CROSSING THE WINE-DARK SEA: Journeys Through Ancient Literature, non-fiction from the translation giantess

CROSSING THE WINE-DARK SEA: Journeys Through Ancient Literature
EMILY WILSON
Liveright (non-affiliate Bookshop.org link)
$18.99 ebook, preorder now for delivery 1 September 2026

Rating: 4.5* of five

The Publisher Says: "An enthralling and profoundly relevant book." —Salman Rushdie

"I adored reading these joyful, illuminating, and engrossing journeys through ancient literature." —Madeline Miller

From the most celebrated translator of our time comes a visionary exploration of how translation reshapes and enriches our understanding of the ancient world.

In this sharp and often entertaining tour through antiquity, Emily Wilson—whose renditions of Homer’s Odyssey and Iliad have captured a generation’s imagination—explores the complicated terrain of reading and writing about the ancient past. Drawing on twenty years of scholarship and teaching, Wilson explores the difficult choices that translators must make, the pleasures of finding new solutions to old problems, and the inevitable frustrations of never fully capturing what is in the original work.

Across chapters that range from the politics of Helen of Troy to the obscenities of Aristophanes, from Roman imitation of Greek models to contemporary debates over “foreignizing” and “domesticizing” styles, Wilson examines how modern norms of gender, sexuality, violence, humor, and power complicate our readings of ancient works, and how translation always risks denaturing what is unique and strange about the ancient world.

Brilliant, erudite, and yet accessible to readers with no classical background, Crossing the Wine-Dark Sea is at once an introduction to the wonders of Greek and Roman literature, a manifesto for the value of translation in a rapidly changing world, and an invitation to encounter ancient cultures anew.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: What I expected was more jabbing at Christopher Nolan for his 3.25/4 master's thesis on the subject of "How The Odyssey Reflects the 21st Century's Everlasting Love for Homeric Misogyny." I did not get that. What I did NOT expect was her comparing Aristophanes in translation to Megan Thee Stallion and Cardi B in their "WAP" music video by saying "...his linguistic effects depend, like theirs, on the artful manipulation of rhythm and sound in words and imagery."

I seriously doubt her father, eminent Victorianist A.N. Wilson, would approve of his first-born child even knowing what any of that meant...I was, I confess, the mildest bit shocked. (I sat with flycatcher-mouth for five minutes.)

So, well, Author Emily Wilson does not travel by any more conventional a route here, discussing the weird and wonderful (except Lucretius, Satanic forefather of poetical obscurantism *ptooptoo*sign of the horns*) world of ancient imaginations as recorded in their stories than she did when she asked "tell me about a complicated man." And that decision has honestly received far, far more attention that it merited, mostly because it dares to be clear and to express an accurate assessment of the story that follows. I think her honesty in choosing the use of the word "slave" throughout her translation alone gives an excellent reason for the existence of this book.

The ancient world whose literature has made Author Emily's career was so incredibly unlike our own world that it seems to me the term "translation" is too mild, almost dismissive, when applied to the task of explanation and explication it masks. No basic assumptions are shared; no ideas about humanity, about the manner in which the world goes about its work, remains in common. What does remain in common is human nature, human emotions, humanness itself. Language and culture are not the same but the creatures creating them are.

I found the reading experience very illuminating. I will say that someone from the intellectual background, with the education, and leading the professorial life she has, is not going to come across as just folks or someone you'd meet in the canned food aisle of the Walmart. I would be shocked to see her in Walmart, given the scolding she dished out to Nolan for filming his beautiful-looking but brovian story in Western Sahara. Intersectionality is very much on ortholefty lines. I'm not knocking her! I too am more ortholefty than centrist, so yay...but it really shows. Not everyone will like it.

Not everyone should. I want Author Emily's brave new world with its people who are open to seeing the strangeness of the past clearly and honestly and still not Revering, not at all rejecting, its truth, to come to pass. Now I need to read Iliad to see what she does with Achilles and Patroclus.

I have high hopes. Among my higher hopes are that you'll pick up this tendentious work of recontextualization, recentering, and renewal of our human roots.

