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I was just invited to be part of the 2017 Odyssey Award Committee (happy dance!) Do ya’ll know this award? It gets the tiniest bit trumped by the big hitters, Newbery and Caldecott, but as an adult who loves to be on the receiving end of a story, I’m pretty thrilled to be part of this committee that chooses the best audiobook produced for kids or teens each year. I once wrote a kind-of fan letter to an actor (Eric Singer) who narrated one of my favorite books (it’s an adult title: The Dogs of Babel) and he actually responded! So yah, I get the fangirl element of audiobooks.

Since this will be my first award-committee-experience, I’m excited for sure but I’m also a bit nervous.

Here’s the stuff I’m thrilled about:

• Exposure to titles I might otherwise miss. It’s hard to catch a glimpse of all the youth titles each year so this will be a great way to expand my radar.
• Ability to call ‘listening to stories’ official work. We all read on our own time for our work, but this feels official-er and there’s a real honor attached to it!
• First time at both an ALA mid-winter and an ALA annual. I’ve had a few close calls in the past (one year I was supposed to do a presentation with the famous David Lee King but there was a hiccup and it never happened) but have never gone to ALA in my 11+ years as a librarian. For shame! So it’s finally happening and I can’t wait to be totally enraptured!
• I am a poet and really feel like poetry is meant to be read aloud. So the whole oral tradition part of this work really taps into some of my other passions. I remember years ago, seeing Ira Glass from This American Life live and his whole talk centered around the power of stories and he used the classic One Thousand and One Arabian Nights to illustrate that stories can truly save lives. So YES to telling stories!
• I get to meet and work with librarians from around the country! It’s always great to meet and chat with other librarians, hear other opinions and articulate my own thoughts and reactions.
• Florida and Georgia! Wahoo for the south! I’m sorta north up in Pittsburgh so headin’ down south will be delightful!

And here’s the stuff I’m nervous about:

• First time at both an ALA mid-winter and an ALA annual. I’ve read a ton of How-To-Attend-ALA articles and blog posts and I think they’ve gotten in my head! I’m prepared to be completely overwhelmed during the day and holed up in my room breathing in lavender with a hot compress over my eyes each night.
• I’m not worthy! I’m not worthy! I’m sure many of you understand this one. I usually kindly listen to that voice for a few minutes and then send it on its way. But it’s definitely around. In looking at past winners (it’s only been around since 2008) there were a number of titles that (blush) I didn’t even realize had audio versions (gasp!) So I’ll certainly be playing catch-up and will make sure to listen to as many past winners as I can.
• How will I know what’s good? I’m sure this at least crosses the minds of many committee members. But evaluating literature is serious business. You don’t want to underthink it. You don’t want to overthink it. There’s some gut involved. Some critical eye. A nice cocktail of hearty thinking and feeling. Is there a support group for ALA committee members?

So, onward! I won’t make any puns or jokes relating to Homer’s Odyssey and my own journey to and through this experience. Or will I….

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Our guest blogger today is Kelley Beeson. Kelley is the Youth Services Department Head at the Western Allegheny Community Library. She’s been working in libraries since high school and her favorite book is Marcus Zusak’s The Book Thief.

Please note that as a guest post, the views expressed here do not represent the official position of ALA or ALSC.

If you’d like to write a guest post for the ALSC Blog, please contact Mary Voors, ALSC Blog manager, at [email protected].

The post My Odyssey Journey appeared first on ALSC Blog.

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The gods and various mythological creatures — from minor gods to nymphs to monsters — play an integral role in Odysseus’s adventures. They may act as puppeteers, guiding or diverting Odysseus’s course; they may act as anchors, keeping Odysseus from journeying home; or they may act as obstacles, such as Cyclops, Scylla and Charbidis, or the Sirens. While Gods like Athena are generally looking out for Odysseus’s best interests, Aeolus, Poseidon, and Helios beg Zeus to punish Odysseus, but because his fate is to return home to Ithaca, many of the Gods simply make his journey more difficult. Below if a brief slideshow of images from Barry B. Powell’s new free verse translation of Homer’s The Odyssey depicting the god and other mythology.



• Kirkê

   

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  Kirkê is the goddess of magic, also referred to as a witch or enchantress. Odysseus’ arrival to her island is described as follows, “the house of Kirkê, made of polished stone, in an open meadow. There were wolves around it from the mountains, and lions whom Kirkê had herself enchanted by giving them potions” (10.197-199). When several of Odysseus’ men enter through her doors, she turns them into “beings with the heads of swine, and a pig’s snort and bristles and shape, but their minds remained the same” (10.225-227). However, Odysseus receives assistance from Hermes when he is given a powerful herb that wards off the effect any of Kirke’s potions. Odysseus stays with her for one year, and then decides that he must go back home to Ithaca. As mentioned previously, Kirkê tells him that he must sail to Hades, the realm of the dead, to speak with the spirit of Tiresias. Kirkê Offering the Cup to Ulysses by John William Waterhouse. 1891. Oil on canvas. Dimensions 149 cm × 92 cm (59 in × 36 in). Gallery Oldham, Oldham.

• Kalypso

   

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  Shipwrecked from the storm that Zeus conjures up to punish him, Odysseus manages to float over to Ogygia where he encounters the nymph and beautiful goddess Kalypso with whom Odysseus embarks on a seven-year relationship with. She is a nymph, or a nature spirit, who acts as a barrier between Odysseus fulfilling his destiny and returning home to Ithaca. In Book 5, Athena says to Zeus, “he lies on an island suffering terrible pains in the halls of great Kalypso, who holds him against his will. He is not able to come to the land of his fathers” (5.12-14). Kalypso receiving Telemachos and Mentor in the Grotto detail by William Hamilton. 18th century.

• Helios

   

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  Odysseus and his men take refuge on the island of Thrinacia (the island of the sun) during their journey. They remain there for a month, but the crew's provisions eventually run out, and Odysseus' crew members slaughter the cattle of the Sun. When the Sun god (Helios) finds out, he asks Zeus to punish Odysseus and his men. Helios demands, “If they do not pay me a suitable recompense for the cattle, I will descend into the house of Hades and shine among the dead!” (12.364-366). Zeus agrees and strikes Odysseus’ ship with lightning and kills all of Odysseus’ crew members. Head of Helios, middle Hellenistic period. Holes on the periphery of the cranium are for inserting the metal rays of his crown. The characteristic likeness to portraits of Alexander the Great alludes to Lysippan models. Archaeological Museum of Rhodes.

