The Inferno

“Halfway tree. The journey of our life found me / there at midnight in a ramshackle state.” So begins Lorna Goodison’s astonishing new translation of The Inferno by Dante, a poet she once described as “uncompromising as an old testament prophet, stern as a Rastafarian elder.”

For the last two decades, Goodison has translated and reimagined Dante’s cantos, setting the original poem into her native Jamaica and employing Jamaican expressions and sayings. In doing so, she has attempted to do for Caribbean vernacular what Dante did for his Italian language in the fourteenth century—endow it with an entirely new vocal music and power. In recreating the journey through the “unpaved and rocky road” of Dante’s Hell for a contemporary audience, Goodison has given us a dazzling and profound new narrative of spiritual yearning for our era.

Reviews:

“Caribbean vocabulary permeates Goodison’s thrilling new version of the medieval masterpiece. Inferno, which charts Dante’s journey through the nine circles of hell … an original and often brilliant reimagining of Inferno … Goodison’s approach combines fidelity and invention … she challenges conventional understandings of centre and periphery by insisting that her homeland has the right to the same careful representation as Dante’s Florence.” – Amanda Perry, The Walrus

“In this new spellbinding translation she retells the narrative of the spiritual journey in the vernacular of the Caribbean and guides us through the nine concentric circles of hell with the visionary and lyric force of the much-loved Florentine exile himself…. Lorna Goodison’s retelling of Dante’s Inferno is a celestial reckoning of epic proportions.” – Shazia Hafiz, Quill and Quire

“As a reader of Dante, I hope to follow Goodison’s speaker through Purgatorio and Paradiso, too. For now, however, this is a fascinating work: one that would appeal to those interested in Dante, the Caribbean, world literature, or translation, or simply those seeking to face the dread rising from the ground of the everyday.” -Brennan McCracken, Montreal Review of Books

“Blunt, stark, direct, and personal, the translator has no time, here or elsewhere in the thirty-four cantos, for any velvet glove treatment of the canonical work….She approaches this project as a dialogue with the Italian poet.” – Randy Boyagoda, Literary Review of Canada