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A publication of the American Philological Association Vol. 9 • Issue 1 • Spring 2010

CLASSICS REWRITTEN IN Book Review: Percy STONE: THE ART OF ANITA Jackson & The Olympians HUFFINGTON by James J. O’Hara and Marika A. O’Hara Rick Riordan. Percy Jackson & The by Kirsten Day Olympians. 5 vols. Disney Hyperion, 2005-2009. The Lightning Thief. 2005. lthough unfamiliar to most classi- cists, the work of internationally Hardcover. Pp. 384. ISBN 064172344X. A Paperback. Pp. 392. ISBN 0786838655. acclaimed sculptor Anita Huffing- ton embodies the classical spirit in The Sea of Monsters. 2006. Hardcover. important ways. Huffington often draws Pp. 288. ISBN 0786856866 Paperback. from classical mythology when titling her Pp. 304. ISBN 1423103343. The Titan’s works, and her fragmentary, eroded Curse. 2007. Hardcover. Pp. 320. ISBN figures physically echo the remains of 1423101456. Paperback. Pp. 336. ISBN classical and archaic sculptures. But more important, the ways that Huffington’s 1423101480. The Battle of the Labyrinth. life experiences relate to the prominent 2008. Hardcover. Pp. 368. ISBN appearance of ancient art and mythology 1423101464. Paperback. Pp. 384. ISBN in her work illustrate why these myths 1423101499. The Last Olympian. 2009. have proved so enduring. As art critic Hardcover. Pp. 400. ISBN 1423101472. Amei Wallach has said, Huffington’s art Paperback. Pp. 400. ISBN 1423101505. strives to “. . . reconnect us across cen- turies and continents with what has always been most human and most true. hen dyslexic, A.D.H.D.-hampered middle-schooler Percy Jackson’s That primal connection has from the first Fig. 1. Persephone (1999). W been a cardinal task of art making, but Photograph by David Finn. math teacher Mrs. Dodds turns into a we badly needed Anita Huffington to winged monster who attacks him, luckily remind us it was so” (“Anita Huffington: with Martha Graham and Merce the pen recently given to him by his wheel- The Inner Life of the Outer Skin.” Cunningham. There, she eventually The Elemental Nude: Sculpture by Anita decided against a career in dance and chair-bound Latin teacher Mr. Brunner turns Huffington. [Fayetteville, AR: Walton Arts gravitated toward the visual arts and into a sword capable of killing just such a Center, 2004], 2). joined a circle of artists from the New monster. The Latin teacher turns out to be Huffington was born in Baltimore in York School, a group that included Chiron (whose horsey parts miraculously 1934. She attended the University of Willem de Kooning, Franz Kline, and fold within his special wheelchair). Chiron North Carolina, where she majored in Philip Guston. She went back to school, tells Percy (short for Perseus) that he is the dance, drama, and art. She then moved studying art at Bennington College and to New York City and studied dance half-divine son of Poseidon and one of a continued on page 12 number of “half-bloods” who live in the modern U.S.A., and that his dyslexia and THE ROMANS IN GAUL TODAY: Book Review: “Ancient Athens on LIVING HISTORY AND EXPERIMENTAL 5 Drachmas a Day” ...... 14 attention-deficit-hyperactivity disorder result ARCHAEOLOGY IN THE RHÔNE-ALPES from his being “wired” for reading Ancient REGION OF FRANCE...... 2 Iphigenia ...... 17 Greek, and having reflexes built for battle CARL SESAR, TRANSLATOR Book Review: OF CATULLUS ...... 4 “Dragonflies: A Novel” ...... 18 rather than for the classroom. Monsters like e Mrs. Dodds (a Fury) want to kill the half- Ask A Classicist...... 5 “PRIOR INCANTATO”: GRECO-ROMAN MAGIC FLOWING FROM J.K. ROWLING’S bloods, whose presence in our world they TELLMEOMUSE: MAKING HOMER’S WAND ...... 20 can sense. Chiron takes Percy to Camp “ODYSSEY” AND GREEK MYTHOLOGY MORE ACCESSIBLE TO MORE PEOPLE . . . 7 Book Review: “Medicus: A Novel of Half-Blood on Long Island, a camp for the Roman Empire”...... 23 Insid ART AT TELLMEOMUSE ...... 9 demigods run by the resentful Mr. D. GUIDELINES FOR (Dionysus), forced to do this job as punish- HERODOTUS EARTH: MAPPING AND CONTRIBUTORS ...... 24 NETWORKING THE “HISTORIES”...... 10 ment for chasing “an off-limits wood continued on page 6 THE ROMANS IN GAUL TODAY: LIVING HISTORY AND EXPERIMENTAL ARCHAEOLOGY IN THE RHÔNE-ALPES REGION OF FRANCE by Timothy Wutrich

iving history is the process whereby website about fifty-two active groups in scattered widely across the continent. Lhistory enthusiasts research a period, the United States and Canada and about One can, of course, see reenactments of design and build costumes and sixty groups in Europe and Russia Roman military and civilian life in recent sometimes weapons and implements of (http:// www.larp.com/legioxx/index popular films based on ancient history daily life, and create personae in order to .html). A number of reenactors in Ameri- such as Gladiator. One can find reenact- reenact events from the past, often at ca and in Europe have relied on Amt’s ments of the Roman world on PBS and historically significant sites. The people research as they formed their own living the History Channel. But the obvious and events that one reads about in books history groups. They regard Amt as an major impediment to reenactment of and hears about in school become real authority on historical reenactment, ancient Roman life in North America is when one visits an historical site where praising the Legio XX website as one of location. North American reenactors face costumed museum staff reenact life in the best. When asked to consider those a clear disadvantage compared to their another era. But can living history go who have influenced his work on Roman European counterparts, for not only beyond parading costumes and help us to reenactment, Amt refers to an American must the Americans recreate costumes, understand the people and customs, Revolutionary War reenactment group weapons, and the implements of Roman even the movement and behavior of life to which he belonged, stressing that daily life, but they must also recreate the in ancient times? Is there, in fact, a con- group’s dedication to authenticity in cre- historical space, since there are no nection between living history and ating costumes and weapons; he also ancient Roman sites in North America. experimental archaeology? acknowledges the book The Roman European reenactors have the advantage Experimental archaeology may be Legions Recreated in Colour Photographs by of recreating history at places where seen as a way of looking at historical or Daniel Peterson (Crowood 1999), as well Roman history actually occurred. There- archaeological problems that moves as the historical scholarship of J.E. fore, it is much easier to be aware of the beyond the library or the dig. It applies Lendon in Soldiers and Ghosts: A History Romans in Gaul, that is, France, where trial-and-error methods to problems of Battle in Classical Antiquity (Yale 2005). the Roman presence has been felt for from the past that cannot be answered The Ermine Street Guard (http://www over two millennia. only by library research or by artifacts in .erminestreetguard .co.uk/), an English Of the many Roman ruins through- a museum or at an archaeological site. reenactment group founded in 1972, also out France, the Rhône-Alpes region in But experimental archaeology is not the receives praise from reenactors such as particular has many outstanding sites. same as living history. Even though Amt because of its high standards of Aix-les-Bains has the funeral arch of living history and experimental archae- authenticity. Lucius Pompeius Campanus, a patrician ology may be two different things, the Finding a reenactment in North from Gallia Narbonensis, and the heuristic methods – (the experimental America, however, is not always easy. second-best surviving Roman temple on trial and error techniques) – employed The North American groups are French soil, the so-called Temple of by both enterprises nevertheless connect them. Through attempts to recreate antiquity, living history approaches experimental archaeology. François Gilbert is the founder and president of Pax Augusta (http://www.paxaugusta .net), a reenactment group based near Lyon, France, that recreates Roman military and civilian life during the reign of Augustus. Gilbert, author of five books and numerous articles on subjects ranging from the Roman Army to Roman women, remarks that experi- mental archaeology means more than parading in historical costume. The parade, in effect, is the presentation of the research. At present, numerous North American and European reenactment groups dedicate themselves to recon- structing ancient Roman military and civilian life. Matthew Amt, an American reenactor in the Washington, D.C. area Fig. 2. The Italian reenactment group Legio XXX Ulpia Traiana Victrix brought who founded Legio XX, lists on his this functional scorpio, an ancient siege weapon that fires arrows, to the Gallo- 2 Roman days in Saint-Romain-en-Gal (Isère, France) in June 2006. Diana. In Lyon and its vicinity, one can see the ruins of aqueducts and baths, Capital Campaign News the vestiges of Roman roads, an arena, and two still-functional theaters. Fur- ther down the Rhône Valley one comes he Gatekeeper to Gateway Campaign is moving toward several key deadlines. upon the modern cities of Saint- We are seeking to raise $450,000 by July 31, 2010, (for a Campaign total of Romain-en-Gal and Vienne, situated T $2.1 million) and a grand total of $2.6 million by July 31, 2011, to secure every opposite each other on the right and left banks respectively of the Rhône River. dollar of our $650,000 NEH Challenge Grant. As you’ve read previously, the Cam- In antiquity a prosperous Roman Imper- paign seeks to establish an Endowment for Classics Research and Teaching to ensure ial town called Vienna occupied the site that its members will have the scholarly and pedagogical resources they need to do where these two modern cities stand. their work for decades to come. Specifically, the Campaign’s initial goals are to Today the impressive ruins of ancient support the American Office of l’Année philologique, to encourage and increase the Vienna that one may see include ves- number of outstanding Classics teachers, and to develop a digital portal and other tiges of warehouses, baths, streets, and homes, many with elaborate and beauti- public programs that will build the audience for Classics. ful mosaics (in Saint-Romain-en-Gal) Please consider making a new or renewed Campaign pledge. Every and a Roman temple, a Roman theater, dollar counts toward our goal and helps us claim matching funds from the NEH. and a museum (in modern Vienne). Remember, you can pay a pledge on any schedule you like through July 2011, but a In 2001 the Musée Gallo-Romain, pledge now will help the APA report the funds needed to claim the next NEH match with branches in both Lyon and Saint- this July. Romain-en-Gal, working with the Pôle Archéologique du département du • The NEH has extended our matching fund deadlines, but they are quickly approach- Rhône (the archaeology office of the ing. The first deadline is July 31, 2010. By that time we have to have $2.1 million Rhône), instituted a public outreach contributed or pledged in order to claim the final installment of our match. Then, by event to raise interest in ancient history and archaeology. This event, “Les July 31, 2011, we must have the entire matching sum in hand. Journées Gallo-Romaines” (Gallo- • The Association has received almost $1.7 million in pledges from nearly 500 donors Roman Days), featured the work of “Gallia Antiqua,” a federation of six of and has claimed $460,000 of the $650,000 available from the NEH Challenge the most prominent reenactment groups Grant. in France. The Gallo-Roman Days • We are particularly grateful to a number of Classics organizations in North America event has become an annual institution in which groups of reenactors gather at who have recently made contributions to the Campaign. They include the Classical the archaeological site in Saint-Romain- Association of New England, Classical Association of the Atlantic States, Classical en-Gal and for two days set up camp. Association of the Middle West and South, Classical Association of the Pacific While the Roman groups do not pitch a Northwest, and Classical Association of Minnesota. full castra (military camp), they do set up tents containing not only some • It is now possible to make a pledge to the Campaign online. Visit apaclassics.org military equipment and armor, but also and click on the link for “support APA” or “The Campaign for Classics” to be directed household gods and images of the to a secure web site to make a new pledge and partial payment or make payment emperor. The Gallic reenactors, on the on an existing pledge using your credit card. other hand, arrive with wagons and gear, including wild boar standards, colorful • See the main Campaign page on the APA web site (http://www.apaclassics.org shields, and the animal skins and bones /campaign/campaign.html) for links to the revised, professionally produced version associated with Gallic warrior culture. of the demonstration of the digital portal, one of three priorities that this Campaign For two days, the Roman and Gallic armies go through maneuvers, drill in will make possible. The demonstration is available in both Windows Media and Latin and in Celtic (a dialect of which is Quicktime formats. still spoken in Brittany), and engage in skirmishes with blunted weapons. But military matters are not the reen- ancient dances, and in 2008 the men from the region near modern Rome, actors’ sole concern. Civilians, male and performed their reconstruction of the Legio XXX Ulpia Traiana Victrix, female, adults and children, are Salian Dances, the dances performed by brought a functional scorpio, an ancient involved. One can hold a wax writing the Salian priests in honor of Mars. siege weapon that fires arrows (see Fig. tablet and a stylus, or look at Roman In 2006 the Musée Gallo-Romain 2). The highlight was a series of fights board games and learn about the types widened the scope of the Journées between the Roman forces and the Gal- of games probably played. Armand Des- Gallo-Romaines and created an édition lic and Germanic warriors. bat, an archaeologist from the Centre européenne. Gallia Antiqua was invited, Additionally, the Gallo-Roman Days National de Recherche Scientifique as well as reenactors from Germany and in 2006 provided activities for the entire (C.N.R.S., the National Center for Sci- Italy. Visitors could examine the Gallic family. Children were invited to try on entific Research), sets up functional and Roman camps and look at both mil- costumes made by Christiane Cazanova, Roman pottery kilns to make terra cotta itary and artisanal demonstrations. an archeostyliste, including a child-sized lamps, bowls, and amphorae. Pax There were military drills, demonstra- version of the Roman legionary panoply. Augusta’s troupe of gladiators performs. tions on tactics and maneuvers, as well The soldiers paraded, gladiators The women of Pax Augusta recreate as the firing of artillery: the reenactors continued on page 16 3 CARL SESAR, TRANSLATOR OF CATULLUS by Ronnie Ancona

