"Splendid . . . Pinsky's verse translation is fast-paced, idiomatic, and accurate. It moves with the concentrated gait of a lyric poem . . . It maintains the original's episodic and narrative velocity while mirroring its formal shape and character . . . Pinsky succeeds in creating a supple American equivalent for Dante's vernacular music where many others have failed."—Edward Hirsch, The New Yorker

"We finally have an English Horace whose rhythmical subtlety and variety do justice to the Latin poet's own inventiveness, in which emotion rises from the motion of the verse . . . To sense the achievement, one has to read the collection as a whole . . . and they can take one's breath away even as they continue breathing."—Rosanna Warren, The Threepenny Review

"Hughes's rendering of this appalling story has the hurtling momentum one assumes the playwright's original Greek had for his Athenian audience . . . To release the play's staggering power Hughes has transformed some thoughtful scholarly commentary into raw horror and agonizing ethical dilemma . . . Ferociously physical . . . like the best of Hughes's own poems"—Ron Smith, Richmond Times-Dispatch

"Carson calls her book An Oresteia—as opposed to the Oresteia. This isn’t the trilogy of Aeschylus. Rather, the book consists of plays by three different authors: Aeschylus’ Agamemnon, Sophocles’ Electra, Euripides’ Orestes. Each takes up some aspect of the House of Atreus, whose members, relations and dependents included not only Agamemnon and Clytemnestra and Helen, but Orestes, Electra, Menelaus, Cassandra . . . Many of them, predictably, came to a bad end. Half a century separates Agamemnon from Orestes, and Carson, who supplies an introduction to each play, offers interesting speculation about how shifts in tone and perspective may reflect developments in Athenian history. Perhaps equally striking, however, is the continuity in her trilogy. In American poetry, anyway, 50 years is a long time (it would bridge the gulf between, say, Robert Frost and John Ashbery), and Carson’s intelligent compilation—an Oresteia—attests to our enduring fascination in watching the highest-born families laid low."—Brad Leithauser, The New York Times Book Review

"The perfect balance of detail and narrative excitement . . . [This is] the best single-volume version of the Ramayana."—Ariel Glucklich, Associate Professor of Religion, Georgetown University