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As a little girl growing up in Boston, Miriam Bluestein fantasized
about a life lived on stage, specifically in a musical. Get
married, have a family sure, maybe she d do those things, too, but
first and foremost there was her career. As a woman, she is both
tormented and consoled by those dreams in her day-to-day existence
with her family, including a short-tempered husband, a cranky
mother, and three demanding children, one of whom, Ethan, shows
real talent for the stage.
Among surviving Greek tragedies only Euripides' Trojan Women shows
us the extinction of a whole city, an entire people. Despite its
grim theme, or more likely because of the centrality of that theme
to the deepest fears of our own age, this is one of the relatively
few Greek tragedies that regularly finds its way to the stage. Here
the power of Euripides' theatrical and moral imagination speaks
clearly across the twenty-five centuries that separate our world
from his. The theme is really a double one: the suffering of the
victims of war, exemplified by the woman who survive the fall of
Troy, and the degradation of the victors, shown by the Greeks'
reckless and ultimately self-destructive behavior. It offers an
enduring picture of human fortitude in the midst of despair. Trojan
Women gains special relevance, of course, in times of war. It
presents a particularly intense account of human suffering and
uncertainty, but one that is also rooted in considerations of power
and policy, morality and expedience. Furthermore, the seductions of
power and the dangers both of its exercise and of resistance to it
as portrayed in Trojan Women are not simply philosophical or
rhetorical gambits but part of the lived experience of Euripides'
day. And their analogues in our own day lie all too close at
hand.
Based on the conviction that only translators who write poetry
themselves can best re-create the celebrated and timeless tragedies
of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New
Translations series offers new translations that go beyond the
literal meaning of the Greek in order to evoke the poetry of the
originals. The tragedies collected here were originally available
as single volumes. This new collection retains the informative
introductions and explanatory notes of the original editions, with
Greek line numbers and a single combined glossary added for easy
reference.
Based on the conviction that only translators who write poetry
themselves can properly re-create the celebrated and timeless
tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy
in New Translations offers new translations that go beyond the
literal meaning of the Greek in order to evoke the poetry of the
originals.
Based on the conviction that only translators who write poetry
themselves can properly re-create the celebrated and timeless
tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy
in New Translations offers new translations that go beyond the
literal meaning of the Greek in order to evoke the poetry of the
originals.
Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. This volume collects Euripides' Electra (translated by Janet Lembke and Kenneth J. Reckford), an exciting story of vengeance that counterposes suspense and horror with comic realism; Orestes (John Peck and Frank Nisetich), the tragedy of a young man who kills his mother to avenge her murder of his father; Iphigenia in Tauris (Richmond Lattimore), a delicately written and beautifully contrived Euripidean "romance"; and Iphigeneia at Aulis (W. S. Merwin and George E. Dimock, Jr.), a compelling look at the devastating consequence of "man's inhumanity to man." This volume reprints the informative introductions and notes of the original editions, and adds a single combined glossary and Greek line numbers.
Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. This volume collects Euripides' Andromache (translated by Susan Stewart and Wesley D. Smith), a play that challenges the concept of tragic character and transforms expectations of tragic structure; Hecuba (Janet Lembke and Kenneth J. Reckford), a powerful story of the unjustifiable sacrifice of Hecuba's daughter and the consequent destruction of Hecuba's character; Trojan Women (Peter Burian and Alan Shapiro), a particularly intense account of human suffering and uncertainty; and Rhesos (Richard Emil Braun), the story of a futile quest for knowledge. This volume retains the informative introductions and explanatory notes of the original editions and adds a single combined glossary and Greek line numbers.
Based on the conviction that only translators who write poetry
themselves can properly re-create the celebrated and timeless
tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy
in New Translations series offers new translations that go beyond
the literal meaning of the Greek in order to evoke the poetry of
the originals.
From Let Me Hear You Outside is inside now. The pyramid whose point we are is weightless and invisible and has become itself the night in which alone together on a high plateau we go on shouting out whatever name those winds keep blowing back into the mouth that's shouting it. Alan Shapiro's newest book of poetry is situated at the intersection between private and public history, as well as individual life and the collective life of middle-class America in the twentieth and twenty-first centuries. Whether writing about an aged and dying parent or remembering incidents from childhood and adolescence, Shapiro attends to the world in ways that are as deeply personal as they are recognizable and freshly social both timeless and utterly of this particular moment.