n 1974, Selected Poems of Catullus, a aside for about ten years. Itranslation by Carl Sesar unique for Returning to them earnestly its ability to capture Catullus’ poetic post-Ph.D., Sesar did a voice in colloquial English, was pub- broadcast of both his old and lished by Mason & Lipscomb, New new versions of Catullus on York; it had Latin text on one side and radio station WBAI, which English on the facing page, with line was very well received. drawings by Arlene Dubanevich (see These radio readings culmi- Fig. 3) and an Afterword by David nated in the publication of Konstan. Then suddenly the publisher his 1974 volume. went out of business. The book did not Reviews of Sesar’s trans- exactly disappear (it can be found in lation upon its publication public libraries and many college and were almost unanimously university libraries), but, unfortunately, enthusiastic, and ongoing it has been “lost” to much of the general references to his work ever public, as well as to many, if not most, since have also been very professional classicists. Although it positive. For a book that appeared to extremely positive critical went out of print so quickly acclaim in the popular press and among after publication, it contin- distinguished writers and translators, it ues to capture the interest was never reviewed in a classics journal, and attention of scholars, to the best of my knowledge. I hope publishers, and the reading that by calling attention to this half- public to a notable extent. forgotten translation, both classicists and Sesar is still invited to speak the reading public, more generally, will about his Catullus transla- return to reading it and a press will con- tions. In 2008, he addressed Fig. 3. Arlene Dubanevich provides sider its republication. the Five College Faculty Seminar on illustrations for Sesar’s translations. The translator, Carl Sesar, was a clas- Literary Translation at Smith College sicist himself, early on. After graduating with a talk entitled, “Translating Catul- once with the appropriate vernacular from the Bronx High School of Science lus: A Retrospective, With Finishing and poetic vigor. If they are often in New York City, he earned a B.A. in Touches Added.” obscene so is Catullus, as the facing Greek and Latin from the City College Sesar has also spent a good deal of Latin text makes vividly clear to any of New York in 1957 and was awarded time thinking about and articulating educated eye. (This, from William the Claflin Gold Medal in Latin. Sesar issues of translation. This is clear from Arrowsmith, one of the foremost might have continued on to a career in his engaging and enlightening piece, translators of the classics of the last generation.) classics, but instead, he served in the “Translating Takuboku,” in Currents in U.S. Army from 1957 to 1961, during Japanese Culture: Translations and Trans- Carl Sesar’s translations seem to me to which time he studied Chinese at the formations (edited by Amy Vladeck have given Catullus a voice, a real Army Language School and did a tour of Heinrich, Columbia University Press, human one, which is quite an duty in Korea. After his military service 1997). While not about translating Cat- achievement. (This, from Richard he began graduate work at Columbia ullus, this essay explains some of Sesar’s Wilbur, Pulitzer Prize-winning author University with a National Education goals and practices in his translations, and former Poet Laureate of the Act Language Fellowship, did research more generally. His description, for United States.) in Japan as a Fulbright scholar and Ford example, of the effect of the presence or Foundation fellow, and received a absence of something as seemingly In addition, the extent to which this Ph.D. in Chinese and Japanese at minor as a comma will affect my percep- translation of a Latin poet was covered Columbia in 1971, with a dissertation on tion of punctuation choices in transla- in the press is truly noteworthy. Among No¯ Drama and Chinese Literature. tions for a long time to come. Not all the newspapers and journals that pub- Sesar founded and chaired the Depart- good translators write well about what lished reviews were Saturday Review, ment of Asian Languages and Litera- they do, nor need they. Sesar does. Boston Sunday Globe, The Knickerbocker tures at Wesleyan University, where he A brief view of the early reception of News Union-Star, Memphis Commercial taught from 1967 to 1975. Selected Poems of Catullus shows the Appeal, Buffalo Courier Express, Los Ange- Translating Catullus was never far impact the book made upon publica- les Times, King Features Syndicate, New from his thoughts. Right after his mili- tion. The dust jacket contained the fol- York Sunday Daily News, and (even) tary service Sesar began composing his lowing endorsements from two major Screw Magazine. These reviews abound first translations and reading selections literary figures: in praise for Sesar’s success at making from them at various open-mike venues Catullus, a poet from 2000 years ago, in the East Village in New York City. I know of no livelier versions of come alive for a contemporary audience. Then, immersed in Chinese and Japan- Catullus’ erotic and satirical poetry In the words of the Charleston News and ese studies, he set Catullus translations than Carl Sesar’s. They are randy and Courier (Sept. 8, 1974), “Carl Sesar’s obscene but the randiness is right for continued on page 8 4 along the paths leading among the century. As Athens grew more aware of its Ask A Classicist monuments. As they approach the south- classical past and concerned about preserv- west corner of the Agora, very near the ing its most ancient and beautiful antiqui- We had the opportunity to visit place where the classical Mint and the ties, this nineteenth-century addition was the Athenian Agora recently, and imperial Roman Nymphaion had once removed in 1954-6, when the church was Qwere surprised to see a church been, they will encounter Agioi Apostoli carefully and lovingly reconstructed with within the confines of the site. What’s that Solake, the Church of the Holy Apostles. funds provided by the Samuel H. Kress about? Holy Apostles is a small but very Foundation. impressive church. It shares with other small Holy Apostles is a monument to the A visit to the Athenian Agora churches still intact in Athens a number of perenniality of Athens. This extraordinary deserves to be part of anyone’s architectural features. Like Kapnikarea, the city has been inhabited for millennia: A pilgrimage to Greece. Ancient little church in the middle of the high-end archaeologists, who with great care pry out Athens’ civic center – the site of government shopping district on Hermou Street, Holy the individual levels of its habitation, can buildings providing office space for offi- Apostles is an example of the cross-in- trace its earliest dwellers to the Neolithic cials, archives, law-courts, and meeting square style, in which a central dome rises Period in the fifth millennium. According to rooms - was integral to the life of the city above four corner bays, which in turn are the American School of Classical Studies at from the sixth century B.C. Visitors to the joined by four lower groin-vaulted bays. Athens, primary excavator of the Agora, modern site will find the elegant temple of Characteristic of the Byzantine churches at the use of the place as a city-center doesn’t Hephaestus, what remains of the Painted Athens, Holy Apostles’ slender dome has begin until the time of the rule of the Pisis- Stoa, the Bouleuterion (the meeting house eight small and narrow arches. One can tratids in the mid-sixth century B.C., just of the council), the Tholos (the dining room see a very similar dome atop St. Joannes decades before the establishment of the for council members), and the elegantly Theologos on the way up to visit the Acro- democracy. Holy Apostles is a youthful reconstructed Stoa of Attalos, now the polis, at the place where Erotokritou Street building when looked at in these terms. The Agora Museum. In the past, ancient festive meets Erechtheos. little church was created at the beginning of processions followed the Panathenaic Way Holy Apostles does indeed seem out of a period of prosperity for the Byzantine through the Agora from the Dipylon Gate to place at a site that showcases the remains city. It knew the Archbishop of Athens, the Acropolis. The stoas of the Agora of classical antiquity. Built during the Michael Akominates, before his exile at the offered classrooms and lecture space for eleventh century when Athens was part of coming of the Western Europeans in 1204. philosophers and sophists throughout classi- the Byzantine Empire, not only is it by far The church watched the installation of cal antiquity. It is difficult for a modern visi- the most recent of the Agora monuments, French ruling families in 1204, then the tor to the Agora not to feel awed at the but it also shares with the temple of He- coming of the Catalan conquistadores in thought of standing on a spot trodden so phaestus the distinction of being more or 1311, followed by Florentine and Venetian many centuries ago by individuals whose less in the state its original builders intend- dukes in 1388. It saw the inception of the lives we care greatly about. ed. This is not to say that it has not under- Turkocratia in Greece in 1456, when Visitors enter the site from the Thiseio gone changes over the centuries. Some of Athens devolved into a village under the metro station and, after perusing the muse- these changes were quite destructive: dur- dominion of the Ottoman Turkish sultan at um collection in the Attalos Stoa, meander ing the seventeenth century, when the Vene- Constantinople. And it celebrated Athens’ tians challenged new status as capital of independent the Ottoman pres- Greece in the year 1834. Now in 2010, ence in Greece, sporting its newly reconstructed form, with part of the west- refreshed old icons and dome-tiles ern end of Holy replaced, it continues to welcome interna- Apostles was seri- tional visitors coming to enjoy the antiquity ously damaged of the Athenian Agora. by cannon fire. Further information on, pictures of, and Other changes suggestions for further reading about the enlarged and Church of the Holy Apostles can be found attempted to at http://www.attalos.com/guide improve the little /Introduction.html, an excellent site main- church: one of the tained by the Athenian School of Classical most extensive of Studies at Athens. For an in-depth and these positive informative discussion of some of the great changes occurred churches not only of Athens but many other in the latter half places around the world, see of the nineteenth http://www.sacred-destinations.com/. Fig. 4. Church of the Holy Apostles in the Athenian Agora. 5 Book Review: Percy Jackson & The Olympians continued from page 1

nymph.” And so begins the series of adventures of Percy Jackson and the Olympians. Each of the five books has its own plot, but the larger arc of the series, like those of both the Harry Potter books and Lord of the Rings, involves a supposedly neutralized evil being attempting to return to take back control of the world. Here the Titan Kronos wants to return from Tartarus and destroy the Olympians. Like Harry Potter, Percy is the subject of an ambiguous prophecy Hermes the messenger is always on his cell- Fig. 5. Grover (Brandon T. Jackson), about his fated role in the fight against phone; Ares dresses in leather and rides a Percy (Logan Lerman), and Annabeth (Alexandra Diddario) battle monsters in Kronos. Like Harry, too, Percy has a goofy motorcycle; and Apollo’s shape-shifting sun- the Parthenon in Nashville, TN., in Chris friend with a big appetite, only his friend is chariot is often a convertible. Procrustes Columbus’ film version of The Lightning a Satyr. He also is good friends with a bril- runs a mattress shop and Circe a spa; Thief (2010). liantly smart girl, in his case the daughter of Medusa sells “realistic” lawn sculptures; Athena; how Athena comes to have a Daedalus works out his inventions on a lap- poor parents: cold, distant, and hard to daughter is not explained until the fourth top; and Percy’s half-brother, a young communicate with, but most of them come book, and the issue is handled very nicely. Cyclops, forges him a wristwatch that through in the end. When Percy is offered Author Riordan is a middle-school unfolds into a full-sized shield. immortality at a certain point in the story, teacher whose previous novels were for Percy, the first-person narrator of the kids will appreciate what he chooses grown-ups and featured semi-hard-boiled stories, has a sarcastic attitude towards life, instead. The five books all move quickly, Texas-based detective Tres Navarre. He the kind some kids really have in middle with plenty of action and wit. They make says (in interviews easy to find on-line) that school. One early chapter is called “I great reading for kids and pretty good read- he came up with the stories to tell to his two Become Supreme Lord of the Bathroom” ing for adults. young sons, who he says are his first and and is about how Percy begins to learn the The movie of the first book opened on best editors. He also helped to edit power he, as a son of the god of the sea, February 12, 2010, directed by Chris Demigods and Monsters, a collection of has over water. Percy always retains his Columbus, who was at the helm for the first essays on the Percy Jackson books, and sense of humor, even when a monster is try- two Harry Potter movies. Casting is a little between the fourth and fifth books pub- ing to kill him; his jokes make the tone worrisome (see Fig. 5): well-known stars for lished The Demigod Files, with brief stories lighter than in the Potter books, though the gods and comparative unknowns for the and fun “interviews” featuring the major there is also real danger (including mortal kids, including a 23-year-old actress for the characters. danger to his mother early in the first book). part of the pre-teen (in the first book) daugh- The five books involve getting back the From the first page Riordan treats the story ter of Athena. In an afterword to the fifth special lightning bolt that has been stolen as though there really could be half-divine book Riordan refers to it as closing “the first from Zeus (The Lightning Thief); retrieving kids out there, unnoticed by us mortals Camp Half-Blood series,” and at a book- the Golden Fleece during a trip through the because of the divine “mist” (mentioned in signing in Raleigh, N.C., Riordan said that monster-ridden Bermuda Triangle (The Sea Homer) that only a few special mortals can the next series would feature a new genera- of Monsters); rescuing Athena’s daughter, see through. tion of half-bloods fighting against Egyptian Annabeth, from Kronos’ minions (The Greek myth is handled with a central gods who want to regain control of the Titan’s Curse); stopping the forces of core of faithfulness. But Riordan takes a world, and that the next book, The Red Kronos from using the (location-shifting) tremendous amount of license in the way he Pyramid, would appear by the end of the Labyrinth to get into Camp Half-Blood (The adapts Greek myth to the modern world. 2009-2010 school year. We can’t wait. Battle of the Labyrinth); and the final battle Consequently these books are not a good to save Olympus, which takes place in introduction to Greek myth. But they could James J. O’Hara ([email protected]) is Manhattan (The Last Olympian). attract children to Greek mythology, and Paddison Professor of Latin at the University The invented world of Percy’s adventures are fun for a young (or old) reader who of North Carolina at Chapel Hill. His most is fairly rich in detail. Mt. Olympus is on the already has some knowledge of myth. The recent book is Inconsistency in Roman Epic: 600th floor of the Empire State Building, stories feature friendship, loyalty and betrayal Studies in Catullus, Lucretius, Vergil, Ovid accessible by a special elevator button, (characters are not always who they seem), and Lucan (Cambridge 2007). Marika A. while Hades is under Los Angeles. Poseidon bravery, figuring out clues, and making O’Hara attends Culbreth Middle School in 6 wears a Hawaiian shirt and Birkenstocks; hard choices. The gods are, believably, Chapel Hill. TELLMEOMUSE: MAKING HOMER’S ODYSSEY AND GREEK MYTHOLOGY MORE ACCESSIBLE TO MORE PEOPLE by Joy Marie Sever

