Rate this book

Clear rating

1 of 5 stars 2 of 5 stars 3 of 5 stars 4 of 5 stars 5 of 5 stars

Antigonick

by Anne Carson, Bianca Stone (Illustrator)

4.16 of 5 stars 4.16 · rating details · 213 ratings · 44 reviews

An illustrated new translation of Sophokles’ Antigone.

With text blocks hand-inked on the page by Anne Carson and her collaborator Robert Currie, Antigonick features translucent vellum pages with stunning drawings by Bianca Stone that overlay the text.

Anne Carson has published translations of the ancient Greek poets Sappho, Simonides, Aiskhylos, Sophokles and Euripides. Ant...more

Hardcover, 180 pages

Published May 10th 2012 by New Directions (first published April 24th 2012)

more details... edit details

Get a copy:

More…

Friend Reviews

To see what your friends thought of this book, please sign up.

Lists with This Book

This book is not yet featured on Listopia. Add this book to your favorite list »

Community Reviews

(showing 1-30 of 640)

filter | sort: default (?) | rating details

May 22, 2012 Moira Russell added it

Shelves: 2012-50-new-books-challenge, favourites

The book is a beautiful object - if not as heartbreakingly gorgeous as Nox - but I’m not a big fan of the illustrations: they’re technically good but 90% of the time I can’t see what they have to do with the, uh, play. The much-touted hand-lettering is also hard to read. (And, sorry, Anne, but if I were staging this, “Nick” and the Hegel ((Hegel?)) would be the first things to go.) But all that’s quibbling - it’s of course a fantastic interpretation of Antigone, and somehow she’s made it stunnin...more

3 likes · like · see review

Oct 15, 2012 Jim Coughenour rated it 2 of 5 stars

Shelves: classics, experimental

What did Antigone do to deserve this? Carson's translation makes a mockery of translations – that seems to be half its point, the other being a kind of aesthetic experiment that I found irritating throughout. Great pains have been taken to produce a book that looks like art - vellum pages interspersed among the drawings that look to me like derivative Dzama (but that's probably pure ignorance) and Carson's hand-lettering which is crabbed and almost illegible, including silly errors (it's for its...more

3 likes · like · see review

Oct 29, 2012 Rick rated it 4 of 5 stars

Shelves: drama

Less a translation and more a collaboration in the sense that the surviving Beatles collaborated with the life-departed John Lennon in the 1990s, finishing two demos of his for their Anthology package, Antigonick is nonetheless a splendid variation on an enduring masterpiece.

Carson translates Sophokles but also adds some bits and leaves out others. The intent seems to engage with Sophokles’s text the way one might in one’s mind as a viewer or reader. “We begin in the dark and birth is the death...more Less a translation and more a collaboration in the sense that the surviving Beatles collaborated with the life-departed John Lennon in the 1990s, finishing two demos of his for their Anthology package, Antigonick is nonetheless a splendid variation on an enduring masterpiece.

Carson translates Sophokles but also adds some bits and leaves out others. The intent seems to engage with Sophokles’s text the way one might in one’s mind as a viewer or reader. “We begin in the dark and birth is the death of us,” the play begins in what could be an inspired paraphrase of the Greek. But it continues, “Who said that,” asks Ismene. “Hegel,” answers her sister. “Sounds more like Beckett,” replies Ismene. Then sounding more like Beckett or perhaps Stoppard, “He was paraphrasing Hegel,” says Antigone. “I don’t think so.” From there Antigone transitions back to Sophokles, “Whoever it was we are dear sister ever since we were born from the evils of Oidipus what bitterness pain disgust disgrace or moral shock have we been spared and now this edict you’ve heard the edict”. The speed and energy here is literally and figuratively breathtaking and the interpolation at the start works.

