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The Odyssey:
This is not your grandfather’s Odyssey.
“Solot’s translation . . . breathes and bleeds. I have read many versions of the Odyssey, but when I read the Solot version I felt as if I were reading it for the first time." —Brian Yapko, award-winning poet
Homer, when he came to tell the story of the peace that followed the war in Troy, chose to focus on Odysseus—hardly the most glamorous hero in his Iliad, but the wiliest, a man who does whatever it takes to win, survive, and get what he wants. Homer chose well. Thanks both to the character of Odysseus, a fully modeled if not always admirable man, and to the instinctively cinematic storytelling of his creator, the Odyssey is not only one of the two foundational works of European literature, it remains one of the most entertaining of all time.
This masterpiece of adventure, longing, and return is now reborn in a fresh translation by Michael Solot—fresh, because for him the Odyssey isn’t a subject of academic study, a precious relic to be handled by experts who know just what they’re looking for as they turn it this way and that. In Solot’s hands the epic is revealed as the robust, living work of art that it is. Homer’s poetry is often thought to be hard; it isn’t. The Odyssey is easy, and if you don’t already know what you’re looking for it’s full of surprises, and often very funny. The Odyssey’s ease, its surprises, and its humor are all brought to light in Solot’s translation.
Solot looks first to the story. So, to make it as easy to enjoy in English as it is in Greek he rejected the restrictive line-for-line approach often found in academic translations, a constraint that helps the student trying to construe his text, but does nothing for the reader trying to follow the tale. Likewise, Solot steered clear of both blank verse and any attempt to imitate Homer’s metrics directly, the two most common ways of versifying Homer in English. Instead he has developed a supple five-beat line, as consistently scannable as Homer’s own hexameter, but with a length and a cadence far better suited to the task of recreating the distinctive flow of Homer’s poetry. Solot’s verse—dactylic here, anapestic there—everywhere seeks to embody the endlessly varying and propulsive rhythms of the original.
Aedan Kennedy brings the Odyssey to life as never before with more than eighty pen-and-ink illustrations drawn especially for this edition. Other illustrated versions offer only a small number of drawings set off against the text on separate pages; here each of Kennedy’s illustrations is placed precisely within the text to depict a particular moment in the story, a unique achievement in the history of Homeric translation.
In place of a commentary this edition offers an introduction summarizing the what we know about Homer; the heroic ethos of his poetry, and its importance in the decision Odysseus makes to return home; the basic themes of the Odyssey; the plotlines and the structure of the poem; the differences between the Odyssey and the Iliad; their unity of authorship; and the affinities between Homeric and cinematic storytelling. There is also a survey of some of the many varieties of humor to be found in the Odyssey, with explanatory examples of each.
“Solot’s translation . . . breathes and bleeds. I have read many versions of the Odyssey, but when I read the Solot version I felt as if I were reading it for the first time." —Brian Yapko, award-winning poet
Homer, when he came to tell the story of the peace that followed the war in Troy, chose to focus on Odysseus—hardly the most glamorous hero in his Iliad, but the wiliest, a man who does whatever it takes to win, survive, and get what he wants. Homer chose well. Thanks both to the character of Odysseus, a fully modeled if not always admirable man, and to the instinctively cinematic storytelling of his creator, the Odyssey is not only one of the two foundational works of European literature, it remains one of the most entertaining of all time.
This masterpiece of adventure, longing, and return is now reborn in a fresh translation by Michael Solot—fresh, because for him the Odyssey isn’t a subject of academic study, a precious relic to be handled by experts who know just what they’re looking for as they turn it this way and that. In Solot’s hands the epic is revealed as the robust, living work of art that it is. Homer’s poetry is often thought to be hard; it isn’t. The Odyssey is easy, and if you don’t already know what you’re looking for it’s full of surprises, and often very funny. The Odyssey’s ease, its surprises, and its humor are all brought to light in Solot’s translation.