• Herakles

   

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  Odysseus and Herakles meet in the Underworld, and also encounters Herakles’ daughter Megara and mother Amphitryon. Odysseus recalls seeing Herakles and says, “Herakles was like the dark night, holding his bare bow and an arrow on the string, glaring dreadfully, a man about to shoot. The baldric around his chest was awesome—a golden strap in which were worked wondrous things, bears and wild boars and lions with flashing eyes, and combats and battles and the murders of men. I would wish that the artist did not make another one like it!” (11.570-576). Herakles crowned with a laurel wreath, wearing the lion-skin and holding a club and a bow, detail from a scene representing the gathering of the Argonauts. From an Attic red-figure calyx-krater, ca. 460–450 BC. From Orvieto (Volsinii).

• Ino (Leucothea)

   

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  Shipwrecked after Poseidon sinks his ship, Odysseus encounters Ino (Leucothea) who takes pity on him. She leads him toward the land of the Phaeacians and says, “Here, take this immortal veil and tie it beneath your breast. You need not fear you will suffer anything. And when you get hold of the dry land with your hands, untie the veil and throw it into the wine-dark sea, far from land. Then turn away” (5.320-324). Leucothea (1862), by Jean Jules Allasseur (1818-1903). South façade of the Cour Carrée in the Louvre palace, Paris.

• Aiolos

   

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  In Book 10, The Achaeans sail from the land of the Cyclops to the home of Aiolus, ruler of the winds. He gifts Odysseus with a bag containing all of the winds in order to guide Odysseus and his crew home. However, the winds escape from the bag due to Odysseus’ men believing that the bag contains gold and silver, and end up bringing Odysseus and his men back to Aiolia. Aiolos provides Odysseus with no further help from then on, as he says, “It is not right that I help or send that man on his way who is hated by the blessed gods” (10.72-73). This is to say that Aiolos judges Odysseus’ return as a bad omen. This image is a Roman mosaic from the House of Dionysos and the Four Seasons, 3rd century AD, Roman city of Volubilis, capital of the Berber king Juba II (50 BC-24 AD) in the province of Mauretania, Morocco. The Romans loved to decorate their floors with themes taken from Greek myth, and many have survived.

• Picture7

   

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  Athena is the most influential goddess, and a catalyst for the events in the story the Odyssey. She is not only the goddess of wisdom, but also of strategy, law and justice, and inspiration among others, and is referred to consistently in the book as “flashing-eyed Athena.” At times in Homer’s epic poem, she acts as a puppeteer throughout Odysseus’ journey as she guides his movements and modifies his and her own appearance to accommodate Odysseus’ circumstances advantageously. Marble, Roman copy from the 1st century BC/AD after a Greek original of the 4th century BC, attributed to Cephisodotos or Euphranor. Related to the bronze Piraeus Athena.

• Aphrodite and Ares

   

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  Referred to as the “godlike” visitor, Odysseus is honored during a Phaeacian celebration hosted by Nausicaä’s parents. During the ceremony, a poet named Demdokos plays a song on his lyre, “the love song of Ares and fair-crowned Aphrodite, how they first mingled in love, in secret, in the house of Hephaistos” (8.248-250). The adultery of Ares and Aphrodite. Clad only in a gown that comes just above her pubic area, Aphrodite holds a mirror while her half-naked lover, Ares, sitting on a nearby bench, embraces her and touches her breast. The device that imprisoned them is visible as a cloth stretched above their heads. Such paintings were especially popular in Roman brothels in Pompeii. Roman fresco from Pompeii, c. AD 60.

• Artemis

   

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  Approaching the Phaeacian princess Nausicaä for the first time, Odysseus asks, “are you a goddess, or a mortal? If you are a goddess, one of those who inhabit the broad heaven, I would compare you in beauty and stature and form to Artemis, the great daughter of Zeus” (6.139-142). Wearing an elegant dress and a band about her hair, Artemis carries a torch in her left hand and a dish for drink offerings in her right hand (phialê), not her usual attributes of bow and arrows. She is labeled POTNIAAR, “lady Artemis.” An odd animal, perhaps a young sacrificial bull, gambols at her side. Athenian white-ground lekythos, c. 460-450 BC, from Eretria.

• Poseidon

   

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  Poseidon holding a trident. Poseidon is the Greek god of the Sea, or as referred to in the epic poem, “the earth-shaker.” The god is long haired and bearded and wears a band around his head. The trident may in origin have been a thunderbolt, but it has been changed into a tuna spear. Corinthian plaque, from Penteskouphia, 550–525 BC. Musée du Louvre, CA 452

• Hades

   

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  When Odysseus is on the witch-goddess Kirkê’s island (discussed later), she tells him that he must sail to Hades, the realm of the dead, to speak with the spirit of Tiresias. The underworld is described by Odysseus as a place where “total night is stretched over wretched mortals” (11.18-19). While we do not meet the god Hades directly, his realm is explored by Odysseus. During his time spent in the underworld, Odysseus meets many different people who he had met or been directly influenced by at different points in his life, including his former shipmate Elpenor, his mother Anticleia, and warriors such as Agamemnon, Achilles, Ajax, Minos, Orion, and Heracles. Hades with Cerberus (Heraklion Archaeological Museum)

• Hermes

   

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  Hermes weighing souls (psychostasis). In Book 5, Hermes, messenger of the gods, is sent to tell the nymph Kalypso to allow Odysseus to leave so he can return home after several years of being detained on the island of Ogygia. Hermes is also known as the god of boundaries, and as such he is Psychopompos, or “soul-guide”: He leads the souls of the dead to the house of Hades. In a sense, Odysseus is dead, imprisoned on an island in the middle of the sea by Kalypso, the “concealer.” Here the god is shown with winged shoes (in Homer they are “immortal, golden”) and a traveler’s broad-brimmed hat, hanging behind his head from a cord. In his left hand he carries his typical wand, the caduceus, a rod entwined by two copulating snakes. In his right hand he holds a scale with two pans, in each of which is a psychê, a “breath-soul” represented as a miniature man (scarcely visible in the picture). Athenian red-figure amphora from Nola, c. 460 BC, by the Nikon Painter.

