The deeds and struggles of Gilgamesh, legendary king of the city-state Uruk in the land of Sumer, have fascinated readers for millennia. They are preserved primarily in the Epic of Gilgamesh, one of the most well-known pieces of Mesopotamian literature. Studying the text draws us into an orbit that is engaging and thrilling, for it is a work of fantasy and legend that addresses some of the very existential issues with which contemporary readers still grapple. We experience the excitement of trying to penetrate the mind-set of another civilization, an ancient one—in this instance, a civilization that ultimately gave rise to our own. The studies gathered here all demonstrate Tzvi Abusch’s approach to ancient literature: to make use of the tools of literary, structural, and critical analysis in service of exploring the personal and psychological dimensions of the narration. The author focuses especially on the encounters between males and females in the story. The essays are not only instructive for understanding the Epic of Gilgamesh, they also serve as exemplary studies of ancient literature with a view to investigating streams of commonality between ancient times and ours

Toward the end of the Mesopotamian Epic of Gilgamesh King, Gilgamesh laments the untimely death of his comrade Enkidu, 'my friend whom I loved dearly'. This book examines the stories' sexual and homoerotic language and suggests that its ambiguity provides fresh ways of understanding ideas of gender and sexuality in the ancient Near East.

Rivkah Harris’s cross-cultural and multidisciplinary approach breaks new ground in assessing Mesopotamian attitudes toward youth and mature adulthood, aging and the elderly, generational conflict, gender differences in aging, relationships between men and women, women’s contributions to cultural activities, and the "ideal woman." To uncover Mesopotamian perspectives, Harris combed through primary sources - including literature and myth, letters, economic and legal texts, and visual materials. Even such pivotal cultural influences as the Gilgamesh Epic and Enuma Elish are reinterpreted in an original manner.

This anthology translates and discusses texts authored by women of ancient Mesopotamia.

Cuneiform records made some three thousand years ago are the basis for this essay on the ideas of death and the afterlife and the story of the flood which were current among the ancient peoples of the Tigro-Euphrates Valley. With the same careful scholarship shown in his previous volume, The Babylonian Genesis, Heidel interprets the famous Gilgamesh Epic and other related Babylonian and Assyrian documents. He compares them with corresponding portions of the Old Testament in order to determine the inherent historical relationship of Hebrew and Mesopotamian ideas.

A poem for the ages, freshly and accessibly translated by an international rising star, bringing together scholarly precision and poetic grace "Sophus Helle's new translation . . . [is] a thrilling, enchanting, desperate thing to read."--Nina MacLaughlin, Boston Globe "Looks to be the last word on this Babylonian masterpiece."--Michael Dirda, Washington Post Gilgamesh is a Babylonian epic from three thousand years ago, which tells of King Gilgamesh's deep love for the wild man Enkidu and his pursuit of immortality when Enkidu dies. It is a story about love between men; loss and grief; the confrontation with death; the destruction of nature; insomnia and restlessness; finding peace in one's community; the voice of women; the folly of gods, heroes, and monsters--and more. Millennia after its composition, Gilgamesh continues to speak to us in myriad ways. Translating directly from the Akkadian, Sophus Helle offers a literary translation that reproduces the original epic's poetic effects, including its succinct clarity and enchanting cadence. An introduction and five accompanying essays unpack the history and main themes of the epic, guiding readers to a deeper appreciation of this ancient masterpiece.

Vivid, enjoyable and comprehensible, the poet and pre-eminent translator Stephen Mitchell makes the oldest epic poem in the world accessible for the first time. Gilgamesh is a born leader, but in an attempt to control his growing arrogance, the Gods create Enkidu, a wild man, his equal in strength and courage. Enkidu is trapped by a temple prostitute, civilised through sexual experience and brought to Gilgamesh. They become best friends and battle evil together. After Enkidu's death the distraught Gilgamesh sets out on a journey to find Utnapishtim, the survivor of the Great Flood, made immortal by the Gods to ask him the secret of life and death. Gilgamesh is the first and remains one of the most important works of world literature. Written in ancient Mesopotamia in the second millennium B.C., it predates the Iliad by roughly 1,000 years. Gilgamesh is extraordinarily modern in its emotional power but also provides an insight into the values of an ancient culture and civilisation.

"The Babylonian Gilgamesh epic is the oldest long poem in the world, with a history going back four thousand years. It tells the fascinating and moving story of Gilgamesh's heroic deeds and lonely quest for immortality. This book collects for the first time all the known sources in the original cuneiform, including many fragments never published before. The author's personal study of every available fragment has produced a definitive edition and translation, complete with comprehensive introductory chapters that place the poem and its hero in context."--Publisher's description.

In searching American literary landscapes for what they can reveal about our attitudes toward nature and gender, The Green Breast of the New World considers symbolic landscapes in twentieth-century American fiction, the characters who inhabit those landscapes, and the gendered traditions that can influence the figuration of both of these fictional elements. In this century, says Louise H. Westling, American literary responses to landscape and nature have been characterized by a puzzling mix of eroticism and misogyny, celebration and mourning, and reverence and disregard. Focusing on problems of gender conflict and imperialist nostalgia, The Green Breast of the New World addresses this ambivalence. Westling begins with a "deep history" of literary landscapes, looking back to the archaic Mediterranean/Mesopotamian traditions that frame European and American symbolic figurations of humans in the land. Drawing on sources as ancient as the Sumerian Hymns to Innana and the Epic of Gilgamesh, she reveals a tradition of male heroic identity grounded in an antagonistic attitude toward the feminized earth and nature. This identity recently has been used to mask a violent destruction of wilderness and indigenous peoples in the fictions of progress that have shaped our culture. Examining the midwestern landscapes of Willa Cather's Jim Burden and Ernest Hemingway's Nick Adams, and the Mississippi Delta of William Faulkner's Thomas Sutpen and Isaac McCaslin and Eudora Welty's plantation families and small-town dwellers, Westling shows that these characters all participate in a cultural habit of gendering the landscape as female and then excusing their mistreatment of it by retreating into a nostalgia that erases their real motives, displaces responsibility, and takes refuge in attitudes of self-pitying adoration.