Sappho Is Burning

She is a woman, but also an aristocrat; a Greek, but one turned toward Asia; a poet who writes as a philosopher before philosophy; a writer who speaks of sexuality that can be identified neither with Michel Foucault's account of Greek sexuality nor with many versions of contemporary lesbian sexuality. She is named the tenth muse, yet the nine books of her poetry survive only in fragments. She disorients, troubles, undoes many certitudes in the history of poetry, the history of philosophy, the history of sexuality.

YOU BURN ME: POEMS by SAPPHO Translated by J.M. Edmonds Edited by Louise Cooper A book of poems by the ancient Greek poet Sappho, including a new gallery of images of Sappho's art (featuring Greek art and paintings). Sappho has become one of the touchstones of Western poetry, an icon and heroine for poets of any gender. For the simple reason that her poetry is very, very good. Well, not just good, it's genius, the real thing. Sappho has been cited by many many poets, including Lord Byron, Sir Philip Sidney, John Donne, Alexander Pope, John Addison, Dante Gabriel Rossetti, Samuel Taylor Coleridge, Alfred Tennyson, Christina Rossetti, Algernon Swinburne, Thomas Hardy, William Carlos Williams, Allen Tate, Robert Lowell, Lawrence Durrell, Robert Graves, Amy Lowell, Ezra Pound, Edna St Vincent Millay, and many contemporary poets. Sappho has become an icon for lesbian, gay and queer poets and writers. She has been the subject of much critical debate; in the 19th and early 20th centuries, questions of authorship were prominent; in the Eighties and Nineties, Sappho's poetry was absorbed into lesbian and queer theory and poetics. Aside from the poem to Aphrodite, the rest of Sappho's work is in fragments, sometimes nothing more than a word or a phrase. Sometimes not even the words are complete. Yet her poetic voice shines through the fragments: very sensuous, ironic, self-deprecating, passionate, very lyrical. Her vocabulary is direct and simple, and sometimes colloquial. Edgar Lobel, one of Sappho's celebrated translators, said that her language was 'non-literary'. Her metaphors are powerful, sometimes lush - such as the ecstasy of love being compared to the wind in the oak trees on a mountainside. The imagery in her poetry is of the natural world, in all its beauty and simplicity, its violence and cruelty. There are images of trees, mountains, streams, the sun and moon, stars, orchards, flowers, breezes, grass, nights, dawns, and the Pleiades. In her poetry one finds evocations of paradisal worlds, with streams, springs, apple trees, sunshine, roses, incense and gardens. Sappho's is a synaesthetic poetry, one which sets alive all the senses, as most of the best poetry does. Includes a new, revised gallery of art featuring Sappho and art based on her works, an introduction and a bibliography. Available as an E-book. www.crmoon.com

Sappho has been constructed as many things: proto-feminist, lesbian icon and even - by the Victorians - chaste headmistress of a girls' finishing school. Yet ironically, as Page DuBois shows, the historical poet herself remains elusive. We know that Sappho's contemporary Alcaeus described her as 'violet, pure, honey-smiling Sappho'; and that the rhetorician and philosopher Maximus of Tyre saw her, perhaps less enthusiastically, as 'small and dark'. We also know that her 7th/6th century BCE island of Lesbos was riven by tyrannical and aristocratic factionalism and that she was probably exiled to Sicily. Much of the rest is speculative. DuBois suggests that the value of Sappho lies elsewhere: in her remarkable verse, and in the poet's reception - one of the richest of any figure from antiquity. Offering nuanced readings of the poems, written in an archaic Aeolic dialect, DuBois skillfully draws out their sharp images and rhythmic melody. She further discusses the exciting discovery of a new verse fragment in 2004, and the ways in which Sappho influenced Catullus, Horace and Ovid, as well as later writers and painters.

