From photographer Richard Silver, vertical panoramic photos of churches that emphasize their often incredible ceilings. (via ignant)
What to Read & Listen to After Seeing The Odyssey
I’m currently doing the thing I do after seeing a movie (The Odyssey) I really enjoyed or found interesting: digging into related media. Yesterday I had an hour in the car, so I listened to this episode of The Daily podcast with Madeline Miller and Emily Wilson.
I think it’s quite odd to think that one book or one translation erases the others. I mean, if people prefer some other translation or if people want to read the Greek, I would love for them to do that. I think it’s great. I have no desire to legislate about which versions of “The Odyssey,” or of any ancient text, people want to engage with. So I think there’s something quite strange about the idea that the canon doesn’t have room for many, many different interpretations, translations, engagements, reinventions.
I’ve also flagged this New York Review of Books podcast with Daniel Mendelsohn, another NYT podcast with Madeline Miller, and this WNYC podcast with Emily Wilson for future listening.
As for reading, Wilson and Mendelsohn both did contemporary translations of The Odyssey within the past few years: The Odyssey translated by Emily Wilson (I loved this, read it aloud to my kids) and The Odyssey translated by Daniel Mendelsohn. Actor Stephen Fry recently did a more approachable reimagining of The Odyssey. The Odyssey: A Graphic Novel by Gareth Hinds is even more accessible, especially for younger readers.
Miller is the author of two great novels based on the Iliad and the Odyssey: Circe (my personal favorite of the two…I love this book and tell everyone to read it) and The Song of Achilles.
Other novels based on Homer’s works: The Penelopiad by Margaret Atwood and A Thousand Ships by Natalie Haynes.
Mendelsohn also wrote An Odyssey: A Father, A Son, and an Epic back in 2018; it sounds really interesting:
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 his youth—and, even more, a final opportunity to more fully understand his son, a writer and classicist.
The Meaning of Nolan’s The Odyssey
I suspect like many of you, I saw The Odyssey this weekend. I really liked it and the more I read & think about the film, the more it grows in my esteem. This thread by Mmina Maclang-Tamayo (spoilers!) is pretty much how I interpreted what Nolan was trying to convey.
As it turns out, it was 10,000% important that Christopher Nolan’s The Odyssey was delivered in American accents, beyond just the Emily Wilson linguistics of it all.
It’s because it was about America.
I didn’t think it’d be possible to spoil a 3000 year-old epic, but here’s a 🧵
The emphasis on what’s happening back in Ithaca, with the royal courts and suitors to Penelope reflect upon the internal politics of taking the anxieties of the people about external invaders to attempt to seize power.
Then, Odysseus returns with the revelation: the feared invaders, “The Sea People”, were them all along.
Zeus’ Law has an uncanny resemblance to Christian teaching. “Whatsoever you do to the least of My brothers, that you do unto Me”. (Matthew 25:40)
That America proudly keeps envoking the Abrahamic God in its identity as a nation, and its government attempting to justify their actions in the name of such a God, yet turn around and gravely mistreat the immigrants on their doorstep, and antagonize their own allies, is a betrayal of its identity.
The film warns: America has broken Zeus’ Law.
Steve Donner shared some interesting thoughts in his reading of the film:
20. The point: Nothing is sacred in war, and we have lost all respect for basic decency and hospitality. We’re all the violators; we are all the suitors, we are all the cyclops. Consequently, all the towers and temples burn (“the burning roof and tower, and Agamemnon dead”). It’s Odysseus’ guilt about his foreign wars manifesting again and he’s spent years avoiding the truth.
21. That’s why he’s unconsciously avoided home for twenty years: he simply cannot face what he has become, nor does he wish to show his shame to his wife and son.