n September 2001 I read Homer’s those who have never read it. For some, Helios the sun god coincided with the IOdyssey for the first time. It was in a it’s one of those books they feel they total solar eclipse of March 29, 2006. We night class taught by Diana should read, but they just never get connected the less well known Pindar Gilliland Wright at The New School in around to it. There are others who don’t and his victory odes with the very famil- Manhattan. During the day I was work- think of reading Homer because they iar 2006 Winter Olympics. And when ing as a researcher and consultant in the assume the epics are boring, irrelevant, archaeologists discovered what they field of corporate reputation. As a social and way too intellectual to be any fun. believed to be the remains of the 3,500- psychologist, I found the study of repu- We also know that you just can’t tell year-old palace of Ajax on the small tation fascinating. Apparently so did people how great the Odyssey is and Greek island of Salamis, near Athens, many other people based on the atten- expect them to believe it – they have to we took the opportunity to tell the story tion given to the results of our research, experience the story for themselves. But of one of the most important heroes which were published annually in The before they’ll even want to attempt to from the Trojan War. Wall Street Journal. But it took a class experience something like Homer’s on Homer to reveal to me the real Odyssey, it has to be made accessible. At Education meaning of the work I was doing. TellmeOmuse, our approach to address- In the past few years I’ve spent a lot It turns out that leading a corporation ing this need for accessibility has been of time in classrooms where the Odyssey through the competitive battles in the to start with something familiar, add and Greek mythology were being marketplace and leading an expedition something new, and point to the rele- taught. I’ve observed teachers teach, to Troy are not really so different: simi- vance. We’ve spent the past five years students listen, and the discussions that lar stories set 3,000 years apart. Homer’s applying our approach in a variety of followed. I quickly saw that when it heroic leaders cared about reputation, ways. comes to the Greek myths, accessibility fame, glory (in Greek expressed by the Recognizable Products is not an issue for the younger students. term kleos), and so do today’s corporate They love the Greek myths and are at leaders. Soon I began to include refer- People not familiar with Homer ease asking questions and exchanging ences from Homer’s Odyssey in my might find it difficult to read the words points of view. These stories are com- reputation presentations to corporate from Homer’s Odyssey in a book contain- pletely natural for them. Homer’s executives. This epic origin of reputa- ing 12,000 lines in verse style. But what Odyssey, on the other hand, is more tion was just the first of many timeless about taking a few of those lines and challenging. There are so many names – themes that would capture my atten- placing them on a greeting card, along which are most important? Which names tion. But the relevance of the past to the with original artwork? That’s what we go together? And how are these names present wasn’t limited to the corporate did. We chose Richmond Lattimore’s pronounced? And what about all the world and reputation – it seemed to be translation (the one I read first in 2001) details not really explained within the everywhere. People who have read and worked out an agreement with the story? I also discovered that most Odyssey Homer know this. But what about the publisher HarperCollins for the use. By translations for the younger readers people who haven’t read Homer? August 2005 we had Odyssey greeting leave out some of (in my opinion) the cards at booths in local festivals, and most interesting and meaningful stories. Tell me, O Muse, of that ingenious hero who travelled far and wide. . . . soon after, in retail shops in Manhattan. I was very fortunate to meet and observe trans. by Samuel Butler, 1900 People who might not otherwise read many great teachers who were passionate the words “. . . the prophet will soon come about teaching the Odyssey. Yet even TellmeOmuse was created in 2005, to you, and he will tell you the way to go, the they expressed the need for help in co-founded with artist Matthew Willey stages of your journey” were now seeing organizing the 12,000 lines of Homer’s (see accompanying Art article, pg. 9). these words on a greeting card. We Odyssey into manageable teaching com- Our goal – to make Homer’s Odyssey and repeated this process with bookmarks, ponents and materials. Greek mythology more accessible to journals, and t-shirts. more people. Educational Games Tell Me A Myth We responded to this need in 2007 The Need for Accessibility Making Greek mythology more with three educational games based on Most people have heard of Homer’s accessible is a big step toward making Homer’s Odyssey – Memory (a matching Odyssey – perceptions of it vary, which is Homer’s Odyssey more accessible. In game), Definitions (flashcards), and Story- not surprising given its 3,000-year his- 2006 we introduced a newsletter featur- telling. We identified 60 of the most tory. And although it’s been known to ing the Greek myths. For stories already important names in the Odyssey (with change lives (the role of the Iliad and somewhat familiar to most people, we pronunciations and definitions), and Odyssey in the work of Jonathan Shay added something new and concluded summarized Homer’s 12,000 lines into with Vietnam veterans, for example) – with something relevant. When possible, 30 stories of 150 words each. that’s something hard to understand by we connected the myth with current The 30 stories in The Odyssey Story- events. A Tell Me A Myth featuring telling Game are presented in chronological continued on page 15 7 CARL SESAR, TRANSLATOR OF CATULLUS ® (ISSN 1542-2380) is published by the continued from page 4 American Philological Association (APA). The APA, founded in translations read as if Catullus might be uerum nescio quid febriculosi 1869 by “professors, friends, and patrons an American writing today . . . [They] scorti diligis: hoc pudet fateri. of linguistic science,” is now the principal have the inevitability, the spontaneity nam te non uiduas iacere noctes learned society in North America for the and the immediacy of great poems.” nequiquam tacitum, cubile clamat study of ancient Greek and Roman lan- That Sesar wrote a translation with sertis ac Syrio fragrans oliuo, guages, literatures, and civilizations. puluinusque peraeque et hic et ille continuing appeal beyond the mid- attritus, tremulique quassa lecti While the majority of its members are 1970’s, when it was published, is clear university and college classics teachers, argutatio inambulatioque. members also include scholars in other from its later reception. Prentice Hall, nam nil stupra ualet, nihil tacere. disciplines, primary and secondary school one of the most important textbook pub- cur? non tam latera ecfututa pandas, teachers, and interested lay people. The lishers in the United States, chose four of ni tu quid facias ineptiarum. APA produces several series of scholarly Sesar’s Catullus translations for their Lit- quare, quidquid habes boni malique, books and texts and the journal Transac- erature, World Masterpieces, Annotated dic nobis. uolo te ac tuos amores tions of the American Philological Association. Teacher’s Edition, in the 1990’s. Then ad caelum lepido uocare uersu. It holds an annual meeting each January Pearson Education Inc., publishing as in conjunction with the Archaeological Pearson Prentice Hall, in 2003, contracted The girl can’t be much on looks or brains Institute of America. Flavius, or you’d tell Catullus all about her, to renew their selection for ten years, in fact, you’d never shut up about it. All of the APA’s programs are grounded until 2013. Meanwhile, in May 1999 Asa in the rigor and high standards of tradi- Sure looks like you found a hot little bitch tional philology, with the study of ancient Baber, longtime writer of the “Men” though, maybe you’re ashamed to admit it, Greek and Latin at their core. However, column in Playboy magazine, wrote an but you aren’t sleeping nights by yourself, the APA also aims to present a broad view article devoted to Catullus, called “My don’t try to play dumb, the mattress says so of classical culture and the ancient Older Brother.” In it he writes: “I will with flowers, reeks of sweet Syrian olive oil, Mediterranean world to a wide audience. use the esteemed translations of Carl pillows are all over the place, bashed in flat, In short, the APA seeks to preserve and Sesar, who captured Catullus better than and the whole bed creaks and wobbles so much transmit the wisdom and values of classi- anybody else . . . .” More recently, a it practically walks and talks. Besides, cal culture and to find new meanings chapter on “Translating Catullus” by if you haven’t been fucking yourself silly appropriate to the complex and uncertain then why’s your ass dragging the way it is? Elizabeth Vandiver in Blackwell’s A So whatever’s going on, for better or worse, world of the twenty-first century. Companion to Catullus (2007), edited by The APA’s activities serve one or more tell me. I’ll put all of that loving in a of these overarching goals: Marilyn Skinner, makes reference to sweet little poem, and make you both famous. Sesar’s translations. Still further, Eric • To ensure an adequate number of well- Livingston’s “The Textuality of Plea- Sesar’s superb English translations trained, inspirational classics teachers at sure,” in New Literary History 37.3 (2006), capture in rare fashion the voice of all levels, kindergarten through graduate attests that, even though the book has school; Catullus: its wit, its outrageousness, its gone out of print, its translations are still passion, and yes, its profanity. They • To give classics scholars and teachers being read and enjoyed. More than 30 offer a reader without Latin a chance to the tools they need to preserve and years after its publication the appeal of see why somebody might want to read extend their knowledge of classical civi- this particular translation is noted: “Sesar Catullus, and show the reader who lization and to communicate that knowl- gives us a living Catullus, and we can knows Latin how a translation can bring edge as widely as possible; begin to see why someone would want to to life in English what lovers of the • To develop the necessary infrastructure read Catullus in the first place.” Finally, Latin language have enjoyed for so to achieve these goals and to make the award-winning critic George Scialabba long. APA a model for other societies con- was recently quoted by James Marcus in fronting similar challenges. Critical Mass, May 6, 2009, the blog of Ronnie Ancona (rancona@ hunter the National Book Critics Circle Board of .cuny.edu) is Professor of Classics at Hunter The APA welcomes everyone who shares Directors, as having chosen Sesar’s Cat- College and The Graduate Center, CUNY. this vision to participate in and support its ullus in answer to the question: which programs. All APA members can receive Her research interests include Latin poetry, Amphora as a benefit of membership. work in translation has had the most Latin pedagogy, and women in antiquity. Non-members who wish to subscribe to effect on your reading and writing? Among her books are Time and the Erotic Amphora (for a very modest annual sub- One can hear a sampling of Sesar in Horace’s Odes and Writing Passion: scription fee of $10 U. S. in the U. S. and reading from his translations-in-progress A Catullus Reader. She edits the BC Latin Canada for two issues; $15 elsewhere) or at Wesleyan University, May 3, 1973, Readers Series from Bolchazy-Carducci who wish further information about the online through an archival recording. Publishers and is currently writing a book APA may write to The American Philo- Sesar is introduced by David Konstan: on Catullus. logical Association, 292 Claudia Cohen http://www.demosnews.com/piece.php? Hall, University of Pennsylvania, 249 S. 115.1. 36th Street, Philadelphia, PA 19104-6304, To experience Sesar’s translations on [email protected]. The APA web the page, I include here one sample site is www.apaclassics.org. “We cannot all do from his book: Members attending meetings of or everything.” making presentations to interested non- members are urged to request sample 6 – Vergil. Eclogue 8.63 copies of Amphora from the APA office for Flaui, delicias tuas Catullo, distribution to these audiences. ni sint illepidae atque inelegantes, uelles dicere nec tacere posses. 8 Art at TellmeOmuse and Poseidon Chasing Odysseus (see Fig. 7) welcomes visitors to the extensive library by Matthew Willey on the second floor. ince the beginning of civilization man The Inn has a gallery on the first floor Shas created art as a means to explore that was the site of the first TellmeOmuse and express his place in the world. The art show that same year. We exhibited the past sixteen years of my life as a mural 12 original artwork pieces used to make painter have been just such a journey. the greeting cards, and added dramatic Shortly after receiving a Bachelor of Fine readings from the Odyssey recited by Arts from the School of the Museum of Fine young poets and actors to bring the paint- Arts in Boston in 1993, I painted my first ings to life. The Homer Staircase mural mural. That mural started a business that became the stage! It was in that setting that would eventually have me painting murals I realized the incredible potential to con- in a broad range of subject matter across nect people through stories – and Homer’s the country. Those murals depict everything stories in particular. from large-scale basketball players in In Polyphemus (see Fig. 8), exhibited at Fig. 8. Polyphemus. action on the walls of an NBA team’s locker the 2009 Classical Association of the Great art is never about answers. It is room to a flower-strewn trellis on the ceiling Atlantic States (CAAS) meeting in about interesting and provocative ques- of a little girl’s bedroom in Manhattan. Delaware, the specific details of Odysseus’ tions. The continuing goal with art at TellmeOmuse is to pose the interesting questions by surrounding people with the stories of Homer’s Odyssey and Greek mythology. I use murals and paintings because that is where my voice is most clear. But my intention is that the artwork I create will inspire people to tell these sto- ries with me, using whatever voice they find in themselves.

