Publications

Below is a list of my published and forthcoming work. For more information about my current and past research, including copies of talk handouts and abstracts, please see my academia.edu profile page. If you would like a copy of any of these publications, please do send me an email.

Books

(3) The Hellenistic Epic Fragments: Edition, Translation, and Commentary [in ​progress]
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(2) Intertextuality and the Myths of Greek Tragedy [under contract]

(1) Markers of Allusion in Archaic Greek Poetry. Cambridge (Cambridge University Press, 2023) [Open Access]

• ​Challenging many established narratives of literary history, this book investigates how the earliest known Greek poets (seventh to fifth centuries BCE) signposted their debts to their predecessors and prior traditions – placing markers in their works for audiences to recognise (much like the ‘Easter eggs’ of modern cinema). Within antiquity, such signposting has often been considered the preserve of later literary cultures, closely linked with the development of libraries, literacy and writing. In this wide-ranging new study, I show how these devices were already deeply ingrained in oral archaic Greek poetry, deconstructing the artificial boundary between a supposedly ‘primal’ archaic literature and a supposedly ‘sophisticated’ book culture of Hellenistic Alexandria and Rome. In three interlocking case studies, I highlight how poets from Homer to Pindar employed the language of hearsay, memory and time to index their allusive relationships, as they variously embraced, reworked and challenged their inherited tradition.

Edited Volumes

(3) Collaboration in Greek and Latin Literature (ed. with T. Kearey and M. Leventhal). Cambridge (Cambridge University Press) [forthcoming]

(2) Pergamon and Rome: Culture, Identity, and Influence (ed. with G. Pezzini and S. Rebeggiani). Oxford (Oxford University Press, 2025)

(1) Hellenistic Aesthetics: Approaches and Frameworks (ed. with M. Chaldekas). Bulletin of the Institute of Classical Studies 67.2 (Oxford University Press, 2024) 

Articles

(43) “Escape to the Country? The Limits of Utopia in Theocritus’ Bucolic World”, in W. Allan and E. Greensmith (eds), Visions of Utopia in Ancient Greece [forthcoming]

• This chapter challenges utopic interpretations of Theocritus’ bucolic world as an escapist retreat from urban life. First, it highlights the dangers and unease that permeates Theocritus’ bucolic landscape, visible in the thorny plants, textures, and sounds of the countryside, as well as in the behaviours of the characters within it. Second, it shows that Theocritus’ poetry exhibits no clear dichotomy between the worlds of the city and country; far from presenting a contrast between a utopic countryside and an oppressive city space, these two locales collapse and blur into each other. Within Theocritus’ poetic world, the countryside is no escapist utopia.​

(42) “Carriages of Justice: Euripidean Receptions of the Agamemnon 'Carpet Scene'”, Harvard Studies in Classical Philology [forthcoming]

• Aeschylus’s Oresteia had an enduring impact on later Greek tragedy. This article explores the reception of the Agamemnon “carpet scene” in three Euripidean plays: Electra, Trojan Women, and Iphigenia at Aulis. It makes the case for a maximal reading of intertheatrical connections in Attic tragedy, and contends that verbal and thematic parallels may serve as an index of now lost interperformative connections onstage. All three Euripidean reworkings concern other episodes of the Trojan war myth, establishing a network of connections and a sense of cyclical inevitability akin to that which Aeschylus achieves within a single interconnected trilogy. 

(41) “Corinna and the Shield of Athena”, Classical Quarterly [forthcoming] 

• This article analyses an underappreciated testimonium for Corinna’s literary corpus to reconsider how female poetic production fits within the wider poetic tradition of archaic and classical Greece: namely, Antipater of Thessalonica’s report that Corinna ‘sang of the impetuous shield of Athena’ (A.P. 9.26.5–6 = 667 PMG). After locating Corinna in a fourth-century context, the article proceeds in three stages: first, it focusses on Antipater’s epigram and argues that Antipater is responding to the distinctive poetry of the different female authors he lists (including Sappho’s hair-centric poetics); this strengthens the likelihood that the ‘shield of Athena’ was indeed the subject of one of Corinna’s poems. Second, it considers the possible nature of a poem that treated ‘Athena’s shield’, exploring how Corinna’s poem might have foregrounded Athena and Medusa as distinctive emblems of female power, set against the masculine shield ecphrases of the epic tradition. This strategy would complement Corinna’s practice elsewhere in her extant fragments, where she attentively reworks the male epic tradition from a female perspective. Finally, it considers the possible narrative context of a poem featuring Athena’s shield, exploring connections with the known titles of Corinna’s poetry, as well as possible links with the importance of shields to Boeotian identity, with the cult of Athena Itonia at Coroneia and with the myth of the petrified priestess Iodama.