Solot looks first to the story. So, to make it as easy to enjoy in English as it is in Greek he rejected the restrictive line-for-line approach often found in academic translations, a constraint that helps the student trying to construe his text, but does nothing for the reader trying to follow the tale. Likewise, Solot steered clear of both blank verse and any attempt to imitate Homer’s metrics directly, the two most common ways of versifying Homer in English. Instead he has developed a supple five-beat line, as consistently scannable as Homer’s own hexameter, but with a length and a cadence far better suited to the task of recreating the distinctive flow of Homer’s poetry. Solot’s verse—dactylic here, anapestic there—everywhere seeks to embody the endlessly varying and propulsive rhythms of the original.
Aedan Kennedy brings the Odyssey to life as never before with more than eighty pen-and-ink illustrations drawn especially for this edition. Other illustrated versions offer only a small number of drawings set off against the text on separate pages; here each of Kennedy’s illustrations is placed precisely within the text to depict a particular moment in the story, a unique achievement in the history of Homeric translation.
In place of a commentary this edition offers an introduction summarizing the what we know about Homer; the heroic ethos of his poetry, and its importance in the decision Odysseus makes to return home; the basic themes of the Odyssey; the plotlines and the structure of the poem; the differences between the Odyssey and the Iliad; their unity of authorship; and the affinities between Homeric and cinematic storytelling. There is also a survey of some of the many varieties of humor to be found in the Odyssey, with explanatory examples of each.
449 pages, Kindle Edition
Published December 7, 2025
About the author
Homer
5,298 books7,782 followersHomer (Greek: Όμηρος born c. 8th century BC) was a Greek poet who is credited as the author of the Iliad and the Odyssey, two epic poems that are foundational works of ancient Greek literature. Homer is considered one of the most revered and influential authors in history.
Homer's Iliad centers on a quarrel between King Agamemnon and the warrior Achilles during the last year of the Trojan War. The Odyssey chronicles the ten-year journey of Odysseus, king of Ithaca, back to his home after the fall of Troy. The poems are in Homeric Greek, also known as Epic Greek, a literary language which shows a mixture of features of the Ionic and Aeolic dialects from different centuries; the predominant influence is Eastern Ionic. Most researchers believe that the poems were originally transmitted orally. Despite being predominantly known for its tragic and serious themes, the Homeric poems also contain instances of comedy and laughter.
Homer's epic poems shaped aspects of ancient Greek culture and education, fostering ideals of heroism, glory, and honor. To Plato, Homer was simply the one who "has taught Greece" (τὴν Ἑλλάδα πεπαίδευκεν). In Dante Alighieri's Divine Comedy, Virgil refers to Homer as "Poet sovereign", king of all poets; in the preface to his translation of the Iliad, Alexander Pope acknowledges that Homer has always been considered the "greatest of poets". From antiquity to the present day, Homeric epics have inspired many famous works of literature, music, art, and film.
The question of by whom, when, where and under what circumstances the Iliad and Odyssey were composed continues to be debated. Scholars remain divided as to whether the two works are the product of a single author. It is thought that the poems were composed at some point around the late eighth or early seventh century BC. Many accounts of Homer's life circulated in classical antiquity; the most widespread account was that he was a blind bard from Ionia, a region of central coastal Anatolia in present-day Turkey. Modern scholars consider these accounts legendary.
French: Homère, Italian: Omero, Portuguese, Spanish: Homero.
Homer's Iliad centers on a quarrel between King Agamemnon and the warrior Achilles during the last year of the Trojan War. The Odyssey chronicles the ten-year journey of Odysseus, king of Ithaca, back to his home after the fall of Troy. The poems are in Homeric Greek, also known as Epic Greek, a literary language which shows a mixture of features of the Ionic and Aeolic dialects from different centuries; the predominant influence is Eastern Ionic. Most researchers believe that the poems were originally transmitted orally. Despite being predominantly known for its tragic and serious themes, the Homeric poems also contain instances of comedy and laughter.
Homer's epic poems shaped aspects of ancient Greek culture and education, fostering ideals of heroism, glory, and honor. To Plato, Homer was simply the one who "has taught Greece" (τὴν Ἑλλάδα πεπαίδευκεν). In Dante Alighieri's Divine Comedy, Virgil refers to Homer as "Poet sovereign", king of all poets; in the preface to his translation of the Iliad, Alexander Pope acknowledges that Homer has always been considered the "greatest of poets". From antiquity to the present day, Homeric epics have inspired many famous works of literature, music, art, and film.
