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Ist Helena je in Troja gewesen? Wurde der Krieg einst um ein Trugbild von ihr geführt? Und mit welchen Listen könnte es gelingen, der Gewalt der Männer und ihrer Welt zu entkommen? In Norma Jeane Baker von Troja verschmilzt Anne Carson die ikonischen Frauengestalten Marilyn Monroe (geboren Norma Jeane Baker) und Euripides' Helena. Sie erkennen sich als überzeitliche Objekte männlichen Begehrens, und wir erkennen in ihnen widerständige Zauberinnen des Menschengeschicks. Während Kriege ausbrechen und Männer sich und die Welt ins Verderben stürzen, nimmt das Drama seinen Lauf...

**New York Magazine's Top 10 Books of 2013**
**GoodReads Reader s Choice Award Winner**
Some years ago I wrote a book about a boy named Geryon who was red and had wings and fell in love with Herakles. Recently I began to wonder what happened to them in later life. Red Doc> continues their adventures in a very different style and with changed names.
To live past the end of your myth is a perilous thing.

"One of the most interesting gatherings of material that any poet has published within living memory." --The Economist
Simone Weil described "decreation" as "undoing the creature in us" -- an undoing of self. In her first collection in five years, Anne Carson explores this idea with characteristic brilliance and a tantalizing range of reference, moving from Aphrodite to Antonioni, Demosthenes to Annie Dillard, Telemachos to Trotsky, and writing in forms as varied as opera libretto, screenplay, poem, oratorio, essay, shot list, and rapture. As she makes her way through these...

In An Oresteia, the classicist Anne Carson combines three different versions of the tragedy of the house of Atreus -- A iskhylos' Agamemnon, Sophokles' Elektra and Euripides' Orestes. After the murder of her daughter Iphigeneia by her husband, Agamemnon, Klytaimestra exacts a mother's revenge, murdering Agamemnon and his mistress, Kassandra. Displeased with Klytaimestra's actions, Apollo calls on her son, Orestes, to avenge his father's death with the help of his sister Elektra. In the end, Orestes is driven mad by the Furies for his bloody betrayal of family....

The ancient Greek lyric poet Simonides of Keos was the first poet in the Western tradition to take money for poetic composition. From this starting point, Anne Carson launches an exploration, poetic in its own right, of the idea of poetic economy. She offers a reading of certain of Simonides' texts and aligns these with writings of the modern Romanian poet Paul Celan, a Jew and survivor of the Holocaust, whose "economies" of language are notorious. Asking such questions as, What is lost when words are wasted? and Who profits when words are saved? Carson reveals the two poets' striking...