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Antigonick - Winner of the Criticos Prize

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I first read Antigonick shortly after it was published seven years ago, in May 2012, halfway through the Obama administration. At the close of Sophokles’s Antigone, Kreon gains what every autocratic ruler lacks: regret and a piercing awareness of what he has failed to see and thus destroyed. The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. Lo que me atrajo de esta reescritura del mito fue precisamente eso: una posibilidad, una mirada nueva, una obra nueva.

Sophokles’ luminous and disturbing tragedy is here given an entirely fresh language and presentation. Her testament that “I am born for love not hatred” is a response to his “Enemy is always enemy, alive or dead. When her brother Polynices declares war on Thebes, the city is defended by her other brother Eteocles. In Sophokles’s version (as per the 1939 translation by Dudley Fitts and Robert Fitzgerald), Antigone is respectful in her speech, willing to argue her case. Carson's play was adapted with collaborator Robert Currie, and is accompanied by translucent vellum pages with drawings by Bianca Stone.Recommendation: if this book were the standard text of the play alone, I'd probably give it four stars, and I'd recommend it for the text to people interested in ancient drama in modern translation. Always with Carson, I find myself rereading the text, going back within the text, and rereading the entire work when "finished. The more pervasive and permanent threat involves the precedents set by an autocratic culture, the lack of tolerance and respect for human rights and civil discourse that imperils the future of a free republic.

This really can only be half true, because if it appeared that Carson and Stone both intended that effect, it could have worked: the pictures could have been intentionally shallow, dissonant with the text, and hard to read. He does not seem to hold himself fully accountable for the vast devastation his actions have unleashed, the human cost of his unjust wield of power. The drawings force the reader into deeper contemplation in an effort to connect the two (I did not, for the most part, succeed in finding a connection but still enjoyed the visuals). But as it is, my three star recommendation is for a book that seems less than the sum of its parts: three different good books which don't succeed in working together closely enough to make one excellent book. The philosopher Hegel thought Antigone was a true tragedy because it dramatised a situation in which both sides were right.

has an ineluctably comic effect for those who remember Housman's parody of Aeschylus ("O suitably-attired-in-leather-boots head of a traveler . only add dimension to a work that does not need any support to be completely satisfying and intriguing. But somehow the grip of the original poem is still there, refracted and hollowed out and exposed from the beginning as pompous, hot-gas, baggy stuff.

Her latest book is The Trojan Women , a collaboration with Rosanna Bruno in a comic book reimagining of Euripides' tragedy, published in 2021 by New Directions (USA) and Bloodaxe Books (UK).Carson’s protagonist is more audacious and irreverent than her Sophoklean predecessor, defiant to the point of seeming mad. Carson remains connected at least tangentially to original meanings, but she adds further layers of meaning that come solely from the mind of Anne Carson, as a poet, and as a reader of Sophocles, and as a unique individual woman living in the 21st century. Anne Carson has published translations of the ancient Greek poets Sappho, Simonides, Aiskhylos, Sophokles and Euripides. You are a person in love with the impossible,’ Ismene admonishes Antigone, pleading with her ‘ don’t cross the line…girls can’t force their way against men. When Sophokles’s Kreon loses his beloved son and his wife, his pride finally crumbles, and he recognizes it was his “own blind heart” that caused their deaths.

No seré la que juzgue si hizo un buen o mal trabajo, porque no sé griego ni puedo aventurarme en la profundidad de las interpretaciones de aquellxs filósofxs que vieron en Antígona una oportunidad para analizar la naturaleza humana. And like in Sophocles’’ work, Antigone stands still like a heroin – she is cognizant, she knows what her fate is, she makes a decision perfectly recognizing the consequences, she picks family, she picks justice, she fights for what she thinks it’s right. I suspect level of enjoyment of classics refigured with modern aesthetics (it is clear electricity exists in this version, so it is presumably more modern times) will be something a readers experience will hinge on. At one point Kreon reels of a list of verbs and nouns for the day, at another he wants to keep splitting hairs with Antigone and adds the word auto- to the front of ten adjectives. Unlike versions of Antigone that try to capture the drama's grandeur (such as Robert Fagles's translation for Penguin) or to make it relevant (including Don Taylor's version, currently at the National Theatre), Carson's aims to show the difficulty of translation, the truly unbearable nature of tragedy.Carson updates the language to current times, with Antigone feeling rather modern herself with snarky responses such as when Kreon asks if she is the one who touched the body, Antigone spits out ‘ BINGO. Translation seems loosely applied, as it is more of a metatextual retelling in minimalism, often humorous, beautifully bizarre and explosively emotional. Amazingly, without losing the intensity of the drama, Carson also creates moments of humor that made me literally laugh out loud (perhaps it is the very contrast with the intensity of the rest of the play that makes the humor even more potent).

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