There are two other collaborative partners of this work, illustrations by Bianca Stone and type design by Robert Currie. Currie hand letters the text and except for colons following speaker identifications and some apostrophes for contractions there is no punctuation. Carson and Currie’s treatment allows the speeches of Antigone and Kreon their headlong and headstrong rush to tragedy. (The periods and commas above in the Hegel/Beckett bit were mine.) The text appears on the right hand pages with the left blank. Speaker names appear in red print; the dialogue in black, often in chunky blocks with some gaps in spacing, some small like an indent and others large, a line whose ending falls down the length of the page, for example. The illustrations appear on transparent pages so you can see the text behind them but when you turn the page the reverse image is again viewable on the left side. They are not literal but evocative of alienation and a disconnect that somehow connects past to present, the specific to the universal.

Carson is daring—for one, unlike the Lennon demos, there is nothing unfinished in the Sophocles tragedy—and respectful. Whereas Paul Roche’s translations of The Complete Plays, published in 2001, which ended with Antigone and which by coincidence I’d just finished prior to being gifted with the Carson, calls attention to the play’s antiquity by blowing up the dust of the day to clear the way for his marble polishing, Carson uses her translation and interjections to call attention to the timelessness of the play, the way Sophokles not only captured the universal but anticipated ideas and understandings that were centuries to come.

A brilliant scholar, adept at ancient Greek, and a poet in her own right, Carson has the knowledge and creative mind to make this endeavor work. Her translation is vibrant, even punchy. Her additions are the bits of dialogue like the references to Hegel (who repays the shout out with a book cover blurb—“The Antigone is one of the most sublime and in every respect most excellent works of art of all time.” Most excellent? Is the German philosopher channeling Keanu Reeves?). A less intrusive (in the reading) addition is the character of Nick, who is identified in the cast listing and not again until the very last line(s) of the play. The front cover title splits Antigonick into two words: Antigo Nick. Nick is a mute character who never enters or exits but is always on stage measuring. Measuring what—the bodies for burial? The size of the failure of self-restraint? The gap between intention and outcome? The magnificence of Sophokles’s accomplishment? If the latter, add some length for Carson’s contribution.(less)

1 like · like · see review

Oct 27, 2012 Jim Elkins rated it 2 of 5 stars

Shelves: american

Anne Carson's translation of "Antigone" has gotten more serious reviews than any but the most celebrated recent novels. She's been reviewed by Judith Butler, George Steiner, and Nick Mirzoeff. There are long, thoughtful reviews online, for example at piercepenniless.wordpress.com. I don't have anything to add to the reviewers' comments about the text. I agree it is problematic to have Antigone say things like "BINGO," despite Carson's clear intention to speak to a contemporary reader. And it is...more Anne Carson's translation of "Antigone" has gotten more serious reviews than any but the most celebrated recent novels. She's been reviewed by Judith Butler, George Steiner, and Nick Mirzoeff. There are long, thoughtful reviews online, for example at piercepenniless.wordpress.com. I don't have anything to add to the reviewers' comments about the text. I agree it is problematic to have Antigone say things like "BINGO," despite Carson's clear intention to speak to a contemporary reader. And it is problematic to have the characters in Sophocles's play cite Hegel, Beckett, and Virginia Wolff, despite Carson's claim that the idea was just to show that "Antigone" has a history of reception that now includes those writers. (Carson makes that claim in a wonderfully taciturn and reluctant interview at suicidegirls.com.) There are, as George Steiner points out, some really wonderful passages in the translation--more than enough to help me overlook the quirks that apparently enabled them.

What concerns me are the illustrations. They ruin the book: for me, they make it nearly unreadable. Many reviewers think the illustrations are wonderful. They aren't: they are technically poor (at the level of a BFA student), stylistically outdated (they are an amalgam of 1970s cartoon surrealism a la Zevi Blum, with strands of Pop Surrealism and 1950s style realism as in Ben Shahn), poorly conceived (in one picture, for example, some people have temple forms for heads, which also look like cement blocks; but others don't, and there is also a book, a cup of coffee, a shovel, and a clay making tool, with no internal logic or surrealist disjunction to support the choices), and they are inconsistently related to the text (one picture shows a sink with dripping faucets, and a figure lying in the background, an arrangement that might have a connection to the story; but the next picture is just a stove, and it comes right after one of the strongest and most tragic lines in the translation).