• Zeus

   

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  Zeus is the ruler of Mount Olympus and all of its inhabitants, and is referred to as “the son of Kronos, god of the dark cloud who rules over everything” in the Odyssey (13.26-27). Though he does not have a predominant role in the Odyssey, his presence is felt as he is the main consulting force of the other deities. He makes an important declaration about the notion of free will in Book 1, and goes on to point out that he sent his messenger Hermes to warn Aigisthos not to kill Agamemnon, but yet the mortal chose not to follow the advice. Zeus says, “And now he has paid the price in full,” in response to Aigisthos’ death. In other words, he believes that the gods can only intervene to a certain degree, but the mortal world has the ultimate control over their own fate. Statue of a male deity, brought to Louis XIV and restored as a Zeus ca. 1686 by Pierre Granier, who added the arm raising the thunderbolt.

Barry B. Powell is Halls-Bascom Professor of Classics Emeritus at the University of Wisconsin, Madison. His new free verse translation of The Odyssey was published by Oxford University Press in 2014. His translation of The Iliad was published by Oxford University Press in 2013. See previous blog posts from Barry B. Powell.

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The post Gods and mythological creatures of the Odyssey in art appeared first on OUPblog.

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Homer’s epic poem The Odyssey recounts the 10-year journey of Odysseus from the fall of Troy to his return home to Ithaca. The story has continued to draw people in since its beginning in an oral tradition, through the first Greek writing and integration into the ancient education system, the numerous translations over the ages, and modern retellings. It has also been adapted to different artistic mediums from depictions on pottery, to scenes in mosaic, to film. We spoke with Barry B. Powell, author of a new free verse translation of The Odyssey, about how the story was embedded into ancient Greek life, why it continues to resonate today, and what translations capture about their contemporary cultures.

Visual representations of The Odyssey and understanding ancient Greek history

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Why is The Odyssey still relevant in our modern culture?

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On the over 130 translations of The Odyssey into English

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Barry B. Powell is Halls-Bascom Professor of Classics Emeritus at the University of Wisconsin, Madison. His new free verse translation of The Odyssey was published by Oxford University Press in 2014. His translation of The Iliad was published by Oxford University Press in 2013. See previous blog posts from Barry B. Powell.

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The post The Odyssey in culture, ancient and modern appeared first on OUPblog.

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Every Ancient Greek knew their names: Odysseus, Penelope, Telemachas, Nestor, Helen, Menelaos, Ajax, Kalypso, Nausicaä, Polyphemos, Ailos… The trials and tribulations of these characters occupied the Greek mind so much that they found their way into ancient art, whether mosaics or ceramics, mirrors or sculpture. From heroic nudity to small visual cues in clothing, we present a brief slideshow of characters that appear in Barry B. Powell’s new free verse translation of The Odyssey.



• Head of Odysseus

   

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  In the first century BC the Roman emperor Tiberius (42 BC-AD 37) built a villa at Sperlonga between Rome and Naples. There in a grotto sculptors from Rhodes created various scenes from Greek myth, including the blinding of the Cyclops Polyphemos. Fragments of the sculptural group survive, including this evocative head of Odysseus, bearded and wearing a traveler’s cap (pilos), as he plunges a stake into the giant’s eye. Marble, c. AD 20. Museo Archeologico, Sperlonga, Italy; Scala/Ministero per i Beni e le Attività culturali / Art Resource, NY

• Penelope

   

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  Wearing a modest head cover (what Homer means by “veil”), she is seated on a stone wall, staring pensively at the ground, thinking of her husband. This is a typical posture in artistic representations of Penelope—legs crossed, looking downward, hand to her face (Figures 2.1, 19.1, 20.1). Roman copy (perhaps 1st century BC) of a lost Greek original, c. 460 BC. Museo Pio Clementino, Vatican Museums, Vatican State; Scala / Art Resource, NY

• Telemachos and Nestor

   

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  Telemachos, holding his helmet in his right hand and two spears in his left, a shield suspended from his arm, greets Nestor. The bent old man supports himself with a knobby staff, and his white hair is partially veiled. Behind him stands his youngest daughter (probably), Polykastê, holding a basket filled with food for the guest. South-Italian wine-mixing bowl, c. 350 BC. Staatliche Museen, Berlin 3289

• Odysseus and Kalypso

   

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  The goddess presents a box of provisions for the hero’s voyage. The box is tied with a sash. The bearded Odysseus sits on a rock on the shore holding a sword and looking pensive. Athenian red-figure vase, c. 450 BC. Museo Archeologico Nazionale, Naples, Italy; Erich Lessing / Art Resource, NY

• Nausicaä and a frightened attendant

   

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  ausicaa on the left holds her ground while one of her ladies runs away with laundry draped about her shoulders (this is the other side of the vase shown in Figure 6.1). Athenian red-figure water-jar from Vulci, Italy, c. 460 BC. Inv. 2322. Staatliche Antikensammlung, Munich, Germany; Erich Lessing / Art Resource, NY

• Polyphemos talks to his lead ram

   

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  Blinded, holding his club, leaning against the cave wall, the giant reaches out to stroke his favorite ram under whom Odysseus clings. Athenian black-figure wine cup, c. 500 BC. National Archaeological Museum, Athens 1085

• Ailos, king of the winds

   

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  Roman mosaic from the House of Dionysos and the Four Seasons, 3rd century AD, Roman city of Volubilis, capital of the Berber King Juba II (50 BC - 24 AD) in the province of Mauretania, Morocco. The Romans loved to decorate their floors with themes taken from Greek myth, and many have survived. Gianni Dagli Orti / The Art Archive at Art Resource, NY

• Helen and Menelaos

   

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  Menelaos wears a helmet and breast-guard. His right hand is poised on top of a shield while his left, holding a spear, embraces Helen. She wears a cloth cap and a necklace with three pendants and a bangle around her arm. Her cloak slips down beneath her genital area, emphasizing her sexual attractiveness. Decoration on the back of an Etruscan mirror, c. 4th century BC. Townley Collection. Cat. 712. British Museum, London; Erich Lessing / Art Resource, NY

• The suicide of Ajax

   

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  The naked hero has fixed his sword in a pile of sand and thrown himself on it. His shield and breastplate are stacked on the left, his club and the scabbard to his sword on the right. His name AIWA is written above him. Athenian red-figure wine-mixing bowl, from Vulci, Italy. British Museum, London, Great Britain; © The Trustees of the British Museum / Art Resource, NY

Barry B. Powell is Halls-Bascom Professor of Classics Emeritus at the University of Wisconsin, Madison. His new free verse translation of The Odyssey was published by Oxford University Press in 2014. His translation of The Iliad was published by Oxford University Press in 2013. See previous blog posts from Barry B. Powell.

