Search results for ""Author Isobel Williams""

Petty Officer Edgar Evans was Captain’s Scott’s ‘giant worker’ and his ‘invaluable assistant’. He went with Scott on both the British Antarctic Expeditions of the early 1900s – the ‘Discovery’ expedition of 1901 and the ‘Terra Nova’ expedition in 1910 – distinguishing himself on both. In 1903, with Scott, Edgar made the first long and arduous sortie onto the Plateau of Victoria Land. The journey highlighted Edgar’s common sense, strength, courage, wit and unflappability. Thus it came as no surprise when, in 1911, Edgar was chosen by Scott to be one of the five men to go on the final attempt at the South Pole. Tragically the ‘Welsh Giant’ was the first to die on the ill-fated return, and posthumously Edgar was blamed in some quarters for causing the deaths of the whole party. It was suggested that his failure was due to his relative lack of education, which made him less able to endure the conditions than his well-educated companions. Isobel Williams repudiates this shameful suggestion and redresses the balance of attention paid to the upper and lower-deck members of Scott's famous expeditions.

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Edward Wilson (1872-1912) accompanied Robert Falcon Scott on both his celebrated Antarctic voyages: the Discovery Expedition of 1901-1904 and the Terra Nova Expedition of 1910-1913. Wilson served as Junior Surgeon and Zoologist on Discovery and, on this expedition, with Scott and Ernest Shackleton he set a new Furthest South on 30 December 1902. He was Chief of Scientific Staff on the Terra Nova Expedition and reached the South Pole with Scott, Lawrence Oates, Henry Robertson Bowers and Edgar Evans on 18 January 1912, arriving there four weeks after the Norwegian explorer Roald Amundsen. Wilson and his four companions died on the return journey. Trained as a physician, Wilson was also a skilled artist. His drawings and paintings lavishly illustrated both expeditions. He was the last major exploration artist; technological developments in the field of photography were soon to make cameras practical as a way of recording journeys into the unknown. This biography, the first full account of the Antarctic hero, traces his life from childhood to his tragic death.

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During the latter phases of Covid, Isobel Williams completed her celebrated translations of the polyamorous ancient Roman poet Catullus. The poems that proved impossible when she prepared Shibari Carmina, published to acclaim in 2021, finally surrendered to her. 'Translating Catullus has been, for me, like cage fighting with two opponents, not just A Top Poet, but the schoolgirl I was, trained to show the examiner that she knew what each word meant.' The conflict was resolved by a third component, the context of shibari, a Japanese form of rope bondage with its own knotty terminology. Due to its severe restraints Catullus came alive in all his 'tormented intelligence and romantic versatility'. Critics called the work 'explosive and impactful', 'one of the most exciting translation volumes of recent years', 'lyrical, funny, engaging, and insightful', 'a bracingly foul, but also a shrewd and funny Catullus' – 'Isobel Williams' naughty translation puts the Roman poet in a bondage dungeon.' He will never be quite the same again. Switch joins Carcanet's Classics series. Like its incomplete predecessor it is illustrated with bondage drawings by the translator herself. She adds a 'who shagged whom' chart so readers can move confidently from one engagement to the next.

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A Telegraph Best New Poetry Books for Christmas 2021. Carcanet publishes several Catulluses: C.H. Sisson's, Len Krisak's, Simon Smith's. But Isobel Williams's Catullus: Shibari Carmina is different in kind from the earlier versions. 'Translating Catullus has been, for me, like cage fighting with two opponents,' the translator writes: 'not just A Top Poet, but the schoolgirl I was, trained to show the examiner that she knew what each word meant.' The struggle is intensified by the presence of a third element, something that made Catullus come alive, his 'tormented intelligence and romantic versatility'. 'It eventually happened at a fetish venue in South London, The Flying Dutchman - an echo of Catullus's doomed obsessive love? Someone at life class, knowing I like a drawing challenge, had told me about a Japanese rope bondage (shibari) club called Bound. I asked the management if I could draw there; on arrival I was treated like the Queen Mother. Best of all, the schoolgirl was too young to be let in.' The dynamics of shibari released Catullus from conventional constraints and delivered him to new rigours: 'I found context, metaphor and idiom for Catullus - whom one could glibly define as a bisexual switch from the late Roman Republic when such concepts were meaningless: a stern moralist who splits into an anxious bitchy dominant with the boys, a howling sub with his nemesis, the older glamorous married woman he calls Lesbia (here called Clodia, which might have been her real name).' The poet uses the terminology and forms of social media, a very contemporary idiom which is at once subjected to severe scholarship and tight syntactical discipline. All the crucial language knots are firmed up, the sense of the Latin emerges with Catullus's own laughter restored, along with the other registers of love and loss. Isobel Williams's drawings add immediacy to her versions which 'are not (for the most part) literal translations, but take an elliptical orbit around the Latin, brushing against it or defying its gravitational pull.'

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