Matthew Willey (tellmeomatt@tellmeo- Fig. 6. The Muses. muse.com) is Chief Artist at TellmeOmuse. In 2002 I met Joy Marie Sever (with encounter with the Cyclops are treated with The murals featured in this article can be whom I co-founded TellmeOmuse), and she as much importance as the elements of viewed at: inspired me to read Homer’s Odyssey for composition and color. My goal is to incor- http://www.tellmeomuse.com/Murals.html. the first time. I quickly identified with porate as much of the story as possible. Odysseus’ journey through my travels as a The spilled wine reveals his intoxication. muralist and the myriad of personalities I A sheep snuggles with him showing that he “The physician must be led had encountered along the way. It didn’t might not be all that bad. The body lan- to do not only what is right take long before I began creating art for guage of Odysseus’ men suggests their fear himself, but he must also get TellmeOmuse. The images for the greeting as they face the gruesome task of blinding the patient, the assistants, and cards started as a series of 12 paintings of the Cyclops in order to escape. As an artist others to cooperate.” characters from the Odyssey acting out piv- I hope to make work that says, “Look closer, otal scenes on golden stages. It was in the there’s more” – just as Homer’s Odyssey – Hippocrates, Sayings, process of painting these pieces that I does, no matter how many times we sec. 1. gained tremendous admiration for the read it. richness of the details in the story. Fig. 7. Poseidon. In 2007 I painted three Odyssey- inspired murals at the Artists Inn Residence in Washington D.C. The Homer Guest-Host Staircase (showcased in Washington Spaces Magazine [Winter 2008]), featur- ing a quotation from Book 1 of Homer’s Odyssey along with scenes from the epic, greets guests to the Inn. The Muses (see Fig. 6) invites guests to linger in the salon,

9 HERODOTUS EARTH: MAPPING AND NETWORKING THE HISTORIES by Elton Barker, Stefan Bouzarovski, Christopher Pelling, Leif Isaksen

hile the Hollywood image of question: why was it Wthe academic often has him that the Greeks and (yes, him) hunched over his barbarians came into books in a dusty library (think Nicholas conflict with each Cage or Tom Hanks) or, more adventur- other? He thus ously, dangling over a snake-pit (e.g., launches a narrative Indiana Jones), the contemporary scholar which is fundamen- increasingly does his or her research in a tally interested in virtual environment armed with the issues of space – modern tools of the trade: computer, primarily the grow- cell phone, and an internet connection. ing reach of Persia Classics has long stood at the forefront and the places that of this digital revolution, not only with come under her the development of on-line searchable dominion or try to databases, such as the Thesaurus Linguae resist her power. Graecae (a database of all of Greek litera- That understanding ture) or Cetedoc (a database of Christian of the world is com- writings in Latin), which nowadays have monly represented in a form like that of Fig. 10. All places (colors: red = settlement; become commonplace in any scholar’s Figure 9. yellow = territory; blue = physical feature). armory, but also with large-scale digiti- Because Herodotus’ view of the Satellite imagery is courtesy of NASA. zation ventures which are rapidly trans- world does not reflect the reality of how forming the way we view, and think these continents are about, the classical world. One example, configured, one pri- the Perseus Digital Library (http://www mary objective of .perseus.tufts.edu/hopper/), has HESTIA is to uploaded a huge corpus of ancient texts deploy the latest on-line; another, the Pleiades Project satellite imaging (http://pleiades.stoa.org/), is producing freely available from an authoritative view of the ancient NASA to re-present world, the Barrington Atlas, in digital Herodotus’ world form. HESTIA – the Herodotus Encod- more accurately in ed Space-Text-Imaging Archive the form most readily (http://www.open.ac.uk/Arts/hestia accessible to modern- /index.html) – sponsored by the Arts day users (see Figs. and Humanities Research Council of 10-11). Yet, for all of the United Kingdom, uses the digital its drawbacks, the text of the Greek historian Herodotus map based on Hero- available through the Perseus Digital dotus’ description of Library to bring Herodotus’ vision of the ancient world the ancient Mediterranean world in the does raise several sixth and fifth centuries B.C.E. to life. important issues Herodotus opens his history of the relating to the conception of space in Fig. 11. All settlements mentioned in world prior to the Persian Wars (490 Herodotus, most notably the division of Book 1 (Aegean area). B.C.E. and 480-79 B.C.E.) with a the world into three separate units, Europe, Asia, and Libya; the impor- as something lived in and moved tance of water bodies, in particular through. But even this approach does rivers, for organizing that space; and the not quite represent space in a way that close correspondence of geography to sufficiently captures its varied manifes- ideology. tations in Herodotus’ Histories: a further Still, there is something not quite problem with the static scene portrayed right with this picture either, since it by Figure 9 is the absence of any rela- captures only a static image of tional indicators: it is, to put it simply, a Herodotus’ world, a map without con- world without lines of communication, tours, gradation, or mobility: another of whose regions are separate from each HESTIA’s aims, then, is to tie other and have clearly marked bound- Fig. 9. Herodotus’ world view Herodotus’ naming of a location to its aries. To a certain extent, this kind of (http://en.wikipedia.org/wiki/File place in his narrative, which allows us to ideologically marked division of the :Herodotus_world_map-en.svg). draw a series of maps that depict a world world does map a contemporary view in flux, as well as to capture a sense of onto Greek thinking regarding self- 10 space, not as abstractly conceived, but definition in contrast to others, a goal which is present in Herodotus’ aim of visualize all the places that Herodotus ground level. In our case this might investigating why Greeks and barbarians mentions but also to access the informa- involve linking different places that are came into conflict with each other. But, tion that Herodotus records about them: mentioned with each other in the same as recent scholars of ancient history have this type of hybrid map, combining stretch of narrative in chronological begun to show, the world of the visual and textual data, is known as a order, so that one could follow the “jour- Mediterranean may be better thought of ‘mashup.’ To explain, since all places ney,” say, of historical agents within the as a “contact zone,” for which the buzz- are linked to entries in the database, text. Imagine, for example, the possibili- word is connectivity rather than polarity. when a visitor to the site selects any par- ties of exploring the Persian king Xerx- In this respect it is the connections that ticular location with the mouse, the es’ passage into Greece from the Herodotus draws between places which number of occasions on which that loca- “worm’s eye view” perspective of one of assume particular importance. tion is mentioned in the narrative will his myriad troops. Taking our cue from the issues raised be depicted by the same number of Thus far we have been talking about here, HESTIA employs the latest Infor- points; as Figure 13 shows, the user will extracting the spatial data from mation Computer Technology (ICT) to then have the option of highlighting any Herodotus’ Histories and plugging the develop an innovative methodology to one of those individual points to bring results into various new kinds of visual the study of spatial data in Herodotus’ up a dialogue box containing media to help re-imagine the world he narrative. Involving the collaboration of Herodotus’ text (in both English and writes about. Such a procedure, however, academics from the disciplines of clas- Greek) for that location for any of the risks imposing our own technology on sics, geography, and computing, this times it is mentioned in the narrative. the ancient historian’s text and losing current project has the twin aims of Furthermore, as the Ancient Rome sight of the ways in which space is repre- investigating the ways geography is Google project (http://earth.google.com sented in his narrative. Indeed Herodotus represented in the Histories and intro- /rome/) has shown, it is also possible to himself is alert to the inherent dangers of ducing new audiences to the world of take a virtual tour of various sites from misrepresentation that new forms of Herodotus. To achieve these aims, we media carry, when he hope to generate three different kinds describes a meeting of output, which are as follows: between the Spartan First is the construction of a database king Cleomenes and of all place-names mentioned by Aristagoras, tyrant of Herodotus. Using the open archive Miletus, who has translation of the Histories available from come to convince The Perseus Project, which came with a Cleomenes to sup- great deal of spatial information already port the Ionian revolt ‘marked up’ (and we are extremely from Persia. Armed grateful to Gregory Crane and his team with “a bronze tablet for this!), we have isolated all spatial on which the map of data contained in Herodotus and organ- all the earth was ized it according to three general cate- engraved” (5.49), gories: settlement (polis, city, cult site, Aristagoras pins his etc); territory (deme, region, country, hopes of success on a continent); and physical feature (river, Fig. 12. All settlements scaled according conviction that his mountain, sea, etc). Each location is to count: the largest circles (in purple) map equates to the world as it really is, as assigned a unique identifier, as is each indicate those places that have the if conquering the lands occupied by Per- of its occurrences over the course of the highest number of mentions in the sia would really be as easy for Cleomenes narrative. As a result of this structure, Histories (Athens, Sparta, Delphi, as it was for him to point them out on the the database can be queried in a variety Sardis, Miletus and Samos). map. But such a conceit fails when con- of ways, such as by individual place, by fronted by the “reality” (5.50.2) of one of the general categories, or by nar- Cleomenes’ question, “Just how rative location. far is it from the Ionian Sea to the Second, the results of those queries King (i.e., Susa, the Persian capi- can be represented in a series of maps. tal)?” Upon hearing the response Thus it is possible not only to plot on a “thirty days,” Cleomenes bids his satellite map all the place-names which guest leave town before sunset! Herodotus mentions (see Fig. 10 – all Herodotus’ subsequent narration HESTIA generated maps included here of that space over the course of are reproduced on our website three whole chapters (5.52-4), http://www.open.ac.uk/Arts/hestia thereby emphasizing the difficulty /findings/index.html), but to organize of its traverse, serves as a timely those visualizations by book (e.g., Fig. warning for our own enterprise, as 11), and even to ‘count’ the number of we try to represent Herodotus’ references each place is attributed and world using modern mapping rank them according to their popularity tools. (see Fig. 12). An alternative way of map- Fig. 13. ’Mashup’ using Google Earth Instead of merely plugging ping the material is provided by Google showing the number of occasions Herodotus into contemporary forms of Earth. Once we have given our data to Thermopylae is mentioned and highlight- media, then, we aim to use that new Google Earth, anyone with this ing one such mention in the dialogue box. technology to help think afresh about application will be able not only to continued on page 19 11 CLASSICS REWRITTEN IN STONE: THE ART OF ANITA HUFFINGTON continued from page 1

Fig. 14. Three Graces (2001). Fig. 15. Icarus (2006). Fig. 16. Daphne (1994). Fig. 17. Forest Figure (2001). Fig. 18. Earth (1990). Photograph by Kirsten Day. Photograph by David Finn. Photograph by David Finn. Photograph by Kirsten Day. Photograph by Kirsten Day. the University of South Florida, before living artist” (Anita Huffington: Resonance pieces like Three Graces (Fig. 14), Dryad, returning to New York, where she [Memphis: Lisa Kurts Gallery, 2003]). and Icarus (Fig. 15). Huffington’s move earned a Bachelor of Fine Arts and While classics was not part of Huffing- to the Ozarks has also shaped her work. Master of Fine Arts from City College. ton’s formal education, her interest in As Huffington’s attraction to the natural During this period, Huffington mar- mythology led her to seek knowledge of world and her preference for carving ried and had a daughter, Lisa. This first antiquity on her own, and critics have stone outdoors came together with her marriage ended in divorce, and in 1964 long acknowledged classical sensibilities life in the woods, her sculpture began to she married Hank Sutter. Anita and in Huffington’s art. Holland Cotter rec- incorporate the relationship between Hank lived in New York until 1977, ognizes her work as “. . . based on nature and the human form, particularly when they felt the need for change. ancient Greek marbles . . . [they] look as as it is found in Seeking solitude, contemplation, and if their surfaces were dissolving to reveal ancient art and self-sufficiency, they found refuge in an tender archaic spirits lying within the mythology: “It was old log cabin in Arkansas’ Ozark Moun- classical ideal” (Artist’s statement. Anita when I really tains. They spent a year working to Huffington: Sources. [New York: O’Hara removed myself and make the cabin habitable and built a Gallery, 2001], 9). Maureen Mullarkey went off into the studio for Huffington’s work. Lisa sees in Huffington’s sculpture a “. . . woods to find my joined them in the Ozarks, and occa- dynamic poise bequeathed by Polyk- own way that I sionally modeled for Huffington’s sculp- leitos . . .” (“Gallery-Going.” The New began to draw on ture; Hank learned to make molds for York Sun. [13 May 2004]). Susan Marquez the influences that her bronzes, and together they built a suggests that Huffington’s work “recre- most moved me,” life that integrated art into the rustic ate[s the] Hellenic form so exactly, that she says, “the mountain setting they loved, and where it is possible to mistake it for a piece ancient goddess Huffington has produced her work ever from antiquity” (“Anita Huffington at figures, the Greeks, since. Triangle Gallery,” World Sculpture News. especially the fifth- Although Huffington’s art has [Winter 1999], 63). Like the ancient century classical Fig. 19. Gaea (1992). garnered much critical acclaim, she myths, Huffington’s art is simultane- pieces . . .” (The Photograph by Kirsten Day. remains, as Wallach puts it, “shockingly ously primal and modern, prehistoric Elemental Nude: under-recognized” (“Review: A Fair of and current, evoking mystery and Recent Sculpture by Anita Huffington. the Best in Gallery Art.” New York News- paradox that tap into concerns that are [Augusta, GA: Morris Museum of Art, day. [26 Feb. 1993]). Her sculpture is largely universal. 