(40) “Señalización autorreferencial en la épica, la lírica y la tragedia griegas antiguas” (“Self-referential signposting in early Greek epic, lyric and tragedy”), in M. A. Spinassi (ed.), La autorreferencialidad del logos en la literatura griega antigua [forthcoming]

• This chapter (in Spanish) outlines the range of techniques by which early Greek poets signalled their allusions to other texts and traditions, drawing on the evidence of epic, lyric and tragedy. First, it introduces the self-referentiality of early Greek poetry in general as a background for this analysis, before focusing on ten different ways in which these early poets signposted their allusions. Such a list is by no means exhaustive, but it provides a flavour of the sophistication and variety of self-referential devices available to early Greek poets.

(39) “Tenedos and Tennes in the Cypria”, Yearbook of Ancient Greek Epic, special issue on the Cypria [forthcoming] 

• This chapter argues that Achilles’s conflict with Tennes, the eponymous ruler of Tenedos, featured in the Cypria. The stop-off at Tenedos formed part of an “increasing triplet,” marking Achilles’s growing strength, maturity, and success as he drew closer to Troy. It also framed the Greeks’ subsequent arrival at Troy as a new start and resonated with the island’s broader presence in the Trojan war tradition. 

(38) “Apollonis of Cyzicus and the Pergamene Politics of Divine Motherhood”, in M. Chaldekas and M. Solitario (eds) Women, Politics, and Divinity in the Hellenistic Period [forthcoming]

• This chapter explores the distinctive divine presentation of Queen Apollonis Eusebes, wife of King Attalus I of Pergamon. I argue that Apollonis’ divinity was grounded not so much in her role as spouse or benefactor, but rather in her maternal excellence – a stark foil to how the divine Ptolemaic and Seleucid queens were celebrated. To make this case, I analyze the third book of the Palatine Anthology, whose nineteen epigrams describe the reliefs framing Apollonis’ temple in her hometown of Cyzicus. Regardless of the epigrams’ date of composition, I argue that they offer valuable insights into an original Attalid monument. I first explore the numerous connections and parallels across these epigrams, which suggest a coherent artistic design underpinning the original temple architecture; I then highlight how these reliefs engage with Pergamene ideology, politics and cult myth in general, and with the Attalids’ claims of intergenerational harmony in particular. After establishing the prioritization of motherhood in the temple’s iconography, I demonstrate the uniqueness of this ideological positioning within a broader Hellenistic context: the Attalids’ focus on divine motherhood was fundamentally different to the practice of both the Ptolemaic and the Seleucid dynasties, where the accent was rather on the queens’ role as wife, not mother. At one level, the Attalids’ distinctive approach fits into their broader self-presentation as a ‘happy family’, distancing themselves from the incestuous ‘sibling’ marriages of their rivals. But it also forms part of a wider pattern of prominent mothers throughout Pergamene myth and art, which resonates with local Mysian and Phrygian culture, especially the cultic traditions of the Magna Mater.

(37) “Famous First Words: Incipit-Allusions Across Time”, in P. Bing, A. Faulkner and R. Höschele (eds) Arts of Allusion: Greek Intertextuality Over Time ​[forthcoming]

• The incipit of a text – its opening word or clause – is an important moment. As the first part of a work that audiences encounter, it has the potential to make a lasting impression. Because of this memorability, incipits are a particularly marked target for allusion. Up to now, incipit-allusions have been predominantly studied in the context of Hellenistic and Latin poetry. But in this chapter I argue that there is significant precedent for this phenomenon in the archaic and classical periods. First, I outline common features of incipit-allusions and the contexts which enable them, arguing that these conditions were in place well before the bookish culture of the Hellenistic period. Then I demonstrate the antiquity of the phenomenon by exploring the early reception of the incipits of both the Iliad and the Odyssey in the archaic and classical periods. Finally, I focus on specific intrageneric examples from fifth-century tragedy and epinician to showcase the range of effects that incipit-allusions could achieve already in this era. Through these analyses, I establish the significance of this allusive move from an early date and enhance our understanding of the scope and sophistication of early Greek allusion.

