By Christopher Logue
Setting down her topaz saucer heaped with nectarine jelly,
Emptying her blood-red mouth—set in her ice-white face—
Teenaged Athena jumped up and shrieked:
“Kill! Kill for me!
Better to die than reside with no killing!”
Who says prayer does no good?
Christopher Logue’s paintings in growth, his Iliad, has been known as “the most sensible translation of Homer when you consider that Pope’s” (The big apple evaluation of Books). the following in All Day everlasting purple is doomed Hector, the lion, “slam-scattering the herd” on the peak of his powers. here's the Greek military emerging with a legitimate like a “sky-wide Venetian blind.” this is an arrow’s tunnel, “the width of a lipstick,” via a neck. Like Homer himself, Logue is fast to combine the traditional and the recent, simply because his Troy exists outdoors time, and no translator has a extra Homeric curiosity within the fact of conflict, or within the absurdity and sublimity of war.
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