2004]). regularly exhibited at the Armory Art Despite this universal sensibility, This synthesis of nature and classical Show in New York, and her honors Huffington’s work is anchored in her forms can be seen in Daphne (Fig. 16) include recognition in 1996 with a resi- own particular interests and experi- and Forest Figure (Fig. 17), which Huff- dency at the Chateau de La Napoule ences. For example, as Huffington has ington likewise identifies as a Daphne- Art Foundation in France; in 1997 with noted, “My preoccupation with move- figure. Huffington is drawn to the the Jimmy Ernst Award in Art from the ment, balance, the tensions of the body, Daphne myth for many reasons: the American Academy of Arts and Letters; is an outgrowth of my experience as a Daphne figures in her collection, she and in 2005 with the Arkansas Gover- dancer” (“Contemporary Sculptor Anita says, “not only represent a love of nor’s Individual Artist Award. In Octo- Huffington Could be Called a Figura- nature, a love of trees, my experience of ber 2002, Huffington’s pink alabaster tive Artist,” Arkansas Democrat-Gazette. life in the woods, but the way we are a Persephone (Fig. 1) was acquired by the [1 Feb. 1991]). While some works evoke part of nature. We are the trees . . .” Metropolitan Museum of Art, an honor, dance overtly, like the 1997 Danseuse (Artist’s statement. “Daphne.” [Jan. as one exhibit catalog puts it, which “. . . Chinoise, the influence of her dance 2007]). Huffington says she relates to places her work at the pinnacle of the background is also evident in the energy Daphne because she is a figure of art world and is a rare achievement for a and movement of classically-named transformation, and the creative process 12 itself is a transformation of substance Willendorf” (“Innocence Found – and into art. In addition, she sees Daphne as Lost – Huffington’s Bronze Sculptures a symbol of women’s autonomy in that Restate the Terror and Serenity in the she represents “a woman’s choice to Body Human,” The Commercial Appeal. accept or reject even the love of a god” Memphis, TN. [14 Jan. 2005]). (Personal interview. [27 Dec. 2006]). Feminine power and its relationship Huffington’s art combines While many classicists might read this to nature are also demonstrated in works the personal and the myth differently, Huffington’s Forest like Andromeda and Birth of Venus (Figs. mythological. Figure, which is carved from a fragment 20 and 21), which depict the female form of a tree, embodies her perspective: just emerging from the elements. While as Daphne transforms from woman into some critics see such works as betraying tree, Huffington transforms tree into profound vulnerability, others perceive woman, restoring to Daphne her female them as figures of strength and inde- form and bringing her to life once again. pendence. Wallach notes that Andromeda Indeed, art has helped Huffington come Huffington’s focus on Daphne balances on her knees, “as if on faith, to terms with her own personal trials. In reflects a more general concern with only in the merest suggestion of battered 1982, Huffington was devastated when women’s interests in her work, most rock and waves,” while Venus “thrusts her daughter was killed by a drunk driver. clearly seen in her preoccupation with forward her pelvis, arches and twists out She dealt with this tragedy by develop- the female form. Wallach notes that of the rough-hewn column that suggests ing a personal connection to the myth of Huffington’s artistic career has its roots the legendary foam that gave her form” Demeter and Persephone and drawing in New York during an era of emerging ([2001], 7). In Wallach’s reading, Huffin- on its themes of loss and continuance feminism, when artists like Huffington gton’s female forms emerge from their when she returned to her work. The were “reclaiming the female body from raw material, celebrating women’s auton- prevalence of this theme in the years the male gaze” (“The Sculpture of omy in much the same way as Huffing- since Lisa’s death is unmistakable: while Anita Huffington: The Rock Is the ton envisions her Daphne figures. Mark works like Rebirth and Spring (Figs. 22 Habitation of the Whole.” Anita Huffing- Daniel Cohen recognizes a similar and 23) – both dedicated to the Univer- ton: Sources. [New York: O’Hara Gallery, dynamic at play in the relationship of sity of Arkansas in Lisa’s honor – allude 2001], 5). While Huffington’s aims were Huffington’s work in general to the clas- obliquely to this myth, Persephone is more aesthetic than political – she was sical and archaic sculpture they evoke: more explicitly evoked in the 1991 work she “mak[es] her own what once Huffington calls Kore (Fig. 24). But the belonged to others,” he says. “She clearest expression of her engagement does not observably alter the style to with this myth is found in Persephone own it, but she owns it by mastering (Fig. 1), begun not long after Lisa’s it, and in the acquisition, it changes” death. Like the Greek myth, Persephone (“The Shape of Time: Mixing Mem- exhibits both pain and triumph. Wallach ory and Desire. O’Hara Gallery describes this sculpture as “a body as through March 13,” Review. [1 March open wound. The alabaster is cracked 1999], 3). and veined in red, particularly at womb As these observations suggest, continued on page 22 Huffington views art as a means of understand- ing and processing life: as she puts it, “Art Fig. 20. Andromeda shows us life, enriches (1998). Photograph Fig. 21. Birth of Venus it, and helps us to bear by Kirsten Day. (1999). Photograph by its tragedy” (Artist’s state- Kirsten Day. ment. Anita Huffington: From the Forest. [New York: interested in “[t]he beauty and vitality O’Hara Gallery, 2006]). of the female form, and the strength and wisdom of the feminine” (Wallach. [2001], 5) – her impulse towards femi- nine empowerment is illustrated in fig- ures like Earth and Gaea (Figs. 18 and 19). “I have an association of the body with the earth,” she says (Wallach. [2001], 5), and as these sculptures sug- gest, Huffington envisions this earth- body connection as feminine, as have artists from many cultures throughout history. As Fredric Koeppel notes, “Gaea projects a feeling of fundamental, monumental power. With its thick thighs and broad shoulders . . . the piece resembles the ancient Venus of Fig. 22. Rebirth (1982). Fig. 23. Spring (1993). Fig. 24. Kore (1991). Photograph by Kirsten Day. Photograph by Kirsten Day. Photograph by Kirsten Day. 13 Book Review: Ancient Athens on 5 Drachmas a Day drinking game of kottabos (80-2). Again, when our guide takes us to the Acropolis, by Joseph Olson the various styles of capitals are described Philip Matyszak. Ancient Athens on 5 dozen full-color plates illustrate the text with and illustrated as our guide presents to us Drachmas a Day. London: Thames and vase-paintings and beautiful watercolors by “the crown jewel of the Acropolis, the Hudson, 2008. Pp. 136. Paperback. Peter Connolly depicting the city as it Parthenon . . . by common consent the most $18.95. ISBN 978-050028765-1. looked in the fifth century B.C.; lively black- beautiful building in the world” (120). and-white sketches abound. Intermittent in Events and monuments that post-date 431 he Greek air is famously pure and the text itself are quotes from ancient Greek B.C. are included as well, as the author “Tclear, so a fortunate traveler will authors, cited to support and explain the adopts the license of projecting us into the see the beginning of the road to Athens local customs we travelers see around us as future; when describing the road that runs from across the blue waters of the Gulf of we navigate the city of Athens - Athens, as past Delphi, for example, our guide informs Malia, where cloud-topped and ahead lie it was, the city of the imagination and the us that “the writer Pausanias, travelling this the cliffs of Thermopylae . . .” (6). So glory days of the classical period. way over half a millennium hence, will com- begins our guide Philip Matyszak, who in The Piraeus is a bustling center of com- plain that ’it’s rough going, even for a fit this charming and informative little trave- merce that bears the fruits of the world to and active man’” (8-9). logue invites us to take a tour of Athens and Athens. Here we are immersed in a The book is peppered with useful line- Attica in the year 431 B.C. The Athenian mélange of craftsmen’s shops, ships’ slips, drawings (nothing in ruins or fragments, polis is at the height of its power, and we and merchants’ markets all contributing to everything as it once must have looked!), can imagine that the paint on the Parthenon the cacophony of an international port. along with help in understanding Attic Greek is still drying. Before long we reach the Long Walls, the phraseology; true to his travel-guide format, In selecting title, content, and format, gated corridor leading from the Piraeus to the author has included an appendix of use- Philip Matyszak has quite purposely invited Athens. Athens is a maze of buildings, tem- ful phrases. All Greek is transliterated, his reader to enter the world of Classical ples, and limited open space. In a chapter although Matyszak is rather casual in this Athens. As in his recent Ancient Rome on 5 aptly titled “Orientation,” we are shown regard; why, for example, does he refer to a Denarii a Day (2008), Matyszak maintains how to navigate the city without the aid of proxenos (guardian/agent) but in the same throughout the text the fictional persona of street signs: “If Mount Lycabettus is on the paragraph to a temple’s adytum (sanctuary) tour-guide, introducing us in a pragmatic yet left as you look at the Acropolis,” our guide rather than adyton (11)? I wish that the whimsical tone to the history, culture, and informs us, “then you are in the north of the proofreaders had caught some of the errata daily life of Athens and its surrounding coun- city facing south” (30). Once we’ve been in the Greek: “tenemos” for temenos (10), tryside. The text avoids everything academic made familiar with its layout, we sample “hoploi” as a plural of hoplon (18), sophos and scholarly; but while it is completely with- some of Athens’ pastimes: a stroll outside for sophia should have been corrected; the out bibliography and footnotes (the author’s the city walls to the Academy, shopping in “useful phrase” bradus ei mia¯i hora¯i does note at the very end doesn’t count), it is nev- the Agora, a cock-fight. Along the way our not mean “You are two hours late” (127), ertheless packed with information about the guide introduces us to some local notables: and the animal depicted in the image on p. ancient city and its daily life. we see, for example, Socrates avoiding his 74 is surely a sheep, not a goat! I was in fact surprised by all that it has wife at the Stoa of Zeus Eleuthereus, and Having pointed out some of these erra- to offer: directions to notable places, Pericles striding off somewhere with his hel- ta, however, I cannot help feeling a little advice about what is worth seeing, and met pushed back on his long head. pedantic, given the scope and aim of this additional information that only a local – or Because of our status as non-citizens we book. What Matzyszak’s Ancient Athens a classics scholar – would know. The first are prevented from participating in the on 5 Drachmas a Day turns out to be is a chapter, “Getting There,” starts us readers affairs of state on the Pnyx; however, we very pleasant and informative read. The fic- out at Thermopylae, leads us past the shrine can still enjoy a tragedy or comedy in the tional frame provides the opportunity to of Apollo at Delphi, and down through the theater, if there is a festival on. Afterwards, present a lot of information about ancient Parnes mountain range into Attica and to we might be lucky enough to be invited to Athens and its culture with a very light Marathon: the route allows Matyzsak the an evening symposium and to partake in touch, all in a book that will attract adult opportunity to describe the topography and the festivities. It is one of the delightful qual- readers along with bright youngsters. cultural significance of these places. At ities of this book that Matyszak takes every Marathon our xenago¯gos (tour guide) sug- opportunity to teach us about the realities of Joseph Olson ([email protected]) gests that we board a fishing boat and sail everyday life in the ancient world: having spends as much of his time as he can climb- round to the Piraeus, the main harbor of novelistically led us into a symposium, for ing Western Washington’s mountains and Athens. Once there, we are led around the example, he then describes the table set- teaching sailing in Puget Sound. He is cur- city in chapters that show us how to explore tings, gives us a chart illustrating Athenian rently at the University of Kentucky’s elements of Athenian life. Titles include drinking vessels, explains the difference Institutum Latinum. “Athenian Pastimes,” “Meet the Athenians,” between a pornˆe (prostitute) and an hetaira “Activities,” and “Must-See Sights.” Over a (hostess), and tells us how to play the 14 TELLMEOMUSE: MAKING HOMER’S ODYSSEY AND GREEK MYTHOLOGY MORE ACCESSIBLE TO MORE PEOPLE continued from page 7 order, beginning with The Wanderings of Homer and then transform what was Why is TellmeOmuse Odysseus: from The Cicones (Story 1), once an intimidating “big block of text” Doing This? through Helios and His Sacred Cattle (as one person put it) into “the best (Story 11) to Zeus and Athena Stop the book I’ve ever read.” When people start reading the Fighting (Story 29). The Winnowing When you know and love Homer, it Odyssey, it’s not long before they start to Fan, often omitted in abridged versions, can be difficult to imagine what it’s like see its relevance in their own lives. All is Story 30. The game includes three not to. A big part of what I do requires of a sudden people decide they must go roles: Storyteller, Muse, and Divine that I not forget how I felt when I first to Greece. Parents discover a whole new Assistance, which, when combined, cre- read the Odyssey in 2001. The entire first topic of conversation with their children ates a collaborative and interactive epic meeting of each group is an introduc- now that both are equipped with the learning experience. tion that answers the most-often asked vocabulary and stories. Others go on to questions: When and how was the read the stories of other ancient story- The TellmeOmuse Odyssey told, when was it put into writing, tellers, and some attend Greek-themed Companion Series by whom, how, and in what language? theatre productions and dance perform- Is the story historical fact or legend? I ances. And many get a great deal of The 60 names and 30 stories are the show pictures of “Homer,” photos of pleasure when they see how frequently foundation for Tell Me Odysseus: The papyrus fragments, and maps of ancient Homer and the Greek myths appear in TellmeOmuse Companion to Homer’s Greece. But most of all, I try to make publications like the New York Times. Odyssey, the first in a series designed to everyone comfortable by reassuring We believe learning about Homer, make the epic more accessible for teach- them that they are not alone in having Odysseus, and the Greek myths can ers to teach, easier for students to learn, not read the Odyssey (which many make a positive difference in people’s and more appealing so that both want to believe they are). I also let them know lives. After reading Homer’s Odyssey read it. Tell Me Odysseus is practical, that their questions, far from being people find themselves looking more colorful, easy-to-follow, easy-to-use, and something they should know (which closely at their own life’s journey, recog- includes many helpful teaching aids, many believe), are often questions still nizing the many parallels with the and questions for discussion and assess- being debated by archaeologists and ancient stories. They ask questions ment. Future titles in this series will classicists to this day, especially as new they’ve never asked before; they see include: The 20 Most-Often Asked information emerges, and that these their world differently; and they are Questions about Homer’s Odyssey; and ever-evolving discussions are part of able to place today’s events in the con- Greek Mythology in Homer’s Odyssey. what makes the ancient stories so inter- text of the past as they wonder what’s ahead for the future. Reaching More People esting, and so current. For additional background, I encour- TellmeOmuse will be very happy if, through Odyssey Reading age people to learn more about The through our efforts, people who other- Groups Homer Multitext Project at the Center wise might not have read Homer are Chances are that if you didn’t read for Hellenic Studies at Harvard inspired to do so, and upon reaching Homer’s Odyssey in a formal school set- (chs.harvard.edu/chs/homer_multitext) Ithaca with Odysseus, then say “Yes, ting, you’re not likely to pick it up as an and to read about current discussions of that was worth it.” adult. And even if you wanted to read the classics, such as in Jonathan Homer as a continuing education stu- Gottschall’s article “The Odyssey and the Joy Marie Sever (tellmeojoy@tellmeo- dent, classes are not always available or Iliad are giving up new secrets about muse.com) is president of TellmeOmuse in convenient. I decided that TellmeO- the ancient world” (Boston Globe, New York City. Her Ph.D. in social psychol- muse might be able to remedy that. September 28, 2008). ogy comes from the University of Toronto. In During the past three years I’ve As the group prepares to read Books addition to designing educational materials organized a variety of Odyssey reading 1-4 for the second meeting, I tell them for teachers, Joy is writing Chief Execu- groups with adults ranging from an not to worry at all about trying to tive Odysseus: An epic guide for the entrepreneurial women’s group, to Wall remember names or details. I encourage modern leader, a program designed to Street executives, to community them to read without any expectations bring the story of Odysseus into the business activists. I’ve watched people who and, when done, to go back and re-read world. thought they’d never have time to read Books 1-4 and see what happens. I also the Odyssey, or didn’t think they would tell them not to worry about pronuncia- understand it, actually read it, enjoy it, tions, letting them know that there are many variations. I provide story sum- and get something very meaningful out “Live bravely; of the experience. I watched initial frus- maries from the TellmeOmuse games, trations with names and pronunciations and I bring something relevant and cur- show brave hearts in fade, and the story take over. Some lis- rent to each meeting. When a question