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One of the most remarkable and idiosyncratic works of postwar British literature. To read War Music in its entirety is to appreciate just what an impact it has had on anglophone poets. Both Robert Fagles' superb translations of Homer and Alice Oswald's haunting and lapidary Memorial (2012) recognisably carry its stamp. All of them bear witness to the remarkable fact that still, after more than two and a half millennia, the Iliad continues to rank as the most heart-stopping, the most terrifying, the most tragic poem ever written. (Tom Holland The Times)
This wonderful new edition brings together all the published sections of the poem - and it is a joy to be able to read them continuously for the first time ... A definitive text of one of the strangest and most thrilling English poems of the past century. It also confirms that Logue's Homer deserves a place alongside those of Chapman and Pope. (Henry Power Evening Standard)
An ambitious, ferociously compelling re-casting of Homer's Iliad. (Sean O'Brien Independent, Books of the Year)
It is neither translation nor recounting, neither imitation nor metamorphosis ... it is the inspired transcription of Logue's listening ... the result verges on genius. (George Steiner)
This is, without doubt, one of the landmarks of twentieth-century poetry - a work of powerful resonance and relevance that will continue to dazzle familiar as well as new readers. (James O'Brien)
The language of War Music is applied with such a barbaric certainty of touch that, even at its most gorgeous or ferocious, we are hardly aware of it. (Derek Mahon)
It really did make the horror of the Iliad come alive again for me. (Mary Beard)
A new, complete edition of Christopher Logue's acclaimed reimagining of Homer's Iliad, collected for the first time in a single volume and including previously unpublished material.
For the second half of his long life, Christopher Logue (1926-2011) - political rebel, inventor of the poster poem, pioneer of poetry and jazz - was at work on a very different project: a rewriting of Homer's Iliad. The volumes that appeared from War Music (1981) onwards were distinct from translations, in that they set out to be a radical reimagining and reconfiguration of Homer's tale of warfare, human folly and the power of the gods, in a language and style of verse that were emphatically modern. As each instalment, from Kings to Cold Calls, was published, it became clear that this was to be Logue's masterpiece.
Sadly, illness prevented him from finishing it. Enough, however, of his projected final volume, Big Men Falling a Long Way, survives in notebook drafts to give a clear sense of its shape, as well as some of its dramatic high points. These have been gathered into an appendix by Logue's friend and one-time editor, Christopher Reid. The result comes as near as possible to representing the poet's complete vision, and confirms what his admirers have long known, that Collected War Music is one of the great poems of our time.
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