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The post Characters of the Odyssey in Ancient Art appeared first on OUPblog.

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The Ancient Greeks were incredibly imaginative and innovative in their depictions of scenes from The Odyssey, painted onto vases, kylikes, wine jugs, or mixing bowls. Many of Homer’s epic scenes can be found on these objects such as the encounter between Odysseus and the Cyclops Polyphemus and the battle with the Suitors. It is clear that in the Greek culture, The Odyssey was an influential and eminent story with memorable scenes that have resonated throughout generations of both classical literature enthusiasts and art aficionados and collectors. We present a brief slideshow of images that appear in Barry B. Powell’s new free verse translation of The Odyssey.



• Aigisthos kills Agamemnon.

   

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  In Book 1, the “father of men and gods,” Zeus, speaks of Aigisthos who the son of Agamemnon had killed. He says, “men suffer pains beyond what is fated through their own folly! See how Aigisthos killed Agamemnon when he came home, though he well knew the end” (1.33-37). In this image, Aigisthos holds Agamemnon, covered by a diaphanous robe, by the hair while he stabs him with a sword. Apparently, this illustration is inspired by the tradition followed in Aeschylus’ Agamemnon, where the king is caught in a web before being killed. Klytaimnestra stands behind Aigisthos, urging him on, while Agamemnon’s daughter attempts to stop the murder (she is called Elektra in Aeschylus’ play). To the far right, a handmaid flees. Athenian red-figure wine-mixing bowl, c. 500-450 BC. Photograph © 2014 Museum of Fine Arts, Boston.

• Penelope at her loom with Telemachos.

   

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  Telemachos (Odysseus’s son), stands to the left holding two spears, reproaching his mother. She sits mournfully on a chair, anguished by the unknown fate of her husband. Her head is bowed and legs are crossed in a pose canonical for Penelope. Athenian red-figure cup, c. 440 BC, by the Penelope Painter.

• Telemachos and Nestor.

   

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  Telemachos, holding his helmet in his right hand and two spears in his left, a shield suspended from his arm, greets Nestor (the king of Pylos), who has no information about Odysseus. The bent old man supports himself with a knobby staff, and his white hair is partially veiled. Behind him stands his youngest daughter (probably), Polykastê, holding a basket filled with food for the guest. South-Italian red-figure wine-mixing bowl, c. 350 BC.

• Odysseus and Kalypso.

   

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  The goddess presents a box of provisions for the hero’s voyage. The box is tied with a sash. The bearded Odysseus sits on a rock on the shore holding a sword and looking pensive. Athenian red-figure vase, c. 450 BC.

• Odysseus, Athena, and Nausicaä.

   

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  Odysseus asks for the assistance of the Phaeacian princess Nausicaä while she and her handmaidens are bathing by a river. Nausicaa gives Odysseus directions to the palace and advice on how to approach Aretê, queen of the Phaeacians. In this image, the naked Odysseus holds a branch in front of his genitals so as not to startle Nausicaä and her attendants. On the right, near the edge of the picture, Nausicaä half turns but holds her ground. Athena, Odysseus’ protectress, stands between the two figures, her spear pointed to the ground. She wears a helmet and the goatskin fetish (aegis) fringed with snakes as a kind of cape. Clothes hang out to dry on a tree branch (upper left). Athenian red-figure water-jar from Vulci, Italy, c. 460 BC.

• Maron gives the sack of potent wine to Odysseus.

   

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  Books 9 through 12 are told as flashbacks, as Odysseus sits in the palace of the Phaeacians telling the story of his journeys, from Troy, to the land of the Lotus-Eaters, to the land of the Cyclops. Here we see the beardless Kikonian priest Maron give a sack of wine to Odysseus by which Cyclops is overcome. In his left hand, he holds a spear pointed downwards. His crowned wife stands behind him with a horn drinking cup. The very long-haired Odysseus wears high boots, a traveler’s cap (pilos), and holds a spear over his shoulder with his right hand. To the far left stands a Kikonian woman. South Italian red-figure wine-mixing bowl by the Maron Painter, 340-330 BC.

• Laestrygonians attack Odysseus’ ships.

   

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  Without any wind to guide them, the Achaeans row to the land of the Laestrygonians, a race of powerful giants. In this somewhat dim Roman fresco there are ten of Odysseus’ oared ships with single masts in the middle of the narrow bay, three near the shore, half-sunk, and a fourth half-sunk near the high cliffs on the right. Five of the Laestrygonian giants stand on the shore and spear Odysseus’ men or throw down huge rocks. A sixth giant has waded into the water on the left and holds the prow of a ship in his mighty hands. From a house on the Esquiline Hill decorated with scenes from the Odyssey, Rome, c. AD 90.

• Kirkê enchants the companions of Odysseus.

   

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  From there, Odysseus and his men travel to Aeaea, home of the beautiful witch-goddess Kirkê. Shown here is a seductive Kirkê standing naked in the center, stirring a magic drink and offering it to Odysseus’ companions, already turning into animals—the man in front of Kirkê into a boar, the next to the right into a ram, and the third into a wolf. A dog crouches beneath Kirkê’s bowl. The figure behind Kirkê has the head of a boar. On the far left is a lion-man beside whom Odysseus comes with sword drawn (but in the Odyssey they turn only into pigs). On the far right, Eurylochos escapes. Athenian black-figure wine cup, c. 550 BC. Photograph © 2014 Museum of Fine Arts, Boston.