It's sad that the pictures, by Bianca Stone, don't try to either work with the text, or against it; it's sad the artist seems to think that this kind of freedom is both expressive and appropriate; it's sad that Anne Carson chose this artist for this project: but worst of all is that reviewers, with almost no exceptions, think the images are interesting, good, and even profound. For me, that points to a visual illiteracy that is wildly at odds with the reviewers' sometimes acute observations about Sophocles, tragedy, translation, theater, Brecht, and Hegel.

Some reviewers let the artist off the hook by generalizing about what the images do. The pictures are "full of a sense of opposing, irreconcilable forces" according to one reviewer. (practicallymarzipan.com) But surely girls in miniskirts, with temples for heads, are not simply "opposing, irreconcilable forces": they are particular choices, and they are jarring in themselves, aside from their content.

I only found three reviewers who paid attention to the images at all. One, on www.full-stop.net, says that the illustrations "lack the depth, in both subject and style, to dovetail with Carson's translation... Carson's work is so erudite, and Stone's so elliptical, that the composite effect is frustratingly opaque." 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, intentionally dissonant with the text, intentionally hard to read... but none of that seems planned at all. Instead the collaboration is a typical effect of the latitude that is given to visual art: it's allowed to do whatever it wants, because it is thought to work on a different register--of visuality, of the non-verbal, of the incommunicable.

George Steiner notes that the images "at best... imply a spectral domesticity or haunted landscape." That could also be true, if the illustrations were done in such a way that viewers knew those two themes were intended. But Stone's fantasies of horses, people with shovels, tables and stoves, shacks with crows, desert landscapes with small figures, schematic birds, ladders and stairwells, are the stock in trade of undergraduate art students. There is nothing to suggest that she was thinking of Antigone's missing domesticity. I have seen enough student drawings of things like horse's legs entangled with threads and punctured by nails (as in one picture) to know that those images from from the artist's previous studio experiments, not from "Antigone."

Of all the reviewers, Judith Butler tries hardest to give an account of the pictures. She mentions one, an interior with a chair and dresser looking out on a smeared landscape. It seems, Butler says, that "some living character had departed the scene not long ago." (www.publicbooks.org/fiction/cant-stop...) But she knows that "spectral domesticity" isn't a satisfying reading, and in any case it would not be supported by the other pictures. So she makes a more abstract proposal:

"It would probably be less right to say that this image interrupts the text as the unconscious does, or that it is the unconscious in some symbolic sense. Rather, as the scene switches between the textual and the graphic, a temporal shift takes place between the past and the present: something is gone, and something is caught, and vibrates still. The image is the nick of time." (She later says "the nick is the time of the line itself, the scan of poetic meter," leaving the images aside.)

This passage is good, but it still isn't a reading of the individual image: it's a reading of any image (especially one with an empty room, but any image could be construed the same way). So it isn't an account of Stone's choices, or Carson's collaboration, or the particular images and specific words in this text.

It is an unhappy reflection on some contemporary literary culture, and on how the art world presents itself, that a book as thoughtful, serious, eloquent, and interesting as Carson's translation can be marred by such an irresponsibly chosen, poorly executed, effectively random series of pictures, and almost no one notices.
(less)

3 likes · like · see review

Oct 21, 2012 Matthew Lippart rated it 4 of 5 stars

As most people who know me realize, I am, at heart, a classicist. I love Greek Tragedies in particular. In fact my favorite thing to teach in literature classes is Antigone- it's such a great story, and people of all ages can relate to it. I am also a bit of a snob when it comes to translations. All that being said by way pf prelude, this version is great. They way the illustrations work with the text (being placed over the text at times) is pretty innovative (at least I hand't seen it done befo...more

2 likes · like · see review

Jan 22, 2013 Jon Corelis rated it 3 of 5 stars

Interesting but puzzling

It's difficult to decide what audience this book is aimed at. It is really three books in one: an English language version of Sophocles' Antigone by Anne Carson, a designed book (non-standard, artistic layout, paper, binding, printing) by Robert Currie, and a book of illustrations by Bianca Stone. Though each aspect of the book considered in itself is well and professionally done, the three don't really seem to gel.