NEWCOMERS: The Story of Anthony and Grietje and the Founding of New York, or "Why I ❤NY"

NEWCOMERS: The Story of Anthony and Grietje and the Founding of New York
ALAN MIKHAIL
Liveright / W.w. Norton (non-affiliate Bookshop.org link)
$28.45 ebook, available now

Rating: 4.5* of five

The Publisher Says: The exceptional tale of an unorthodox, seventeenth–century married couple whose rags-to-riches story fundamentally rewrites our knowledge of American history at its very beginnings.

A man thought to be Muslim from Morocco and a German barmaid are hardly the image we have of America’s founders. In Newcomers, Alan Mikhail upends the traditional story of American beginnings through the tale of Anthony “the Turk” and Grietje Reyniers.

Married in Amsterdam, they arrived in 1630s Dutch New Amsterdam, hoping to forge a new life. Always outsiders in the young colony, they battled Dutch authorities, brawled with neighbors, and seized land from Native Americans. In this revisionist portrait of the early American family, we learn of anti-Muslim sentiment through Anthony and of female defiance through Grietje.

Eventually banished from Manhattan to Long Island, Anthony and Grietje farmed, prospered, and raised a family whose descendants included the Vanderbilts and President Harding. Promising “to change the way we understand Colonial Gotham’s formative first years” (Susanah Shaw Romney), Alan Mikhail’s Newcomers provides revelatory insights into the seventeenth-century origins of New York.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: The New World was always a frontier where European countries saw the utility of sending its misfits, its non-conforming people, its "undesirables" to make their own way. It was better that way, really...these were the people who gave someone powerful some kind of uncomfortable trouble, and as we're all quite clear even unto today that is simply not to be borne. By them. By you? Troublesome peasant, it is your fault and you must pay the price of being obstreperous and too difficult for {whoever}'s comfort by leaving everything you've ever known or owned to begin again in an utterly alien place. Survive or not, it's up to you.

Anthony and Grietje Jansen van Salee were the survivor types. They stood up for themselves, mixed-race man of ambition and drive and mouthy broad with a gift for invective that they were. Quintessential New Yorkers, in fact; though there was no such identity in the late seventeenth century. They left a restrictive, stifling life of economic precarity and social exclusion for the possibilities of the edge of the map, as it was then. I'm glad Dr. Mikhail introduced me to Anthony and Grietje because I think they're my (spiritual) ancestors. They set the pattern for people like me who don't think or act the way our peers and neighbors do because we don't like their ways and see no reason to pretend otherwise, who find our home here in New York.

The legal records that Dr. Mikhail draws from, and they're extensive (as well as footnoted to a fare-thee-well), show that Anthony and Grietje totally never stopped being difficult. Their neighbors in Dutch colonial Manhattan didn't much like having a "Turk" (mixed-race Anthony, always suspected of being Muslim despite no evidence existing to support that idea) and a mouthy whore (grit-loaded survivor Grietje) in their midst. Off to the wilds of Brooklyn with you, aggressive and non-conformist folk that you are! Even non-conforming people don't like non-conformists.

Is this ringing any bells, Islamophobic sex-negative leftist political types who apply purity tests to each other? Who exile their leaders for not being "perfect" and thus lose elections but win at the Pure Ideology game?

Anthony and Grietje prospered in their next exile as much as in their first. Their energy was tremendous so when it could be directed mostly at their real goals...prosperity for themselves...it was a great benefit for the colonials as well as themselves. The people it cost the most were not their colonist neighbors but the Native Americans the entire settler-colonial enterprise harmed the most. Anthony and Grietje left marks there as well, so truly set the pattern for all us New Yorkers to come by their darker, less benign actions as well as their courageous, trailblazing ones.

I felt very seen in reading this very well-presented story. It's true that Anthony, after Grietje's death, returned to Manhattan...the quintessential Manhattanite, move to Long Island to raise the kids and come home when they're grown! these two are perfect twenty-first century stereotypes!...it's also true that Anthony did things that look terrible to our eyes like have Native slaves-in-fact if not name to work lands he stole from them, but were part of the entire settler-colonial enterprise that white people like me are the beneficiaries of. There are few black-and-white actions in this our life.