difficult situations.” tened while others asked the questions is asked about my point of view about – Horace. Satire II.2.135 they themselves wanted to ask, but something in the story – my response is didn’t – until eventually, even the typically “What do you think?” initially timid joined the discussion. I’ve watched people become familiar with 15 THE ROMANS IN GAUL TODAY: LIVING these experiments, they were participat- HISTORY AND EXPERIMENTAL ARCHAEOLOGY ing as well-informed amateurs: Pax Augusta is not a branch of the French IN THE RHÔNE-ALPES REGION OF FRANCE army. However, the Frenchmen in the continued from page 3 group over thirty-years of age have done obligatory national military service and performed, and visitors wandered across Days important? Why should educators others have actually served for longer acres of the site. At night there was an and scholars care about the work of his- periods of time or are currently still open-air projection of the 1963 film torical reenactors? In addition to the serving in the regular French army. So Jason and the Argonauts directed by Don pleasure of visiting a beautiful French the men who conducted the experiment Chaffey and starring Todd Armstrong site in early June, the event gives both were in shape and were aware of the and Nancy Kovack. specialists and amateurs the chance to exigencies of military life. In any case, Since the 2006 European edition of see things in books brought to life. as Gilbert later observed, whether the the Gallo-Roman Days was a success, Although no group has succeeded in participants were or had been in the another European edition was organized recreating the size of a Roman legion, armed forces or not was of limited value, in 2008 featuring reenactors from even seeing a few soldiers in accurately for the conditions of ancient and mod- France, Germany, Italy, Switzerland, designed uniforms, carrying and manip- ern warfare are quite different. Spain, and Belgium. The Journées ulating reproductions of ancient The Roman reenactors departed Gallo-Romaines 2008 retained many of weapons, helps our understanding of the from Aoste amid the farewells of the the popular features from previous years period. Since the legions drill in Latin – townspeople and schoolchildren; but, and added others. A new feature included and even the gladiatorial exhibitions use except for two professional photogra- the participation of two groups that some Latin – we also get the chance to phers and two video cameramen, no one specialize in reenacting earlier warrior- hear this beautiful ancient language. came to watch the march. In other cultures: the Spanish group, Athena But these are all the things of living words, the expedition was not a show Promakhos, which reenacts Greek history. Experimental archaeology is for entertainment, but an experiment to hoplite warfare from the Archaic something else. In a recent article test equipment and human endurance through the Hellenistic periods, and Gilbert explains an experiment he con- in conditions made to simulate a cross- Arbeitsgruppe Hallstattzeit, a German ducted with Pax Augusta. On the week- country march through enemy territory. group recreating Celtic warriors from end of May 12-13, 2007, the men of Pax So the Romans marched and were the eighth century to the fifth century Augusta set out from the small town of attacked by the Germans. The Romans B.C. Throughout the weekend Roman, Aoste in the département of Isère to fol- repelled the attack and, though tired, Gallic, and Germanic warriors and civil- low a ten kilometer (6.2 miles) course built their camp; but then they were ians paraded on the site. The Swiss through the countryside. Their objec- attacked again and the sturdiness of reenactors of Vexillum Legio XI tive was to test the conditions of the their camp defenses was tested. Gilbert Claudia Pia Fidelis brought a scorpio and Roman army on campaign. The twenty also reports that, although they were fired it at targets. The pottery kilns (see men on the march representing soldiers using blunted weapons, many of the Fig. 25) were working. Wine historian of the Fifth Legion were to test march- weapons broke, rendering the pieces Michel Bouvier introduced visitors to ing and traveling conditions, each man dangerous, as if they were spikes. Thus ancient-style wines – quite tasty, in fact carrying a kit and equipment that the reenactors learned not only some- – made as an archaeological experiment weighed 40.7 kilograms (89.5 lbs.). The thing about surprise attacks and testing from vines grown on the site, while soldiers were accompanied by two mule fortifications, but that broken weapons Christian Girbal, who makes reproduc- drivers with their mules and eight on the battlefield represented potential tions of ancient instruments, gave a women representing the soldiers’ con- danger to ancient armies. demonstration of Celtic music. Probably cubines. During the course of their trek, In addition to recreating military life the most dramatic addition in 2008 was the Roman soldiers were to stop, dig in a legion during the early Empire, the invited participation of the Corpus entrenchments, pitch camp, test the for- members of Pax Augusta also recreate Equitum Legionis X Equestris from tifications, and then make the return the world of the gladiators. The repro- Belgium, a group specializing in Roman march with their civilian followers to duction of various gladiator helmets, cavalry. Two members of the Belgian Aoste. Unbeknownst to anyone in Pax group came with their horses and for Augusta except Gilbert and the mule about thirty minutes, performed a vari- drivers, (the mule drivers were informed ety of maneuvers. as a preventive measure: no one wanted The Journées Gallo-Romaines have to deal with surprised animals), the men been a popular success. In 2007 the of Pax Augusta were also to be subject- museum recorded over 3000 visitors to ed to an attack by members of another the site. The fact that the work of the reenactment group, Leuki. The mem- reenactors is supported by a national bers of Leuki, who specialize in Gallic museum and professional archaeologists reenactment, were to adopt the personae assures the quality and accuracy of the of German warriors for this weekend exercise. The groups, too, hold high experiment. The encounter between standards: some, like Pax Augusta, have Roman soldiers and Germanic warriors the sponsorship of university professors would give the Roman reenactors of such as Christian Goudineau, Professeur Pax Augusta the occasion to test their Fig. 25. For Gallo-Roman Days 2008, au Collège de France and Chaire d’An- reactions to a surprise attack. pottery kilns were built on site under the tiquités Nationales. One should keep in mind the fact direction of C.N.R.S archaeologist 16 Why, then, are the Gallo-Roman that, when Pax Augusta conducted Armand Desbat. armor, and weapons, and the staging of Iphigenia gladiatorial combat has become one of the group’s specialties. Their gladiatorial by Patrick Hunt exhibitions have even been filmed by Let the wind’s breath die first, others will follow. Patrick Hunt (phunt@ Arte, the Franco-German cultural- television channel. But the gladiatorial Calchas trembles reading stars mirrored on livers, stanford.edu) has been teaching shows have evolved. Early in the com- comets fallen like spears, eclipsed moons at Stanford University since pany’s existence, the gladiators carried returning with a vengeance. Hordes wait 1993. His work has been pub- reproductions of authentic weapons; in the doldrums at Aulis in restless armor lished in Poet Lore, the Penguin yet, not wanting to injure one another but when they begin to leave, unraveling the borders Book of Classical Myths, various during exhibitions, the fighting took on of his dream sails, a vain king loses more times in Classical Outlook, palin- a very aesthetic, graceful, ballet-like appearance which the group realized than any false courage their numbers brought him. drome poems in Word Ways, could not be very authentic. Therefore, Agamemnon has not chosen well so far, also recently in AKOUÉ (Ameri- they replaced the potentially lethal will he sacrifice his pride on this altar, can School of Classical Studies, weapons with blunted wooden ones, give up his ships and the praise of men Athens) and often in publications deciding to place greater emphasis on or further dilute his faint father love? of the Classical Association of the trying to find the authentic movements Whichever is saltier, seawater or blood? U.K. Two published volumes of of fighting gladiators. This change allows them to discover the range and Deaf and blind to Iphigenia’s tears, his poetry include his House of speed of movements in an actual fight. he will not hear her doe-like cries softening, The Muse: Poems from the British No one has been seriously injured in he will not even hear either sound or fury Museum, and his most recent col- these combats, although they often in this new wind slicing like a sword edge. lection, Cloud Shadows of Olym- result in scratches and bruises; but the pus. He is currently writing the gladiatorial reenactments now look less opera libretto for Byron in Greece. like choreographed dances and more like combative sports. The Gallo-Roman Days and the archaeological sites and museums in Lyon, Saint-Romain-en-Gal, and Temporary Change in Publication Schedule Vienne have much to teach. The for Amphora reenactors are devoted to historical knowledge, pedagogy, authenticity, and realism, values shared by scholars and ver the last three decades the APA has built up an endowment, its General Fund, students of ancient civilization. The Othat generates income to supplement publication revenue; grants and contributions; Gallo-Roman Days present the fruits of and membership, annual meeting, and placement fees. This investment income allows both traditional scholarly research and the APA, despite its relatively modest size, to offer programs and services that are usual- experimental archaeology through the medium of living history. ly offered only by much larger disciplinary societies like the Modern Language Associa- tion, the American Historical Association, and the American Academy of Religion. Timothy Wutrich ([email protected]), author To preserve the endowment in the General Fund, the APA’s Finance Committee has of Prometheus and Faust: The Promethean developed guidelines that limit our withdrawals to 5% of the Fund’s average value over Revolt in Drama from Classical Antiquity the previous three years. The recent declines in financial markets have therefore to Goethe (Westport and London 1995), reduced the amount that it is prudent to withdraw from the General Fund. As a result, teaches in the Department of Classics at Case Western Reserve University in Cleveland, when it approved the budget for the current fiscal year (July 2009-June 2010), the APA Ohio. A native Clevelander, he lived and Board instituted a number of changes in programs that would reduce expenses. These taught in the Rhône-Alpes Region of France changes included a reluctant decision to publish only one issue of Amphora during the for many years. In Summer 2011 he and his current fiscal year. wife, Dr. Annie Pécastaings, also on the This issue of Amphora replaces the one we expected to publish in December 2009, CWRU faculty, will lead a Vergilian Society and we anticipate that financial considerations will again require the publication of only study tour in France on “Roman Gaul.” one issue in the next fiscal year (July 2010-June 2011). If so, the next issue of Amphora will appear in December 2010. APA members in good standing for 2010 will receive these issues by mail only if they have checked the box on their 2010 dues bills request- ing a printed copy. Nonmember subscribers will, of course, receive a printed copy as “The mother of a careful man usual and will receive two issues (regardless of publication date) for every $10 subscrip- seldom has reason to weep.” tion payment. Each issue will also, as before, appear on the APA web site. – Cornelius Nepos. Life of Thrasybulus, 2. We appreciate the support of Amphora readers for this publication.

Adam D. Blistein Executive Director

17 Book Review: reignited. Memories of past events such as leaping from the walls to “ride” the horse Dragonflies: A Novel Odysseus’ feigned madness before the war, into Troy is particularly evocative (150). or the games to determine Helen’s husband, Buday wisely does not try to compete with by Chris Trinacty reveal the motivation behind the resentment the pathos of Vergil’s account of Troy’s fall of the Greek warriors Palamedes and Ajax, and Odysseus’ point of view is detached Grant Buday. Dragonflies: A Novel. who emerge as Odysseus’ chief antagonists. from the arson and slaughter the Achaeans Emeryville: Biblioasis, 2008. Pp. 165. Paper- Such flashbacks flesh out the characters wreak: back. $18.95. ISBN 978-1897231470. even further and point out how the heroic code of seeking honor above all else is Frenzy glazes their eyes as they rape magine you wish to craft a story about corpses and steal anything that shines. bound to be questioned after years of fight- Odysseus in a creative and unusual man- They leap from roofs and elbow each I ing and little visible progress. ner, reflecting your own times but staying true other aside to get at women. They are Odysseus’ subjective perspective to some aspects of the Odyssey. What will crazed, they bludgeon children as if they enlivens the plot as he is prone to philo- were rabid dogs. What a proud moment. be your primary theme? Will you focus on his sophical daydreaming, remembrances of We kings. We victors. We noble war- travels and the idea of homecoming (like his past life on Ithaca and his love for Pene- riors blessed by the gods. (164) authors such as Constantine P. Cafavy in his lope. While this can sometimes lead to Ithaca, or Charles Frazier in Cold Mountain)? banal musing (“Why do I need hair in my His blinkered view of the men around Will you cast away the Greek setting and ears?”[11]), at other times it can touch him and their base motivations gives place your modern-day Odysseus in a differ- upon meta-literary reflection: “Every one of Odysseus a psychologically astute perspec- ent time and place (such as James Joyce’s us is a connoisseur of stories, recognizing a tive and, by taking away the heroic veneer Ulysses, or the film O Brother, Where art new emphasis here, a variation there . . . from the epic material, reveals the concrete Thou)? Possibly you will present Penelope’s the tales handed down like figurines pol- horrors of war. perspective on Odysseus’ participation in the ished by each set of hands through which Dragonflies offers an innovative perspec- Trojan War and long absence from home (as they pass” (34-5); or even reach poetic tive on the myth of Troy’s fall and the char- Ovid’s first Herois [Heroides]), or Margaret heights: “Looking into the eyes of the dead acter of Odysseus. Classicists reading it will Atwood’s Penelopiad)? Grant Buday’s novel, is like gazing at a winter sun in the hope of find many echoes of Vergil and Homer as Dragonflies, attempts to fill in gaps in the warmth” (162). Buday also infuses humor well as some inside jokes, such as the mythological record and to discuss events into the situation, including a particularly novel’s final line: “and soon, very soon, in a mentioned only in passing in the Homeric memorable depiction of Odysseus and month at most, I will be home” (165). One epics. Buday’s work centers on the construc- Diomedes drinking beer in a Trojan taverna. may find some anachronisms or variations tion of the Trojan Horse and the fall of Troy The bravado of Diomedes and his love of on the myths, but most can be easily swal- and, by presenting the story from Odysseus’ sarcasm make him a fitting companion to lowed and show how these myths may be first-person point of view, the author grants us Odysseus and explain their abiding fond- given new life (I think of Tennyson’s Ulysses, a fresh perspective on the Homeric heroes as ness for one another. “Come, my friends. /’Tis not too late to seek they embark on their last-ditch effort to The novel picks up in intensity as the a newer world”). Odysseus emerges as a destroy Troy. Trojan Horse is built and dragged into Troy. voice of reason and a champion of peace The most striking aspect of Buday’s novel Odysseus’ moment of inspiration comes as and the pleasures of house and home over is Odysseus’ nearly stream-of-consciousness he walks the beach and ponders the customs the lust for power, honor, and war. What narrative, which allows the reader a unique and loves of the Trojan people: “So it’ll have do dragonflies have to do with any of this? perspective on both Odysseus himself and to be a big horse, the biggest they’ve ever Read the novel and find out. the Homeric tradition. Buday brings to life seen, one they’ll lust for, one so huge they’ll the horrific conditions of the Achaean camp gladly creak open those spiked gates and Chris Trinacty ([email protected]) is and the raw nerves of the commanders after haul it inside because a horse so enormous currently the Keiter Fellow in Classics at ten long years of besieging Troy. He high- can only be a Sign, and let’s face it all men Amherst College. He received his Ph.D. from lights the grim quotidian reality of mosqui- are fools for Signs . . .” (44). The description Brown University in 2007. He is writing a toes, summer heat, meager rations, and of the anxious and claustrophobic heroes book tentatively entitled, Senecan Tragedy boredom – no majestic displays of battle inside the cramped horse among overflow- and the Reception of Augustan Poetry, which and valor here. The epic grandeur of these ing slop buckets shows Buday’s attention to explores the way Seneca read, employed, characters has been stripped away, leaving detail and his creative re-imagining of the and critiqued the Augustan poets in his poetry. men too easily reduced to their vices and Greek and Latin material. Readers of the Other research interests include Horace’s vanity. Buday describes how Menelaus’ second book of Vergil’s Aeneid will find an Epistles, Vergil’s Eclogues, and Roman elegy. “failing eyesight makes him thrust his face interesting counterpart in Buday’s depiction In addition, Chris finds time to host a radio forward and squint, and as for his once of events. Divine elements are downplayed show once a week called “The Classics dazzling red hair, he now hennas it every or forgotten (no serpents devour Laoco¨on Hour,” in which he often talks about classical week to hide the grey” (11). Without the and his sons, no gods help to destroy Troy’s mythology and history. Trojans to fight, the Achaeans turn on one walls), but the relief and joy of the Trojans another and old grudges fester and are 18 are palpable and the image of Trojan boys HERODOTUS EARTH: MAPPING AND NETWORKING THE HISTORIES continued from page 11

