Zachary Mason is a computer scientist specializing in artificial intelligence. He was a finalist for the 2008 New York Public Library Young Lions Fiction Award. The label for the latter is pasted on one of the copies of this book.This is a first edition and only edition of this novel. It was later revised in an edition published by Farrar, Straus and Giroux that omitted the lengthy Introduction and the Appendix present in the first version and substituted a brief preface. This first version depicts three abstract images that have deleted from the revised version. Both versions of this book are held by the Sackner Archive.From Publishers Weekly: Mason's fantastic first novel, a deft reimagining of Homer's Odyssey, begins with the story as we know it before altering the perspective or fate of the characters in subsequent short story--like chapters. Legendary moments of myth are played differently throughout, as when Odysseus forgoes the Trojan horse, or when the Cyclops"”here a gentle farmer"”is blinded by Odysseus while he burgles the Cyclops's cave. Mason's other life"”as a computer scientist"”informs some chapters, such as The Long Way Back in which Daedalus's labyrinth ensnares Theseus in a much different way. Part of what makes this so enjoyable is the firm grasp Mason has on the source material; the footnotes double as humorous asides while reminding readers who aren't familiar with the original that, for instance, Eumaios is the swineherd who sheltered Odysseus when he first returned to Ithaca and later helped him kill the suitors. This original work consistently surprises and delights.Cordelia: When the author gave his first reading of this book in New York he spoke about the book in clinical terms; its use of mathematical principles, the book as a study of recursion. But this book could not be less clinical. Though the tale is told in vignettes, each offers a different window into a sliver of the human condition with all its pain and drama and the emotions that motivate a human life. A beautiful treatment not just of Odysseus, but also of Homer's other characters, the novel fleshes out these iconic figures so that they can be touched and tasted and felt. In the Jewish tradition there is the idea of writing midrash -- stories that explain the tales from the bible by filling in the human connections between the lines. Mr. Mason has succeeded in writing very believable midrash on the Homeric epics which illuminate the text by giving us further angles by which to view. Mary Whipple: Unlike the Odyssey translations by poets Robert Fitzgerald and Richmond Lattimore, Zachary Mason's newly published version of The Odyssey takes a post-modernist approach--casual, playful, earthy, and even scatological. Using the traditional story of the Odyssey as his starting point, Mason gives his own take on various episodes from that epic, jumping around in time and place, changing major aspects of the story, adding new episodes, and providing unique points of view. Odysseus is not an epic hero here. Rather, he is an often arrogant man who loves killing, often acts cruelly, and even makes mistakes, a real man whom Athena abandons for part of the narrative. In Mason's version of this epic, the story lines change. Odysseus himself vies for the hand of Helen and has some success in winning her. After the death of Achilles, Odysseus creates a golem of Achilles out of clay so that Achilles can keep fighting. He tells the tale of Polyphemus, the giant, from Polyphemus's point of view, that of a peaceful farmer who offers hospitality to the men whom he finds occupying his cave when he returns home, and the payment they give him. Mason gives several different accounts of Odysseus's return home (choose your favorite)-in one, Penelope is a "shade," a ghostly presence whom he cannot touch. In another, she has given up waiting for him and found another husband. At other times, she is described as still bedeviled by the suitors. In yet another, Odysseus returns to find his entire city abandoned. Even Homer himself appears in this novel, lying in a hammock and dreaming of discovering a great book. Odysseus, on the other hand, actually finds a copy of the Iliad, written by the gods before the Trojan War, in Agamemnon's cabin on the ship. Gods and goddesses flit in and out, take the appearance of humans, play tricks, and have love affairs. Tightrope walkers, Alexander the Great, and even the doctors and nurses of a sanatorium appear and disappear. Though some reviewers say that knowledge of the "real" Odyssey is not a prerequisite to the enjoyment of this book, all the humor depends on that knowledge. The ironies, absurdities, twists and turns, and shifts in point of view need the context of the original epic to have any meaning for the reader. Lovers of postmodern fiction, with its abandonment of boundaries and its open, free-for-all attitudes will find much to love in this novel, which looks at the Odyssey through a new lens. -- Source of annotation: Marvin or Ruth Sackner.