Dr. Mikhail is very clear that people are not pure, that actions in context look different as the context changes over time, and that this partial and compromised record of two ordinary peoples' extraordinary choices and actions can never be considered complete or definitive. Defining people long-dead by the records they leave behind is always an act of interpretation. That does not mean it is not also an act of truth-telling, only that the truths so told must be viewed as contingent.

Maps and illustrations completed my happy journey through the lives of two remarkable spiritual ancestors I'm glad I got to know.

I HOPE YOU FIND WHAT YOU'RE LOOKING FOR, historical novel of ripples from 1990s seismic shifts

I HOPE YOU FIND WHAT YOU'RE LOOKING FOR
BSRAT MEZGHEBE
Liveright/Well-Read Black Girl Books (non-affiliate Bookshop.org link)
$27.99 hardcover, available now

The Independent Press Top 40 Bestsellers: Fiction For the week ending February 15, 2026

Rating: 4.5* of five

The Publisher Says: A radiant, highly anticipated debut from the Well-Read Black Girl Books series, delving into the secret lives of three women on the eve of Eritrean independence.

The year is 1991. Eritrea is on the verge of liberation from Ethiopian rule and in Washington, D.C.’s tight–knit Eritrean community, change is in the air. Thirteen–year–old Lydia and her family are grappling with what peace—after decades of war—might mean for their future, just as they welcome a new relative into their distant cousin, Berekhet, newly arrived from Ethiopia to attend medical school.

Berekhet encourages Lydia to confront a barrage of new ideas for the first time, about nationhood, family, and what it means to be truly free. Meanwhile, her mother, Elsa, a former rebel fighter, and the family matriarch, Mama Zewdi, contend with regrets and secrets long-buried secrets that the emboldened Lydia is determined to uncover, including the truth about her martyred father. Written with warmth and sharp humor, Bsrat Mezghebe’s mesmerizing debut novel is a loving ode to an immigrant community on the cusp of a new age.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: I dated an Eritrean immigrant to Texas in the 1980s. I had not heard of Eritrean independence movements before meeting him. Brief as it was (internalized homophobia caused much pain), this connection left me with an acute awareness of how very much the people of a particular place have ideas and emotions about the notion "home" that I can never know I don't know about unless I meet them. As there are only so many ways to meet Othered people on a footing that does not read as exoticizing them, I got more interested in reading about these folks. It's also when I became really serious about making a point to read translated literature.

Lydia, our main PoV character, is oddly enough in the same boat I was vis-à-vis her own family. Elsa gave birth to her in Eritrea but emigrated immediately thereafter; Lydia does not know exactly why, but reckons it has to do with her father's death before she was born. The novel is built around her teenager's need to discover The Truth℠ (as if such a thing exists!) about her parents and thus her own past.

There are chapters from Elsa's PoV, and Elsa's close-as-a-sister, distant cousin, and fellow emigrant from the war zone "Mama" (as Lydia calls her, along with the others in their close-knit community) Zewdi Naizghi. All these women are fully in charge of their survival in the US, relying on themselves and each other; men are relegated to margins and edges of lives they are constructing for themselves. The first rock dropped in this relatively calm pond is Mama Zewdi's borning interest in a man who wants her to come to California to be with him, the second is the arrival from Addis Ababa of eighteen-year-old cousin Berekhet, who's sent there from a need to have doctors for newly-independent Eritrea.

All these volatilities in place and all stemming from the successful struggle for independence, there is a reckoning to be had among these women...with the past, with the demands of life in a new world meeting the needs of the old world's ties and tumult, with the conscious desire to form an identity rooted in one's past but portable into a future of one's own design. It is here I felt debut Author Mezghebe fell into an understandable cognitive dissonance. She definitely needed to set the stage for some Eritrean revelations. The clues she scattered were a bit too obviously clues. I can't cite my examples because I live in quaking terror of the Spoiler Stasi. The fact is they were overly set up as clues; it's a forgivable sin in a debut novel. I can't give her the perfect five her character-building work and her hunger-inducing facility with food description would've merited on its own.

