"I, Clodia" is the story of Clodia Metelli—poet and lover—and her relations with her far-away paramour Catullus, her husband Metellus Celer, her brother Publius Clodius, and her accuser Cicero. By giving Clodia—the "Lesbia" of Catullus's famous love poetry—her own first-person narration, Anna Jackson upends and reinvigorates the beloved classical sequence with biting wit and tender attention. Who was Clodia and what did she think about the affair, the gossip, the scandal, the poems? Jackson honors and subverts her source material in lines that are a marvel of ventriloquism. The book's second section, "The Photographer's Secret," furthers this superb exploration of voice and portrayal. The photographer in this sequence reads, writes, gives presents, and considers the art of portraiture. But who is examining, and who is being examined? Above all else, Anna Jackson takes us within and without a range of characters in her characteristically witty style—sometimes mock breathless, sometimes dryly pointed, and always clever, stylish, and emotionally engaging.

‘I, Clodia’ is the story of Clodia Metelli – poet and lover – and her relations with her far-away paramour Catullus, with her husband Metellus Celer, her brother Publius Clodius and her accuser Cicero. By giving Clodia – the ‘Lesbia’ of Catullus’s famous love poetry – her own first-person narration, Anna Jackson upends and reinvigorates the beloved classical sequence with biting wit and tender attention. Who was Clodia and what did she think about the affair, the gossip, the scandal, the poems? Jackson honours and subverts her source material in lines that are a marvel of ventriloquism. The book’s second section, ‘The photographer’s secret’, furthers this superb exploration of voice and portrayal. The photographer in this sequence reads, writes, gives presents and considers the art of portraiture. But who is examining, and who is being examined? Above all else, Anna Jackson takes us within and without a range of characters in her characteristically witty style – sometimes mock breathless, sometimes dryly pointed, and always clever, stylish and emotionally engaging. If a photograph is a ‘secret about a secret’, as Diane Arbus put it, these poems are also secrets – about lives; about portraiture; about those who have the power to record and betray.

Volume 33 in the Oklahoma Series in Classical Culture, this title provides primary sources on Clodia Metelli, the Roman woman who influenced Cicero, Catullus, and countless others. Hejduk (classics, Baylor U.) provides accessible translations in entirety of the majority of the primary sources, including all classical texts that mention Clodia. The book is presented in three sections; the first gives the context of the woman and the time in which she lived; the second presents sources from Cicero, Catullus, Sallust, Quintilian, and Plutarch; the final offers the legacy of Clodia through Propertius, Tibullus, Ovid, and Martial. This publication contains a helpful glossary of persons and places from the classical world though does not include the original Latin of the primary sources. It is intended for advanced high school or undergraduate students.

Comprehensive coverage, accessible to students and non-specialists, of one of the most popular poets of classical antiquity.

What ghost was being appeased? What wrong was being righted or sin atoned for? I didn’t know. It was all, this writing business – and had been since it first began when I was still at school – mysterious, possibly even neurotic. I knew only that for a moment the world which ‘out there’ seemed so imperfect, so ‘fallen’, so much less than the heart desired, ‘in here’ had been called to order. Every morning for the last thirty years, C. K. Stead has written fiction and poetry. Shelf Life collects the best of his afternoon work: reviews and essays, letters and diaries, lectures and opinion pieces. In this latest collection, a sequel to the successful Answering to the Language, The Writer at Work, and Book Self, Stead takes the reader through nine essays in ‘the Mansfield file’, collects works of criticism and review in ‘book talk’, writes in the ‘first person’ about everything from David Bain to Parnell, and finally offers some recent reflections on poetic laurels from his time as New Zealand poet laureate. Throughout, Stead is vintage Stead: clear, direct, intelligent, decisive, personal.

Leading and emerging, early career scholars in Classical Reception Studies come together in this volume to explore the under-represented area of the Australasian Classical Tradition. They interrogate the interactions between Mediterranean Antiquity and the antipodean worlds of New Zealand and Australia through the lenses of literature, film, theatre and fine art. Of interest to scholars across the globe who research the influence of antiquity on modern literature, film, theatre and fine art, this volume fills a decisive gap in the literature by bringing antipodean research into the spotlight. Following a contextual introduction to the field, the six parts of the volume explore the latest research on subjects that range from the Lord of the Rings and Xena: Warrior Princess franchises to important artists such as Sidney Nolan and local authors whose work offers opportunities for cross-cultural and interdisciplinary analysis with well-known Western authors and artists.

Uneasy nights out with dead Russian poets, dalliances with German gasfitters and emotionally fraught games of badminton are brought together for the first time, along with a brand new body of work, in this time-spanning selection of Anna Jackson’s poetry. Local gothic, suburban pastoral and answerings-back to literary icons are all enhanced by Jackson’s light hand and sly humour. Pastoral yet gritty, intellectual and witty, sweet but with stings in their tails, the poems and sequences collected in Pasture and Flock are essential reading for both long term and new admirers of Jackson’s slanted approach to lyric poetry.