however, from License. Furthermore, a link from our this broad brush- website to the database, which contains stroke image of all of the spatial data that we have cap- Herodotus’ world, tured, will allow users to generate their the territory that own maps. Finally, all of the software emerges as having that we are using and developing is the strongest con- open source, meaning that it can be nections in this reused for other similar projects and basic network cul- improved upon. We believe that it is ture is not ultimately this principle of openness Greece, but and freedom that does most justice to Egypt: each one the world that Herodotus represents. of the links that Egypt has to other Dr Elton Barker ([email protected]) territories scores Principal Investigator) is a lecturer in Classi- in the highest rat- cal Studies at the Open University, after hav- Fig. 26. Co-reference network density ing. While this ing previously been a college lecturer at Christ (territories). Key: the thicker and darker may not have been anticipated, it does Church, Oxford for five years. Author of a the line, the stronger the connection. make sense on reflection, since for a bet- series of articles on epic poetry and the epic ter part of one book Herodotus uses cycle, Sophocles and Herodotus, he has recently how space is represented in the Histories. Egypt as the touchstone against which published a book with Oxford University Press In the example just cited, there is little other cultures, including Persia and his entitled Entering the Agon: Dissent and sense of a Greek-barbarian polarity at own, Greece, are compared. It is its Authority in Homer, Historiography and play, other than in the rhetoric that function as a reference point, then, that Tragedy (January 2009). Aristagoras employs (for instance, asking allows Egypt to appear as the center of whether there was really anything to be Herodotus’ network picture of the Dr Stefan Bouzarovski (Co-Investigator) feared from a people who wore trousers Mediterranean. is a Lecturer in Human Geography at the – what could be more unmanly than It is unclear to us at this stage what School of Geography, Earth and Environ- that!): instead, Herodotus presents a new picture of space will emerge mental Sciences at the University of Birm- series of ‘networks’ – the string of places through our analysis, but we can be ingham, UK. He is also a Visiting Professor that Aristagoras mentions in his attempt pretty certain of two things. First, we at the Faculty of Science at Charles Univer- to show how easy conquest would be don’t expect the network maps to sity in Prague, Czech Republic and an and the very fact that a Greek from Ionia reflect the historical reality, but rather External Professor at the Department of (the west coast of Turkey) goes to a city Herodotus’ preconceptions and knowl- Economic Geography, University of Gdansk, on mainland Greece for an alliance in edge base – or those of his historical Poland. His work is partly supported by the the first place. The HESTIA database of agents. Such views may be a useful Ministry of Education, Youth and Sports of spatial references allows us to identify complement to the picture that can be the Czech Republic, under project no. quickly and efficiently connections otherwise reconstructed by archaeolo- MSM0021620831 titled ’Geographic Sys- between places mentioned by gists and ancient historians, since they tems and Risk Processes in the Context of Herodotus in the same breath (i.e., in a may provide an insight into the “cultural Global Change and European Integration.’ chapter), represent those connections in mentality” informing Herodotus’ world. Christopher Pelling (Co-Investigator) has various graphic forms, and consider their Second, we expect our interpretation of been Regius Professor of Greek at Oxford significance. Moreover, as well as provid- Herodotus’ world in the end to differ University since 2003. His books include a ing a general sense of the broad ‘net- radically from both the “satellite” image commentary on Plutarch, Life of Antony work’ culture of the Histories, we will of the Earth that our technology gener- (Cambridge, 1988), Literary Texts and also be able to generate a finer grain of ates, and the two-dimensional Cartesian the Greek Historian (London, 2000), and analysis by counting the relative maps that have dominated western Plutarch and History (Swansea, 2002); he strengths of the components within any thinking for centuries. Indeed, we antic- has also edited collections on Characteriza- given network: that is to say, we will be ipate generating maps that are “topolog- tion and Individuality in Greek Litera- able to identify the “hot-spots” of the ically” rather than geographically based, ture (Oxford, 1990) and Greek Tragedy network culture – those places that have much like the famous schematic diagram and the Historian (Oxford, 1997). the most “hits” or “degree centrality” of the London Underground (see within a network – or else evaluate and http://en.wikipedia.org/wiki/Tube_map). Mr Leif Isaksen (ICT consultant) is represent the “thickness” of the connec- These maps will represent the distance currently studying for a Ph.D. at the Univer- tions between places themselves. between places mentioned in sity of Southampton developing an assistive Figure 26 gives an example of one Herodotus’ Histories in relation to the research framework to integrate information such network, depicting linkages among number and strength of the connections from across multiple excavation data reposi- territories across the entire Histories. It between them, rather than according to tories. Specializing in the application of ICT traces the connections among Greece their “real” physical locations. to the analysis of space in the ancient world, and other territories within the Mediter- All of the images that we generate he moderates the Antiquist ICT and Cultural ranean world, primarily Italy, Thrace, will be freely available to all on our Heritage community. Scythia, Persia, and Egypt. Interestingly, website under a Creative Commons 19 PRIOR INCANTATO: GRECO-ROMAN MAGIC FLOWING FROM J.K. ROWLING’S WAND by Elizabeth Ann Pollard

ccio! Expecto Patronum! These J.K.,” reveals the sub-disciplines of gender) of magical experts and con- memorable Potterworld spells for academic interest, including study and sumers and what level of literacy was retrieving an object and summon- teaching, girls and women, criticism and required to etch or cast a spell? How A interpretation, encyclopedias, and reli- much expertise would it take to fashion ing a protector resonate clearly with the language and logic of magical spells from gion, to name a few. The newest release a waxen or clay image for a spell or to Greece and Rome. Yet while Harry of the film adaptations of the series, Part perform the actions mentioned in the Potter is oft-discussed by experts in chil- I of Harry Potter and the Deathly Hallows, spells’ words – those clearly translatable dren’s literature and by theologians, the due out in November 2010, will no doubt or the more mysterious voces magicae? series is seldom addressed by historians, again stoke the fires of Potter fandom. What kind of equipment would a magic- much less those specializing in Greece Why should any of this matter to user need and who gathered the arcane and Rome, a gap that the panel focused scholars of Greece and Rome? Harry ingredients required to enact the vari- on “Parallels between Rowling’s Wizard- Potter has become a lingua franca, offer- ous spells (LiDonnici 2002)? Apuleius’ ing World and Historical Practices” at the ing an opportunity to use popular cul- description of Pamphile’s laboratory – annual Harry Potter conference, Azkatraz ture to highlight what was a central facet filled with every type of spice, undeci- 2009, no doubt hoped to address. of Greco-Roman antiquity, namely pherable metal tablets, bits of ship- Nevertheless, some classicists have magic. As John Gager wrote nearly two wrecks and corpses, including noses, shown interest in the series. David decades ago, curse tablets “reveal a dark fingers, flesh-covered nails used in cru- Frauenfelder has commented on the little secret of ancient Mediterranean cifixion, and gore-encrusted, mutilated murkiness of a simple good vs. evil culture . . . [e]veryone, it seems, used or skulls pulled from the jaws of wild dichotomy in both Harry Potter and knew of them” (1992, 3). In Gager’s beasts – offers one of the few problem- classical myth (Amphora 3.1 [Spring observation on the ubiquity of magic- atic imaginings in answer to these ques- 2004], 7, 13). Latin editions of the first use in antiquity, one hears echoes of tions (Apuleius, Metamorphoses 3.17). two books in the series, as well as an those who guiltily admit that they not Such questions, frustratingly left ancient Greek edition of the first book, only read Harry Potter, but stood in line unanswered for antiquity, have been have been produced. Reviewers in the at a bookstore on a midsummer’s mid- imaginatively addressed by Rowling pages of Amphora (4.2 [Fall 2005] and night to be among the first to get their with Diagon Alley, Hogwarts, and the 6.2 [Fall 2007]) have noted the transla- copies of the latest installment of the classes the young wizards take there. tors’ inspired rendering of names into series. While Harry Potter may not at For example, students entering their Greek and Latin and their clever evoca- first glance appear to teach us anything first year at Hogwarts School of Witch- tion of epic and other classical literary about Greco-Roman magic and while J. craft and Wizardry must procure in Lon- allusions – the translator into the Greek, K. Rowling may not have intentionally don’s wizarding shopping district, A. Wilson, himself credits as an inspira- drawn on Greco-Roman magic to create Diagon Alley, books such as Goshawk’s tion for his translation Lucian, whose the magic of Potterworld – although Standard Book of Spells (Grade 1), second-century C.E. stylus often turned according to her editor at Bloomsbury, Bagshot’s History of Magic, Waffling’s to magical subjects (http://www.users she did study classics at university Magical Theory, Switch’s Beginners’ Guide .globalnet.co.uk/~loxias/harry_potter.htm); before settling in on French to Transfiguration, and Spore’s One Thou- but still there has been little attempt to (http://www.users.globalnet.co.uk sand Magical Herbs and Fungi (Sorcerer’s explore the relationship between the /~loxias/news.htm) – comparing the Stone [hereafter SS] 5). All this to magic in the world of Harry Potter and two can enrich our readings of both and embark on a seven-year education to that of Greco-Roman antiquity. make classicists for life among this include instruction in History of Magic, Scholarly collections deal with issues generation reared on the Pottercraze. Charms, Transfiguration, Potions, Div- ranging from mythic/folkloric roots and ination, and Defense against the Dark gender to politics (e.g. The Ivory Tower Magical Knowledge and Ritual Arts. The reader learns from the Sorting and Harry Potter: Perspectives on a Literary Expertise Hat in the first book about different “schools” of magic followed by Griffindor, Phenomenon [2002] and Harry Potter and Scholars of Greco-Roman magic Ravenclaw, Slytherin, and Hufflepuff International Relations [2006]). Confer- debate the level of ritual expertise (SS 7) and, in Goblet of Fire (GF), the ences that feature a unique mix of popu- required to perform various spells or the reader learns that there are regional vari- lar fanaticism and scholarly presentations nature of the modes for the transmission ations in magic-practice as well, when are held nearly every year across the of magical knowledge (Frankfurter Continental rivals, Beauxbatons and U.S., including the upcoming “Infinitus” 1997). Who owned the fourth-century Durmstrang, enter Potterworld (GF 15). in Orlando in 2010 (http://www.infinitus recipe books, such as P.Bibl.Nat.Suppl. The series abounds in examples of 2010.org/). The National Library of gr. 574 at the Bibliotheque Nationale in ritual expertise and the performative Medicine in 2008 hosted an exhibition Paris or P.Lond. 121 at the British context of magic. One need only glance entitled “Do Mandrakes Really Scream?: Library, popularly known as Papyri at the Wikipedia entry for “Spells in Magic and Medicine in Harry Potter” Graecae Magicae (PGM) IV and VII, Harry Potter” for an extensive list of (http://www.nlm.nih.gov/exhibition respectively? How did the owners of incantations, their proper pronunciation, /mandrakes). Searching the Library of such grimoires, or magic handbooks, use, and suggested etymology. Perhaps Congress subject heading, “Rowling, dispense their trade? What was the the most memorable performative 20 social location (ethnicity, class, and moment is Hermione’s upstaging of her Chris Faraone (1991) has illustrated social concern over subversive erotic peers in her combination of proper tech- well the agonistic context of Greco- matches. While there are debates about nique – “swish and flick” – and enunci- Roman magic, namely that magic was how these spells “worked” in their ation in her superior execution of often used in competitive situations Greco-Roman context, with J. Winkler “wingardium leviosa!” She scolds Ron, such as business, theatre, legal cases, (1990) championing a therapeutic psy- “You’re saying it wrong . . . “It’s Wing- athletics, and love, especially when the chological projection model and Faraone gar-dium Levi-o-sa, make the ‘gar’ nice outcome was in question. The jinx (1999) suggesting rather that the spells and long” (SS 10). The voces magicae of placed on Harry’s broom during a Quid- re-inscribed the realities of match- the ancient PGM and lead tablets (magi- ditch match in SS 11 is reminiscent of a making, there can be no doubt about the cal words like ablanathanalba, bor- popularity of love spells of all varieties: phorbabarbor, and maskelli maskello) men pursuing men and women, women might be compared with parseltongue pursuing women and men. (the specialized wizarding ability, limit- As the protagonists of the Potter ed primarily to those of Slytherin line- series age, their concerns mature as age, to speak in the language of snakes, well. While Quidditch is the major com- e.g., SS 2 and Chamber of Secrets [CS] 11). Rowling’s portrayal petitive context of the first book, love The potion book of the Half-Blood of magic reflects ancient becomes a greater concern in the later Prince (HBP) is a particularly good illus- practices. books of the series. In HBP, love tration of how Greco-Roman grimoires potions are not only the source of comic might have been the accretion of several relief but also a major plot point. We are users’ tweaking of magical recipes. In a reminded of Apuleius’ bewitched goat race to create the best Draught of Liv- corpses when Ron consumes Chocolate ing Death in order to win a swig of Frogs laced with a love charm meant for Felix Felicis potion, Harry must use an Harry (HBP 18-9). More seriously, old borrowed potions book. Overcoming seventy-five line lead curse tablet from Voldemort himself is the offspring of a his irritation at the “stupid scribbles of