Robert Aird's first novel is a thriller for the whole family with fast exciting action set in the scenic Scottish River Clyde and the beautiful Irish loughs. International terrorism is being carried out and it would appear that no one can stop the nuclear destruction of half the modern world. High level intrigue, greed and revenge with the resurrection of an ailing nation the ultimate goal. A top IRA commander with a passion for justice; A beautiful but enigmatic American spy; A wily Russian General; A group of Russian submariners and some Palestinian terrorists join together to pull off the biggest heist in history and to change the world forever. From the Knesset in Israel to the Oval office in Washington then on to Moscow and London the tale gathers pace. If the reader really wants a book that they can enjoy and empathise with, then Stealth's Odyssey is for them. It's so believable it could just be true.

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Most translations of The Odyssey are in the kind of standard verse form believed typical of high-serious composition in the ancient world. Yet some scholars believe the epic was originally composed in a less formal, phrase-by-phrase prosody. Charles Stein employs the latter approach in this dramatic, and in some ways truer, version. Famous episodes such as the sirens, Scylla and Charybdis, and the Cyclops, are rendered with previously unseen energy and empathy. The poem’s second half—where Odysseus, returned home to take revenge on his wife’s suitors—has extraordinarily subtle, “novelistic” features that are made more transparent in this version. There is also a special feel for the archaic dimensions of Homer—the world of gods and their complex relations to Fate and Being that other translators tend to deemphasize in order to make the poem feel “modern.” Most versions exclude or minimize the magical aspects of the poem, but Stein gives these elements full play, so that the spirit of a universe predating the classical era shines through. This vibrant version of The Odyssey shows readers not only what the Greeks thought about their gods but the gods themselves. Summaries preceding each chapter and a list of recommended websites help expand the experience.

The Odyssey's larger plot is composed of a number of distinct genres of myth, all of which are extant in various Near Eastern cultures (Mesopotamian, West Semitic, and Egyptian). Unexpectedly, the Near Eastern culture with which the Odyssey has the most parallels is the Old Testament. Consideration of how much of the Odyssey focuses on non-heroic episodes - hosts receiving guests, a king disguised as a beggar, recognition scenes between long-separated family members - reaffirms the Odyssey's parallels with the Bible. In particular the book argues that the Odyssey is in a dialogic relationship with Genesis, which features the same three types of myth that comprise the majority of the Odyssey: theoxeny, romance (Joseph in Egypt), and Argonautic myth (Jacob winning Rachel from Laban). The Odyssey also offers intriguing parallels to the Book of Jonah, and Odysseus' treatment by the suitors offers close parallels to the Gospels' depiction of Christ in Jerusalem.

"Being the second voyage of the NACS odyssey."

This book is the first in-depth examination of revenge in the Odyssey. The principal revenge plot of the Odyssey --Odysseus' surprise return to Ithaca after twenty away and his vengeance on Penelope's suitors -- is the act for which he is most celebrated. This story forms the backbone of the Odyssey. But is Odysseus' triumph over the suitors as univocally celebratory as is often assumed? Does the poem contain and even suggest other, darker interpretations of Odysseus' greatest achievement? This book offers a careful analysis of several other revenge plots in the Odyssey -- those of Orestes, Poseidon, Zeus, and the suitors' relatives. It shows how these revenge stories color one another with allusions (explicit and implicit) that connect them and invite audiences to interpret them in light of one another. These stories -- especially Odysseus' revenge upon the suitors -- inevitably turn out to have multiple meanings. One plot of revenge slips into another as the offender in one story becomes a victim to be avenged in the next. As a result, Odysseus turns out to be a much more ambivalent hero than has been commonly accepted. And in the Odyssey's portrayal, revenge is an unstable foundation for a community. Revenge also ends up being a tenuous narrative structure for an epic poem, as a natural end to cycles of vengeance proves elusive. This book offers a radical new reading of the seemingly happy ending of the poem.