Zachary Mason

The Lost Books of the Odyssey is a fascinating and seductive debut book. It retells the traditional Homeric tale of the hero Odysseus and his arduous return trip following the fall of Troy. In it the Trojan War is retold alongside flashbacks as Odysseus travels from Troy to Ithaca. The chapters flow with witty turns or neat bows, more in the style of a short story writer.

The book is a deft and subtle translation of Greek literature for the present day. Personhood, storytelling, memory, and show more self-awareness are some of the subjects it examines. According to how much light the story decides to shed, Mason's characters can change shape and become elusive, just like the ones in Homer's original.

The traditional Homer stories are transformed into new episodes, fragments, and revisions using beautiful prose, a vivid imagination, and stunning literary skill. When read as a whole, these additions expose the timeless Greek epic to countless resonant interpretations. The Lost Books of the Odyssey is It is laced with wonderful wit, elegance, and playfulness.

I found that it was worthwhile, but only for those who have already read Homer's original epic saga. show less

Mason's previous book The Lost Books of the Odyssey was spectacular, so I'm unhappy that this sci-fi novel didn't live up to it for me, especially because as a computer scientist this should have been home turf for him. On a prose level, this is great; there are no iconic, standout lines like Neuromancer's "The sky above the port was the color of television, tuned to a dead channel", but just about every sentence is beautifully written, well-balanced and full of interesting imagery. There show more really isn't a wasted sentence in the whole book, so his various scenes and landscapes are always vividly rendered. However, much like in Neuromancer (and a lot of this novel is like in Neuromancer), the plot isn't very emotionally resonant, so the lucid language feels wasted. Characters act, choices are made, and things then happen, but according to a rapid, purely internal logic that doesn't give the reader much opportunity to get invested in the world, especially because the point of view shifts so rapidly and a lot of the various perils come out of nowhere. "Sit back and let the plot take you for a ride!" sounds like cheesy marketing copy on the back of an airport thriller, but it's also pretty apt here, and I didn't like feeling like such a passive reader.

The world is your standard cyberpunk quasi-dystopia that owes much to Snow Crash (itself an affectionate Neuromancer parody/homage), but without the manic humor or invention of Stephenson's work, so instead of people living in self-storage complexes guarded by armed robot dogs, people just live in grungy favelas, and instead of Sumerian technolinguistic mind-viruses, there's just really powerful Hackers-style algorithms (they literally hack the Gibson in one scene). I also found myself questioning why Mason bothered with 3 narrative lines for the main characters - ascetic street boxer Kern, dying political scion Thales, and Johnny Mnemonic-style hacker Irina - since although they do eventually intersect to fight the requisite evil rich guy and super-powerful AI, their individual quests to uh, find the secret of life/upload consciousness into the computer/become a Japanese swordmaker don't feel emotionally connected at all. Maybe the characters could have spent more time together, or there could have been fewer 2-page chapters to let the story breathe a bit; certainly many aspects of the world could have used some more exploration. I hate ragging on a work by an author I respect so much, so perhaps this will improve on a reread, but this feels like a real letdown, especially because he was able to be so creative with almost literally the most played-out material in history in his last book. I hope he takes more risks in his next book. show less

Imagine Robert Graves' "Homer's Daughter" reduced to 5 pages. Now imagine 43 variants along the same lines with 20 of them written Calvino (including one on returning to Troy to discover it has been turned into a cheap tourist destination), 20 of them written by Borges (including several in which Odysseus is a character is his own or someone else's story), two by Vidal (one in which cyclops was basically decent and after he was tricked by Odysseus who then flees, the cyclops fantasizes show more stories of his wandering for the next decade, not wanting to kill him in his fantasies but to string out the revenge), and a final one by Lewis Carroll (in which the Iliad and the Odyssey are both manuals for strange forms of chess that have morphed and been corrupted over time).

If you cannot imagine all of those, then you should just read the book -- about 35 of the 44 inversions/reimaginations/retellings of aspects of the Odyssey are amazing, both in the way they are told and the new worlds they open up. And the effect of the book as a whole is powerful, reinforcing certain themes over and over again (like Odysseus basic character) while varying others (like the cause and resolution of the Trojan War). show less

I loved this. What if there were other elements to the Odyssey that didn't make it into the text we know. What if Odysseus was a coward? Penelope remarried? Or what if Odysseus never made it back to Ithaca? What if Athena proposed to Odysseus? What would he say? Each chapter is its own separate story and taken together they are a lovely meditation on a well-known text.