It took me three months to wade through Robert Fagles’ 600 page translation of the Iliad. There were days when, exhausted, like the warriors, I felt I could not go on. It is brutal, graphic and relentless in its description of how one after another of the men are slaughtered, and, as each one falls, he is named and often his family and origins recorded in excrutiating detail. Yet something compelled me on. There is Achilles, the loner, a romantic human figure among the automatons, the one whose rage begins the book. There are the gods, whose arguments change the course of the war and whose voices act like the consciences of the protagonists. There is the music of the verse, because this is epic poetry, and whether Homer was the sole author, or whether it is the work of generations, there is a rhythm to the narrative, woven out of repetition, it riffs like jazz, it thunders like techno. Phrases like ‘wine dark sea’ ‘grain giving earth’ and ‘unharvestable sea’ appear again and again, like a chant that lulls the reader into the landscape of the beached ships, the citadel on the horizon, shimmering in the heat. In The Mighty Dead Adam Nicolson contends that the origin of the Iliad can be traced back to as early as 1700 BCE, to the ancestral homeland of Achilles, the steppes between the Caspian and Black seas. We know the Trojan Wars took place in the Bronze Age, just before the mysterious collapse of many eastern Mediterranean civilisations, so the Iliad may have travelled hundreds of years before it was commited into writing by the man we know as Homer. No other work of European literature can claim such a formidably long gestation, so it is no wonder deep and ancient tradition, a civilisation long lost, ‘floats all through the songs like dust through air.’ Fagles’ translation is stunning, and finding my way through it, continually cross referencing protagonists, place names and gods has been one of the most profound experiences of my reading life.