(36) "Networks of Preservation in Homeric Epic" (with M. Ward), in T. Kearey, M. Leventhal and T. J. Nelson (eds) Collaboration in Greek and Latin Literature. Cambridge (Cambridge University Press) [forthcoming]

• This chapter challenges interpretations of the Iliad and Odyssey as agonistic epics of violence, individuality and competition. It argues instead that Homeric poetry foregrounds and valorises preservation as a response to the precariousness of life. Through a close reading of the verb ἔρυμαι (‘I preserve, protect, guard’, etc.), it first traces the networks of care that thread through both Homeric epics, the people and things that require preservation and the various agents and objects that secure it. Second, it focuses on the limits and failures of preservation, the fault-lines in interdependency that require a collective response. Finally, it turns to the preservation of epos itself: within this fragile Homeric world, stories and song not only need to be preserved but also become key agents of preservation. This chapter thus aims to recognise the value of collaborative and collective action as a response to the very real consequences of an agonistic world.

(35) "Introduction: Working Together" (with T. Kearey and M. Leventhal), in T. Kearey, M. Leventhal and T. J. Nelson (eds) Collaboration in Greek and Latin Literature. Cambridge (Cambridge University Press) [forthcoming]

• This Introduction explores core facets of ancient literary collaboration, weaving discussion of this volume’s individual chapters into a thematic analysis of the broader topic. We begin by addressing the romantic myth of sole authorship and the way it manifests in antiquity; this often conceals a more collaborative reality. We then turn to literary genres where collaboration is both foundational to literary production and acknowledged within the textual artefacts themselves. Alongside genre, another factor which determines the degree of collaboration in a text is the social status of their author(s). Collaborative authorship by two (or more) non-elite or elite authors emphasises their authors’ equal social status as essential to their production. In situations of social inequality, however, darker dynamics of ownership, power and control tend to emerge; we consider the effect of this on coerced or unequal forms of collaboration such as enslavement, complicating a more naive picture of smoothly cooperative collaboration. Finally, we close by considering the capacity of collaboration to nurture communities, and ask what this offers for our own practice as scholars.

(34) "Ennius and Archaic Greek Epic", in S. La Barbera and J. S. Nethercut (eds) Oxford Handbook of Ennius. Oxford (Oxford University Press) [forthcoming]

• This chapter explores Ennius’ reception of archaic Greek epic, arguing that Ennius drew on the entire tradition of early Greek hexameter poetry: this much is evident from Ennius’ initial invocation to the Muses in the Annales (Ann. 1), which draws on Homer, Hesiod, and the wider formulaic trappings of early Greek epic (as demonstrated in section 1). The chapter analyzes these different intertextual threads in turn. Homer is a primary model for the Annales, signposted as such through Ennius’ famous dream encounter with Homer’s shade in Book 1; section 2 explores Ennius’ various appropriations of Homeric form, idiom, and subject matter, comparing his reuse of the Iliad and the Odyssey, and considering Ennius’ Roman reframing of Homeric epic in the Annales, as well as his Satires, Hedyphagetica, tragedies, and Scipio. Section 3 turns to Ennius’ reception of Hesiod’s Theogony and Works and Days, exploring Hesiod’s importance for the structure, content, and narratological framing of the Annales, as well as for the theological reflections of his Epicharmus and Euhemerus. Finally, section 4 examines Ennius’ broader engagement with the wider corpus of archaic Greek epic, including the Hesiodic Catalogue of Women, the Epic Cycle, and the philosophical hexameters of Empedocles. Across his works, Ennius alludes to a broad spectrum of archaic Greek epic, asserting his mastery over the entire tradition of early Greek hexameter poetry.

(33) "Literature, Music, and Popular Culture: Birds of Song Across Ancient Afro-Eurasia", in C. Stimpson (ed.) A Cultural History of Birds in Antiquity. London (Bloomsbury) [forthcoming]

• This chapter explores the presence and use of birds in ancient literature, music, and popular culture. It begins with a brief theoretical discussion on the application of the terms ‘literature’, ‘music’, and ‘popular culture’ in the study of the ancient world. It then showcases the use of birds in the creation of ancient music and literature before examining the representation of birds and their symbolic associations in ancient literary traditions. Birds feature frequently in ancient songs and texts, across a wide range of contexts and genres, from epic and drama to proverbs and graffiti. Ancient authors were attentive to the variety of bird species and associated them with a wide range of themes, including omens, the divine, and death. Birds were especially useful as foils for thinking through the human condition: humans were compared to birds in similes and transformed into them in narratives of metamorphosis, while birds provided ethical frameworks for humankind through fables. In addition, melodious birdsong served as a metaphor and/or inspiration for human music and poetry; some birds were even employed as symbols of particular genres of song.