The book is handsomely produced, to be sure, especially...more Interesting but puzzling

It's difficult to decide what audience this book is aimed at. It is really three books in one: an English language version of Sophocles' Antigone by Anne Carson, a designed book (non-standard, artistic layout, paper, binding, printing) by Robert Currie, and a book of illustrations by Bianca Stone. Though each aspect of the book considered in itself is well and professionally done, the three don't really seem to gel.

The book is handsomely produced, to be sure, especially considering its reasonable price, but I found the design distracted from the text and kept wishing I were reading a plain, standard font -- somehow the stylized, hand-printed letters made it difficult for me to visualize the play in performance. The illustrations are of good quality and excellent reproduction, but they seem to have only a vague, and often not even that, relation to the text. Maybe the idea is for the illustrations to work against expectation by not meeting the reader's expectations of what illustrations should do, reflecting the way the text works against the reader's expectations of what a translation of Sophocles should be; if so, I for one found that the technique didn't work.

As for the translation, it's an interesting experiment in using a diction radically different from the standard "translationese" to engage the audience's interest and to breathe new life into the text. In this aspect, and occasionally even in its style, it's reminiscent of Ezra Pound's Women of Trachis. I don't know if Anne Carson has read that book, but I wouldn't be surprised if she had, especially since it is published by the same publisher. Though Antigonick can be called only a very free translation, the reader familiar with the Greek text will notice that, like Pound's version, it has a closer relationship to the original than might at first appear. The language of the translation is vivid, even racy, and will certainly engage a modern audience, though there are some mis-steps, or things which may or may not be mis-steps: for instance, Antigone's address to Ismene as "O one and only head of my sister ..." has an ineluctably comic effect for those who remember Housman's parody of Aeschylus ("O suitably-attired-in-leather-boots head of a traveler ...") If the comic effect is unintentional, it's inept; if intentional, it's a joke few members of a contemporary audience are going to get. And does the author really intend the bathetic potential of the lines given to various chorus members at a particularly poignant juncture of the action: "Here comes Creon ..." "Dragging his ..." "Dragging his ..." "Dragging his what ..."? I'm all for working against expectation, but this seems rather over the top.

Despite these strictures, I thought this version is worth reading and at its best (again like Pound) points the way to a form of poetic diction which can be an effective solution, or partial solution, to the notoriously intractable problem of presenting the mood of ancient tragedy to a modern audience. I'd be interested in seeing how a performance of it works.

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. 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.(less)

like · see review

Apr 14, 2013 Troy rated it 4 of 5 stars

I've never been a poetry reader. But lately I've started asking the poetry readers who come into the store what to read. And Carson's name comes up a lot. Since I love Antigone, I pulled an advance copy of Antigonick, her rough re-telling and new translation, as soon as it came in.

But Antigonick isn't poetry. Or sort of isn't. I mean, it's still a play, but Carson has taken it and thrown it through a cheese grater and a colander and a quick pan fry. Her Antigone is full of funny odd touches and...more I've never been a poetry reader. But lately I've started asking the poetry readers who come into the store what to read. And Carson's name comes up a lot. Since I love Antigone, I pulled an advance copy of Antigonick, her rough re-telling and new translation, as soon as it came in.

