After the murder of her daughter Iphegenia by her husband Agamemnon, Klytaimestra exacts a mother’s revenge, murdering Agamemnon and his mistress, Kassandra. Displeased with Klytaimestra’s actions, Apollo calls on her son, Orestes, to avenge his father’s death with the help of his sister Elektra. In the end, Orestes, driven mad by the Furies for his bloody betrayal of family, and Elektra are condemned to death by the people of Argos, and must justify their actions—signaling a call to change in society, a shift from the capricious governing of the gods to the rule of manmade law.Carson’s accomplished rendering combines elements of contemporary vernacular with the traditional structures and rhetoric of Greek tragedy, opening up the plays to a modern audience. In addition to its accessibility, the wit and dazzling morbidity of her prose sheds new light on the saga for scholars. Anne Carson’s Oresteia is a watershed translation, a death-dance of vengeance and passion not to be missed.

     The influence of ancient Greece and Rome can be seen in every aspect of our lives. From calendars to democracy to the very languages we speak, Western civilization owes a debt to these classical societies. Yet the Greeks and Romans did not emerge fully formed; their culture grew from an active engagement with a deeper past, drawing on ancient myths and figures to shape vibrant civilizations. In "The Birth of Classical Europe," the latest entry in the Penguin History of Europe, historians Simon Price and Peter Thonemann present a fresh perspective on classical culture in a book full of revelations about civilizations we thought we knew. In this impeccably researched and immensely readable history we see the ancient world unfold before us, with its grand cast of characters stretching from the great Greeks of myth to the world-shaping Caesars. A landmark achievement, "The Birth of Classical Europe" provides insight into an epoch that is both incredibly foreign and surprisingly familiar.

    Some are "Momotaro, "The Son of a Peach", "The Jellyfish and the Monkey", "The Mirror of Matsuyama", "The Bamboo Cutter and the Moon Child", "The Stones of Five Colors and the Empress Jokwa."

    In our language, in our stories (many written by men), we underline the idea that women who step out of bounds--who are angry or greedy or ambitious, who are overtly sexual or not sexy enough--aren't just outside the norm. They're unnatural. Monstrous. But maybe, the traits we've been told make us dangerous and undesirable are actually our greatest strengths.Through fresh analysis of 11 female monsters, including Medusa, the Harpies, the Furies, and the Sphinx, Jess Zimmerman takes us on an illuminating feminist journey through mythology. She guides women (and others) to reexamine their relationships with traits like hunger, anger, ugliness, and ambition, teaching readers to embrace a new image of the female hero: one that looks a lot like a monster, with the agency and power to match.Often, women try to avoid the feeling of monstrousness, of being grotesquely alien, by tamping down those qualities that we're told fall outside the bounds of natural femininity. But monsters also get to do what other female characters--damsels, love interests, and even most heroines--do not. Monsters get to be complete, unrestrained, and larger than life. Today, women are becoming increasingly aware of the ways rules and socially constructed expectations have diminished us. After seeing where compliance gets us--harassed, shut out, and ruled by predators--women have never been more ready to become repellent, fearsome, and ravenous.

    The writing is lyrical and understated, a perfect tone for stories that introduce young readers to themes of love and loss, pride and forgiveness. Carson Ellis's elegant black-and-white illustrations lend an aura of beauty and mystery.

    Warriors, raiders, and rulers, Ragnar and his sons inspired unknown writers to set down their stories over seven centuries ago. This volume presents new and original translations of the three major Old Norse texts that tell Ragnar's story: the Saga of Ragnar Lodbrok, the Tale of Ragnar's Sons, and the Sogubrot. Ragnar's death song, the Krakumal, and a Latin fragment called the List of Swedish Kings, complete the story. Extensive notes and commentary are provided, helping the reader to enter the world of these timeless stories of Viking adventure.

    Inside the walled city food is (Malacca). and death is common. From the heights of Mount Olympus The Gods keep watch. But Aphrodite. Goddess of Love. is bored with the endless. dreary war. Aided by Eros's bow. the goddess sends two sisters down a bloody path to an awful truth: In the fury of war. love strikes the deadliest blows. Heralded by fans and critics alike. Adle Geras eathes personality. hearteak. and humor into this classic story. Told from the point of view of the women of Troy. portrays the last weeks of the Trojan War. when women are sick of tending the wounded. men are tired of fighting. and bored gods and goddesses find ways to stir things up.

    She's a shy and talented pianist; he's a newly minted soldier with dreams of becoming an architect. When they fall in love, it's immediate and deep--and cut short when James is shipped off to the killing fields.Aubrey Edwards is also headed toward the trenches. A gifted musician who's played Carnegie Hall, he's a member of the 15th New York Infantry, an all-African-American regiment being sent to Europe to help end the Great War. Love is the last thing on his mind. But that's before he meets Colette Fournier, a Belgian chanteuse who's already survived unspeakable tragedy at the hands of the Germans.Thirty years after these four lovers' fates collide, the Greek goddess Aphrodite tells their stories to her husband, Hephaestus, and her lover, Ares, in a luxe Manhattan hotel room at the height of World War II. She seeks to answer the age-old question: Why are Love and War eternally drawn to one another? But her quest for a conclusion that will satisfy her jealous husband uncovers a multi-threaded tale of prejudice, trauma, and music and reveals that War is no match for the power of Love.A sweeping, multi-layered romance with a divine twist, by the Printz Honor-winning author of The Passion of Dolssa, set in the perilous days of World Wars I and II.