• The suitors bring presents.

   

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  Penelope sits on a chair at the far right, receiving the suitor’s gifts. The first suitor seems to offer jewelry in a box. The next suitor, carrying a staff, brings woven cloth. The third suitor, also with a staff, carries a precious bowl and turns to speak to the fourth suitor, who brings a bronze mirror. Athenian red-figure vase, c. 470 BC.

• Death of the suitors.

   

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  This is the other side of the cup from Figure 22.1. All the suitors, situated around a dining couch, are in “heroic nudity” but carry cloaks. On the left a suitor tugs at an arrow in his back. In the middle a suitor tries to defend himself with an overturned table. On the right a debonair suitor, with trim mustache, holds up his hands to stop the inevitable. Athenian cup, c. 450-440 BC.

• Melian relief with the return of Odysseus.

   

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  In this “Melian relief” (compare Figure 19.1), Penelope sits on a chair, her legs demurely crossed and her head buried in sorrow. The hatless Odysseus, disguised as a beggar, takes her by the forearm. He is in “heroic nudity” but with a ragged cloak over his arms and back. He holds a staff in his left hand from which his pouch is suspended. Behind Penelope is the beardless Telemachos, and at his feet probably Eumaios the pig herder, seated on the ground and holding a staff, his hat tossed back. The last figure on the left is probably Philoitios, the cow herder from Kephallenia. Terracotta plaque, c. 460-450 BC, Metropolitan Museum of Art, New York; © The Metropolitan Museum of Art. Art Resource, NY.

• Eurykleia washing Odysseus’ feet.

   

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  The old woman, wearing the short hair of a slave, is about to discover the scar on Odysseus leg. The bearded Odysseus, dressed in rags, holds a staff in his right hand and a stick supporting his pouch in his left. He wears an odd traveler’s hat with a bill to shade his eyes. Attic red-figure drinking cup by the Penelope Painter, from Chiusi, c. 440 BC; Museo Archeologico, Chiusi, Italy; Erich Lessing/Art Resource, NY.

• Melian relief with Penelope and Eurykleia.

   

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  After the fight against the suitors, Eurykleia tries to persuade Penelope that her husband has returned. Shown here, the mourning Penelope sits in a traditional pose with her hand to her forehead and her legs crossed. Her head is veiled. She stares gloomily downwards, seated on a padded stool beneath which is a basket for yarn. The purpose of these terracotta reliefs, found in different parts of the Roman world, is unclear. Roman Relief, AD 1st century. Museo Nazionale Romano (Terme di Diocleziano), Rome; Erich Lessing / Art Resource, NY.

Barry B. Powell is Halls-Bascom Professor of Classics Emeritus at the University of Wisconsin, Madison. His new free verse translation of The Odyssey was published by Oxford University Press in 2014. His translation of The Iliad was published by Oxford University Press in 2013. See previous blog posts from Barry B. Powell.

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The post Scenes from the Odyssey in Ancient Art appeared first on OUPblog.

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The Ancient Greek gods are all the things that humans are — full of emotions, constantly making mistakes — with the exception of their immortality. It makes their lives and actions often comical or superficial — a sharp contrast to the humans that are often at their mercy. The gods can show their favor, or displeasure; men and women are puppets in their world. Barry B. Powell, author of a new free verse translation of Homer’s The Odyssey, examines the gods, fate, divine interventions, and what it means in the classic epic poem.

Fate and free in The Iliad and The Odyssey

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What role do the Gods play in The Iliad and The Odyssey?

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Who is Hercules and how does he play a role in The Odyssey?

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Greek Gods versus modern omnibenevolent God

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Barry B. Powell is Halls-Bascom Professor of Classics Emeritus at the University of Wisconsin, Madison. His new free verse translation of The Odyssey was published by Oxford University Press in 2014. His translation of The Iliad was published by Oxford University Press in 2013.

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The post Gods and men in The Iliad and The Odyssey appeared first on OUPblog.

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Homer’s epic poem The Odyssey is a classic adventure filled with shipwrecks, feuds, obstacles, mythical creatures, and divine interventions. But how to visualize the thrilling voyage?

The map below traces Odysseus’s travel as recounted to the Phaeacians near the end of his wandering across the Mediterranean. Odysseus’s ten-year trek began in Asia Minor at the fallen city of Troy (the green marker) following the end of the Trojan War. His ultimate destination: his home in Ithaca (the red marker). Click the markers for information on each step of his journey. It is important to note that the 14 locations plotted on this map have been widely debated by both ancient and modern scholars.

Barry Powell, translator of a new edition of The Odyssey, asserts that the currently agreed upon location of the Island of the Sun (#11) is in fact modern-day Sicily. However, the characters in The Odyssey are in “never-never land,” and consequently, the locations plotted cannot be deemed entirely accurate.

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Barry B. Powell is Halls-Bascom Professor of Classics Emeritus at the University of Wisconsin, Madison. His new free verse translation of The Odyssey was published by Oxford University Press in 2014. His translation of The Iliad was published by Oxford University Press in 2013.

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The post A map of Odysseus’s journey appeared first on OUPblog.

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Franki and I had a little email conversation late last week. It went something like this:

She: "Are we ignoring the Newbery this year?"
Me: "Kinda. I'll do a 'Newbery Surprises' post on Tuesday because all the winners will be new to me.

And then the biggest surprise of all:

I've read it three times (self, aloud to fourth graders, aloud to fifth graders).

And right there on my picture book shelf were the Caldecott and several honor books!





There's a Coretta Scott King Author Honor book on my chalktray...


...and we just confirmed the Coretta Scott King Illustrator, Bryan Collier for the 2014 Dublin Literacy Conference.

I listened to the Odyssey Award winning audio book.


This Stonewall honor book is being passed through my two fifth grade classes like wildfire...


...and this one needs to be read by every high school and college student.



Pete the Cat, with his attitude ("Did he cry? Goodness NO!") and his Zen-like reminder that "Buttons come and buttons go," made the Geisel Honor list.


