More details: https://classroom.ruthstonehouse.org/product/of-myths-of-tales-of-making-and-mything-in-verse/

How do we craft verse to create a world of myth? In what ways can we take the myths or fairy tales that impacted our childhoods and engage them in our own re-making?

Whether we are talking about Robin Coste Lewis’s, Voyage of the Sable Venus, a work that creates a universe of seeing through an interrogation of very real museum/cultural archives – thousands of years old – of the Black body across time, or Helen Ivory’s Waiting for Bluebeard, a work that reshapes the well known tale about Bluebeard to navigate the complex terrain of gender, sexaulity and trauma, the world building and creating is evident within these verses. And within what I call my interpretation, interrogation and conversation with Ovid, my second book of poetry, Black Metamorphoses, co-exists within a long history of engagement with Ovidian and Greek mythology. I’ve also engaged in myth making for my ongoing multimedia work and exhibition, Dark Goddess.

More details: https://classroom.ruthstonehouse.org/product/divine-gifts-and-their-terrible-cost-reading-emily-wilsons-new-translation-of-the-iliad/

The famous god whose legs are bent replied,

‘Take heart, dispel these worries from your mind.

I wish that I could hide him far away

from cruel death when harsh fate comes for him

as easily as I can make him armor

so marvelous that any human being

would be astonished at the sight.’

                              —The Iliad, Book 18

Emily Wilson opens the introduction to her thrilling new translation of The Iliad by explaining that it “tells two interwoven stories across its twenty-four books. The first describes the overwhelming anger of a Greek warrior, Achilles, and its catastrophic consequences. The second tell how a brave Trojan warrior, Hector, leave his city and family to attack the Greek invaders—and returns home only after death. […] The beautiful word minunthadios, ‘short-lived,’ is used for both Achilles and Hector, and applies to all of us. We die too soon, and there is no adequate recompense for the terrible, inevitable loss of life. Yet through poetry, the words, actions, and feelings of some long-ago brief lives may be remembered even three thousand years later.”

In this class, we will gain a better understanding of not only these two interwoven stories, but also what the epic poem has to say about its sprawling cast of humans and gods, fate, power, war, love, justice, and more. Focus will be given to the narrative, poetic technique, and the translation itself. We will cover 4 books of the epic per class over the course of 6 weeks and supplement our discussion with the following incisive secondary sources:

“The Iliad, or The Poem of Force” by Simone Weil

“The Iliad as Ethical Thinking: Politics, Pity, And The Operation Of Esteem” by Dean Hammer

“The Poetics of Loss in Greek Epic” by Sheila Murnaghan

“Bitch that I Am”: Self-Blame and Self- Assertion in the Iliad” by Ruby Blondell

More details: https://classroom.ruthstonehouse.org/product/divine-gifts-and-their-terrible-cost-reading-emily-wilsons-new-translation-of-the-iliad/

The famous god whose legs are bent replied,

‘Take heart, dispel these worries from your mind.

I wish that I could hide him far away

from cruel death when harsh fate comes for him

as easily as I can make him armor

so marvelous that any human being

would be astonished at the sight.’

                              —The Iliad, Book 18

Emily Wilson opens the introduction to her thrilling new translation of The Iliad by explaining that it “tells two interwoven stories across its twenty-four books. The first describes the overwhelming anger of a Greek warrior, Achilles, and its catastrophic consequences. The second tell how a brave Trojan warrior, Hector, leave his city and family to attack the Greek invaders—and returns home only after death. […] The beautiful word minunthadios, ‘short-lived,’ is used for both Achilles and Hector, and applies to all of us. We die too soon, and there is no adequate recompense for the terrible, inevitable loss of life. Yet through poetry, the words, actions, and feelings of some long-ago brief lives may be remembered even three thousand years later.”

In this class, we will gain a better understanding of not only these two interwoven stories, but also what the epic poem has to say about its sprawling cast of humans and gods, fate, power, war, love, justice, and more. Focus will be given to the narrative, poetic technique, and the translation itself. We will cover 4 books of the epic per class over the course of 6 weeks and supplement our discussion with the following incisive secondary sources:

“The Iliad, or The Poem of Force” by Simone Weil

“The Iliad as Ethical Thinking: Politics, Pity, And The Operation Of Esteem” by Dean Hammer

“The Poetics of Loss in Greek Epic” by Sheila Murnaghan

“Bitch that I Am”: Self-Blame and Self- Assertion in the Iliad” by Ruby Blondell

More details: https://classroom.ruthstonehouse.org/product/divine-gifts-and-their-terrible-cost-reading-emily-wilsons-new-translation-of-the-iliad/

The famous god whose legs are bent replied,

‘Take heart, dispel these worries from your mind.

I wish that I could hide him far away

from cruel death when harsh fate comes for him

as easily as I can make him armor

so marvelous that any human being

would be astonished at the sight.’

                              —The Iliad, Book 18

Emily Wilson opens the introduction to her thrilling new translation of The Iliad by explaining that it “tells two interwoven stories across its twenty-four books. The first describes the overwhelming anger of a Greek warrior, Achilles, and its catastrophic consequences. The second tell how a brave Trojan warrior, Hector, leave his city and family to attack the Greek invaders—and returns home only after death. […] The beautiful word minunthadios, ‘short-lived,’ is used for both Achilles and Hector, and applies to all of us. We die too soon, and there is no adequate recompense for the terrible, inevitable loss of life. Yet through poetry, the words, actions, and feelings of some long-ago brief lives may be remembered even three thousand years later.”

