First-person poetry is a familiar genre in Latin literature. Propertius, Catullus, and Horace deployed the first-person speaker in a variety of ways that either bolster or undermine the link between this figure and the poet himself. In I, the Poet, Kathleen McCarthy offers a new approach to understanding the ubiquitous use of a first-person voice in Augustan-age poetry, taking on several of the central debates in the field of Latin literary studies—including the inheritance of the Greek tradition, the shift from oral performance to written collections, and the status of the poetic "I-voice." In light of her own experience as a twenty-first century reader, for whom Latin poetry is meaningful across a great gulf of linguistic, cultural, and historical distances, McCarthy positions these poets as the self-conscious readers of and heirs to a long tradition of Greek poetry, which prompted them to explore radical forms of communication through the poetic form. Informed in part by the "New Lyric Studies," I, the Poet will appeal not only to scholars of Latin literature but to readers across a range of literary studies who seek to understand the Roman contexts which shaped canonical poetic genres.

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.

Interdisciplinary in approach and methodologically sophisticated, this book explores the dynamic reception of Latin erotic elegy in Renaissance love poetry.

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