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The translation the classicists have been waiting for. Daniel Mendelsohn — critic, memoirist, and longtime New Yorker essayist on the ancient world — delivers a line-for-line rendering that refuses the streamlined, modernizing approach of recent versions, instead reproducing the epic's formal qualities: its meter, enjambment, alliteration, and assonance, restoring the poem's archaic grandeur. The result has been hailed by classicists and poets as a momentous achievement, with Edith Hall suggesting it may be the best English Odyssey yet.
The translation the classicists have been waiting for. Daniel Mendelsohn — critic, memoirist, and longtime New Yorker essayist on the ancient world — delivers a line-for-line rendering that refuses the streamlined, modernizing approach of recent versions, instead reproducing the epic's formal qualities: its meter, enjambment, alliteration, and assonance, restoring the poem's archaic grandeur. The result has been hailed by classicists and poets as a momentous achievement, with Edith Hall suggesting it may be the best English Odyssey yet.
