Jenny Lewis relocates Gilgamesh to its earlier, oral roots in a Sumerian society where men and women were more equal, the reigning deity of Gilgamesh's city, Uruk, was female (Inanna), only women were allowed to brew beer and keep taverns and women had their own language – emesal. With this shift of emphasis, Lewis captures the powerful allure of the world's oldest poem and gives it a fresh dynamic while creating a fastpaced narrative for a new generation of readers.

The Epic of Gilgamesh is the oldest written chronicle in the world, composed two to three thousand years before Christ. It tells events in the life of a king in an ancient Sumerian city of Mesopotamia.In the tradition of the Greek Iliad or the medieval Beowulf, the heroic central figure is admired for his prowess and power; he is a warrior, whose greatest adventures are here recounted, sometimes fantastic and ultimately magical, as he ventures beyond the bounds of the world. The Epic of Gilgamesh is an artifact of the first civilization, that which is the father and mother of our own civilization. It is like the great-great-great-grandparent whose name you do not know but without whom you would not exist. There are many matters that are not believable to us—monsters, deities, and places that we do not think exist, nor ever existed. Yet we can perceive in Gilgamesh a person like ourselves. This is the story of a man, not a god. We understand him, even if we do not understand or believe all that he does. Gilgamesh is the first literature of mankind to express the human condition.

Reflections on a lost poem and its rediscovery by contemporary poets Gilgamesh is the most ancient long poem known to exist. It is also the newest classic in the canon of world literature. Lost for centuries to the sands of the Middle East but found again in the 1850s, it tells the story of a great king, his heroism, and his eventual defeat. It is a story of monsters, gods, and cataclysms, and of intimate friendship and love. Acclaimed literary historian Michael Schmidt provides a unique meditation on the rediscovery of Gilgamesh and its profound influence on poets today. Schmidt describes how the poem is a work in progress even now, an undertaking that has drawn on the talents and obsessions of an unlikely cast of characters, from archaeologists and museum curators to tomb raiders and jihadis. Fragments of the poem, incised on clay tablets, were scattered across a huge expanse of desert when it was recovered in the nineteenth century. The poem had to be reassembled, its languages deciphered. The discovery of a pre-Noah flood story was front-page news on both sides of the Atlantic, and the poem's allure only continues to grow as additional cuneiform tablets come to light. Its translation, interpretation, and integration are ongoing. In this illuminating book, Schmidt discusses the special fascination Gilgamesh holds for contemporary poets, arguing that part of its appeal is its captivating otherness. He reflects on the work of leading poets such as Charles Olson, Louis Zukofsky, and Yusef Komunyakaa, whose own encounters with the poem are revelatory, and he reads its many translations and editions to bring it vividly to life for readers.

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.

A new verse rendering of the great epic of ancient Mesopotamia, one of the oldest works in Western Literature. Ferry makes Gilgamesh available in the kind of energetic and readable translation that Robert Fitzgerald and Richard Lattimore have provided for readers in their translations of Homer and Virgil.

A major publishing event - two of the UK's outstanding prize-winning artists working together for the first timeThe legend of Gilgamesh is the oldest written story, pre-dating both The Bible and The Iliad. An epic story about a quest for immortality, it also includes a legend of the Flood that is remarkably similar to the story of Noah.* Geraldine McCaughrean has won every major prize for children's literature in this country, including the Carnegie Medal, the Whitbread Award, the Guardian Children's Fiction Award, and, most recently, The Blue Peter Best Book to Keep Forever Award.* David Parkins is a highly acclaimed artist, and has been shortlisted for the Kurt Maschler and Smarties awards. He received many critical accolades for God's Story with Jan Mark

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National Book Award Finalist: The most widely read and enduring interpretation of this ancient Babylonian epic. One of the oldest and most universal stories known in literature, the epic of Gilgamesh presents the grand, timeless themes of love and death, loss and reparations, within the stirring tale of a hero-king and his doomed friend. A National Book Award finalist, Herbert Mason’s retelling is at once a triumph of scholarship, a masterpiece of style, and a labor of love that grew out of the poet’s long affinity with the original. “Mr. Mason’s version is the one I would recommend to the first-time reader.” —Victor Howes, The Christian Science Monitor “Like the Tolkien cycle, this poem will be read with profit and joy for generations to come.” —William Alfred, Harvard University

In this second volume in the Gilgamesh trilogy, Enkidu joins Gilgamesh in the quest to slay Humbaba, the monster who has attacked the city and caused great destruction, including the death of the beautiful singer, Shamat. Gilgamesh and Enkidu successfully slay the monster and in so doing, Gilgamesh attracts the attention of the goddess Ishtar. In rejecting her advances, he incurs her revenge and an attack by the Bull of Heaven. Enkidu manages to kill the bull, but is slain by Ishtar, striking at the bond between the two friends. Shattered, Gilgamesh vows he will destroy the last monster: death.