Ransom (original 2009; edition 2010)

Recommended by Anne Baron, Madeline Miller

New Yorker digs it a lot: http://www.newyorker.com/arts/critics/books/2010/04/05/100405crbo_books_mendelso...

Reading the Iliad, one sees nothing out of place about Priam begging Achilles to release the body of his son, Hector. But in Malouf's hands, this episode expands into a tale of its own, partly built upon the realization that what Priam does is something totally new in this culture - a king (nearly a god in the eyes of his people) becoming quite human in a desperate gambit to regain his son's body from the near-mad Achilles. Malouf observes that, had Priam followed tradition, he would have earned hardly a word in Homer's epic.

Malouf uses his efficient but beautiful language, along with a few invented characters of his own, to pull the reader into this alien world during a most human moment. Ransom reads like a long prose-poem. Read this in one or two long sittings, where you can let the world of the Trojans and Greeks, and their gods, carry you along. An enthralling read.

Os. ( )

Really lovely portraits of Achilles and Priam. This is a great exploration into a really brief episode in the Trojan War (and even in the Iliad).

David Malouf begins his retelling of the story with Achilles mourning the death of Patroclus during the Trojan War. Achilles, enraged at his friend's death, slays Hector, Patroclus' killer, and drags Hector's corpse behind a chariot around the walls of Troy. Rage as he does in Homer's original, Achilles terrifying aspect is amplified in comparison. Malouf tries to explain the psychology of Achilles, asking how a man capable of anything takes out his frustration. The narrative then shifts towards Priam, Hector's father and the King of Troy. Priam cannot stand the abuse of his beloved son's body. Malouf explores this parallel of loss between Priam and Achilles that Homer, in the original Iliad, left unsaid. Unlike the version told by Baricco a goddess intervenes and Priam then explains to Troy that he will make his way to the Greek camp with ransom treasure for Achilles. He hopes to stop his mistreatment of Hector’s body which Queen Hecuba points out is a suicide mission. Priam goes on the journey, despite warnings from his wife. He eventually meets Achilles at his tent, where the exchange is made. Priam appeals to Achilles' conscience, reminding him of his own father, in trying to persuade him to return Hector to Troy for a proper burial.
With the addition of Somax, the most successfully developed character in the entire narrative, Malouf makes certain changes to the original. Malouf takes liberties with the personalities of Priam and Achilles that are not entirely in consonant with their depictions in the Iliad. However, with Somax, Malouf manages to create a perfect character foil for Priam. Like many a royal figure before and after Priam has lived in a cocoon of safety for his entire life and is now forced to exit it to bury his son. Somax, who has by no means lived any life of luxury, unintentionally teaches Priam about the world outside of the palace: he is both ordinary and he is not the type of person that normally would have anything to do with the royal family, yet he is enthused with the opportunity. A delight to read as always, despite differences to the original, Malouf is successful in creating his own characters. ( )