I can happily and very slightly forcefully encourage you to get the story into your head. I was deeply invested in Lydia's borning identity, I was so annoyed at everyone demanding Mama Zewdi's attention, I was so keen to know what was powering Elsa's slightly off actions. I didn't get *as* invested in Berekhet, but I don't think I was meant to.

What I was offered in this read was the interesting idea that the past an immigrant brings to their new country does not necessarily require them to amputate it to become intentionally of their new home; but not reckoning with that past will effectively block any sense of belonging anywhere...including one's own family.

Supporting this debut novelist with your attention will reward you with outsized new ideas about the driving forces behind immigrants' decisions to move to a new country, about the consequential, inescapable role one's personal past plays in the rest of one's life, and about family's meanings and mutabilities.

THE JAGUAR'S ROAR, Brazil's Indigenous genocide wasn't always physical

THE JAGUAR'S ROAR
MICHELINY VERUNSCHK (tr. Juliana Barbassa)
Liveright (non-affiliate Bookshop.org link)
$27.99 hardcover, available now

Rating: 4* of five

The Publisher Says: The story of an Indigenous girl’s kidnapping during a colonial expedition intertwines with a young woman’s modern-day search for identity and ancestral truths.

In 1817, explorers Spix and Martius returned from their three-year voyage in Brazil with not only an extensive account of their journey, but also with an Indigenous boy and girl, Iñe-e and Juri. Kidnapped from rival tribes as part of the colonialist trend of collecting “living specimens” on scientific expeditions, the two tragically perished shortly after arriving in Europe. This lyrically rich novel takes their perspective to illuminate their harrowing journey.

Micheliny Verunschk’s fifth novel, the first to be translated into English, powerfully challenges dominant historical narratives by centering the voices of these stolen Indigenous children. Intertwining their story with a narrative set in contemporary Brazil, we meet Josefa, a young woman grappling with her own identity when she encounters Iñe-e’s image in an exhibition. Through its poignant exploration of memory, colonialism, and belonging, this novel stands out in Brazilian literature, offering readers a profound reflection on the enduring impact of history on personal lives.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: Pay attention! I think that could be the epigraph of this story as told by Author Verunschk. It starts with a lithograph of a stolen Indigenous child that alters someone's internal compass, there must be some reason I'm seeing this thinks Josefa; it continues as the story of the stolen child, Iñe-e, is revealed to Josefa, then the reader; it concludes its course with History being revealed as a polyphonic braid of voices, one we must always realize we are selectively seeing in parts.

One part Josefa, descendant of colonizers, never considered was the cultural arrogance of the colonial project she inherited. It can easily veer into trauma porn, that; it gets away from the dreaded, dreadful inauthenticity of trauma porn by going into the other register of eyebrow-raising Othering, the Holy/Saintly/Betterness of Indigenous exoticization. I can't read Portuguese but I will stake my imaginary bank account on the fact that there are colonizers' descendants in Brazil who feel this book is an accusation, a finger-wagging jeremiad. (In under 200pp, that's a hard feat; it's also not true for all of me.) I've got to acquire Brazilian Portuguese so I can look into the native-language reviews.

While I applaud the inclusion in this story of non-human narrators, I don't think it necessarily makes the read more accessible to general audiences. It's often unclear when PoVs switch, a jarring experience for the uninitiated; I'm not saying it shouldn't be done simply noting that this is not a story to pick up unless you can devote real attention to it. It's quite short, it's really beautifully written, and it's telling a really interesting story. It's not a cocktail-peanut read to be chucked unthinkingly into your eyes, but a glorious spread of literary tapas or sashimi in great variety to be savored bit by bit.

I think it's beautiful, but flawed. It should be read by all interested in books about memory and its edit buttons, focusing on what they elide.