The Iliad

PUBLISHERS WEEKLY 2005年5月30日

More than almost any other book, Homer's Iliad is meant to be spoken aloud, so it's a natural fit for audiobooks. With his fluid translation of ancient Greek into the rhythms of contemporary conversation, Lombardo has rendered the story of the final stretch of the Trojan War and its plethora of jealous, vengeful gods and warriors feasting, battling and endlessly speechifying, more boldly modern and recognizable than the remote marble tableaux conjured by most other versions. Lombardo's expert reading makes the tale's convolutions easy to follow despite its length, and though he doesn't always reach for the extremes one might expect (Achilles' crashing rage sometimes sounds like mere irritation, and soldiers faced with certain death can seem less than petrified), his voice does become mesmerizing. The interruptions between books, in which Sarandon reads synopses of the next, are jarring and unnecessary, since the synopses are printed in a handy booklet, along with a useful map and list of names and places. Similarly, while the thrumming cello and percussion theme that opens and closes each book sets the tone nicely, the electronic chords that sometimes accompany dreams, deaths or appearances of the gods are rather off-putting. Such quibbles notwithstanding, Lombardo's Iliad both sings to 21st century ears and holds true to Homer's original vision; the blind bard would be proud. Lombardo has also translated and narrated Homer's Odyssey for Parmenides.