What did it mean - in terms of social, cultural, and literary negotiations - to publish one's own work in Rome at the end of the first century CE? What kinds of traces has the author's work as editor left on the text as we read it? How can we interpret them? What kind of well-choreographed balancing act was needed to ensure immediate availability and success for one's work in terms of its historical contemporary audience, while guaranteeing its long-lasting appeal with a hypothetical one? These are the key questions behind the essays in this collection, as they address Pliny the Younger's complex self-editorial strategies, and what they were intended to achieve. The individual studies use philological and interpretive arguments to reveal that Pliny's nine-book collection of private epistles is a carefully arranged work designed, ultimately (and primarily), to address that peculiar kind of audience that we have come to conceptualize as posterity. In doing so, they suggest that in the collected form of the Epistles meaning is produced by the interplay of multiple factors. Immediate context, placement in the book, linkage achieved by way of formal or thematic patterns, recurrence of addressees, happenings, and dates all impact individual texts in Pliny's collection and charge them with sense. Pliny the Book-Maker is intended as a contribution to the larger recent re-orientation of Pliny studies, which looks to shift the focus of analysis from strictly socio-historical data-mining to a literary re-evaluation of Pliny's texts.

The studies collected in this volume address Pliny's complex self-editorial strategies, ultimately suggesting that his work contributed to the creation of the literary-historical concept of posterity.

This volume makes a powerful argument for epitome (combining textual dismemberment and re-composition) as a broad hermeneutic field encompassing multifarious historical, conceptual and aesthetical concerns. The contributors gather from across the globe to present case studies of the 'summing up' of cultural artefacts, literary and artistic, in epitomic writing, and as a collective they demonstrate the importance of this genre that has been largely overlooked by scholars. The volume is divided into five sections: the first showcases the broad range of fields from which epitomic analysis can be made, from classics to postmodernism to cultural memory studies; the second focuses in on epitome as dismemberment in writing from late antiquity to the modern day; the third considers a 'productive negativity' of epitomic writings and how they are useful tools for investigating the very borders and paradoxes of language; the fourth brings this to bear on materiality; the fifth considers re-composition as a counterpart to dismemberment and problematises it. Across the volume, examples are taken from important late antique writers such as Ausonius, Clement of Alexandria, Macrobius, Nepos, Nonius Marcellus and Symphosius, and from modern authors such as Antonin Artaud, Barthes, Nabokov and Pascal Quignard. Epitomic writings about art from decorated tabulae to sarcophagi are also included, as are epitomic images themselves in the form of manuscript illustrations that sum up their text.

What would an anatomy of the book look like? There is the main text, of course, the file that the author proudly submits to their publisher. But around this, hemming it in on the page or enclosing it at the front and back of the book, there are dozens of other texts—page numbers and running heads, copyright statements and errata lists—each possessed of particular conventions, each with their own lively histories. To consider these paratexts—recalling them from the margins, letting them take centre stage—is to be reminded that no book is the sole work of the author whose name appears on the cover; rather, every book is the sum of a series of collaborations. It is to be reminded, also, that not everything is intended for us, the readers. There are sections that are solely directed at others—binders, librarians, lawyers—parts of the book that, if they are working well, are working discreetly, like a theatrical prompt, whispering out of the audience's ear-shot Book Parts is a bold and imaginative intervention in the fast growing field of book history: it pulls the book apart. Over twenty-two chapters, Book Parts tells the story of the components of the book: from title pages to endleaves; from dust jackets to indexes—and just about everything in between. Book Parts covers a broad historical range that runs from the pre-print era to the digital, bringing together the expertise of some of the most exciting scholars working on book history today in order to shine a new light on these elements hiding in plain sight in the books we all read.

Focusing on intertextuality, this book investigates Pliny the Younger's engagement with other authors and genres in his Epistles.

Pliny and the Eruption of Vesuvius is a forensic examination of two of the most famous letters from the ancient Mediterranean world: Pliny the Younger’s Epistulae 6.16 and 6.20, which offer a contemporary account of the eruption of Vesuvius in AD 79. These letters, sent to the historian Tacitus, provide accounts by Pliny the Younger about what happened when Mt Vesuvius exploded, destroying the surrounding towns and countryside, including Pompeii and Herculaneum, and killing his uncle, Pliny the Elder. This volume provides the first comprehensive full-length treatment of these documents, contextualized by evidence-rich biographies for both Plinys, and a synthesis of the latest archaeological and volcanological research which answers questions about the eruption date. A new collation of sources results in a detailed manuscript tradition and an authoritative Latin text, while commentaries on each letter offer copiously referenced insights on their structure, style, and meaning. Pliny and the Eruption of Vesuvius offers a thorough companion to these letters, and to the eruption, which will be of interest not only to those working on Vesuvius, Pompeii, and Herculaneum, and the works of Pliny but also to general readers, Latin students, and scholars of the Roman world more broadly.

Benjamin J. Petroelje argues that how one reads Ephesians is a function of deeper questions about how to read the Pauline book. Petroelje suggests the contemporary consensus-that Ephesians depicts development of/away from the “real Paul”-is largely a construct of modern criticism, rooted in shifting strategies about how to read a letter collection that developed in the 19th-century. Using Ephesians 3:1-13 as a point of analysis, Petroelje theorizes that the text's “image of Paul” not only anticipates recent revisionist interpretations of Paul's Jewish identity and gentile gospel, but also holds together tensions in the collection itself surrounding these questions. By analysing ancient letter collections beside their own hermeneutical priorities, and applying this method to the late-antique and modern reception of the corpus Paulinum, Petroelje is able to historicize the origins of the split of Paul's corpus, revealing the constructed nature of the critical consensus on Ephesians and the effect that such modern reading strategies have on interpreting the letter. Urging a return to reading Ephesians alongside Pauline co-texts, Petroelje advocates for Ephesians as a crucial source for the study of Paul, whether Paul wrote it or not.