This book is aimed at a general audience with an interest in ancient Greek myth and religion. The translation is clear without oversimplifying and is comparable to other recent translations of the Homeric Hymns. What places it above other translations is the expanded corpus that includes more than just the major Homeric Hymns to provide a more authentic view of the fuller tradition of ancient Greek pagan hymns. The fourteen chapters are each dedicated to a deity or related group of deities (Apollo and Muses, Hermes and Pan etc.) and include between two and eleven hymns all from the same manuscript family. The book includes all the major and most of the minor Homeric Hymns (23 out of 34), at least one relevant Orphic hymn in each chapter (32 out of the total 78), all six of Callimachus’ Hymns and all seven of Proclus’ Hymns, prompting readers to make comparisons about how a god is treated in hymns over time. Each chapter includes a general introduction to the deity, and these often include longer relevant passages from Homer and lyric poetry to provide background before turning towards the hymns. For example, the chapter on Aphrodite includes both Demodokos’ song of Aphrodite's affair with Ares from Odyssey 8 and Sappho 1 (pp. 89–95).

While scholars of the ancient world will likely not find much use from the notes, as they are generally directed towards the novice, the book is well suited to serve as a classroom text for both its low cost and its flexibility. As mentioned, it is designed for a comparative approach, as well as prompting students to consider textual transmission, since all the hymns are from a single manuscript family. Additionally, separate bibliographies are provided for each ancient author and would serve as a strong starting point for student research on a broad range of topics related to religion, mythography, poetics, philosophy and more.

The book's physical appearance is clean and very aesthetically appealing. The 35 images are clear, in colour and accompanied by thorough yet concise explanations that relate them to the hymns and provide more context. The glossary and pronunciation guide for both characters and toponyms are thorough and will also be useful for students, although P. concedes that he strikes a middle ground in transliteration, mostly following a direct transliteration of the Greek but using the Latin forms when they are familiar to a general audience. I noticed a handful of typing and mythographical errors throughout the book: Cheiron is called the son of Zeus rather than Kronos (p. 22), Leto is called Leda in one place (p. 158), and Aphrodite is said to be born from Kronos’ castrated genitals rather than Ouranos’ (p. 95). These minor issues can be easily fixed in a second edition, and they do not detract from the book's innovative approach to presenting the well-known Greek hymns alongside their less well-known counterparts.