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“... Most of us, it seems, tend to think of the ‘hero’ as someone who never hesitates. As soon as he has made up his mind, he acts. But in Hesitant Heroes Theodore Ziolkowski identifies texts central to the Western canon – the Oresteia, the Aeneid, Parzival, Hamlet, Wallenstein – which show heroes who hesitate at the moment of decision. He argues that each of these works uses the personal hesitation of a single character to represent a broad cultural crisis, a shift in values from one ethical or social norm to another ...”

“... The epigraph to Drinking Coffee Elsewhere comes from Alex Haley’s Roots: ‘The histories have been written by the winners.’ The implication is that this collection will give us the voice of the losers. But ZZ Packer looks like an outsider only if you concentrate exclusively on racial identity. She went to Yale and then to the Iowa Writers’ Workshop ...”

“... Some time around the ninth century, Sappho’s nine books were irrecoverably lost. We have some tantalising scraps, single lines and short quotations, but only one complete poem – the ‘Ode to Aphrodite’ (Fragment 1), which is quoted by Dionysius of Halicarnassus. A few longish passages from other poems have been preserved in other authors: the most famous is Fragment 31 (‘He seems to me equal to gods’), quoted at length in On the Sublime ...”

“... When​ Cardi B and Megan Thee Stallion released ‘WAP’ in August 2020, ‘conservative’ commentators such as Tucker Carlson expressed outrage that the song might corrupt ‘your granddaughters’; Alyssa Rosenberg in the Washington Post celebrated it as an ‘ode to female sexual pleasure’. The video featured the two long-lashed goddesses twerking their way through a gilded McMansion in fabulous candy-coloured outfits, like bethonged Disney princesses ...”

“... When the Romans won wars, they brought home large numbers of enslaved foreign prisoners, to work the fields, mills and mines of the countryside, and to provide an enormous range of domestic services for wealthy city-dwellers. Slaves did the hard labour, but they were also essential for all the things that made a rich Roman’s life comfortable. Most of the work we would classify as part of the ‘service industry’ or the ‘entertainment industry’ was done by slaves ...”

“... Aeschylus’​ Oresteia begins with the story of a grieving, righteously angry woman seeking justice for her daughter. The child was killed by her father, the woman’s husband, in order to enable a vast war. Each of the three plays is radically different in style, mood and action. But each centres on female anger and female grief at violent loss of life and the willingness of family members to kill one another ...”

“... So great was the Greeks’ concern with living too long – what Emily Wilson calls ‘overliving’– that they had a cautionary myth about it. The immortal rosy-fingered Eos, who is renewed each night by a therapeutic plunge into Okeanos, falls in love with the mortal Tithonos, abducts him, and bears him off to a life of everlasting love at the ends of the earth ...”

“... warns his correspondent to stay out of politics altogether. The new biographies by James Romm and Emily Wilson explore the tensions generated by Seneca’s life and legacy without resorting to the reductive choice between saint and hypocrite, Stoic idealist or stony practitioner of realpolitik. Romm admits that his mission to make a convincing single ...”

“... girls immediately or allow them one more gaudy night? He tells himself to swallow his anger. As Emily Wilson has it in her sprightly rendering:       ‘Be strong, my heart. You were hounded by worse the day the Cyclops ate your strong companions. But you kept your nerve, till cunning saved you from the cave; you thought that you would die ...”

“... the Roman army, the holy martyrs should not take pride in spilling their blood for their faith. Emily Wilson’s book The Death of Socrates provides an interesting counterpart to much of this discussion of the Roman way of death. Socrates’ death, of course, was not a suicide but the result of a sentence passed by an Athenian jury. ...”

“... portrays the precariousness and fragility of human lives, not their culmination in calamity. As Emily Wilson points out in the first volume of this ambitious history of the form, tragedy in ancient times was confined to the theatre. You couldn’t have a tragic novel or a tragic view of the world. Nor could you have a tragic famine or case of heart ...”

“... writers and translators from Greek and Latin have come to increased prominence: Alice Oswald, Emily Wilson and Natalie Haynes have been among those offering new perspectives on Homer. Shadi Bartsch explicitly places her translation of Virgil in the context of her own peripatetic childhood and her subsequent experience building a career in a ...”

“... modest than Knebworth, though designed by Edwin Lutyens, who was married to Constance’s sister Emily. Lutyens was said by his biographer to have seen it ‘as a doll’s house’: ‘The architect would suddenly remove the front and reveal at each end two women employed after their own hearts.’ In truth, however, both women in the doll’s house toiled ...”

“... A plop on the doormat and Volume 177 in the Library of America is in the house: Edmund Wilson’s writings from the 1930s and 1940s, including Classics and Commercials, The Triple Thinkers and The Wound and the Bow. There is something appropriate and even – without wanting to be corny about it – moving about seeing Wilson take his place in the Library of America ...”

“... themselves: in a sense, they became themselves. A process especially important for women writers. Emily Brontë was in her own way a self-dramatiser, Charlotte a self-esteemer. Her example was easier to follow, much more influential. When Aurora Leigh was published in 1857, reviewers pointed out a striking resemblance to much in the plot of Jane Eyre. Romney ...”