We often ask ourselves what gets lost in translation--not just between languages, but in the everyday trade-offs between what we experience and what we are able to say about it. But the visionary poems of this collection invite us to consider: what is loss, in translation? Writing at the limits of language--where "the signs loosen, fray, and drift"--Alan Shapiro probes the startling complexity of how we confront absence and the ephemeral, the heartbreak of what once wasn't yet and now is no longer, of what (like racial prejudice and historical atrocity) is omnipresent and elusive. Through poems that are fine-grained and often quiet, Shapiro tells of subtle bereavements: a young boy is shamed for the first time for looking "girly"; an ailing old man struggles to visit his wife in a nursing home; or a woman dying of cancer watches her friends enjoy themselves in her absence. Throughout, this collection traverses rather than condemns the imperfect language of loss--moving against the current in the direction of the utterly ineffable.
Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. This volume collects Euripides' Electra (translated by Janet Lembke and Kenneth J. Reckford), an exciting story of vengeance that counterposes suspense and horror with comic realism; Orestes (John Peck and Frank Nisetich), the tragedy of a young man who kills his mother to avenge her murder of his father; Iphigenia in Tauris (Richmond Lattimore), a delicately written and beautifully contrived Euripidean "romance"; and Iphigeneia at Aulis (W. S. Merwin and George E. Dimock, Jr.), a compelling look at the devastating consequence of "man's inhumanity to man." This volume reprints the informative introductions and notes of the original editions, and adds a single combined glossary and Greek line numbers.
More than a gathering of essays, That Self-Forgetful Perfectly Useless Concentration is part memoir, part literary criticism, and an artful fusion of the two. It is an intimate portrait of a life in poetry that only Alan Shapiro could have written. In this book, Shapiro brings his characteristic warmth, humor, and many years as both poet and teacher to bear on questions surrounding two preoccupations: the role of conventions of literary and social norms in how we fashion our identities on and off the page and how suffering both requires and resists self-expression. He sketches affectionate portraits of his early teachers, revisits the deaths of his brother and sister, and examines poems that have helped him navigate troubled times. Integrating storytelling and literary analysis so seamlessly that art and life become extensions of each other, Shapiro embodies in his lively prose the very qualities he celebrates in the poems he loves. Brimming with wit and insight, this is a book for poets, students and scholars of poetry, teachers of literature, and everyone who cares about the literary arts and how they illuminate our personal and public lives.
Award-winning poet Alan Shapiro offers a new collection of poems reflecting on mortality and finitude. Alan Shapiro's fourteenth collection of poetry, Proceed to Check Out, is a kind of summing up, or stock-taking, by an aging poet, of his precarious place in a world dominated by the ever-accelerating pace of technological innovation, political disruption, personal loss, and racial strife. These poems take on fundamental subjects-like the nature of time and consciousness and how or why we become who we are-but Shapiro presses them into becoming urgent and timely. Employing idiomatic range and formal variety, Shapiro's poems move through recurring dreams, the coercions of childhood, and the mysterious connections of mind and matter, pleasure and memory. They meet an abiding need to find empathy and understanding in even the most challenging places-amid disaffection, public discord, and estrangement. His grasp of contemporary life-in all its insidious violence and beauty-is distinct, comprehensive, and profound.
This richly illustrated work provides a new and deeper perspective on the interaction of visual representation and classical culture from the fifth century B.C. to the fourth century A.D. Drawing on a variety of source materials, including Greco-Roman literature, historiography, and philosophy, coupled with artistic renderings, Paul Zanker forges the first comprehensive history of the visual representation of Greek and Roman intellectuals. He takes the reader from the earliest visual images of Socrates and Plato to the figures of Christ, the Apostles, and contemporaneous pagan and civic dignitaries. Through his interpretations of the postures, gestures, facial expressions, and stylistic changes of particular pieces, we come to know these great poets and philosophers through all of their various personas-the prophetic wise man, the virtuous democratic citizen, or the self-absorbed bon vivant. Zanker's analysis of how the iconography of influential thinkers and writers changed demonstrates the rise and fall of trends and the movement of schools of thought and belief, each successively embodying the most valued characteristics of the period and culture. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1995.
