4.0
Metamorphoses
ByPublisher Description
The first female translator of the epic into English in over sixty years, Stephanie McCarter addresses accuracy in translation and its representation of women, gendered dynamics of power, and sexual violence in Ovid’s classic.
A Penguin Classic Hardcover
Ovid’s Metamorphoses is an epic poem, but one that upturns almost every convention. There is no main hero, no central conflict, and no sustained objective. What it is about (power, defiance, art, love, abuse, grief, rape, war, beauty, and so on) is as changeable as the beings that inhabit its pages. The sustained thread is power and how it transforms us, both those of us who have it and those of us who do not. For those who are brutalized and traumatized, transformation is often the outward manifestation of their trauma. A beautiful virgin is caught in the gaze of someone more powerful who rapes or tries to rape them, and they ultimately are turned into a tree or a lake or a stone or a bird. The victim’s objectification is clear: They are first a visual object, then a sexual object, and finally simply an object. Around 50 of the epic’s tales involve rape or attempted rape of women. Past translations have obscured or mitigated Ovid’s language so that rape appears to be consensual sex. Through her translation, McCarter considers the responsibility of handling sexual and social dynamics.
Then why continue to read Ovid? McCarter proposes Ovid should be read because he gives us stories through which we can better explore ourselves and our world, and he illuminates problems that humans have been grappling with for millennia. Careful translation of rape and the body allows readers to see Ovid’s nuances clearly and to better appreciate how ideas about sexuality, beauty, and gender are constructed over time. This is especially important since so many of our own ideas about these phenomena are themselves undergoing rapid metamorphosis, and Ovid can help us see and understand this progression. The Metamorphoses holds up a kaleidoscopic lens to the modern world, one that offers us the opportunity to reflect on contemporary discussions about gender, sexuality, race, violence, art, and identity.
A Penguin Classic Hardcover
Ovid’s Metamorphoses is an epic poem, but one that upturns almost every convention. There is no main hero, no central conflict, and no sustained objective. What it is about (power, defiance, art, love, abuse, grief, rape, war, beauty, and so on) is as changeable as the beings that inhabit its pages. The sustained thread is power and how it transforms us, both those of us who have it and those of us who do not. For those who are brutalized and traumatized, transformation is often the outward manifestation of their trauma. A beautiful virgin is caught in the gaze of someone more powerful who rapes or tries to rape them, and they ultimately are turned into a tree or a lake or a stone or a bird. The victim’s objectification is clear: They are first a visual object, then a sexual object, and finally simply an object. Around 50 of the epic’s tales involve rape or attempted rape of women. Past translations have obscured or mitigated Ovid’s language so that rape appears to be consensual sex. Through her translation, McCarter considers the responsibility of handling sexual and social dynamics.
Then why continue to read Ovid? McCarter proposes Ovid should be read because he gives us stories through which we can better explore ourselves and our world, and he illuminates problems that humans have been grappling with for millennia. Careful translation of rape and the body allows readers to see Ovid’s nuances clearly and to better appreciate how ideas about sexuality, beauty, and gender are constructed over time. This is especially important since so many of our own ideas about these phenomena are themselves undergoing rapid metamorphosis, and Ovid can help us see and understand this progression. The Metamorphoses holds up a kaleidoscopic lens to the modern world, one that offers us the opportunity to reflect on contemporary discussions about gender, sexuality, race, violence, art, and identity.
Download the free Fable app
Stay organized
Keep track of what you’re reading, what you’ve finished, and what’s next.
Build a better TBR
Swipe, skip, and save with our smart list-building tool
Rate and review
Share your take with other readers with half stars, emojis, and tags
Curate your feed
Meet readers like you in the Fable For You feed, designed to build bookish communitiesStay organized
Keep track of what you’re reading, what you’ve finished, and what’s next.Build a better TBR
Swipe, skip, and save with our smart list-building toolRate and review
Share your take with other readers with half stars, emojis, and tagsCurate your feed
Meet readers like you in the Fable For You feed, designed to build bookish communitiesMetamorphoses Reviews
4.0
Elisabeth
Created 9 days agoShare
Report
Des
Created about 1 month agoShare
Report
“Finishing Ovid felt like watching the myths dissolve into philosophy — the storyteller stepping aside to let the thinker speak. Pythagoras’ words reframed everything that came before: all the transformations of gods, mortals, and beasts became proof of one quiet truth — nothing dies, it only changes form.
There’s comfort in that idea, and also unease. It softens loss but also denies permanence. Even the stars aren’t fixed, he says; they turn and drift, remade by time. And then, Ovid pivots — from cosmic cycles to Rome’s own rebirth — as if to remind us that empires too are just another metamorphosis.
It struck me as a bridge between myth and reason, between the magic of the ancients and the restless curiosity of later minds like Dante or Newton. For Ovid, transformation isn’t punishment or miracle anymore; it’s simply nature’s grammar.
I closed the book feeling both smaller and more infinite — one ripple in a sequence of changes that never truly ends.”
Harry
Created 3 months agoShare
Report
mayaslittlelibrary
Created 4 months agoShare
Report
“I read some of them just for a project. I loved this translation.”
About Ovid
Ovid (43 BC-AD 17) was born in central Italy. He was sent to Rome where he realised that his talent lay with poetry rather than with politics. His first published work was Amores, a collection of short love poems. He was expelled in A.D. 8 by Emperor Augustus for an unknown reason and went to Tomis on the Black Sea, where he died.
Stephanie McCarter is Professor of Classical Literature at the University of the South in Sewanee. She has published translated work on Horace and has written for Sewanee Review, Eidolon, Electric Literature and The Millions.
Stephanie McCarter is Professor of Classical Literature at the University of the South in Sewanee. She has published translated work on Horace and has written for Sewanee Review, Eidolon, Electric Literature and The Millions.
Other books by Ovid
Start a Book Club
Start a public or private book club with this book on the Fable app today!FAQ
Do I have to buy the ebook to participate in a book club?
Why can’t I buy the ebook on the app?
How is Fable’s reader different from Kindle?
Do you sell physical books too?
Are book clubs free to join on Fable?
How do I start a book club with this book on Fable?
Books Similar to Metamorphoses
Save to a list
0
/30
0
/100
Private List