The question of by whom, when, where and under what circumstances the Iliad and Odyssey were composed continues to be debated. Scholars remain divided as to whether the two works are the product of a single author. It is thought that the poems were composed at some point around the late eighth or early seventh century BC. Many accounts of Homer's life circulated in classical antiquity; the most widespread account was that he was a blind bard from Ionia, a region of central coastal Anatolia in present-day Turkey. Modern scholars consider these accounts legendary.
French: Homère, Italian: Omero, Portuguese, Spanish: Homero.
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Displaying 1 - 5 of 5 reviews
February 20, 2026
It is obvious why this Homer's story has been important for literally thousands of years. This translation and meter make the whole story understandable and easy reading. The deeper cultural customs and time period expectations are discussed in the later part of the book, but if you know anything about life in the ancient world, many of these cultural morals and human nature are realized as you read. I last read Homer in the 1970s and this translation now makes the story understandable and memorable. I Highly Recommend This Book!
February 18, 2026
How does one sum up succinctly their feelings after reading Homer’s Odyssey? The task is daunting to say the least. I have been fortunate to stumble upon the newest version, Solot’s translation, through SCP. Solot’s available on Kindle and in paperback and includes supplementary materials, such as maps and a pronunciation dictionary (with details about each character), as well as a helpful note at the end titled "Reading the Rhythm." (Though I would have preferred it at the beginning of the text, rather than after, as many readers (such as myself) most likely would have found that useful before diving in. One of the advantages of reading The Odyssey on Kindle is that, if you are curious about how certain places and names are pronounced and would like more than simply attempting to do so yourself, the audio feature is a helpful tool.
Further, Kindle allowed me to highlight passages and make notes. While one could do so in a hard copy with an abundance of sticky notes, I find this cumbersome and worry that it might damage the print after removal, lifting ink off the page. All these things, though, are minor features, and vary given taste and what you, as a reader, appreciate or wish to negate. (thinking that it would detract from the enjoyment therein). I postulate that no matter which translation or device you use, the purpose should be to make the most of it, and with that, dive in.
I began this, admittedly, with some trepidation, since it is Homer and one of the few classics I did not read in high school, though we did venture into The Canterbury Tales and Beowulf. I was delighted to find that the SCP translation contains stanzas that feel and sound metrical to the ear, and as their note Reading the Rhythm suggests, one can read it naturally, and still hear the stresses as one moves along, without pausing to ensure you do. As evidenced here in Book 19, page 315, where Odysseus relays the story of Pheidon, king of Thesprotia
Doulichion.
Still, I did see the riches Odysseus left for safekeeping,
Enough for his son and grandson- ten generations-
In the following passage from Book 20, page 337, Theoclymenus berates the suitors, drawing their attention to the carnage before them. Solot’s translation says
Swarming and scurrying down through the murk to the Gloom
Where the sun is no more— a place of pure darkness, and doom.”
While reading Solot’s translation, it was evident that sometimes in their effort to make it easily digestible, it would lapse into modern terms such as ‘wifey’, ‘ain’t.’ and even ‘I’m just not that impressed’, which have the unfortunate effect of pulling the reader’s attention away from the text, even if it does not require the reader to seek outside sources for understanding. This is a shame, because for the most part, Solot’s is for poetry lovers and for those familiar with epics, as it heralds the earlier efforts of bards, who composed their work to be sung, rather than read. However, one can make the argument that poetry, and especially epic poetry, has survived only through the oral tradition, which in the case of Homer is abundantly clear. If, as is thought, Homer was blind, he would have needed a scribe to write the text down, but if it was never written, and Homer himself was illiterate, then the only feasible way for the work to be passed along would have been through recitation. Taking this into account, it is also more than likely that as time passed, each generation added its own flavor to it, while the story remained, for the most part, the same. If we take the view that this was the case, then the use of words such as ‘wifey’, ‘aint’, and so on can be forgiven as textual additions that enhance the narrative rather than detract from it.
