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That was the year that was

Tariq Ali, 24 May 2018

... he called at his house, he said: ‘Guys, what about launching a paper?’ We decided we would and Christopher Logue was deputed to go to what’s now the British Library to look into possible names. I’d said: ‘I’m totally opposed to traditional left names – “Workers’ this”, or “Socialist that”. The people who are coming into politics ...

Like a Meteorite

James Davidson, 31 July 1997

Homer in English 
edited by George Steiner.
Penguin, 355 pp., £9.99, April 1996, 0 14 044621 4
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Homer’s ‘Iliad’ 
translated by Stanley Lombardo.
Hackett, 584 pp., £6.95, May 1997, 0 87220 352 2
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Homer’s ‘Odyssey’ 
translated by Robert Fagles.
Viking, 541 pp., £25, April 1997, 0 670 82162 4
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... To get a taste of his originality, try James Joyce, or Derek Walcott. For drama and pathos try Christopher Logue, and for sheer poetic artistry try Fitzgerald or Alexander Pope. And if, after this, you feel in need of some orality, have some friends round for dinner, put on some music and read it ...

Himbo

James Davidson: Apollonios Rhodios, 5 March 1998

Apollonios Rhodios: The Argonautika 
translated by Peter Green.
California, 480 pp., £45, November 1997, 0 520 07686 9
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... to be taken. It would be interesting to see the Argonautika violated by a less brawny version of Christopher Logue. It is indeed a classic of European literature, a fabulous magical tale, but if you want to learn to love it you will have to take classes. It is a universal poem only in the ...

Doris and Me

Jenny Diski, 8 January 2015

... his wife, the poet Ruth Fainlight, Arnold Wesker and his wife Dusty. Naomi Mitchison. Ted Hughes, Christopher Logue (whose recording of poetry and jazz, Red Bird, I’d bought with my pocket money at St Christopher’s), Lindsay Anderson, Fenella Fielding. A Portuguese couple, described to me as ‘a poet in exile and ...

The Empty Bath

Colin Burrow: ‘The Iliad’, 17 June 2015

Homer: ‘The Iliad’ 
translated by Peter Green.
California, 560 pp., £19.95, May 2015, 978 0 520 28141 7
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... of elegies for the dead interspersed with similes, and pares away almost all narrative elements. Christopher Logue’s dazzling paraphrases adopt a fragmentary form which appears to have been broken apart by the violence it represents, which is often grotesque (‘His neck was cut clean through/Except for a skein of flesh off which/His head hung down ...

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