The Five Quintets (poetry)

the-five-quintets-poetry-2019-sojourners“In The Five Quintets, a poetic tour de force by Micheal O’Siadhail, Kavanagh’s quip is flavorfully borne out. Quintets offers a sustained reflection on Western modernity (and its yet unnamed aftermath) in the vein of The Divine Comedy, Dante’s sustained reflection on medieval Europe (and its aftermath, the Renaissance).

“O’Siadhail (pronounced O’Sheel) inspects 400 years of Anglo-Atlantic culture—artistic creativity, economics, politics, science, and ‘the search for meaning’—with the skillful hand of a citizen-poet, refracted through an Irish Catholic soul. Dublin born and educated, now poet in residence at Union Theological Seminary in New York, O’Siadhail embodies the vatic tradition of the Hibernian Gael—poet, prophet, priest, and, at times, jester.” [. . .]    –Rose Marie Berger, SOJOURNERS, April, 2019.

“Alasdair Gray’s Translation of Dante’s Purgatory

“Following on from his translation of Hell (published last year), Alasdair Gray has turned his attention to the second part of Dante Alighieri’s Divine Comedy. Unlike Lanark, Gray’s epic debut novel from 1981, Purgatory is a short read at around 130 pages. It is divided into 33 cantos – essentially chapters – each of which are divided in turn into three-line stanzas. The plot is linear: guided by the poet Virgil, Dante must ascend Mount Purgatory in order to be reunited with his love Beatrice. Along the way, he encounters the poor souls forced to linger in heaven’s waiting room until they are cleansed of their earthly sins. As in Hell, the narrative is littered with historical figures, for instance ‘Cato, Caesar’s foe, who stabbed himself / rather than see the Roman Empire kill / the glorious Republic that he loved.’ Reading Purgatory, written in the early 14th century, it is easy to see the crucial role Dante played in the Renaissance, when Italian artists rediscovered the glories of antiquity.”    –Chris Dobson, The Herald, November 17, 2019

Check out our original post on Alasdair Gray’s Hell here.

Mapping Dante’s Inferno, One Circle of Hell at a Time

“I found myself, in truth, on the brink of the valley of the sad abyss that gathers the thunder of an infinite howling. It was so dark, and deep, and clouded, that I could see nothing by staring into its depths.”

“This is the vision that greets the author and narrator upon entry the first circle of Hell—Limbo, home to honorable pagans—in Dante Alighieri’s Inferno, the first part of his 14th-century epic poem, Divine Comedy. Before Dante and his guide, the classical poet Virgil, encounter Purgatorio and Paradiso, they must first journey through a multilayered hellscape of sinners—from the lustful and gluttonous of the early circles to the heretics and traitors that dwell below. This first leg of their journey culminates, at Earth’s very core, with Satan, encased in ice up to his waist, eternally gnawing on Judas, Brutus, and Cassius (traitors to God) in his three mouths. In addition to being among the greatest Italian literary works, Divine Comedy also heralded a craze for “infernal cartography,” or mapping the Hell that Dante had created.

“This desire to chart the landscape of Hell began with Antonio Manetti, a 15th-century Florentine (like Dante himself) architect and mathematician. He diligently worked on the “site, form and measurements” of Hell, assessing, for example, the width of Limbo—87.5 miles across, he calculated. There are several theories for why it was so important then to delineate Dante’s Hell, including the general popularity of cartography at the time and the Renaissance obsession with proportions and measurements.” […]    –Anika Burgess, Atlas Obscura, July 13, 2017

Jo Walton’s new novel, Lent (2019) is “Dante’s Groundhog Day”

“I love Hugo and Nebula-Award winner Jo Walton’s science fiction and fantasy novels (previously) and that’s why it was such a treat to inaugurate my new gig as an LA Times book reviewer with a review of her latest novel, Lent, a fictionalized retelling of the live of Savonarola, who reformed the Florentine church in the 1490s, opposing a corrupt Pope, who martyred him (except in Walton’s book, and unbeknownst to Savonarola himself, Savonarola is a demon who is sent back to Hell when he is martyred, then returned to 1492 Florence to start over again).

“The story is motivated by a mystical shift in Savonarola’s destiny that allows him to remember, from one incarnation to the next, who he truly is. He lives many different versions of his life, seeking a way to harrow Hell, restore grace, redeem himself and save Florence.

“The Groundhog Day-meets-Dante premise is incredibly weird and incredibly satisfying, a bizarrely effective way of making the characters come to life as we see how they would have reacted to the same circumstance with slight variations, building up a series of incredibly detailed and nuanced portraits. And because this is a Walton novel, there are no easy answers, and ambiguity rules overall — and because Walton has become so close with the Renaissance scholar and science fiction novelist (and librettist, singer, and all-round genius) Ada Palmer, her Renaissance Florence has the ring of the true metal, incredibly well-drawn in ever way.” […]    –Cory Doctorow, BoingBoing, May 16, 2019