Another key element of the SCP translation is Aedan Kennedy’s illustrations, which pull you deeper into the times, that of ancient Greece, enhancing your experience while aiding comprehension (as is the case with the deaths of the duplicitous handmaidens, seeing how they were killed rather than just trying to picture it in your mind). These plates are beautifully drawn, reflecting the narrative in a way that never diminishes it but only deepens our understanding.
One thing to keep in mind is that a film version of the poem is set to arrive on July 17th of this year, which will hopefully boost the sales of SCP’s version. While that is good, I am wary of adapting any work, especially an epic poem, for film. The risks (from casting) Matt Damon who is Odysseus really does not seem appropriate given his very Nordic appearance, or the fact that it is directed and written by Chris Nolan, more known for super hero movies such Man of Steel, The Dark Knight Rises, Justice League and Batman v Superman: Dawn of Justice (or that anytime you endeavour such a project, you will automatically run up against critics of from both the scholarly world and the general public), and as a result lose in terms of narrative, and depth.
The upside, though, is that more people may put aside inherent biases toward poetry and purchase this newest translation to see what all the fuss is about. If that happens, I am all for it, for anything that lifts poetry is a good thing. We need more beauty, more light, and definitely more poetry in the world, which can serve as a beacon to inspire, guide, and encourage all of those things within ourselves.
Further, Kindle allowed me to highlight passages and make notes. While one could do so in a hard copy with an abundance of sticky notes, I find this cumbersome and worry that it might damage the print after removal, lifting ink off the page. All these things, though, are minor features, and vary given taste and what you, as a reader, appreciate or wish to negate. (thinking that it would detract from the enjoyment therein). I postulate that no matter which translation or device you use, the purpose should be to make the most of it, and with that, dive in.
I began this, admittedly, with some trepidation, since it is Homer and one of the few classics I did not read in high school, though we did venture into The Canterbury Tales and Beowulf. I was delighted to find that the SCP translation contains stanzas that feel and sound metrical to the ear, and as their note Reading the Rhythm suggests, one can read it naturally, and still hear the stresses as one moves along, without pausing to ensure you do. As evidenced here in Book 19, page 315, where Odysseus relays the story of Pheidon, king of Thesprotia
Doulichion.
Still, I did see the riches Odysseus left for safekeeping,
Enough for his son and grandson- ten generations-
In the following passage from Book 20, page 337, Theoclymenus berates the suitors, drawing their attention to the carnage before them. Solot’s translation says
Swarming and scurrying down through the murk to the Gloom
Where the sun is no more— a place of pure darkness, and doom.”
While reading Solot’s translation, it was evident that sometimes in their effort to make it easily digestible, it would lapse into modern terms such as ‘wifey’, ‘ain’t.’ and even ‘I’m just not that impressed’, which have the unfortunate effect of pulling the reader’s attention away from the text, even if it does not require the reader to seek outside sources for understanding. This is a shame, because for the most part, Solot’s is for poetry lovers and for those familiar with epics, as it heralds the earlier efforts of bards, who composed their work to be sung, rather than read. However, one can make the argument that poetry, and especially epic poetry, has survived only through the oral tradition, which in the case of Homer is abundantly clear. If, as is thought, Homer was blind, he would have needed a scribe to write the text down, but if it was never written, and Homer himself was illiterate, then the only feasible way for the work to be passed along would have been through recitation. Taking this into account, it is also more than likely that as time passed, each generation added its own flavor to it, while the story remained, for the most part, the same. If we take the view that this was the case, then the use of words such as ‘wifey’, ‘aint’, and so on can be forgiven as textual additions that enhance the narrative rather than detract from it.
Another key element of the SCP translation is Aedan Kennedy’s illustrations, which pull you deeper into the times, that of ancient Greece, enhancing your experience while aiding comprehension (as is the case with the deaths of the duplicitous handmaidens, seeing how they were killed rather than just trying to picture it in your mind). These plates are beautifully drawn, reflecting the narrative in a way that never diminishes it but only deepens our understanding.
