Christopher Logue
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Cold Calls: Volume 5 of Logue's Homer
Christopher Logue
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: Volume 1-4 of Logue's Homer
Christopher Logue, Homer
In his 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. Retaining the great poem’s story line but rewriting every incident, Logue brings the Trojan War to life for modern audiences.
All Day Permanent Red: Volume 4 of Logue's Homer
Christopher Logue
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, Loque 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.
