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The poem, as the title suggests, is a memorial. Fragments of stories read like epitaphs, woven
together to recreate the Iliad. Key stanzas are repeated, spoken twice as a type of call and
response. Oswald has taken what is a 15000 line poem and produced a poem that is somewhere
around 1800 lines.
Preface
“This version . . . takes away its narrative, as you might lift the roof off a church in
order to remember what you’re worshipping. What’s left is a bipolar poem. Why
do you think Oswald calls her poem bipolar?
Oswald sees these two poles of the poem as deriving from distinct sources: the pastoral
lyric and the formal lament, both with their roots in the oral tradition.
Oswald strips away the narrative of the Iliad as if it is unnecessary. Why do you
think Oswald chose to take the narrative away?
‘As one might lift the roof of a church in order to remember what you’re worshipping. The Iliad
is an institution. Like a church, with all of its glam and spectacle, it’s hard to sometimes see the
wood for the trees. What are we worshipping in the Iliad? A bunch of dead people who have not
been formally acknowledged.
Why do you think Oswald subtitled her poem: An Excavation of the Iliad.
Oswald aims to dig up the truth concerning Iliad’s nature, which is the everlasting relationship of
human nature with death.
Hector dies last and he appears at the end of the catalogue of deaths. What point is
Oswald trying to make here?
Democratisation of mortality. No person is more significant than another. In death we are equal.