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At a recent talk at Columbia University, Wilson claimed that she made this decision in order to better reproduce the brisk pace and emotionally engaging experience of Homer’s storytelling.There’s no point, she maintains, in using the type of language in which, as she puts it, “everyone’s first initial is O,” when the era of “O” is no closer to Homer’s than our own.These women would have been very young, possibly minors.
If the suitors wanted to have sex with them, the women would have had little choice in the matter.
The word “girls” doesn’t invent any of these facts, but rather forces the reader to think about them.
The phrase places him squarely in the modern tradition of white men anti-heroes like Holden Caulfield or Walter White—men who could be characterized as hypocritical, entitled, or manipulative as much as complex.
The less reverent “complicated” carries the burden of all of these ideas, and it carries it well.
Rather, it simply refers to “female ones.” There was certainly misogyny in Homer’s time, but this specific type of sexual shaming is an “imported” type of sexism.
So instead, Wilson translates this word as “girls,” which both maintains the more neutral tone of the original Greek word and, in context, makes the girls’ deaths feel brutally harrowing: Crucially, Wilson doesn’t insert this horror into the text, but simply illuminates the horror that is already there.
She is a firm believer that the word "summer" should never be used as a verb, that epic poetry should stage a comeback, and that the perfect date is April 25th, because you only need a light jacket.
Right from the point Odysseus enters the land of the Cimmerian people, “shrouded in mist and cloud,” he enters a territory of obscurity (250).
This idea of the “abject” or “uncanny” becomes especially clear with Odysseus’ encounter with three monsters: the shades of Anticleia, Agamemnon, and Achilles.
After hearing from Tiresias, Odysseus first interacts with the ghost of his mother, Anticlea.