(32) “Seleucid Ideology and Aesthetics in the Aetion of Apamea-on-the-Orontes (Ps.-Oppian, Cynegetica 2.100–158)”, in M. A. Harder, J. J. H. Klooster, R. F. Regtuit and G. C. Wakker (eds) Hellenistic Poetry Beyond Alexandria. Hellenistica Groningana. Leuven (Peeters) [submitted, forthcoming: author manuscript at academia.edu]

• Pseudo-Oppian’s aetion of Apamea-on-the-Orontes (Cyn. 2.100–158) has long been thought to reflect a Seleucid foundation narrative; it has even been linked back to the Seleucid poet Euphorion. In this paper, I reconsider the case for the story’s Seleucid connection and reflect further on its significance. First, I examine the hints in the narrative that point to a Seleucid background, exploring the narrative’s connections with Hellenistic literature in general, and with Seleucid geopolitics in particular. Second, I investigate what this narrative offers for our wider understanding of Seleucid literary tradition and ideology: the aetion appears to fashion an image of a grand Seleucid aesthetic at odds with the slender refinement of Callimachean leptotes. In addition, it seems to counter key Callimachean passages, valuing the Orontes over the Nile and promoting Heracles as a Greek foil to the Athos-slicing Xerxes of Callimachus’ Coma Berenices. Pseudo-Oppian’s account offers us a rare and tantalising window onto the aesthetic and political wranglings of one of the Ptolemies’ major rivals.

(31) “Hellenistic Poetry Outside Alexandria”, in M. A. Harder and J. J. H. Klooster (eds) A Companion to Hellenistic Poetry. Cambridge (Cambridge University Press) [forthcoming]

• This chapter looks beyond Ptolemaic Alexandria to showcase the geographical, aesthetic and diachronic range of Hellenistic poetry. It first explores the poetic traditions of other Hellenistic kingdoms (Antigonids, Seleucids, Attalids), noting points of similarity to and difference from Alexandrian poetry. It then spotlights a range of more localised literary traditions, all of which carefully balance epichoric and Panhellenic influences (Athens, Cos, Rhodes, Sicily, Italy and Rome). In the final section, it foregrounds the importance of inscriptional evidence for mapping out a broader view of Hellenistic poetry (e.g. Sophytos from Kandahar; Hyssaldomos from Mylasa; the ‘Pride of Halicarnassus’; Maiistas’ Delian Sarapis aretalogy). Overall, the chapter situates Ptolemaic Alexandria within a far larger, interconnected system of Hellenistic poetic production.

(30) “Early Hellenistic Epic”, in M. Perale, J. Kwapisz, G. Taietti and B. Cartlidge (eds) Hellenistic Poetry Before Callimachus. Cambridge (Cambridge University Press) [forthcoming; author manuscript at academia.edu]

• Little survives of early Hellenistic epic, so much so that different scholars have come to opposite conclusions about its significance: for Konrad Ziegler, it was once widespread and plentiful; but for Alan Cameron, it was practically non-existent. The truth of the matter almost certainly lies somewhere between these two extremes. But in this contribution, rather than re-tracing this debate, I analyse the fragmentary scraps and testimonia of early Hellenistic epic from a literary perspective. I explore to what extent these poems appear to have foreshadowed the work of Callimachus and other later Hellenistic poets, especially in their engagement with Homeric scholarship and their treatment of myth (with a particular focus on metamorphosis, aetiology and unheroic, erotic narratives). Many features which we consider distinctively Callimachean are in fact, I argue, already well-established in these early epics, highlighting the broader continuities of Hellenistic literary culture. However, given that many of these same features are also visible centuries earlier in the epics of Homer and the Epic Cycle, I conclude by reassessing how distinctive our criteria for describing 'Hellenistic' or 'Callimachean' poetics actually are.

(29) “Moero of Byzantium”, in M. Perale, J. Kwapisz, G. Taietti and B. Cartlidge (eds) Hellenistic Poetry Before Callimachus. Cambridge (Cambridge University Press) [forthcoming; author manuscript at academia.edu]

• In this chapter, I study Moero of Byzantium as an important predecessor of later Hellenistic poets. I explore Moero’s engagement with scholarly debate, analyse her detailed generic play, and close by considering her possible direct influence on the work of Callimachus and his peers. Moero appears to have foreshadowed key features of Callimachus’ poetics, not only in her approach to myth and genre, but also in her aesthetics and self-styling. Her poetry was learned, allusive and generically experimental; it revelled in scholarly debate, untraditional myths and aetiological narratives; and it may even have foreshadowed the Aetia prologue with a scene of youthful divine inspiration.

