So, I've been working my way piecemeal through Blackwell's A Companion to Ancient Epic and noticed that Michael C. J. Putnam's take on the Aeneid seems to match fairly well with Ursula K. Le Guin's in her novel Lavinia. Both seem to see the Aeneid as a tragic work with it's titular hero failing (perhaps inevitably) to fulfill Anchises mandate to war down the proud but pardon the defeated. I already enjoyed Le Guin's take on the classic work, but seeing Putnam spell out the case for a more pessimistic Aeneid definitely increases my appreciation for her approach (deconstruct that as you will). Both works are contributing to my appreciation of Virgil's masterpiece as my wife and I read through Fagles' enchanting translation this Fall (I've read Hatto and Mendlebaum prior to this). I've never been as enthusiastic about Virgil as I have about Homer, so new insights on how to approach the man from Mantua are always welcome.
I needed a break from A Treasury of Modern Fantasy (too many authors and too many styles coming in too fast) so I decided to turn back to an author whose work I've enjoyed exploring: Robert E. Howard. This time, however, I decided to skip over Howard's famous Conan yarns and instead take a look at one of his earlier creations, Solomon Kane. The idea of a puritan occult detective was too intriguing to pass up. I have the whole collection of Kane's tales and I do intend to blog them all. Right now, my little literary detour has only encompassed the first two short stories so I'm going to record my thoughts on them right away and get back to the rest as I have time. Skulls in the Stars Solomon Kane makes his debut with this classic bit of English Gothic including a haunted moor, a vengeful ghost, and a solitary miser. Howard's Kane fits the portrait of the archetypal puritan: grim, principled, metaphysical, with an iron sense of right and wrong. I h...
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