LRB Cover
Volume 40 Number 8
26 April 2018

LRB blog 26 April 2018

Lloyd Russell-Moyle
on the arms trade

25 April 2018

Sophie Cousins
In Kathmandu

24 April 2018

Alex Abramovich
Homage to Gene Clark

MOST READ

22 March 2018

Amia Srinivasan
Does anyone have the right to sex?

3 November 2016

William Davies
Home Office Rules

4 May 2017

Stephen Sedley
Defining Anti-Semitism

In the next issue, which will be dated 10 May, David Runciman on whether Brexit can be stopped.

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Colin Burrow

The End of the Epithet

The Odyssey is much harder to translate than The Iliad. One person’s interpolation or historical curiosity will be another person’s moment of deep psychological insight. That problem is compounded by the subject matter and social world of the poem. It is full of travellers and strangers who might be gods, or con men, or, like much enduring godly Odysseus of the many wiles himself, a little bit of both. So no one ever quite knows what’s going on. A swineherd might turn out to be an abducted prince. A Cyclops might greet a stranger who addresses it politely by bashing the brains out of one of his companions as if he were a puppy. A good king might politely offer a wary welcome and food, listen to a stranger’s story, and then after a tactful delay ask who he is and where he is from. And then the guest might lie. More


Julian Barnes

Mary Cassatt as Herself

She is, largely, a painter of the great indoors, the here and now, and of women’s space within it. She does not do landscape or nature – the urban park and the boating lake are as far as that goes; nor does she give us action, history, myth, still life, houses, horses, sunsets or those forbidden parts of the Opéra. She does not do men much, though her double portrait of her brother Alexander with his son Robert, the boy sitting on the arm of his father’s armchair, their black suits blending into one and their button-black eyes popping in parallel towards some unknown object makes us wish she had portrayed the opposite sex more. More

Isabel Hull

When can you start a war?

Oona Hathaway and Scott Shapiro’s point is that ‘for all its problems, the New World Order is better than the Old.’ Theirs is a valuable reminder that law matters and that international co-operation is not a utopia, but a functioning reality. Recently, it has been hard to hear that truth above the din produced by bad actors, like Putin and Trump, and by criticism of the neoliberal order from the left and the populist right, which obscures the positive effects of internationalism. What’s more, we take for granted a world in which the assumption is that countries will not engage in war. More

At the Movies
Michael Wood

Short Cuts
Helen Thompson

At the Pompidou
Jeremy Harding


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