Beowulf in Do Better: SFF without Sexual Violence

Feb 09, 2021 Jen rated it it was amazing

Shelves: own-paper-copy, favorites, classic-lit, poetry

By now, you’ve surely heard of how Headley’s translation begins, calling out “Bro!” to the reader. It’s an audacious opening, when other translations have begun with “So,” or “Hark,” or “Lo,” but it sets the tone for the kind of epic tale that a drunk old storyteller might tell to his buddies at the bar, full of larger-than-life characters and incredible feats, sprinkled with “I sh*t you not” asides.

You might have heard how Headley uses modern slang, such as “swole” or “Hashtag: Blessed” in this By now, you’ve surely heard of how Headley’s translation begins, calling out “Bro!” to the reader. It’s an audacious opening, when other translations have begun with “So,” or “Hark,” or “Lo,” but it sets the tone for the kind of epic tale that a drunk old storyteller might tell to his buddies at the bar, full of larger-than-life characters and incredible feats, sprinkled with “I sh*t you not” asides.

You might have heard how Headley uses modern slang, such as “swole” or “Hashtag: Blessed” in this translation, but don’t think this is just some sort of eyeroll-worthy Millennial/Zoomer slang version. Headley glories in the nuances and cadence of language, choosing words both archaic and modern, and preserving original linguistic and poetic elements while also introducing modern turns of phrase and poetic sensibilities. This translation evokes courtly images of lords and their retainers, warriors and shining armor, and then cuts right through the old-fashioned sensibilities with a well-timed “He knew the score.” It is, in short, a brilliant interpretation that, in my opinion, preserves the spirit and meaning of the original epic more than a literal translation would for readers today.

It should also be noted that for all she plays with turns of phrase, Headley has put a lot of work into representing female characters fairly. It’s still a story set in a society in which women are bargaining chips to be given as brides for political gain, but she considered what was already there in the original text and its context. In her introduction, Headley points out that one of the words used to describe Grendel’s mother as a monster or demon is, in the original text, merely the feminine form of a word used in the same text to describe Beowulf as a hero, and that the masculine version of the word is used elsewhere in early English in contexts that mean something like “formidable.” Thus, Headley’s version of Grendel’s mother is not some fiendish monster, but rather a formidable old warrior woman, an interpretation that is perfectly reasonable given the original language in the text.

If you love what the musical Hamilton did for American history, then you’ll love this too. This version of Beowulf feels far more accessible and familiar than other versions, and Headley’s turns of phrase are simply a joy to read. I was grinning from ear to ear from start to finish. For all that the language may not be a perfectly literal translation, this isn’t some loose adaptation of the story; this translation was clearly a labor of love that tried to keep true to the characters, tone, and poetic sensibilities of the original work, while rendering it understandable to modern audiences. Of course, if you’re the type of reader who prefers a more literal, word-for-word translation or the modern slang in this version is a dealbreaker for you, then this isn’t the translation for you. ...more

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