Respected poet, teacher, and critic Alan Shapiro continues his much-acclaimed explorations of childhood, family, and marriage in Mixed Company. Revealing a world troubled by difference while struggling toward commonality, and with equal attention to historical detail and the poetics of everyday life, from the mythic past to the abrasive intimacies of the present, Shapiro charts the many ways our social and sexual identities are formed, threatened, altered, and, for good or ill, preserved. Deeply felt and ambitious, Mixed Company is an extraordinary book by one of the leading poets writing in America today. What draws us into Alan Shapiro's Mixed Company is not a conspicuous felicity or any sort of bravura, but the quiet, undaunted way he goes after the truth of human feeling and motive. . . . The poems grope and conjecture, looking for understanding . . . but whatever may remain unsolved and insoluble, the poems are full of astonishing insights, a rare articulateness, and what another age called 'knowledge of the human heart.' --Richard Wilbur
In this, his first book, Alan Shapiro vividly recreates some of the
more memorable and poignant moments from his Jewish-American
childhood, and in the process reveals his compassionate interest in
the forgotten, the alienated, and the infirm. "The Courtesy" is an
intelligent, reflective examination of the poet's own psychological
history.
Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. This volume collects Euripides' Andromache (translated by Susan Stewart and Wesley D. Smith), a play that challenges the concept of tragic character and transforms expectations of tragic structure; Hecuba (Janet Lembke and Kenneth J. Reckford), a powerful story of the unjustifiable sacrifice of Hecuba's daughter and the consequent destruction of Hecuba's character; Trojan Women (Peter Burian and Alan Shapiro), a particularly intense account of human suffering and uncertainty; and Rhesos (Richard Emil Braun), the story of a futile quest for knowledge. This volume retains the informative introductions and explanatory notes of the original editions and adds a single combined glossary and Greek line numbers.
This richly illustrated work provides a new and deeper perspective on the interaction of visual representation and classical culture from the fifth century B.C. to the fourth century A.D. Drawing on a variety of source materials, including Greco-Roman literature, historiography, and philosophy, coupled with artistic renderings, Paul Zanker forges the first comprehensive history of the visual representation of Greek and Roman intellectuals. He takes the reader from the earliest visual images of Socrates and Plato to the figures of Christ, the Apostles, and contemporaneous pagan and civic dignitaries.  Through his interpretations of the postures, gestures, facial expressions, and stylistic changes of particular pieces, we come to know these great poets and philosophers through all of their various personas—the prophetic wise man, the virtuous democratic citizen, or the self-absorbed bon vivant. Zanker's analysis of how the iconography of influential thinkers and writers changed demonstrates the rise and fall of trends and the movement of schools of thought and belief, each successively embodying the most valued characteristics of the period and culture.  This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1995.
Based on the conviction that only translators who write poetry
themselves can properly re-create the celebrated and timeless
tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy
in New Translations series offers new translations that go beyond
the literal meaning of the Greek in order to evoke the poetry of
the originals.
Based on the conviction that only translators who write poetry
themselves can properly re-create the celebrated and timeless
tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy
in New Translations series offers new translations that go beyond
the literal meaning of the Greek in order to evoke the poetry of
the originals.
This is the coming-of-age story of an American Jew and aspiring writer in the 1960s and 1970s. In this memoir in six movements, Alan Shapiro recalls how poetry helped him make sense of his own and other people's lives. Events unfold, including his sister's death, which make him reconsider the transformative power of art and accept the limitations of poetry in confronting the untransformable pain of mortal loss.
Collected here for the first time in the series are three major plays by Euripides: Bacchae, translated by Reginald Gibbons and Charles Segal, a powerful examination of the horror and beauty of Dionysiac ecstasy; Herakles, translated by Tom Sleigh and Christian Wolff, a violent dramatization of the madness and exile of one of the most celebrated mythical figures; and The Phoenician Women, translated by Peter Burian and Brian Swamm, a disturbing interpretation of the fate of the House of Laios following the tragic fall of Oedipus. These three tragedies were originally available as single volumes. This volume retains the informative introductions and explanatory notes of the original editions and adds a single combined glossary and Greek line numbers.
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