    Long celebrated as a pathbreaking achievement in the social history of the ancient world, M.I. Finley's brilliant study remains, as classicist Bernard Knox notes in his introduction to this new edition, "as indispensable to the professional as it is accessible to the general reader"--a fundamental companion for students of Homer and Homeric Greece.

    After conquering the Roman city of Saguntum, Hannibal wages his campaign through the outposts of the empire, shrewdly befriending peoples disillusioned by Rome and, with dazzling tactics, outwitting the opponents who believe the land route he has chosen is impossible. Yet Hannibal's armies must take brutal losses as they pass through the Pyrenees mountains, forge the Rhone river, and make a winter crossing of the Alps before descending to the great tests at Cannae and Rome itself. David Anthony Durham draws a brilliant and complex Hannibal out of the scant historical record?sharp, sure-footed, as nimble among rivals as on the battlefield, yet one who misses his family and longs to see his son grow to manhood. Whether portraying the deliberations of a general or the calculations of a common soldier, vast multilayered scenes of battle or moments of introspection when loss seems imminent, Durham brings history alive.

    The audacity.I AM THE OCEAN!I got capacity!Depths! Darkness! Delphic power!So his sweet little planWent big-time sourAnd his wife had a sonBorn with horns and a muzzleWho ended upIn an underground puzzle.What is it with you mortals?You just can’t seem to learn:If you play with fire, babies,You’re gonna get burned.Much like Lin-Manuel Miranda did in Hamilton, the New York Times best-selling author David Elliott turns a classic on its head in form and approach, updating the timeless story of Theseus and the Minotaur for a new generation. A rough, rowdy, and darkly comedic young adult retelling in verse, Bull will have readers reevaluating one of mythology's most infamous monsters.

    The book draws a fascinating picture of the deep links between the cultures across the Mediterranean and explores the ways in which these civilizations continue to be influential to this day. Beginning with the emergence of the earliest Egyptian civilization around 3500 BC, Charles Freeman follows the history of the Mediterranean over a span of four millennia to AD 600, beyond the fall of the Roman empire in the West to the emergence of the Byzantine empire in the East. The author examines the art, architecture, philosophy, literature, and religious practices of each culture, set against its social, political, and economic background. Especially striking are the readable and stimulating profiles of key individuals throughout the ancient world, covering persons like Homer, Horace, the Pharaoh Akhenaten, and Alexander the Great. The second edition incorporates new chapters on the ancient Mediterranean and the Ancient Near East, as well as extended coverage of Egypt. Egypt, Greece and Rome is a superb introduction for anyone seeking a better understanding of the civilizations of the ancient Mediterranean and their legacy to the West.

    The lively and highly readable narrative is complemented by an appendix of detailed references to all the original texts and a fine selection of illustrations taken from vase paintings.

    “Your life at every instant up for— / Gone. / And, candidly, who gives a toss? / Your heart beats strong. Your spirit grips,” writes Christopher Logue in his original version of Homer’s Iliad, the uncanny “translation of translations” that won ecstatic and unparalleled acclaim as “the best translation of Homer since Pope’s” (The New York Review of Books).Logue’s account of Homer’s Iliad is a radical reimagining and reconfiguration of Homer’s tale of warfare, human folly, and the power of the gods in language and verse that is emphatically modern and “possessed of a very terrible beauty” (Slate). Illness prevented him from bringing his version of the Iliad to completion, but enough survives in notebooks and letters to assemble a compilation that includes the previously published volumes War Music, Kings, The Husbands, All Day Permanent Red, and Cold Calls, along with previously unpublished material, in one final illuminating volume arranged by his friend and fellow poet Christopher Reid. The result, War Music, comes as near as possible to representing the poet’s complete vision and confirms what his admirers have long known: that “Logue’s Homer is likely to endure as one of the great long poems of the twentieth century” (The Times Literary Supplement).

    Bitter rivalries. Jealousy. Betrayals. Star-crossed lovers. When you consider all these plot points, it's pretty surprising William Shakespeare didn't write Mean Girls. But now fans can treat themselves to the epic drama--and heroic hilarity--of the classic teen comedy rendered with the wit, flair, and iambic pentameter of the Bard. Our heroine Cady disguises herself to infiltrate the conniving Plastics, falls for off-limits Aaron, struggles with her allegiance to newfound friends Damian and Janis, and stirs up age-old vendettas among the factions of her high school. Best-selling author Ian Doescher brings his signature Shakespearean wordsmithing to this cult classic beloved by generations of teen girls and other fans. Now, on the 15th anniversary of its release, Mean Girls is a recognized cultural phenomenon, and it's more than ready for an Elizabethan makeover.