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The Odyssey, by Seymour Chwast
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Seymour Chwast, an icon of the graphic design world, has delighted audiences with his adaptations of The Divine Comedy and The Canterbury Tales. Now he turns to Homer's Odyssey, one of the best-known stories in history. The tale is one that begs for visual interpretation, filled with mythic characters we all know well: the Cyclops, the Lotus-Eaters, the cannibal Laestrygonians, the Sirens, the monster Scylla (beside the whirlpool Charybdis), Poseidon, Athena, and Zeus.... Featuring a bold black, white, and blue interior design throughout, imbued with his own sly humor, The Odyssey brings us a dazzling new vision of one of the epic journeys.
- Sales Rank: #514763 in Books
- Published on: 2012-09-04
- Released on: 2012-09-04
- Original language: English
- Number of items: 1
- Dimensions: 10.53" h x .60" w x 7.47" l, 1.16 pounds
- Binding: Hardcover
- 128 pages
From School Library Journal
Gr 9 Up-Odysseus, kitted out in Buck Rogers-esque garb, finally leaves Calypso's island to make the long voyage home to reunite with his wife and son, and to prevent his spouse's many suitors from despoiling his estate. Drawn with deliberate primitivism, the artwork has the flat simplicity and awkward panel transitions redolent of comics drawn during fifth-grade social studies, lacking only a blue-lined-paper background for the images. The visuals are a mishmash of imagery, and while the suitors, Odysseus, and Telemachus remain primarily influenced by 1930s pulp sci-fi design, cars, bathing suits, Arthurian wizards, and Hellenic helmets also make appearances. This works quite well, giving the various islands and kingdoms diverse aspects, and providing an accessibly fanciful context. The adaptation loses almost all of the original phraseology, but keeps the sprawling list of characters tertiary to the main action, as well as many of the plot mechanics soothed over by other retellings. The compressed sequence of events and the lack of cultural background makes Odysseus come off rather badly as the hero of his eponymous epic, and a brief epilogue only helps minimally in providing perspective on his literary endurance. This is a complicated, sprawling work with much more complexity of character and event than might be inferred from the faux simplicity of the composition, and it maintains some of the ambiguity, scope, and bawdy content of the original poem. It is difficult to pinpoint an audience best suited for this idiosyncratic effort.-Benjamin Russell, Belmont High School, NHα(c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
From Booklist
On the heels of his adaptations Dante’s Divine Comedy (2010) and The Canterbury Tales (2011), legendary graphic designer and illustrator Chwast tackles another paragon of world literature with this comic-strip rendition of Homer’s epic poem about the Greek warrior Odysseus’ voyage home after the Trojan War. Homer would no doubt be shocked by the whimsical approach Chwast takes toward his hero’s travails. His simple, almost primitive line drawings and cartoonlike figures impart an air of flippancy to the battles and intrigues, and his irreverent anachronisms further undermine the tale’s portentousness—Odysseus and his men are outfitted like Buck Rogers, wielding ray guns rather than swords, and they travel not on boats but spaceships. The Lotus-Eaters, Cyclops, Circe, and the Sirens are now supervillains for Odysseus to vanquish, and his slaying of his wife’s suitors lacks only bam! and pow! sound effects. While the subjects of his previous comics adaptations had a higher component of moral or philosophical instruction, The Odyssey—particularly in Chwast’s hands—is more of a rousing adventure tale, making this imaginative interpretation a genuinely fun read. --Gordon Flagg
About the Author
Seymour Chwast is a graduate of the Cooper Union, where he studied illustration and graphic design. He is a founding partner of the celebrated Push Pin Studios, whose distinct style has had a worldwide influence on contemporary visual communications. In 1985 the name was changed to the Pushpin Group; Chwast is the studio's director. Chwast has illustrated more than thirty books for children and has created two previous graphic adaptations of classic works: Dante's Divine Comedy and The Canterbury Tales. He lives in New York City. Visit Dante's Divine Comedy HC www.pushpininc.com.
Most helpful customer reviews
3 of 4 people found the following review helpful.
A Unique Interpretation
By Tim Lasiuta
One of the classic pieces of ancient literature, the Odyssey has been re-imagined as a graphic novel, loosely based on the original text. In this era of `illustrated fiction', very little has been left untouched by graphic artists' hands (or scripts).
How do you begin a review of something that looks primitive, yet still captures the spirit, ebb and flow of the original?
Firstly, Chwast wisely breaks down the story into 24 `books', or chapters, as the original text does. No use messing with the original formatting when you don't have to. The spirit of each section is represented well, in language that modern average readers can comprehend. Clearly, any academic study of the Odyssey must involve a more academic translation.
Secondly, just like Neal Adams transformed Batman's 1960's/70's scripts from daytime scenes to night time, Chwast takes the ancient settings and turns them into planets and chariots/ships into space ships. If there were no words, it just might be Buck Rogers, with less competent art. Very interesting approach to this work.
Thirdly, I must say the art style looks something out of middle school art class, with better panel design. This is, and Is not a detractor. Such a simple style does not make you dwell on the art, but rather the story. But, it is distracting when you look at the art and think `this really could be far better technically.'. There are times when I wonder how some artists get assignments like this, or get them published. Mr Crumb and family could have illustrated this book with better style. But, it is strangely attractive.
The real question here, is one of adaptation, not art style. This is a brave book, done in a manner many would not expect. For that, I applaud the work, and will check out his other works, the Divine Comedy, and the Canterbury Tales.
Tim Lasiuta
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