But Antigonick isn't poetry. Or sort of isn't. I mean, it's still a play, but Carson has taken it and thrown it through a cheese grater and a colander and a quick pan fry. Her Antigone is full of funny odd touches and endless head-scratching but beautiful illustrations. It's not quite illustarted since the illustrations often come at the text at oblique angles. I laughed out loud many times and many times wondered why Carson kept coming back to Hegel in the middle of the text. And damn, the book is raw. And creepy.

The day after I started the book, I find out that Carson was going to preform Antigonik at NYU! And Judith Butler is in the play and part of a symposium on Antigone after! And it's open to the public! And it's free! So I send off my RSVP and... no response.

The day of I go anyway. It's a mad house. There's no way I'm going to get in. But it turns out that NYU never sent confirmation emails; they only sent out rejection emails. Sure enough, I can go in! And I'm sitting behind Laurie Anderson, Lou Reed, and the actress who played Samantha in Sex in the City. (Throughout the play, Lou Reed kept nodding off and Laurie Anderson kept running her hand through the back of his and around his neck.)

I was staring at Laurie Anderson's hand on Lou Reed's neck, not really paying any attention to the "visuals" of the play, which was more of a reading——a bunch of actors in chairs who would stand up to a microphone when it was their turn to speak. Anyway, I kept thinking, "Damn, I really like who is playing Creon. It's pretty smart to have a guy with an effeminate voice play the king." And then I looked up and saw that Juidth Butler was Creon. And she was damn good!

Anyway, Carson's take on Antigone is pretty great. There's some weird intrusions of the contemporary in the play (the aforementioned Hegel, some slang, etc.) but the play is funnier than I remember and way more brutal and creepy. (According to Carson Antigone is a bit of a gangsta in her thoughtless obsession to bury her brother. And what the hell is up with the incest motif? Reflections of Oedipus?) Many in the crowd asked about the "Nick" but Carson retained her Cheshire smile and let the audience argue it out. (Nick was on stage measuring everything. Nick of time? Cut? Measurement? Mark? One thing for sure: everyone's timing in the play is off. No one arrives in the nick of time. Always too late or too early.) I know little enough to compare translations or to comment on what Carson has done. Hell, I didn't even remember large swaths of the play, even though I loved it when I first read it years ago, so I'm not much of a guide or a critic.

But now I'm slowly starting to check out more poetry.(less)

1 like · like · see review

Dec 16, 2012 Leendert rated it 4 of 5 stars

... by the unimprovable, unbetterable anne carson.

if i could only figure out what all the drawrings were abt, that would've been great.

the thing is, carson really doesn't need to be illustrated. she's evocative enough to ... ah ... launch quite a few ships.

oh yes, and it's only 4 stars because i really don't think of this starring business as a science, so first of all i don't care about defending it. but it's because she didn't write it in the first place (translators everywhere, if you can fin...more

like · see review

Mar 08, 2013 Jeff rated it 3 of 5 stars

Writing again through the language of brother-grief, Anne Carson offers this rough, witty, primitive version, which perhaps does not return me to her Nox, nor replace in my memory the purity of idiom in the Fitts/Fitzgerald version, but has precipitance and metonymic acceleration to recommend it, and may well have been useful to her in teaching, as it might be to others. She writes here neither as a poet, nor a translator. No impatience on her part will usurp the English text's authority, nor, f...more

like · see review

Jun 25, 2012 Alex marked it as to-read

Recommended to Alex by: Jennifer D.

Well, okay, here's this. Pretty illustrated edition! I like pretty things.

Here's an article about this translation. Note that Carson has apparently turned Antigone into "a suicide bomber."

Compare with Seamus Heaney's translation, in which Creon turns into a dig on GW Bush. Antigone is a flexible piece of work! Or else it's just unusually tempting to distort.

