War Music: An Account of Books 16 to 19 of Homer's Iliad

Literature & Fiction

LOGUE, Christopher

Poetry

King Penguin

Helen, the world's most beautiful woman, the wife of Lord Menelaos of Sparta, left Greece in the company of Paris, the son of Priam, King of Troy. To repossess her, a thousand Greek ships sailed to Troy. Nine years have passed. The Greeks have not achieved their aim. Indeed, after a quarrel between Achilles their leader and Agamemnon their king, the Trojans, led by Paris's brother, Prince Hector, have driven the Greeks off the plain of Troy and back behind the palisade protecting their ships. Achilles refuses to help them. It is night ...The scene is set for Cold Calls, the fifth and penultimate instalment of Logue's Homer, an ongoing project - a piece of performance-art for the page rather than the stage - which has taken several decades to unfold, and has been described by Derek Mahon as 'Less a translation than an adaptation. Less an adaptation, in fact, than an original poem of considerable power.'

War music: An account of books 16 to 19 of Homer's Iliad

JONATHAN CAPE.

On their way to the Great Annual Show, the performers in the Magic Circus have some perilous adventurous after they meet a disgruntled conjuror in the forest.

The magic circus

Contemporary

J. Cape

Abecedary: Verse

TRAFALGAR SQUARE +

BRAND NEW FIRST EDITION softcover, Jonathan Cape 1981, clean text, solid binding, NO remainders NOT ex-library slight shelfwear / storage-wear; WE SHIP FAST. Carefully packed and quickly sent. 201601880 Christopher Logue, CBE (23 November 1926 – 2 December 2011) was an English poet associated with the British Poetry Revival and a pacifist. Christopher Logue (1926 - 2011) spent over forty years working on his contemporary version of Homer's Iliad. Begun in 1959 the project expanded into five full-length collections, known collectively as War Music. Born in Portsmouth, Hampshire, Logue was part of a post-war artistic milieu that encompassed friendships with Samuel Beckett and Henry Miller in Paris. As well as his poetry, Logue wrote for the theatre and cinema, including two screenplays one of which, Savage Messiah, was directed by Ken Russell, and he also appeared in front of the camera for the same director as Cardinal Richelieu in The Devils. For many years he contributed to the satirical magazine, Private Eye. The various instalments of War Music have been highly acclaimed, being shortlisted for the 2002 International Griffin Poetry Prize, and winning the Bernard F O'Connor Award from The Paris Review. All Day Permanent Red is the fourth book in the War Music series, but deals with some of the early battle scenes from The Iliad. This non-chronological approach is typical of the freedom Logue allows himself in relation to his source material, changing or omitting episodes and sometimes inventing entirely new scenes. His approach to language is similarly non-literal, mixing traditional imagery with the jarringly modern as in his description of the death of a Greek soldier from an arrow wound that makes "a tunnel the width of a lipstick through Quist's neck." This visceral immediacy is evident in the structure of the verse which is informal and flexible. We recommend selecting Priority Mail wherever available. (No shipping to Mexico, Brazil or Italy.)

Ode to the dodo: Poems from 1953 to 1978

Jonathan Cape Ltd.

In his brilliant rendering of eight books of Homer's Iliad, Logue here retells some of the most evocative episodes of the war classic, including the death of Patroclus and Achilles's fateful return to battle, that sealed the doom of Troy. Compulsively readable, Logue's poetry flies off the page, and his compelling descriptions of the horrors of war have a surreal, dreamlike quality that has been compared to the films of Kurosawa. Retaining the great poem's story line but rewriting every incident, Logue brings the Trojan War to life for modern audiences.

War Music: An Account of Books 1-4 and 16-19 of Homer's Iliad

Self-Help

Stress Management

University of Chicago Press

The Children's Book of Comic Verse

TIDY, Bill

Pan/Macmillan

The first clash of the armies in Logue’s “Heroic . . . brilliant” version of Homer’s Iliad (The New York Times Book Review) 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 live without killing!” Who says prayer does no good? Christopher Logue’s work in progress, his Iliad, has been called “the best translation of Homer since Pope’s” (The New York Review of Books). Here in All Day Permanent Red is doomed Hector, the lion, “slam-scattering the herd” at the height of his powers. Here is the Greek army rising with a sound like a “sky-wide Venetian blind.” Here is an arrow’s tunnel, “the width of a lipstick,” through a neck. Like Homer himself, Logue is quick to mix the ancient and the new, because his Troy exists outside time, and no translator has a more Homeric interest in the truth of battle, or in the absurdity and sublimity of war.

All Day Permanent Red: An Account of the First Battle Scenes of Homer's Iliad

Farrar. Straus and Giroux

In The Husbands, Logue trains his lyrical eye upon Homer's ultimate femme fatale, Helen of Troy, and her ardently mortal husbands, Menelaus and Paris. Carrying the Homeric world into our own, Logue's language is at once musical, profoundly tender, and frighteningly graphic. With cinematic speed, disarming confidence, and lyrical care, Logue gives us a reading of classic literature that makes unquestionably clear its relevance to our own time.

The Husbands: An Account of Books 3 and 4 of Homer's Iliad

HOMER

Farrar. Straus & Giroux

The second installment in Logue's epic remake of the Iliad, after War Music, which told the story of Books One through Four. Using the language and props of our modernity with cinematic speed and haunting lyric power, Logue gives a close-up view of war unlike anything else in recent poetry.

Kings: An Account of Books One and Two of Homer's Iliad

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