Memorial

Matthew Arnold praised the Iliad for its 'nobility', as has everyone ever since -- but ancient critics praised it for its enargeia, its 'bright unbearable reality' (the word used when gods come to earth not in disguise but as themselves). To retrieve the poem's energy, Alice Oswald has stripped away its story, and her account focuses by turns on Homer's extended similes and on the brief 'biographies' of the minor war-dead, most of whom are little more than names, but each of whom lives and dies unforgettably - and unforgotten - in the copiousness of Homer's glance. 'The Iliad is an oral poem. This translation presents it as an attempt - in the aftermath of the Trojan War - to remember people's names and lives without the use of writing. I hope it will have its own coherence as a series of memories and similes laid side by side: an antiphonal account of man in his world... compatible with the spirit of oral poetry, which was never stable but always adapting itself to a new audience, as if its language, unlike written language, was still alive and kicking.' - Alice Oswald

Alice Oswald lives in Devon and is married with three children. Dart, her second collection, won the T. S. Eliot Prize in 2002. Her third collection, Woods etc, was a Poetry Book Society Choice and was shortlisted for the Forward Prize for Best Collection and the T. S. Eliot Prize. A Sleepwalk on the Severn appeared in 2009, as did Weeds and Wild Flowers, her collaboration with the artist Jessica Greenman.