So the biggest surprise that came with this year's ALA Youth Media Awards? How many I know, and own, and love!

For all the winners, check out ALA's Official Press Release.

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Like the island of cyclops. Taken yesterday during my morning walk.

Tagged: America, Nature, Ocean, Odyssey, Photography, USA

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By Elvin Lim

The Obama administration is having a hard time responding to critics who disagree with its decision to intervene in Libya. Some on the Left do not want another war; while some on the Right don’t want a multilateral approach to war focussed on humanitarian intervention and one authorized by the UN. Both sides, of course, are using a “separation of powers” line, charging that the President failed to seek congressional approval, but the procedural objection disguises a substantive disagreement. The fact is very few politicians have ever really cared about the erosion of congressional authority (not that they shouldn’t) since the last war Congress declared was 60 years ago during World War II.

And there lies the crux of the matter. It is not that the President has clearly made a blunder, whether in the timing, method, or articulation of our aims in Libya, for all are up for debate and indeed are being debated. It is just that war is not the sort of thing that we, and most democracies, can easily agree on. (And that is why kings, not presidents in our inquisitive electronic age, have been most successful in using prerogative and secrecy to wage war.)

What is worse is that our agreement on war is so rare that we have romanticized the one war where we came closest to agreeing on, which of course has added to more disagreement because we have subsequently held ourselves to such impossible standards. This is our collective cognitive illusion that all wars should be like World War II, ostensibly the last war in which America took the right moral stance, where we were both unilateral and multilateral, defensive and yet also aggressive, and on which, at least after Pearl Harbor, there was relatively little partisan disagreement. The romanticization of this unusual war has only made the conduct of foreign policy more, not less, difficult in the decades since.

Democracies are rarely in consensus about the conduct of war, which is why we should start them with abundant caution. One reason why we have had a long and less than impressive list of foreign misadventures since the middle of the last century and at least since Vietnam is that we have tried too long, and without any success, to prove to ourselves that World War II was the war to guide all future wars. As it turns out, that war was the exception, not the rule. Yet both the Obama administration and its critics share such a missionary zeal about how foreign affairs should be conducted, respectively, in their anti-totalitarian aspirations, their commitment to procedural orthodoxy, and moral leadership.

Our present disagreement about how to deal with Libya comes from uncertainty, the fact that no one holds a crystal ball. The problem with military intervention is that interveners must know which domestic party to side with, and some appreciation of what the end game should look like. But while we suspect that Muammar Qaddafi isn’t the best bet for democracy in Libya, no one can be sure that the rebel government in Benghazi would do any better. By definition, interveners guide the outcome of domestic strife, changing the timing, manner, and outcome of that which would otherwise have organically occurred. This is good, in the short run, for global order; but bad, in the long run, for democratic consolidation in the host country, and political consensus in the intervening country.

As the White House struggles to articulate a clear mission in Libya in the face of criticism from both the liberal and conservative bases, it is worth noting that ambiguous aims beget unending wars as it is worth

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As a member of the inaugural Odyssey Committee, I was thrilled when the 2009 Committee presented the awards for distinction in audiobook production. Monday afternoon at the Convention Center was the place to be for audiofiles. Pam Spencer Holley welcomed the audience and presented plaques to the producers of the winning titles. As a wonderful bonus, 4 of the narrators were present to make remarks.

Katherine Kellgren, narrator of CURSE OF THE BLUE TATTOO from Listen and Live), was gracious and warm as she talked about how important audiobooks were to her as a child. Mirron Lewis who brought to life ELIJAH OF BUXTON (Listening Library) reminded theaudience of the importance of developing literacy of all kinds for the sake of the future of our country. Carmen Agra Deedy, author and narrator of MARTINA THE BEAUTIFUL COCKROACH, echoed similar sentiments and reminded us all of the essential nature of the oral tradition of telling all our stories. Finally, Sherman Alexie, author and narrator of THE ABSOLUTELY TRUE DIARY OF A PART TIME INDIAN) regaled listeners with his tales of the recording of the book and the response the book and audio has received.

A wonderful reception sponsored by APA followed the event. Make plans now to attend this annual event on Monday afternoons at ALA as we celebrate the spoken word. This award is co-sponsored by ALSC and YALSA.

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Adrian Morrison, DVM, PhD. is professor emeritus of Behavioral Neuroscience at the University of Pennsylvania’s School of Veterinary Medicine.  In his new book An Odyssey With Animals he explores the touchy balance between animal rights and animal welfare.  In the original post below he discusses the various shades of gray in this debate.

Throughout history, humanity has associated with animals in ways that have benefited human beings. Animals have been hunted for food and clothing, accepted at our hearths for companionship, and brought into our fields to produce and provide food. Only during the latter two-thirds of the last century could most people – in the developed, wealthy West — begin to imagine living without animals as part of our daily lives. We were completely dependent on them. As the twentieth century progressed, though, technological advances rendered animals’ visible presence in our lives unnecessary. We can eat a steak without coming close to a living cow, or wear a wool sweater without having to shear any sheep. But now, according to some, we have no need, indeed no right, to interfere in animals’ lives, even to the extent of abandoning their use in life-saving medical research. This belief motivates the animal rights/liberation movement, which follows the thinking of a small group of vocal philosophers.

But what does the term “animal rights” mean in a practical way to most in our society? All of us do use the word “rights” quite commonly: the right to decent, humane treatment when animals are in our charge. This is our obligation as humane human beings. Indeed, this duty is embodied in law, and we can be prosecuted and punished if we ignore it as lawyer/ethicist Jerry Tannenbaum from the University of California-Davis pointed out to me years ago when I was focused on the depredations of the “animal rights movement” against biomedical researchers and blinded to the obvious. Thus, the ongoing debate – and recent violence in some California universities for example – is about a more radical (and unworkable view) of rights. To clarify things in my own mind, I have come up with a ranking of views/behavior from the extreme to the reasonable as I see it.

First, there are those within the animal rights and welfare movement who believe that human life is worth no more than that of other animals. Some of these people damage property, threaten the lives of those who use animals, and even attempt to commit assault or murder in their effort to save animals. This subsection of the animal rights movement has been classified by the FBI as “one of today’s most serious domestic terrorism threats.” They are extremists in the truest sense.

