Beowulf

This was absolutely fascinating. I've always found the idea of multiple translations of a work really interesting, and my favourite part of this book was Maria's breakdown of her reasons for making the choices she did. It taught me a lot, not just about Old English, but about poetry in general. Her modern take on tone really ticked all the boxes for me. These kinds of oral traditions would have read as very popular entertainment for the masses, and the writing style really drew me into that perspective very well. I now desperately need a copy for my shelves!

As Maria Dahvana Headley states in the introduction to this book, there have been a lot of translations of Beowulf, the Old English epic poem about a warrior fighting monsters. This is a new translation, focusing on updating the verse rather than preserving its antiquity and giving some of the female figures—particularly Grendel's mother—a somewhat better treatment. Perhaps most notably, this version of Beowulf focuses a lot on the modern parallel of oral storytelling and frames the poem like some guy is telling you it in a bar (the poem's opening word, 'hwæt', becomes 'bro!').

I've studied Beowulf both in translation at secondary school and in the original during my undergrad English degree, so the story and general feel of the poem are very familiar, but this translation brings something else to the poem. Possibly it's the clash of old and new—modern slang like 'Hashtag: blessed' and archaisms like 'wyrm'—and the use of swearing and colloquial phrases to get across the meaning of certain lines and phrases which feels quite different to the Beowulf people might be used to. Occasionally the use of 'bro' throughout gets a bit grating, but it's interesting to see which parts could be translated into something much more modern and which stay sounding older.

There's probably some clever things to be said about some of the translation choices and the way this translation is framed, though it's too long since I've actually read another version of it for me to think of anything. I liked the fact that the repetitive nature of the storytelling in Beowulf is foregrounded by giving it the feel of some guy telling you a boring story, only the story is about fighting Grendel and his mother and a dragon.

As someone who loved Emily Wilson's translation of the Odyssey, it was enjoyable to get another modern translation that focuses on updating the language and making the concepts reverberate through time, rather than something that is a reimagining or retelling. This is a readable Beowulf in verse and one that really makes you think about why these warrior men spend so much time sitting around telling heroic stories to one another. I'm not sure what it would be like as an introduction to Beowulf but it's fun if you already know it and can imagine rolling your eyes as some guy tries to tell you the story.

Emily Wilson gave new life to the Odyssey in 2017. Now it is time for Beowulf to meet his match in Maria Dahvana Headley. Like Wilson, Headley brims with modern word-play and lights the torch of gender equality. Which in literature simply means making the feminine humane. Once again, one is amazed at what a re-reading of the stories we think we know can offer, when told by new voices.

If you thought Beowulf was a bore anyway – perhaps you recall a dull english teacher – then fear not, because you are mistaken. The story is action-packed adventure with epic sword-play and decorous creatures of myth, which Headley’s talents are well suited to enriching. The Old English verse of alliterative ornamentation is here shaken up allowing for free verse and the odd rhyme scheme. Technicalities are not a burden. What shines through is a distilled poetic voice that has a tremendous clarity of world-vision. Some examples of exquisitely-lit scenes follow:

“Water reflects trees like tangled teeth, a gaping maw that, at night, is lit with flames in the flood.”

“The sun springs out of Heaven, leaving the celestial dome dark.”

“The sky sipped the smoke and smiled.”

Then there’s the witty irreverent aspect of Headley’s voice. Descriptively – The sashimi made of sea monsters – narratively – the use “Bro!” as an intonation based on hwæt – the use of expletives, especially in relation to wyrd – and the eccentric toying with compounds, which the OE is famous for – Life-lord, Earth-shaker, woe-walker, slaughter-slinger, and so on.

Yet perhaps more bold still, and whilst this isn’t a retelling but a translation, is how Headley interprets the feminine. This is given full force in her introduction, which I need not repeat here. But markedly, the dragon becomes a she, and Grendel’s mother takes on formidable characteristics; she is no longer just a “Monstrous hell-bride … swamp-thing from hell”, as Seamus Heaney put it in his version from 1999.

Come in from the cold and re-read the story you think you know. Change your status from onlooker to warrior, no longer fear the blast but instead be suicidal, run head-first in an emotional outburst and scar the dragon. Live out the poetry as if you were crowded around a bar listening to your pals shake the earth with their new lyrics. That much may be asked of us in this electric, possibly eccentric, yet certainly visionary new translation.