North Africa that binds horses – “take relationship brought about by the spell the previous owner, who for some rea- away their victory, entangle their feet, his witch mother Merope (note the son had taken issue with the order to hinder them, hobble them . . .” – and resonance of the name with Apuleius’ cut up the sopophorous bean and had their drivers – “snatch them up from famous leading witch Meroe) cast on written in the alternative instruction: their chariots and twist them to the the Muggle Tom Riddle. A pregnant crush with flat side of silver dagger, ground . . . dragged along all over the Merope is left to raise her half-blood releases juices better than cutting,” hippodrome . . . with damage to their son alone and in shame, when the love Harry eventually uses those revisions body” (Defixionum Tabellae 237, trans. in spell wears off and Riddle scorns her with success (HBP 9). Similar to the Gager 61-2). Just as the Potter-reader (HBP 10-1). Such a situation is perhaps Half-Blood Prince’s adaptations, scholars discovers that Prof. Snape was not jinx- what Domitiana feared in third-century have noted the accretive element of ing Harry, but instead was muttering a C.E. North Africa when she commis- spell books in the multiple hands and protective spell on Harry’s behalf, one sioned what Faraone would call a philia range of ad hoc spells in many of the finds in PGM 3.15-30 a recipe for a pro- spell to “bring Urbanus . . . and unite grimoires (LiDonnici 2003). Further, tection spell: “I adjure you angels of him with Domitiana . . . in marriage as just as root-cutting and herb-knowledge running . . . that you will gird with spouses in love for all the time of their were magical skills in antiquity (Scar- strength and courage the horses that lives” (DT 271, trans. in Gager, 112-5). borough 1991), Snape grills Harry on his NN is racing and his charioteer . . . let Indeed, such erotic spells often had herbological understanding of the prop- no other magic or witchcraft affect time-limits, as we are reminded by the erties of asphodel and wormwood, them.” The effectiveness of Harry’s odd fifth-century C.E. love spell in monkshood and wolfsbane (SS 8); we pretense of slipping his Felix Felicis which Theon, a male, seeks to bind to learn the importance of gillyweed (GF potion to Ron prior to the latter’s Quid- himself Euphemia, “with love and lust 26); and we are taught that venom of ditch success in HBP (14-5) illustrates and longing for ten months from today” acromantula is a precious ingredient, its how it is that many have suggested . . . just long enough to bring a pregnan- rarity due to the difficulty of gathering Greco-Roman magic would have cy to term (Supplementum Magicum 45). it (HBP 22). “worked” in these competitive situa- tions – that it gave to the user an edge Other Connections? Agonistic Context of Magic in confidence. Illustrative parallels continue well Struggle – between good and evil, Agonistic parallels continue in the beyond magical knowledge and ritual Harry and Voldemort, the world of use of love potions, both in antiquity expertise or the agonistic context of Muggles (people with no magical abili- and in Potterworld. Love spells from sport and love. Rowling’s animagi, who ties) and Magicians – is at the heart of antiquity abound both in formulae pre- use magic to become animals – Sirius the Potter series. Defense against the served in recipe books and etched on Black/Padfoot, James Potter/Prongs, Dark Arts is a recurring theme in the lead. They are the source of fictional Peter Pettigrew/Wormtail, and Rita books, whether as the much coveted (at humor, as when goat corpses rush Skeeter/Beetle and the Metamorphmaga least by Snape) teaching position at through the streets at the behest of the Nymphadora Tonks (Order of the Phoenix Hogwarts, the purpose of Occlumency, witch Pamphile’s magical ministrations [OP] 3) – call to mind the shape-shifting or the goal of Dumbledore’s Army. after she has been duped by her slave Lucius, the lead character of Apuleius’ Magic in Potterworld is inextricably Photis into using goat hairs instead of Metamorphoses who transforms into a bound with the concept of struggle, or the hair of the intended victim donkey after his misapplication of (Apuleius, Metamorphoses 3.16-8); but agon as the Greeks would have called it. continued on page 23 this is a humor that is based in a genuine 21 CLASSICS REWRITTEN Book Review: Medicus: A Novel of the Roman Empire IN STONE: THE ART OF by Chelsea M. Campbell ANITA HUFFINGTON continued from page 13 Ruth Downie. Medicus: A Novel of the Mixed marriages bring shame to the native Roman Empire. New York: Bloomsbury tribes. The Roman army has built a thriving and breast, where there is also a red scar. USA, 2007. Pp. 400. Hardcover. $23.95. outpost and protects the people inside its At the front of each thigh is a jagged red ISBN 978-1596912316. walls, yet isn’t above abusing them for its gouge, as if she had fallen and been dragged up again. Her hands . . . are own entertainment. thrust behind her and open in supplica- aius Petreius Ruso, a Roman army The complications between the army tion . . .”; at the same time, Wallach Gdoctor, signs up for Britannia to get and the locals make author Ruth Downie’s notes that, although “[s]he is cornered, away from his ex-wife and earn some cash world a rich, lively place that feels extremely her breasts thrust forward,” she ulti- to bail out the family farm from his dead real. Throw an unlucky but compassionate mately associates the sculpture with the father’s many creditors. But Britannia isn’t guy like Ruso into the mix, and the pages Victory of Samothrace. Wallach also exactly the sanctuary he thought it would just fly by. One of the best aspects of this touches on the dual themes of death and rebirth in this myth when she says, be. The weather is too wet, the hospital novel is Downie’s skill at drawing the read- “The colors of the alabaster descend understaffed, and the locals hostile towards er into a completely different time and from pale pink to blood red, as if she is anything Roman. Things go from bad to place, while being able to relate to Ruso’s being drained of life, or infused with it” worse when Ruso, in a weak moment of daily life and frustrations. He has trouble ([2001], 6). In this way, Huffington’s art compassion, spends all his money to rescue finding time to work on his writing. He gets works as a catharsis, helping her to an injured slave girl from her less than woken up in the middle of the night – grieve Lisa’s death while simultaneously bringing her daughter to life once again scrupulous owner. repeatedly. His house is a mess, but he through the immortal medium of art. It turns out his slave is a native who can’t get anyone to clean it. Some parts of In the fall of 2006, Huffington’s can’t cook, won’t talk, and is only good for being human never change, and that’s husband Hank Sutter passed away causing trouble. Ruso lodges her at the what makes a good historical novel really unexpectedly. While it is still too soon local bar, only to get dragged against his work. to see clearly what trajectories her work will into a local murder mystery. Prostitutes I highly recommend this book, and I might be taking in response to this tragedy, we can be sure that this experi- are turning up dead, and, despite his reluc- look forward to reading the sequels, Terra ence, too, will make its mark on her art. tance and claims that he’s not part of the Incognita (Bloomsbury USA 2008) and Per- As Huffington has said, “The art that I investigation, Ruso is the only one who sona non Grata (Bloomsbury USA 2009). love the most is art that is full, deep, cares about finding out the truth . . . espe- and inclusive of life and death, light and cially after a few “accidents” almost do Chelsea M. Campbell (kaerfel@ dark, ecstasy and tragedy - the him in, and he realizes he’s next on the gmail.com) is a novelist specializing in inescapable mystery. The work that I have done that has this kind of truth is murderer’s list. young-adult fantasy fiction. Her most recent the most important work to me: the Medicus grabbed me from the first page novel, The Rise of Renegade X (Random truth that contains the whole” (Wallach, and didn’t let go, and not just because it House) will appear in May, 2010. She “Anita Huffington: The Rock is the starts out, like many good mysteries, with a holds a B.A. degree in Classical Lan- Habitation of the Whole,” Anita Huffing- dead body. Ruso is an engaging character: guages, and lives with her husband, two ton. Photographs by David Finn. [New flawed, compassionate in spite of himself, cats, and a collection of glass grapes in York: Ruder Finn Press, 2007], 17). and full of hilarious introspection. The guy Bellingham, Washington. More information Like the mythological themes on which she draws, Huffington’s art embraces can’t catch a break, whether he’s trying to about Chelsea and her writing can be the whole of human experience, and in scrape up money to send back home, write found via her website: so doing, her work, like the myths of the first-aid field guide that’s going to make http://www.chelseamcampbell.com/. antiquity themselves, takes on a time- him rich, or just get a full night’s sleep. less quality that speaks to us all. Something always goes wrong, and Ruso (For more of Huffington’s work, see Share Amphora! handles his problems with determination photographer David Finn’s 2007 book re you looking for that unusual and humor. He gets into one scrape after Anita Huffington. New York: Ruder Finn Agift for a friend or that gift appro- Press.) another, and then, just when he thinks he’s priate for an outstanding student? safe, he finds himself in even more trouble. Consider giving a subscription to Kirsten Day ([email protected]) Historically, this novel explores the rela- Amphora! For just $10 U.S. in the is Assistant Professor of Classics at Augus- tionship between the Roman army stationed U.S. and Canada and $15 elsewhere, tana College in Rock Island, Illinois. in Britain and the local tribes they’ve sup- you can share the articles, reviews, Because of her interest in classics in popular and surprises of a year of Amphora posedly conquered. Tensions between them culture, she has served as Area Chair for the with others. Subscription forms are “Classical Representations in Popular Cul- are high. The slave Ruso acquires is a available on-line at http://www.apa- ture” panels at the annual Southwest Texas native girl who would, at times, rather die classics.org/ee/images/uploads/docu- Popular and American Culture Associa- than live near anything or anyone Roman. ments/amphora/Nonmember_Subs_F tion’s regional conferences since 2002. Locals are sold as slaves to Roman citizens. orm.pdf. 22 PRIOR INCANTATO: GRECO-ROMAN MAGIC FLOWING FROM J.K. ROWLING’S WAND continued from page 21

Pamphile’s ointments (Apuleius, of the larger ideological issues and Recipe Ingredients in Greco-Roman Metamorphoses, 3.24-5). Apuleius’ protag- dichotomies: the social construction of Magical Materials,” in Magic and Ritual onist would have done well to heed the muggles vs. magicians, magic vs. reli- in the Ancient World, edited by P. admonition uttered by Prof. McGonagall, gion, and magic as sustaining of vs. Mirecki and M. Meyer, 359-77, Lei- herself an animaga, when she warned threatening to social order. The answers den: Brill, 2002. her students, “Transfiguration is some of to such questions are complex in the ______. “Compositional Patterns in the most complex and dangerous magic intricately imagined space of Potter- PGM IV,” Bulletin of the American Soci- you will learn at Hogwarts” (SS 8). world. They are a reminder of the murk- ety of Papyrologists 40 (2003): 141-78. Magical creatures such as Lupin the iness of the categories and oppositions in D. Ogden, Magic, Witchcraft, and Ghosts werewolf (Prisoner of Azkaban [PA] 17), Greco-Roman antiquity. Rowling’s cre- in the Greek and Roman Worlds: A Firenze the centaur (SS 15), Fawkes the ation is a firm reminder that scholars of Sourcebook. Oxford: Oxford University phoenix (CS 12), the basilisk (CS 16), Greco-Roman magic can become so Press, 2002. Buckbeak the hippogriff (PA 6), Norbert source-bound that we forget to step back the Norwegian Ridgeback and other and imagine an economy of magic. The Papyri Graecae Magicae (Preisendanz dragons (GF 19), the sphinx (GF 31), vicissitudes of agon over sport and love 1973-74), translated and edited by and thestrals (OP 21), all have counter- and the concerns over knowledge and H.D. Betz. Greek Magical Papyri in parts in Greco-Roman magical lore. transmission are magically manifest in Translation. Chicago: University of Lykanthropes, or werewolves, are well- Potterworld in much the way that they Chicago Press, 1986. attested in Greco-Roman antiquity were in antiquity. Rowling’s imaginative J. Scarborough, “The Pharmacology of (Ogden 2002). Philostratus records the context helps us to envision a way to fill Sacred Plants, Herbs, and Roots,” in magician Apollonius of Tyre’s encoun- the gaps in our understanding of the Magika Hiera. edited by C.A. Faraone ters with magical creatures on his recipes and spells at whose users’ needs and D. Obbink, 138-74, Oxford: sojourn in India (3.45-9 for martichors we can only guess. Conversely, Potter- Oxford University Press, 1991. [sic], griffins, and phoenixes). The readers may be fascinated that their pro- Supplementum Magicum, edited and ghosts and restless dead used to animate tagonists’ struggles are paralleled by translated by R. W. Daniel and F. Mal- many of the Greco-Roman curse tablets those of real people who lived almost tomini, Opladen: Westdeutscher Ver- have Potterworld counterparts in Nearly two millennia ago. lag, 1990-92. Headless Nick (CS 8) and Moaning Myrtle (CS 16 and GF 25), as well as in Further reading: J. Winkler, “The Constraints of Desire: Erotic Magic Spells,” in The Constraints the terrifying inferi that guard one of C.A. Bonner, Studies in Magical Amulets. Voldemort’s horcruxes (HBP 26-7). The of Desire, 71-98. New York: Routledge, Ann Arbor: University of Michigan 1990. eponymous sorcerer’s stone of the first Press, 1950. book is reminiscent of magical stones in general, whether gemstones inscribed B. C. Daleas, Review of Harrius Potter et Elizabeth Ann Pollard (epollard@ with spells (e.g., Bonner 1950) or the Camera Secretorum, trans. by P. Need- mail.sdsu.edu) is Associate Professor of His- belief that the stones themselves have ham, Amphora 6.2 (Fall 2007): 7, 23. tory at San Diego State University, where magical properties, for example the A. Audollent. Defixionum Tabellae. Paris: she has been teaching courses since 2002 in affinity of hematite for treating blood- Albert Fontemoing, 1904. Greek and Roman history, world history, related ailments (for properties of magic C.A. Faraone, Ancient Greek Love Magic. women and magic, and the historiography of stones in general, see the fourth-century Cambridge, MA: Harvard University witchcraft from Greco-Roman antiquity C.E. Cyranides). The Mirror of Erised in Press, 1999. through Colonial America. Her most recent which viewers see their true desire finds articles have explored writing about witch- ______. “The Agonistic Context of an ancient parallel in cataptromancy craft on Wikipedia, images of witches in Early Greek Binding Spells,” in Magi- (mirror-magic), against which Apuleius Greco-Roman art, and placing Greco- ka Hiera, edited by C.A. Faraone and arguably defends himself when he Roman history and Roman-Indian trade in D. Obbink, 3-32. Oxford: Oxford Uni- deflects the charge that he owns a mirror world historical context. versity Press, 1991. (Apuleius, Apologia 13-6). The pensieve, in which Potterworld memories can be D. Felton, Haunted Greece and Rome. stored, finds some resonance in both Austin: University of Texas, 1999. lecanomancy (bowl divination, e.g., PGM D. Frankfurter, “Ritual Expertise in 4.3209-54 a saucer divination of Roman Egypt and the Problem of the “For human beings, Aphrodite) and even memory spells (eg. Category of the ’Magician’,” in Envi- words are a weapon sharper PGM 1.232-47). While there may be no sioning Magic, edited by P. Schäfer and than the sword.” Greco-Roman invisibility cloaks (SS 12 H.G. Kippenberg, 115-35, Leiden: – Pseudo-Phocylides and the Tale of the Three Brothers), there Brill, 1997. Wise Sayings, 124. are invisibility rings (Cyranides 1.15.33- D.L. Johnson, Review of Areios Poter kai 7), ointments (PGM 1.222-32), spells he tou philosophou lithos, trans. by A. (PGM 7.619-27), and even a cap (Iliad Wilson, Amphora 4.2 (Fall 2005): 1, 4-5. 5.844-5). But perhaps even more intriguing L.R. LiDonnici, “Beans, Fleawort, and than these one-to-one parallels are some the Blood of a Hamadryas Baboon: 23 ® GUIDELINES FOR CONTRIBUTORS A Publication of the American Philological Association Sponsorship and Readership: Suggested Length of Submissions: Amphora, a publication sponsored by Articles (1500-1800 words), reviews the Committee on Outreach of the (500-1000 words). 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