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

I've only recently become aware of Christopher Logue's retelling of Homer's Iliad. Logue's been working on his translation for decades, though. This volume collects all of his Iliad material from 1962 to 1995, which is a measly three books. Chronologically, these books are "The Kings," which is the first book in this collection. Published in 1991, it covers the first two books of the Iliad. Next up is "The Husbands," from 1994, which covers books three and four. Finally there is "War Music" itself, originally published in 1980, and comprised of books 16 through 19. This includes "Patroclea," written in 1962, "GBH" (a British legal term meaning "Grievous Bodily Harm"), apparently written in 1980, and "Pax," written in 1967. As you can see, Logue takes his time releasing books. This collection came out in 1997, and since then he has published only one further volume, "All Day Permanent Red," which came out in February 2003 and covers books 5 and 6; the first battle scenes in the Iliad. Being that Logue was born in 1926, I'm really hoping he'll live to re-write the remaining books of the story. But judging from his past rate of output, I'm afraid it's not very likely.The problem with Logue's Homer is that there's no turning back. After reading this, even in its unfinished state, all other translations of the Iliad pale in comparison. I even read the Penguin book "Homer in English," which features samples from the majority of English translations of Homer, and Logue's struck me as better than any of them. The reason he excels over others is that Logue jettisons all parts of the Iliad that are not cinematic, that are not moving, and that are repetitious. We're left with a fast-moving narrative in unrhyming, free-style verse that features some of the best writing and most memorable dialog I've ever come across. This is a book that demands to be read and re-read, due to the quality of writing. And I'm a guy who usually avoids poetry.I wouldn't recommend this to the first-time reader of the Iliad, however. Logue refers to some characters and gods in off-hand, casual ways that might confuse those new to Homer's world. For example, Apollo is several times referred to as "the Mouse God" before he is actually referred to as Apollo. Likewise, Logue flat-out makes up names for several characters, even re-naming some of the lesser characters. This is more of a book to be enjoyed by someone who's already read a standard translation of the Iliad; that way the changes and deletions Logue has made to the story become more apparent, and more appreciated.

This is a flat-out triumph. Logue fills his take on Homer with dazzling imagery and stunning word-music. The Iliad falls right into our laps because Logue has given it a mighty shove. Only Professor Fagles' recent translation of the poem betters it and that is because Dr. Fagles has actually rendered the WHOLE poem in crisp, biting English that for the first time actually walks Homer up to our faces. In Fagles we can smell the breath of the blind poet, Logue brings us to the sweaty armpits.As a styling, however, "War Music" has no peer and if Dr. Fagles has a slight edge it is because he has, after all, wrestled with the Greek text and got us into Homer's world all the way. Logue brings into the world but chooses to give us a whirlwind tour while Fagles allows us to slum awhile.Still as much as I adore Dr. Fagles now celebrated translation, I am haunted. Logue's great re-imagining has left me shaken. The worship scenes are boffo and the Pax chapter that ends this fine "War Music" contains some of the sharpest, most moving, most eloquent, most rugged, and most manly, epic English verse since Marlowe's majestic "Tamburlaine" made kings into footstools.And finally, there is this: As a work of English poetry, leaving Homer on the rocks for just a moment, "War Music" stands as one of the great collections of modern verse in the 20th Century."War Music" turns staid old men like me into groupies. Bravo!

What stands out is the utter beauty of Mr. Logue's language. He creates images that resonate within the reader long after the book has been put down. Far from being an empty exercise in post-modern hipness, "War Music" is a new classic that manages to bring Homer to life again for the contemporary reader. It can proudly take its place on the bookshelf right next to the Fitzgerald or Fagles translation of Homer's "Iliad." Indeed, my only regret is that Mr. Logue has not seen fit to reinterpret the remainder of the "Iliad" for those of us who fell in love with his fierce, but lovely "War Music." Hint-hint.

I've asked a friend who can read ancient Greek whether the original is as good as Christopher Logue's translation. He thought it was a close-run contest. War Music -- originally published in three separate fragments -- is gripping, chilling reading. I enjoyed Robert Fagles's Homer translations, but nothing prepares you for the visceral excitement conveyed by Logue. He doesn't pretend to translating accuracy, but these are powerful, memorable poems.