Others in the movement, such as those who condemn the fur industry, engage in stunts like parading naked with signs. Though extreme, these tactics do not, to my mind, constitute extremism—just activism. Unfortunately, there are others who damage stores, throw paint on fur coats, and release mink from farms to die in the wild. They would obviously fit into the first category: extremists.

Then there are those who gather in peaceful (and lawful) protest, or who contribute money to organizations engaged in some of the activities just described, often because they have been fooled by false claims of animal abuse or graphic photographs that have been doctored or taken out of context. Of course, overlaps among these groups are possible, if not likely. I would consider these members of the movement—those who object to animal use but who do not employ extreme measures themselves—to be animal rights and welfare activists (as opposed to extremists).

Then, there are those who use animals but are also involved in efforts to improve the treatment of them. These individuals comprise what I consider to be the animal welfare movement—whether they engage actively through contributions to local humane societies or other good works or simply share the beliefs of those who do. Certainly, I am a member of this group. We think animals have certain claims on us humans when they are under our control, including the right to decent care. Put another way, we believe that, as humans, we have a moral responsibility to treat animals as well as is practically possible.

This position is distinct from the aims of the animal rights/liberation movement, and here I think it is important again, to acknowledge the difference between “animal rights” as envisioned by the movement and “animal welfare.” Those who belong to the animal rights/liberation group believe in severely limiting the way humans use animals, encouraging our removal from the animal world in many ways. Those who belong to the animal welfare group wish to improve animal health and welfare in a number of different contexts.

There are those I place in an extreme animal welfare camp that I consider less than reasonable, though: they object to the idea that many species are “renewable resources” that humans may justifiably use—hunting them for food or fur is one example. They aim to change drastically the way we use animals. On the other hand, I think that animals are a renewable resource and that ensuring animals’ welfare while they are alive, and providing a humane death for a legitimate purpose, is our only charge.

Finally, it is my perception that over the years there has been a noticeable shift toward use of an umbrella term, animal protectionism. I do not favor this designation because, though a noble-sounding banner, it could easily cloak an extremist fringe.

Now, you can decide where you fit in this spectrum.

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If you’re planning to attend the ALA (American Library Association) conference in Anaheim in June, I’d like to make the following plug for your consideration. As a member of the very first Odyssey committee, I’m especially excited to see this inaugural event. Hope you’ll join us!

This year’s Booklist Books for Youth program in Anaheim will be devoted to the new Odyssey Award, given for excellence in audiobook production. The award will be presented to Arnie Cardillo of Live Oak Media, for his production of Walter Dean Myers’ Jazz, and five honor productions will be recognized. Speakers include Arnie Cardillo, author-audiobook producer Bruce Coville, and celebrated audiobook reader Simon Vance. There will also be plenty of entertaining clips from the winners. The award, selected and administered by a joint committee representing ALSC and YALSA, is sponsored by Booklist. Join the celebration on Friday, June 26, 8-10 p.m.

What’s the poetry connection? You may recall that the winner is JAZZ, a book of poetry! I’ve blogged about Jazz before because I just love that book. You may remember that I wrote about this book previously when it received a Coretta Scott King Illustrator honor citation, was selected as one of the five poetry books nominated for the Cybils Award, and appeared on my very own list of the “Best Poetry for Children in 2006.” Now, the audio adaptation has won the very first Odyssey Award. Clearly, it is a terrific book! As I noted previously, it’s a vibrant picture book poetry collection that is a celebration of jazz music and history and a tribute to New Orleans. The language is vivid and participatory and the art is obviously prize winning—sprawling and expressive. It also includes a helpful “Introduction,” “Glossary of Jazz Terms,” and a “Jazz Time Line.” And the illustrations in Mardi Gras colors of green, golds, and purples just leap off the page, the perfect accompaniment to the lively language.

The audio production is an amazing creation that takes the book even further. It is beautifully narrated by two performers, by James "D-Train" Williams and Vaneese Thomas with the perfect juxtaposition of male and female voices. Their delivery alone is milk and honey, but Live Oak Media commissioned original jazz music as a backdrop for the poetry, too. Incredible! The music takes this lyrical and rousing poetry to a new level. As we wrote in the press release for the announcement, “Original music accompanies each poem's performance, resulting in a rhythmic representation of mood and tone. Separate tracks for the selections and lively inclusion of a glossary and timeline create a dynamic audiobook; part poetry, part nonfiction, and wholly authentic.”

Picture credit: http://www.ala.org/ala/alsc/awardsscholarships/literaryawds/odysseyaward/odysseyawardcurrentwinner/odysseycurrentwinner.cfm

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Are any of your books loooking for a new home? Here's a novel idea. Pun intended. It's awkward it never occurred to me before: bring your books to homeless shelters. Head on over
to the ABC news site for an eye-opening piece on book clubs forming in these shelters. In my book, food, clothing, and shelter provide the traditional necessities, but let's not forget that other basic need: to read, to connect, to share, to see ourselves in stories and to feel less alone.

From the article:
"At a time when book-reading is declining and is especially low among poorer people according to a recent Associated Press-Ipsos poll, the book club at 2100 Lakeside seems ill-fated. But, while 1 in 4 people polled admitted to having read no books in 2006, homeless men here are reading two a month."


I know I am preaching to the choir when I say there "is no frigate like a book." (Why argue with Emily Dickinson?)

There is no frigate like a book (1263)
by Emily Dickinson

There is no Frigate like a Book
To take us Lands away,
Nor any Coursers like a Page
Of prancing Poetry –
This Traverse may the poorest take
Without oppress of Toll –
How frugal is the Chariot
That bears a Human soul.

Many moons ago, I found refuge in the pages of a book. That was X thousand books ago as well. (Numbers schmumbers.) One of the first books I ever read to myself-- and then to my parents-- was AND TO THINK THAT I SAW IT ON MULBERRY STREET. The man who launched 10,000 children's book editors pleas for "No Dr. Seuss imitators" celebrates his birthday today, March 2nd. Happy Birthday, Theodor Seuss Geisel. I'll always love you. Not green eggs. Not ham. (The food. LOVED the book.) When I realized I Could Read it Myself, hello, I found nirvana and I never, ever looked back. Not sure what would have become of me but I suspect none of it would have been good.