Sappho has been constructed as many things: proto-feminist, lesbian icon and even - by the Victorians - chaste headmistress of a girls' finishing school. Yet ironically, as Page DuBois shows, the historical poet herself remains elusive. We know that Sappho's contemporary Alcaeus described her as 'violet, pure, honey-smiling Sappho'; and that the rhetorician and philosopher Maximus of Tyre saw her, perhaps less enthusiastically, as 'small and dark'. We also know that her 7th/6th century BCE island of Lesbos was riven by tyrannical and aristocratic factionalism and that she was probably exiled to Sicily. Much of the rest is speculative. DuBois suggests that the value of Sappho lies elsewhere: in her remarkable verse, and in the poet's reception - one of the richest of any figure from antiquity. Offering nuanced readings of the poems, written in an archaic Aeolic dialect, DuBois skillfully draws out their sharp images and rhythmic melody. She further discusses the exciting discovery of a new verse fragment in 2004, and the ways in which Sappho influenced Catullus, Horace and Ovid, as well as later writers and painters.

By combining the ancient mysteries of Sappho with the contemporary wizardry of one of our most fearless and original poets, If Not, Winter provides a tantalizing window onto the genius of a woman whose lyric power spans millennia. Of the nine books of lyrics the ancient Greek poet Sappho is said to have composed, only one poem has survived complete. The rest are fragments. In this miraculous new translation, acclaimed poet and classicist Anne Carson presents all of Sappho’s fragments, in Greek and in English, as if on the ragged scraps of papyrus that preserve them, inviting a thrill of discovery and conjecture that can be described only as electric—or, to use Sappho’s words, as “thin fire . . . racing under skin.” "Sappho's verse has been elevated to new heights in [this] gorgeous translation." --The New York Times "Carson is in many ways [Sappho's] ideal translator....Her command of language is hones to a perfect edge and her approach to the text, respectful yet imaginative, results in verse that lets Sappho shine forth." --Los Angeles Times

An exploration of the fascinating poetry, life, and world of Sappho, including a complete translation of all her poems. For more than twenty-five centuries, all that the world knew of the poems of Sappho—the first woman writer in literary history—were a few brief quotations preserved by ancient male authors. Yet those meager remains showed such power and genius that they captured the imagination of readers through the ages. But within the last century, dozens of new pieces of her poetry have been found written on crumbling papyrus or carved on broken pottery buried in the sands of Egypt. As recently as 2014, yet another discovery of a missing poem created a media stir around the world. The poems of Sappho reveal a remarkable woman who lived on the Greek island of Lesbos during the vibrant age of the birth of western science, art, and philosophy. Sappho was the daughter of an aristocratic family, a wife, a devoted mother, a lover of women, and one of the greatest writers of her own or any age. Nonetheless, although most people have heard of Sappho, the story of her lost poems and the lives of the ancient women they celebrate has never been told for a general audience. Searching for Sappho is the exciting tale of the rediscovery of Sappho’s poetry and of the woman and world they reveal.

"The Tenth Muse" sings to both sexes of desire, rapture, and sorrow. This concise collection of the ancient Greek poet's surviving works was assembled and translated by a distinguished classicist.

Page duBois, a classicist known for her daring and originality, turns in this new book to one of the most troubling subjects in the study of antiquity: the indispensability of slaves in ancient Greece. DuBois argues that every object and text in the world of ancient Greece bears the marks of slavery and the need to reiterate the distinction between slave and free. And yet the ubiquity of slaves in ancient societies has been overlooked by scholars who idealize antiquity, misconstrued by those who view slavery through the lens of race, and obscured by the split between historical and philological approaches to the classics. DuBois begins her study by exploring the material culture of slavery, including how most museum exhibits erase the presence of slaves in the classical world. Shifting her focus to literature, she considers the place of slaves in Plato's Meno, Aristotle's Politics, Aesop's Fables, Aristophanes' Wasps, and Euripides' Orestes. She contends throughout that portraying the difference between slave and free as natural was pivotal to Greek concepts of selfhood and political freedom, and that scholars who idealize such concepts too often fail to recognize the role that slavery played in their articulation. Opening new lines of inquiry into ancient culture, Slaves and Other Objects will enlighten classicists and historians alike.