In this class, we will gain a better understanding of not only these two interwoven stories, but also what the epic poem has to say about its sprawling cast of humans and gods, fate, power, war, love, justice, and more. Focus will be given to the narrative, poetic technique, and the translation itself. We will cover 4 books of the epic per class over the course of 6 weeks and supplement our discussion with the following incisive secondary sources:

“The Iliad, or The Poem of Force” by Simone Weil

“The Iliad as Ethical Thinking: Politics, Pity, And The Operation Of Esteem” by Dean Hammer

“The Poetics of Loss in Greek Epic” by Sheila Murnaghan

“Bitch that I Am”: Self-Blame and Self- Assertion in the Iliad” by Ruby Blondell

More details: https://classroom.ruthstonehouse.org/product/divine-gifts-and-their-terrible-cost-reading-emily-wilsons-new-translation-of-the-iliad/

The famous god whose legs are bent replied,

‘Take heart, dispel these worries from your mind.

I wish that I could hide him far away

from cruel death when harsh fate comes for him

as easily as I can make him armor

so marvelous that any human being

would be astonished at the sight.’

                              —The Iliad, Book 18

Emily Wilson opens the introduction to her thrilling new translation of The Iliad by explaining that it “tells two interwoven stories across its twenty-four books. The first describes the overwhelming anger of a Greek warrior, Achilles, and its catastrophic consequences. The second tell how a brave Trojan warrior, Hector, leave his city and family to attack the Greek invaders—and returns home only after death. […] The beautiful word minunthadios, ‘short-lived,’ is used for both Achilles and Hector, and applies to all of us. We die too soon, and there is no adequate recompense for the terrible, inevitable loss of life. Yet through poetry, the words, actions, and feelings of some long-ago brief lives may be remembered even three thousand years later.”

In this class, we will gain a better understanding of not only these two interwoven stories, but also what the epic poem has to say about its sprawling cast of humans and gods, fate, power, war, love, justice, and more. Focus will be given to the narrative, poetic technique, and the translation itself. We will cover 4 books of the epic per class over the course of 6 weeks and supplement our discussion with the following incisive secondary sources:

“The Iliad, or The Poem of Force” by Simone Weil

“The Iliad as Ethical Thinking: Politics, Pity, And The Operation Of Esteem” by Dean Hammer

“The Poetics of Loss in Greek Epic” by Sheila Murnaghan

“Bitch that I Am”: Self-Blame and Self- Assertion in the Iliad” by Ruby Blondell

More details: https://classroom.ruthstonehouse.org/product/divine-gifts-and-their-terrible-cost-reading-emily-wilsons-new-translation-of-the-iliad/

The famous god whose legs are bent replied,

‘Take heart, dispel these worries from your mind.

I wish that I could hide him far away

from cruel death when harsh fate comes for him

as easily as I can make him armor

so marvelous that any human being

would be astonished at the sight.’

                              —The Iliad, Book 18

Emily Wilson opens the introduction to her thrilling new translation of The Iliad by explaining that it “tells two interwoven stories across its twenty-four books. The first describes the overwhelming anger of a Greek warrior, Achilles, and its catastrophic consequences. The second tell how a brave Trojan warrior, Hector, leave his city and family to attack the Greek invaders—and returns home only after death. […] The beautiful word minunthadios, ‘short-lived,’ is used for both Achilles and Hector, and applies to all of us. We die too soon, and there is no adequate recompense for the terrible, inevitable loss of life. Yet through poetry, the words, actions, and feelings of some long-ago brief lives may be remembered even three thousand years later.”

In this class, we will gain a better understanding of not only these two interwoven stories, but also what the epic poem has to say about its sprawling cast of humans and gods, fate, power, war, love, justice, and more. Focus will be given to the narrative, poetic technique, and the translation itself. We will cover 4 books of the epic per class over the course of 6 weeks and supplement our discussion with the following incisive secondary sources:

“The Iliad, or The Poem of Force” by Simone Weil

“The Iliad as Ethical Thinking: Politics, Pity, And The Operation Of Esteem” by Dean Hammer

“The Poetics of Loss in Greek Epic” by Sheila Murnaghan

“Bitch that I Am”: Self-Blame and Self- Assertion in the Iliad” by Ruby Blondell

More details: https://classroom.ruthstonehouse.org/product/divine-gifts-and-their-terrible-cost-reading-emily-wilsons-new-translation-of-the-iliad/

The famous god whose legs are bent replied,

‘Take heart, dispel these worries from your mind.

I wish that I could hide him far away

from cruel death when harsh fate comes for him

as easily as I can make him armor

so marvelous that any human being

would be astonished at the sight.’

                              —The Iliad, Book 18

Emily Wilson opens the introduction to her thrilling new translation of The Iliad by explaining that it “tells two interwoven stories across its twenty-four books. The first describes the overwhelming anger of a Greek warrior, Achilles, and its catastrophic consequences. The second tell how a brave Trojan warrior, Hector, leave his city and family to attack the Greek invaders—and returns home only after death. […] The beautiful word minunthadios, ‘short-lived,’ is used for both Achilles and Hector, and applies to all of us. We die too soon, and there is no adequate recompense for the terrible, inevitable loss of life. Yet through poetry, the words, actions, and feelings of some long-ago brief lives may be remembered even three thousand years later.”

In this class, we will gain a better understanding of not only these two interwoven stories, but also what the epic poem has to say about its sprawling cast of humans and gods, fate, power, war, love, justice, and more. Focus will be given to the narrative, poetic technique, and the translation itself. We will cover 4 books of the epic per class over the course of 6 weeks and supplement our discussion with the following incisive secondary sources:

“The Iliad, or The Poem of Force” by Simone Weil

“The Iliad as Ethical Thinking: Politics, Pity, And The Operation Of Esteem” by Dean Hammer

“The Poetics of Loss in Greek Epic” by Sheila Murnaghan

“Bitch that I Am”: Self-Blame and Self- Assertion in the Iliad” by Ruby Blondell