Thanks Jennifer for pointing this out.

like · see review

Oct 24, 2012 James rated it 5 of 5 stars

Shelves: poetry

First, on the book as object: this is a beautiful piece of art. The design, the interplay of text and illustration and layout is as much a part of this new translation as the text itself. Anne Carson can pile so much into this translation--lots of Hegel, for one instance, and I mean not in the background; these ancient Greek people quote a good bit--yet this ultimately remains Antigone. It is still always the unfailing story of Antigone. Should I be surprised? This is simply what Anne Carson doe...more

like · see review

Feb 27, 2013 Russ rated it 5 of 5 stars

Shelves: favoritest, read-with-jeannie, poetry, plays

1) This book is gorgeous to look at
2) This book is beautiful to read
3) This book is occasionally hilarious
4) This book is very sad
5) Anne Carson knows how to make old greek things into strange new creations like no one else ever.
6) Even if you don't care about greek things also Anne Carson is maybe just one of the best living writers. I'm just going to say it. She is maybe one of the best living writers. Okay. I said it. There. Everyone has to deal with me having said that.

1 like · like · see review

Jul 13, 2012 RK-ique rated it 5 of 5 stars

Shelves: plays, poetry, anne-carson

Anne Carson will never cease to amaze me. I never know quite how to approach herbecause she is so far ahead of me.

This translation/retelling of Sophokles Antigone is brilliant. I have read Sophokles Antigone several times in the past but this is something totally new.

As with other works of Carson, I will reread many times to dig deeply into it. So much in so little space. But what is \nick measuring?

like · see review

Mar 22, 2013 Josh rated it 4 of 5 stars

Recommended to Josh by: Matt Briggs

This book is crazy. I can't really say I've ever read anything quite like it. It's one part translation, one part interpretation, one part experimental graphic novel, one part tongue-in-cheek epic poem. It's funny and certainly strange, and I would really love to see it performed as straight as possible. No matter what, the coolest version of Antigone you're bound to read.

1 like · like · see review

Nov 19, 2012 Cliff rated it 4 of 5 stars

A reluctant four stars. It was very entertaining and funny throughout. But contemporary poets that retell these classic stories always de-emphasize the moral,and that really makes the entire thing irrelevant. If it weren't for the humor, it would have gotten a three; if not for the wildly unrelated, messy, yet enjoyable artwork, it would have gotten a slightly lower three.

like · see review

Feb 09, 2013 Kei Blackthorne rated it 5 of 5 stars

Shelves: classic-literature, poetry, top-shelf, anne-carson, bibliophile, drama

Just blazed through this gorgeous, fresh artpiece of a book this morning... With beautifully haunting transparent illustrations overlaying Carson's hand-penned translation, it's a visual, intertextual feast, bringing fresh immediacy to Sophokles' classic tragedy, seamlessly weaving stunning imagery, modern language and philosophy with antiquity. A reaffirmation of why Carson is hands-down my favourite living poet.

like · see review

Jul 10, 2012 Bise En Scene rated it 5 of 5 stars · review of another edition

I loved it, read it twice in a row. I've never read "The Antigone", mind you, so I'm not comparing it to anything. I loved the illustrations and handwritten text too. Taken as a whole, it was clever, meaningful and entertaining.

like · see review

Dec 29, 2012 Noreen rated it 4 of 5 stars

Shelves: books-read-in-2012

Difficult to say exactly what Anne Carson was up to with this one. more a variation or commentary on Antigone than a translation. Book as beautiful object again and also again circling a brother's death, as in Nox.

1 like · like · see review

Sep 30, 2012 Taylor rated it 5 of 5 stars

Anne Carson is so brilliant it is almost unfathomable. But she is also human and funny and modern, despite her dedication to ancient languages. This book rules. Also it's a beautiful object.

like · see review

Apr 15, 2013 Alex Fallis rated it 5 of 5 stars

Carson's own poetic sense is fabulous- translation as its own form of art. Modern, but full of the power of new language and endless problems. Would LOVE to see it onstage.

like · see review

Mar 05, 2012 Jason marked it as to-read

Oh Boy! I probably won't get to this for some time, but I love Anne Carson's work with the Greeks. She's a beautiful poet and a beautiful translator (like I would even know)

like · see review

Feb 01, 2013 Erika Hughes rated it 4 of 5 stars

To read out loud and stroke the pictures. For understanding and not understanding. Stories wash over and through me. I need to re-read Antigone and read this again.

