This is the second iteration of a book B. published in 2001 as a companion for Latin literature courses in translation. I am unfamiliar with the first edition, so I cannot comment on the evolution from that edition, but I have to say, as one who regularly has to teach Latin literature surveys in translation, and one who also appreciates B.’s scholarly work, I was rather intrigued to review this book.

First off, let us be clear what this is not – it is NOT a traditional, chronological handbook for Roman literature. It is not organised by ‘notional periods’ or author dates. Instead, B. has chosen to organise her book by what she sees as key threads that will provide students with essential insights into Roman literary culture. There are fifteen chapters that deal with various topics, ranging from the transmission of texts and the creation of Roman identity to intertextuality and allegory. Each chapter explores key passages from authors appropriate for each topic and also concludes with an excellent and current bibliography for further reading and study.

By avoiding a traditional chronology (starting with Ennius or Plautus, for example) B. is able to dedicate the first two chapters to Virgil and Livy respectively. What better way to give students an understanding of the power and draw of Latin poetry than to dive right in to ‘the greatest poem ever composed in Latin’ (p. 1)? B.’s method throughout the book is to illustrate the various approaches and critical threads she presents with copious, translated passages from the works themselves. Thus, after finishing Chapter 1, a student will not only be able to tell the difference between the ‘European school’ and the ‘Harvard school’, but will have read many ‘purple’ passages from the poem, so they can see first-hand why the ‘the meaning of the Aeneid’ has such a long, impassioned history of interpretation (p. 13).

The choices B. has made for the first two chapters hint at the book's impeccable design – the study of the master poem of Roman literature is followed immediately by the master prose work of Livy. A text that illustrates a vast richness for reception and interpretation is followed by an examination of a text fecund in moral exemplum. And by focusing on the Lucretia story, B. shows off another strength of her book, reception studies. The Romanitas of the Lucretia example and the historical context of Livy's world are certainly described, but so is the long tradition of this story. B. is able to use the Lucretia story to demonstrate the power of the classical tradition, from Shakespeare's The Rape of Lucrece to the paintings of Titian and Tiepolo. (Chapter 5 is entirely dedicated to the topic of reception studies.)

Another practical advantage of organising the book via theme and author is the ability to prune chapters and material that will suit the needs of your course. Chapters 12–14 deal with intertext, self-referentiality and allegory – topics that I rarely have time to explore in-depth in a survey course. But the book is so well designed that you can pick and choose chapters that are the most useful and relevant for your course.

This is a brilliantly structured book, a joy to read, and one that I think can really enhance a student's appreciation for any Roman author they are studying. I know I shall be using this book as a supplement in future courses.