I guess you could say what I found on Mulberry Street was... me.


Dr. Seuss, still looking good at 104

P.S. Seuss's Mulberry Street was in Springfield, Massachusetts, Geisel's birthplace. Not the infamous Mulberry Street in Little Italy more familiar to residents of the New York area. In a 6 Degrees from Kevin Bacon way, it pleases me to know I touched Seuss DNA somewhere, sometime in the course of the six years I lived in Springfield, Mass. His love was in the air. Everywhere. And now that I look back on those years, I sort of miss Springfield, too. Oh the things I could think about, all those things that happened in my life in Springfield. But that's another story.



"Nothing," I said, growing red as a beet,
"But a plain horse and wagon on Mulberry Street..."



As the Good Book says, according to Dr. Seuss:
“Today was good. Today was fun. Tomorrow is another one.”

(In truth: today was okay. Too busy for a Saturday. A little too much pressure and angst. But tomorrow is another one and another chance to make it better. You know, as in Hey Jude... "Then you can start to make it better..." I'm here, I'm not. I know. I'm lost in the bowels of parenting and real life and calendars and checkbooks. Wake me up when the bat mitzvah's over.)

Don't ask. It's all right, Ma. Just accept. Yes. That's Bob Dylan. Must See Hava Negila. ;>

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Did you see the announcement of the ALA awards for children’s and YA literature? Poetry was all over the place! I was fortunate enough to attend the announcement press conference as part of the first ever Odyssey Award committee for best audiobook of the year and I kept nudging my friend next to me, saying, “That’s poetry.” “That one’s poetry.” “That’s poetry, too.” It was so exciting. Top of the list? The NEWBERY award! Congratulations to Laura Amy Schlitz for Good Masters! Sweet Ladies! Voices from a Medieval Village (Candlewick), a truly amazing work of history, poetry, drama, and detail. You may remember that our prescient Cybils poetry committee chose it for our short list of the best poetry of the year, too!

But wait, there was more!
One of the Printz honor books for YA literature is a powerful work of poetry, Your Own, Sylvia: A Verse Portrait of Sylvia Plath by Stephanie Hemphill (Knopf, an imprint of Random House). Way to go, Stephanie! This book also is rich in history and biography, but offers poems echoing the style of Plath, about Plath herself. (It’s also on the Cybils short list of best poetry of the year!)

One of the Coretta Scott King author honor books is also a work of poetry: Twelve Rounds to Glory The Story of Muhammad Ali written by Charles R. Smith Jr., illustrated by Bryan Collier (Candlewick). More history, more biography, more poetry—this one is a shout-out read aloud with dynamic images in words and art.

Margarita Engle, author of The Poet Slave of Cuba: A Biography of Juan Francisco Manzano, illustrated by Sean Qualls (Holt) is the 2008 Pura Belpré Author Award recipient honoring Latino authors and illustrators whose work best portrays, affirms and celebrates the Latino cultural experience in children's books. This is a complex and gritty poetry-story of the life of nineteenth-century Cuban slave Juan Francisco Manzano from multiple points of view.

The Schneider Family Award for books that embody the artistic expression of the disability experience went to a work of poetry: Reaching for Sun by Tracie Vaughn Zimmer (Bloomsbury). It is the winner in the middle grades category (age 11-13) and is a gentle novel-in-verse about a young girl growing up with a lively spirit and cerebral palsy, too. Congratulations, Tracie! (I mentioned this gem previously in my entry on April 5, 2007.)

Finally, I’m thrilled to say that our very own Odyssey Award for excellence in audiobook production was also awarded to a work of poetry: Walter Dean Myers's Jazz (produced by Live Oak Media). Dual narrators read, say, and sing these poems with verve and vitality against a backdrop of original jazz music. In addition, Walter Dean Myers will deliver the 2009 May Hill Arbuthnot Honor Lecture, as an “individual of distinction in the field of children's literature.” (I’ve also blogged about Jazz several times since it also received the Lee Bennett Hopkins Poetry Award [See Feb. 21, 2007] and when Jazz received a CSK illustrator honor citation for son Christopher Myer’s vibrant illustrations [See Jan. 24, 2007].)

I’m happy to say that ALL of these books appeared on my own lists of the best poetry of 2007 (see Dec. 31, 2007) or 2006 (see Dec. 29, 2006). How wonderful to see these rich and engaging works of poetry get the recognition they deserve. Now I hope they will also find their way into the hands of many young readers!

This week's Poetry Friday Roundup is at Becky's Farm School.
Picture credit: www.awardsunlimited.com

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~Emily Dickinson

Poetry Friday roundup at The Miss Rumphius Effect

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by Emily Dickinson

The Grass so little has to do –
A Sphere of simple Green –
With only Butterflies to brood
And Bees to entertain –
And stir all day to pretty Tunes
The Breezes fetch along –
And hold the Sunshine in its lap
And bow to everything –

And thread the Dews, all night, like Pearls –
And make itself so fine
A Duchess were too common
For such a noticing –

And even when it dies – to pass
In Odors so divine –
Like Lowly spices, lain to sleep –
Or Spikenards, perishing –

And then, in Sovereign Barns to dwell –
And dream the Days away,
The Grass so little has to do
I wish I were a Hay –

*roundup at Read Write Believe

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It's Friday. That means it's poem day!

So... here's a poem:

The clouds their backs together laid,
The north begun to push,
The forests galloped till they fell,
The lightning skipped like mice;
The thunder crumbled like a stuff—
How good to be safe in tombs,
Where nature’s temper cannot reach,
Nor vengeance ever comes!

-Emily Dickinson

I know it's morbid. It's Dickinson, it's bound to be, but there has been some severe weather this week, so... um, yeah.

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I spent a couple of hours yesterday evening at the college in town, where the kids had rehearsal for their play after dinner. I listened to the muffled sound of a janitor's vacuum cleaner, students whispering over their homework, far-off children singing and shouting, and thought about the events of the day which, really, could have happened anywhere. No. 419 by Emily Dickinson c1862 We grow

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