt, the land where the rich earth pro\u00adduces the great\u00adest sup\u00adply of drugs, of which many are ben\u00ade\u00adfi\u00adcial, and many are poisonous.<\/em><\/span><\/p>\n

\"A<\/a>

A Roman mosa\u00adic por\u00adtray\u00ading the Odyssey. Its sto\u00adry was known to every\u00adone \u2014 lit\u00ader\u00adal\u00adly thou\u00adsands of murals, mosaics and paint\u00aded pot\u00adtery ves\u00adsels por\u00adtray\u00ading it have sur\u00advived, a tiny frac\u00adtion of those that once existed.<\/p><\/div>\n

It\u2019s not clear how much of the Odyssey can con\u00adnect with a mod\u00adern read\u00ader. The motives, val\u00adues and behav\u00adiours are, after all, those of the ancient world, and these over\u00adlap, but are not con\u00adgru\u00adent with those of today. The Renais\u00adsance and espe\u00adcial\u00adly the Enlight\u00aden\u00adment read\u00ading audi\u00adences were much more inter\u00adest\u00aded in Telemachus\u2019 role than in Odysseus\u2019 mon\u00adsters and dal\u00adliances. It is not at all obvi\u00adous to the mod\u00adern read\u00ader why Telemachus was seen by Voltaire and Thomas Jef\u00adfer\u00adson as a sym\u00adbol of lib\u00ader\u00adty and rea\u00adson, enshrined in F\u00e9nelon\u2019s Les aven\u00adtures de T\u00e9l\u00e9\u00admaque<\/em> (1699), which earned its author polit\u00adi\u00adcal exile. In the tumul\u00adtuous 18th Cen\u00adtu\u00adry, there were operas about Telemachus by Scar\u00adlat\u00adti, Gluck, Destouche, Sor, Gaz\u00adzani\u00adga, Le Sueur and Mayr.. far more than there were about Odysseus. Gluck\u00ad\u2019s Telema\u00adco<\/em> is still wide\u00adly per\u00adformed. But the 19th Cen\u00adtu\u00adry saw lit\u00adtle of inter\u00adest in either Telemachus or Odysseus, and despite the pres\u00adtige of Homer, an atti\u00adtude set\u00adtled in that the Odyssey<\/em> was an embar\u00adrass\u00ading vul\u00adgar com\u00admer\u00adcial work that Homer must have ground out for the plebs to pay the rent while per\u00adfect\u00ading the high\u00ader-pres\u00adtige Ili\u00adad<\/em> \u2015 or bet\u00adter yet that he did\u00adn\u2019t write at all. So it was the Odyssey<\/em> for the kid\u00addies and the Ili\u00adad<\/em> for the adults. Only James Joyce, so it seems, thought oth\u00ader\u00adwise. This was quite log\u00adi\u00adcal in an age when \u201cseri\u00adous\u201d was equat\u00aded with \u201creal\u00adist\u201d and pres\u00adtige lit\u00ader\u00ada\u00adture was not sup\u00adposed to have mon\u00adsters in it. Half the best books of the 20th Cen\u00adtu\u00adry were ignored under the influ\u00adence of that premise. The 21st Cen\u00adtu\u00adry has seen a renew\u00adal of inter\u00adest in the Odyssey<\/em>, along with all forms of imag\u00adi\u00adna\u00adtive, non-real\u00adist literature.<\/p>\n

\"Kirk<\/a>

Kirk Dou\u00adglas &<\/span> Rossana Podest\u00e0 in Ulysses<\/em> (1954)<\/p><\/div>\n

As well as reread\u00ading the great epic, I also indulged in view\u00ading some of its cin\u00ade\u00admat\u00adic inter\u00adpre\u00adta\u00adtions. First, I watched the Ital\u00adian-made Ulysses<\/em> [Ulisse <\/em>(1954) d. Mario Cameri\u00adni], with most of the minor roles dubbed, but the parts of Kirk Dou\u00adglas and Antho\u00adny Quinn act\u00aded in Eng\u00adlish. Sil\u00advana Man\u00adgana appears as both Circe and Pene\u00adlope. Telemachus is played by Fran\u00adco Inter\u00adlenghi, who is lit\u00adtle known out\u00adside of Italy, but began a pro\u00adlif\u00adic film career at age 15 in Vit\u00adto\u00adrio De Sica\u2019s Scius\u00adci\u00e0<\/em>, and for years rivaled Mar\u00adcel\u00adlo Mas\u00adtrioan\u00adni as a roman\u00adtic lead. Rossana Podest\u00e0 is a sexy Nau\u00adsi\u00adcaa. Dou\u00adglas\u2019 usu\u00adal\u00adly annoy\u00ading smirk is well suit\u00aded to a Wily Ulysses [Odysseus], and he does quite a good job. The script does\u00adn\u2019t stray far from the orig\u00adi\u00adnal, though it selects a few seg\u00adments to con\u00adcen\u00adtrate on and omits some oth\u00aders. The Cyclops devour\u00ading Greeks scene is pret\u00adty graph\u00adic for the 1950s. Next, I saw the 1997 tele\u00advi\u00adsion minis\u00aderies The Odyssey<\/em> star\u00adring Armand Assante, who por\u00adtrays Odysseus as not so much wily as grumpy. The series is lit\u00adtered with celebri\u00adty walk-ons: Isabel\u00adla Rosselli\u00adni, Eric Roberts, Irene Papas, Geral\u00addine Chap\u00adlin, Christo\u00adpher Lee, some of which are rather strange cast\u00ading, e.g. Bernadette Peters as Circe, and Michael J. Pol\u00adlard as Aeo\u00adlus (!) As with the 1954 ver\u00adsion, this minis\u00aderies is rea\u00adson\u00adably faith\u00adful to the orig\u00adi\u00adnal. The same can\u00adnot be said for Odysseus: Voy\u00adage to the Under\u00adworld <\/em>(2008, d. Ter\u00adry Ingram), a Romania\/Canada\/UK<\/span> co-pro\u00adduc\u00adtion filmed in Cana\u00adda. It bills itself as \u201d the tale Homer felt was too hor\u00adrif\u00adic to tell; the miss\u00ading book of The Odyssey\u201d. Yup. There is also a long French minis\u00aderies from 2013 that I haven\u2019t been able to find. <\/span><\/p>\n

<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Before the fatal attrac\u00adtion of Sci\u00adence Fic\u00adtion, my ear\u00adly child\u00adhood read\u00ading was dom\u00adi\u00adnat\u00aded by dinosaurs, jun\u00adgles, vol\u00adca\u00adnoes and tales of explor\u00aders and sci\u00aden\u00adtists. But there was also a niche set aside for ancient myth, par\u00adtic\u00adu\u00adlar\u00adly Greek myths. I read a crumbling \u2026<\/p>\n

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