there's something moving over me

Upside Down . Pompon (Detail) - Olivier Neuray , 2025.

Belgian , b. 1962 -

Most straight women I knew, no doubt due to their socialization as girls and women, appreciated men’s bodies for their sexual functionality but not as a site of objectification that they were excited to dive into and explore—to smell, taste, or penetrate. Similarly, I have been to dozens of dyke strip shows, burlesque shows, drag-king shows, and sex shows in which women’s armpit hair and leg hair and facial hair or their body fat or their genderqueer bodies have been precisely the objects of the audience’s collective lust. Fat bodies and hairy bodies are also staples of queer dyke porn, not relegated to a fetish category. In other words, queer desire is marked by a lustful appreciation for even those parts of men’s and women’s bodies that have been degraded by straight culture. Like a food adventurer who delights in those parts of the animal or plant deemed undesirable by the narrowing of mainstream tastes, queer people’s desire for the full animal has been less constrained. Recognizing this suggests that gay men may have a deeper or more comprehensive appreciation for men’s bodies than do straight women, just as lesbians’ lust for women is arguably more expansive and forgiving than straight men’s. But most importantly, because queer circuits of desire do not rely on the erotic encounter of “opposites” embedded in a broader culture of gendered acrimony and alienation, queer lust need not reconcile a conflict between wanting to fuck and generally disliking one’s fuckable population.”]

Benjamin Foster’s Gilgamesh condenses all the different tablets we’ve found together to make one cohesive narrative which is way less intimidating and therefore my go-to if you want something that feels cohesive while also sticking very close to the language of the original. 10/10

Andrew George is the most thorough and up-to-date, and sticks as close to the text as you can get. It does, however, separate out all the different tablets, and feels very unedited in its style. Definitely not a “pretty” version. 10/10 cuz he’s a legend and this is the most definitive scholarly edition but don’t start with it.

Maureen Kovacs has a lovely translation with some very interesting footnotes on word choices. Her Ninsun is absolutely incredible and if you want to cry your eyes out over Gilgamesh’s fate that’s the one for you. It’s one step up from Foster’s in terms of poetic-ness but still pretty close to the original. 8/10

Sophus Helle is more poetic than Kovacs but BRILLIANT, one of my favourite Enkidus and his Shamhat is wonderful. Top favourite of all time. This is a very good starting point. 9/10

I wouldn’t recommend Sandars simply because it’s prose, and also condenses the twelfth tablet into a nice tidy ending that doesn’t really work with the Standard Babylonian narrative. 6/10

Lewis’ Gilgamesh Retold is more of a poetic retelling than a translation; it’s beautiful but definitely not a starting point. Sweet and gentle Enkidu though, very charming. 7/10

Stephen Mitchell I’m not a fan of. He smooths the poem out into something tame and very expected. This is my personal bias but I really dislike his Shamhat. His Enkidu and Gilgamesh are also explicitly more like brothers, which is a valid interpretation but also again not one I lean towards. 5/10

Herbert Mason’s Gilgamesh has some stunning moments in it (Enkidu! They do not know you like I know you!) However it is nowhere near the real text BUT closer than Lewis’. Changes the ending of the poem so it’s about Gilgamesh mourning Enkidu rather than mourning his own mortality; a much sadder conclusion with less resolution than in the Standard Babylonian. 7/10

BONUS ROUND:

Derek Hines’ play GILGAMESH is fucking DERANGED guys. Ten Gilgillion out of ten.