like · see review

Aug 29, 2012 Laura rated it 3 of 5 stars

Shelves: 2012, drama, translation, nonfiction-play

It's like the distilled Antigone. Short, but hits all the points. I did not exactly understand the art, but I enjoy Carson in anything she writes.

like · see review

May 28, 2012 Phillip Witte rated it 5 of 5 stars

my opinions at some length: http://gloomygrammar.wordpress.com/20...

like · see review

Jan 15, 2013 Meghan rated it 5 of 5 stars

Anne Carson is perfect. The book as an object is beautiful. Also, this includes the line: "You're [...] autobeguiled." Pfff.

like · see review

Mar 28, 2013 Taylor rated it 5 of 5 stars · review of another edition

Shelves: poetry

Very contemporary adaptation of Sophocles in Carson’s inimitable powerful, deadpan — often hilarious, always brilliant — voice. Fabulous.

like · see review

May 21, 2012 Geof Huth rated it 5 of 5 stars

For a review and other thoughts, follow this link.

like · see review

Jun 08, 2012 Liam rated it 5 of 5 stars

Shelves: greek-and-roman-classics

One of the better translations of this remarkably moving tragedy. Put in contemporary English, a delight!

like · see review

Oct 24, 2012 kissmyshades rated it 3 of 5 stars

Shelves: 2012, canadian, plays, classics

Well then.

NB: Hegel gives me headaches so a work that alludes to him makes me twitch.

like · see review

Sep 26, 2012 Donny rated it 2 of 5 stars

I'm not sure what happened in this story. And the pictures made no sense. I used to understand the story. Now I don't. Who's Nick?

1 like · like · see review

« previous 1 2 3 4 5 6 7 8 9 … 21 22 next »

new topic
Discuss This Book

topics	posts	views	last activity
Constant Reader: Antigone (Sophocles)	5	17	Feb 01, 2013 07:42am

combine
Other Editions (2)

Genres

Poetry

28 users

Drama

6 users

Plays

6 users

Classics

5 users

Classics > Classic Literature

2 users

Fantasy > Mythology

2 users

Cultural > Canada

2 users

Plays > Theatre

2 users

See top shelves...

Readers also enjoyed similar books

About Anne Carson

A professor of the classics, with background in classical languages, comparative literature, anthropology, history, and commercial art, Carson blends ideas and themes from many fields in her writing. She frequently references, modernizes, and translates Ancient Greek literature. She has published fifteen books as of 2010, all of which blend the forms of poetry, essay, prose, criticism, translation...more

More about Anne Carson...

Books by Anne Carson

The Beauty of the Husband: A Fictional Essay in 29 Tangos

More…

Share This Book

Facebook Twitter Your website

Trivia About Antigonick

No trivia or quizzes yet. Add some now »

Quotes from Antigonick

“There is also a fable told by Phaedrus, about how Simonides was once a victim of shipwreck. As the other passengers scurried about the sinking ship trying to save their possessions, the poet stood idle. When questioned, he declared, mecum mea sunt cuncta: everything that is me is with me.” — 2 people liked it

More quotes…

title link	preview: Antigonick
avg rating	preview: Antigonick Goodreads rating: 4.16 (213 ratings)
small image	preview: click here [close]
med image	preview: click here [close]
BBCode	[url=http://www.goodreads.com/book/show/13305951-antigonick?utm_medium=api&utm_source=blog_book][img]http://d.gr-assets.com/books/1328026909l/13305951.jpg[/img][/url] [url=http://www.goodreads.com/book/show/13305951-antigonick?utm_medium=api&utm_source=blog_book]Antigonick by Anne Carson[/url]

Antigonick

Friend Reviews

Community Reviews

Share This Book

Share This Book on Your Website