One thing to keep in mind is that a film version of the poem is set to arrive on July 17th of this year, which will hopefully boost the sales of SCP’s version. While that is good, I am wary of adapting any work, especially an epic poem, for film. The risks (from casting) Matt Damon who is Odysseus really does not seem appropriate given his very Nordic appearance, or the fact that it is directed and written by Chris Nolan, more known for super hero movies such Man of Steel, The Dark Knight Rises, Justice League and Batman v Superman: Dawn of Justice (or that anytime you endeavour such a project, you will automatically run up against critics of from both the scholarly world and the general public), and as a result lose in terms of narrative, and depth.
The upside, though, is that more people may put aside inherent biases toward poetry and purchase this newest translation to see what all the fuss is about. If that happens, I am all for it, for anything that lifts poetry is a good thing. We need more beauty, more light, and definitely more poetry in the world, which can serve as a beacon to inspire, guide, and encourage all of those things within ourselves.
April 14, 2026
For first time readers of the Odyssey, Solot's translation gets my highest recommendation! And for long term fans of Homer's work, this will give you a jolt (hopefully in a good way ;)
I'm an Odyssey nerd with a dozen translations on my shelf, and this is by far the most accessible I've encountered. Solot's contemporary language makes the world of Odysseus feel alive, the action immediate and exciting.
Aedan Kennedy's hand-drawn illustrations scattered throughout reinforce that feeling. They're gritty and vivid.
I've read samples from many of my translations aloud to my children and this is by far their favorite... followed by Alexander Pope's impenetrable Shakespearean poetry, weirdly enough. :D
I'm an Odyssey nerd with a dozen translations on my shelf, and this is by far the most accessible I've encountered. Solot's contemporary language makes the world of Odysseus feel alive, the action immediate and exciting.
Aedan Kennedy's hand-drawn illustrations scattered throughout reinforce that feeling. They're gritty and vivid.
I've read samples from many of my translations aloud to my children and this is by far their favorite... followed by Alexander Pope's impenetrable Shakespearean poetry, weirdly enough. :D
April 14, 2026
For first time readers of the Odyssey, Solot's translation gets my highest recommendation! And for long term fans of Homer's work, this will give you a jolt (hopefully in a good way ;)
I'm an Odyssey nerd with a dozen translations on my shelf, and this is by far the most accessible I've encountered. Solot's contemporary language makes the world of Odysseus feel alive, the action immediate and exciting.
Aedan Kennedy's hand-drawn illustrations scattered throughout reinforce that feeling. They're gritty and vivid.
I've read samples from many of my translations aloud to my children and this is by far their favorite... followed by Alexander Pope's impenetrable Shakespearean poetry, weirdly enough. :D
I'm an Odyssey nerd with a dozen translations on my shelf, and this is by far the most accessible I've encountered. Solot's contemporary language makes the world of Odysseus feel alive, the action immediate and exciting.
Aedan Kennedy's hand-drawn illustrations scattered throughout reinforce that feeling. They're gritty and vivid.
I've read samples from many of my translations aloud to my children and this is by far their favorite... followed by Alexander Pope's impenetrable Shakespearean poetry, weirdly enough. :D
April 14, 2026
For first time readers of the Odyssey, Solot's translation gets my highest recommendation! And for long term fans of Homer's work, this will give you a jolt (hopefully in a good way ;)
I'm an Odyssey nerd with a dozen translations on my shelf, and this is by far the most accessible I've encountered. Solot's contemporary language makes the world of Odysseus feel alive, the action immediate and exciting.
Aedan Kennedy's hand-drawn illustrations scattered throughout reinforce that feeling. They're gritty and vivid.
I've read samples from many of my translations aloud to my children and this is by far their favorite... followed by Alexander Pope's impenetrable Shakespearean poetry, weirdly enough. :D
I'm an Odyssey nerd with a dozen translations on my shelf, and this is by far the most accessible I've encountered. Solot's contemporary language makes the world of Odysseus feel alive, the action immediate and exciting.
Aedan Kennedy's hand-drawn illustrations scattered throughout reinforce that feeling. They're gritty and vivid.
I've read samples from many of my translations aloud to my children and this is by far their favorite... followed by Alexander Pope's impenetrable Shakespearean poetry, weirdly enough. :D
Displaying 1 - 5 of 5 reviews