Breaking AI & Tech News Analyzed

The Lead Emily Wilson, renowned for her acclaimed translations of Homer's Odyssey and Iliad, presents a new collection of essays exploring the art and challenges of translation. Her work has become the standard English-language versions of these classics, praised for their conciseness and fluency. The Translation Philosophy Wilson's approach to translation occupies a middle ground between the "familiarisers" who prioritize accessibility and the "foreignisers" who emphasize preserving the strangeness of the original. She believes the tensions and complexities of the original should always remain legible, while also creating a reader-friendly experience. This balance is evident in her choice to use iambic pentameter for the Odyssey, honoring Homer's dactylic hexameters without being slavishly literal. Classical Insights The book delves into how the ancient world intersects with the modern, examining continuities in war, cruelty, and political turmoil while also highlighting important contrasts. Wilson critiques those who view antiquity as merely "a mirror in which we always find ourselves," arguing for a more nuanced understanding. Her analysis extends from classical authors like Aeschylus and Aristophanes to modern figures like Spike Lee and Boris Johnson, demonstrating the timeless relevance of these texts. Translating Sappho Wilson addresses the unique challenges of translating Sappho, whose work survives only in fragments. She compares it to "trying to get a sense of a whole Tyrannosaurus rex from one claw." While mostly admiring Anne Carson's version as "performance art on the page," Wilson finds it disembodied and stripped of same-sex desire. She challenges feminist readings that position male poets as metaphorically raping Sappho while female poets sing with her, instead emphasizing how Sappho's work "emphasise the isolation of the individual." Critiquing Other Translators Wilson doesn't shy away from criticism, applying tough-minded standards to fellow translators. She dismisses Robert Browning's version of Agamemnon as "arguably more difficult to understand than the Greek" and accuses Edith Hamilton of racism for "remaking ancient Greece in the image of an idealized United States." Even respected translators like Peter Green are found to be "oddly stiff" at times. She reserves particular scorn for "armchair classicists" who engage in snobbish gatekeeping, positioning herself as an accessible champion of the classics. The Sirens' Seduction One fascinating section explores Wilson's approach to translating the Sirens' scene in the Odyssey. She challenges the modern perception of Sirens as sexual temptresses, noting that Homer's Sirens are "cognitively tempting" bird-women whose seduction promises knowledge, not sex. Rather than referring to their "lips" as many translators do, Wilson uses "mouths," emphasizing their dangerous nature over any sexual appeal. Choosing "Complicated" Wilson details her decision to translate Homer's description of Odysseus as "polytropos" as "complicated," acknowledging it might sound stark but defending it as capturing the character's complexity. She admits nearly dropping the term after encountering "He's a complicated man" in Isaac Hayes's Shaft theme song but ultimately embraced it, dedicating ten pages to explaining her choice. The Future of Translation In a manifesto-like afterword, Wilson offers 20 rules for translators, emphasizing the importance of recreating the emotional impact of the original text. "If the original makes you laugh, cry, feel excited, get goosebumps, feel puzzled, get bored, be charmed," she advises, "then the translation should try to create those effects." She encourages experimentation and persistence, noting that there's always another way to say things and that future generations will undoubtedly develop new approaches to translation.

For theatre enthusiasts, April brings a range of exciting productions and performances. Patrick Stewart is set to read all 154 of Shakespeare's sonnets on Audible, a project that began as a pandemic hobby where he recited one sonnet each day on social media. This comprehensive collection, which includes his personal commentaries, will be available from April 7 and lasts almost four hours. In another notable production, Complicité presents 'I Don't Do Innocents', a radio play by Anne Carson directed by Simon McBurney, featuring a cast that includes Emma Corrin and Carson herself reading the stage directions. On the BBC, Sam Ryder gives a sneak preview of his Jesus Christ Superstar, which is set to appear at the London Palladium this summer, as part of the musical-theatre jamboree on iPlayer. Hosted by Jason Manford in Manchester, the event also features Victoria Hamilton-Barritt singing from Paddington: The Musical. Additionally, James Ijames' historical satire 'The Most Spectacularly Lamentable Trial of Miz Martha Washington' is set to run from April 9 to May 3. This play, which explores the life of the inaugural first lady of the US, could pair interestingly with 'Oh, Mary!' in the West End. The BBC is also celebrating the 120th anniversary of Henrik Ibsen's death with a comprehensive iPlayer season featuring various adaptations of his works, including two renditions of 'Hedda Gabler' and 'The Master Builder'. Other highlights include Rosie Sheehy's performance in 'King John' on Marquee TV and 'End' at the National Theatre, part of a trilogy by David Eldridge, which makes a compelling double bill with Stephen Poliakoff's 'Close My Eyes'. Finally, 'Back to the Future: The Musical' is set to embark on a UK tour after its run in London, with an Amazon Prime documentary offering a 'making of' insight into the show.