Just as Africa and the West have traditionally fit into binaries of Darkness/Enlightenment, Savage/Modern, Ugly/Beautiful, and Ritual/Art, among others, much of Western cultural production rests upon the archetypal binary of Trickster/Epic, with trickster aesthetics and commensurate cultural forms characterizing Africa. Challenging this binary and the exceptionalism that underlies anti-hegemonic efforts even today, this book begins with the scholarly foundations that mapped out African trickster continuities in the United States and excavated the aesthetics of traditional African epic performances. Rutledge locates trickster-like capacities within the epic hero archetype (the "epic trickster" paradigm) and constructs an Homeric Diaspora, which is to say that the modern Homeric performance foundation lies at an absolute time and distance away from the ancient storytelling performance needed to understand the cautionary aesthetic inseparable from epic potential. As traditional epic performances demonstrate, unchecked epic trickster dynamism anticipates not only brutal imperialism and creative diversity, but the greatest threat to everyone, an eco-apocalypse. Relying upon the preeminent scholarship on African-American trickster-heroes, traditional African heroic performances, and cultural studies approaches to Greco-Roman epics, Rutledge traces the epic trickster aesthetic through three seminal African-American novels keenly attuned to the American Homeric Diaspora: Charles Chesnutt’s The Marrow of Tradition, Richard Wright’s Native Son, and Toni Morrison’s Beloved.

Re-envisions epic from Homer to Nonnus through theories of the gaze.

First published in 1971, this work examines the tradition of the epic and the many forms in which it has presented itself over time. After unpicking the defining aspects of an epic, the book tracks the literary tradition from the classical period through to modern day. Exploring major texts such as Beowulf, Odyssey, Divina Comedia, The Faerie Queene and Ulysses, this work will be a valuable resource for those studying the epic and English literature.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1991.

A 2018 Pura Belpré Author Honor Book Save the restaurant. Save the town. Get the girl. Make Abuela proud. Can thirteen-year-old Arturo Zamora do it all or is he in for a BIG, EPIC FAIL? For Arturo, summertime in Miami means playing basketball until dark, sipping mango smoothies, and keeping cool under banyan trees. And maybe a few shifts as junior lunchtime dishwasher at Abuela’s restaurant. Maybe. But this summer also includes Carmen, a poetry enthusiast who moves into Arturo’s apartment complex and turns his stomach into a deep fryer. He almost doesn’t notice the smarmy land developer who rolls into town and threatens to change it. Arturo refuses to let his family and community go down without a fight, and as he schemes with Carmen, Arturo discovers the power of poetry and protest through untold family stories and the work of José Martí. Funny and poignant, The Epic Fail of Arturo Zamora is the vibrant story of a family, a striking portrait of a town, and one boy's quest to save both, perfect for fans of Rita Williams-Garcia.

The greatest of all the world's epics, the Iliad and the Odyssey, are attributed to Homer, or Melesigenes, who is said to have lived some time between 1050 and 850 B.C. Ever since the second century before Christ, however, the question whether Homer is the originator of the poems, or whether, like the Rhapsodists, he merely recited extant verses, has been hotly disputed.The events upon which the Iliad is based took place some time before 1100 B.C., and we are told the poems of Homer were collected and committed to writing by Pisistratus during the age of Epic Poetry, or second age of Greek literature, which ends 600 B.C.It stands to reason that the Iliad must have been inspired by or at least based upon previous poems, since such perfection is not achieved at a single bound. Besides, we are aware of the existence of many shorter Greek epics, which have either been entirely lost or of which we now possess only fragments.A number of these ancient epics form what is termed the Trojan Cycle, because all relate in some way to the War of Troy. Among them is the Cypria, in eleven books, by Stasimus of Cyprus (or by Arctinus of Miletus), wherein is related Jupiter's frustrated wooing of Thetis, her marriage with Peleus, the episode of the golden apple, the judgment of Paris, the kidnapping of Helen, the mustering of the Greek forces, and the main events of the first nine years of the Trojan War. The Iliad (of which a synopsis is given) follows this epic, taking up the story where the wrath of Achilles is aroused and ending it with the funeral of Hector.This, however, does not conclude the story of the Trojan War, which is resumed in the "Aethiopia," in five books, by Arctinus of Miletus. After describing the arrival of Penthesilea, Queen of the Amazons, to aid the Trojans, the poet relates her death at the hand of Achilles, who, in his turn, is slain by Apollo and Paris. This epic concludes with the famous dispute between Ajax and Ulysses for the possession of Achilles' armor.The Little Iliad, whose authorship is ascribed to sundry poets, including Homer, next describes the madness and death of Ajax, the arrival of Philoctetes with the arrows of Hercules, the death of Paris, the purloining of the Palladium, the stratagem of the wooden horse, and the death of Priam.