New readers welcome. And for those already Beowulf-versed, the more the better.

A fresh and invigorating rendition of Beowulf, Headley drags the infamous tale from the Scandinavian mead halls of 1000 years ago to our dingy bars of the 21st century.

I have read a number of Beowulf translations (for university as well as for my own interests) and was curious to see what else could be done with it. With every new translation of the infamous Beowulf comes new interpretations and characterisations. Particularly, the choice of how to start the tale is one that varies between translators: some go for a casual but still demanding “Hey”, some for a more historic-sounding “Hark”. This version has opted for the apt – and hilarious – ‘Bro” and so this version starts as it means to go on. We are listening to this story from our own storytellers in our own drinking establishments (an old man perched precariously on a barstool, fifth drink in hand, all-too-willing to share a story. We’ve all met him.).

Instead of a direct translation, Headley goes more for a reimagining and invites a new generation of readers into the Beowulf canon. (Every main translation choice is detailed and given context in the excellent and illuminating Introduction). Most of these choices do work: “Bro, lemme say how fucked they were” is a particular favourite but on one or two occasions it does go too far. “Hashtag: blessed” is such an example.

Grendel’s unnamed mother is also rendered anew here: she is not a fanged and terrifying monster but instead a traditionally-armed and terrifying warrior. Any deviation from the traditional Beowulf depictions still makes sense, yet casts the story in a new and interesting light.

“Bro! Tell me we still know how to talk about kings! In the old days, everyone knew what men were: brave, bold, glory-bound. Only stories now, but I’ll sound the Spear-Danes’ song, hoarded for hungry times.” - opening lines of ‘Beowulf’, 2021.

My thanks to Scribe U.K. for an eARC via of NetGalley of ‘Beowulf: a new translation’ by Maria Dahvana Headley in exchange for an honest review.

This was my first direct experience of the Old English epic poem, ‘Beowulf’ though was aware of its influence on writers such as J.R.R. Tolkien, whose own translation was published posthumously. I found Headley’s storytelling excellent and her use of modern language, including slang, refreshing and accessible. I felt that she embraced the spirit of the epic, bringing it vividly to life. I was especially taken with Beowulf’s encounter with the dragon.

In her Introduction Maria Dahvana Headley writes of her long love affair with ‘Beowulf’ that began when she came across an illustration of Grendel’s mother in a compendium of monsters. She eventually wrote a contemporary adaptation of ‘Beowulf’ - ‘The Mere-Wife’, with Grendel’s mother as its protagonist. It was nominated for the 2019 World Fantasy Award for Best Novel.

In her research for that novel she read many translations and friends encouraged her to work on her own. This is the result.

Will this very modern translation encourage newcomers to read other translations or adaptations of the epic? Well, I certainly feel more confident about doing so after reading it.

Headley’s Introduction also provides background on earlier translations and notes books that may be of interest to those seeking a deeper appreciation. In this respect I would expect that this book would appeal to educators and librarians as well as to general readers such as myself.

I likely will buy the audiobook edition of ‘Beowulf: a new translation’ if it becomes available as I find hearing poetry a powerful experience and I plan to also seek out ‘The Mere-Wife’.

4.5 stars rounded up to 5.

"Bro, Fate can fuck you up"

A fantastic new translation by Maria Dahvana Headley. The language trips easily off the tongue as the story flows. The modern slang adds clarity and emphasis to the translation, as well as reinforcing the feel of drunken storytelling (with plenty of manly boasts!).

I also found the foreword interesting - Headley is clearly passionate about the poem, and compelling in the arguments she makes for certain translation choices - Grendel's mother is a 'warrior-woman' rather than the whore or monster of some translations.

I suspect the slang will become dated in years to come, however right now this is a very enjoyable read, and a good introduction to Beowulf. I highly recommend it.

A beautifully translated epic story; "Beowulf" is a complex poem, and a bit intimidating, yet reads like modern fantasy.

From the startling first word (“Bro!”) this translation is joyous, full of energy, and makes reading this ancient poem a treat. The language is a mix of the archaic and contemporary that somehow makes it feel timeless. I think it will reward rereading too.