(28) “Attic Tradition and Tragic Allusion in the Ithyphallic Hymn for Demetrius Poliorcetes”, Classical Antiquity 44.2 (2025) 234-271 [Full text]

• In this paper, I explore how the ithyphallic hymn for Demetrius Poliorcetes engages with conflicting interpretations of the Athenian literary past. I show how the hymn draws on Attic tragedy to associate Demetrius with two key figures of the dramatic stage: the divine Dionysus and the heroic Oedipus. I begin with a detailed analysis of the hymn’s intertextual engagement with Euripides’ Bacchae and Sophocles’ Oedipus Tyrannus and Oedipus at Colonus. On the surface, both Dionysus and Oedipus serve as flattering mythical exempla: the hymn exploits local literary idioms to legitimize and authorize Demetrius’ divine power, just as its theological reflections appropriate Athenian philosophical thought. Yet despite this overt praise, both figures are polyvalent and ambiguous models, through which the hymn also provides a more subversive undercurrent of coded Athenian resistance. The ithyphallic hymn not only seeks to secure Demetrius’ ongoing favor, but also hints at the king’s ultimate fragility and participates in a broader cultural contest between Athens and Macedon for control of the Attic tragic tradition.​ 

(27) “Epiphany and Salvation in Inscribed Hellenistic Poetry: Bacchic and Odyssean Resonances in the Verse-Inscription of Hyssaldomos of Mylasa”, in M. A. Harder, J. J. H. Klooster, R. F. Regtuit, G. C. Wakker and C. L. Caspers (eds) (2025) Crisis and Resilience in Hellenistic Poetry. Hellenistica Groningana 27. Leuven (Peeters) 187-220 [author manuscript at academia.edu] 

• The recently published verse-inscription by Hyssaldomos of Mylasa commemorates a moment of divine salvation: an unnamed divine anax (‘lord’) and Artemis Kindyas help Pytheas escape from Kindye and settle in Knidos. In this paper, I explore how Hyssaldomos draws on the epic and tragic past to legitimise the power of this anax. I first introduce the poem’s content and context, considering the possible identities of its key protagonists and the poem’s broader function. I then examine Hyssaldomos’ reworkings of both Euripides’ Bacchae and Homer’s Odyssey. The narrative of Pytheas’ imprisonment and escape shares numerous parallels with that of the disguised Dionysus and his bacchant followers in Euripides’ drama. I argue that these parallels go beyond the typological pattern of a ‘liberation-miracle’ and that Hyssaldomos draws directly on the Bacchae. In particular, he signposts the allusive precedent of Euripides’ play by positioning Dionysus in the middle of the poem’s central catalogue of gods. The Euripidean allusion aggrandises both the anax and Pytheas, while also reflecting the contemporary political climate of the early second century BCE. I then explore the poem’s Odyssean epilogue: Hyssaldomos marks the safe escape of Pytheas’ family as a kind of nostos, while the anax predicts Pytheas’ future old age just as Teiresias had Odysseus’ in the Odyssean Nekyia. After the Bacchic chaos of the central epiphany and escape, the tale concludes with a sense of homecoming and resolution, fostering a close diplomatic connection between Knidos and Mylasa. In addition, Hyssaldomos’ final verses establish the poet as a parallel for Pytheas: he too seeks support from the anax, whose control extends from the military and political spheres to the poetic. After concluding, I provide a text and translation of the inscription in an appendix.

(26) “From Colophon to Rome: Pergamene Nicander, Latin Poetry, and Ovid’s Ceyx and Alcyone”, in T. J. Nelson, G. Pezzini and S. Rebeggiani (eds) (2025) Pergamon and Rome: Culture, Identity, and Influence. Oxford (Oxford University Press) 195-210

• ​This chapter investigates the influence of Pergamene poetry at Rome by focusing on the Latin reception of Nicander of Colophon. First, it makes the case for considering Nicander a ‘Pergamene poet’ who was closely affiliated to the Attalid court. Second, it provides a synoptic overview of Nicander’s reception at Rome, focusing especially on the connections between his Heteroioumena and Ovid’s Metamorphoses. Third, it focuses on one episode from Ovid’s Metamorphoses (Ceyx and Alycone: 11.266–748) in which Ovid signals his Nicandrean source: Ceyx goes to consult the Clarian (= Nicandrean) Apollo. I argue that Ovid self-consciously sets this Nicandrean narrative against Callimachus’ account of a different Ceyx’s journey to Delphi in the Aetia, building on Nicander’s own construction of an opposition between Nicandrean Claros and Callimachean Delphi. Within the broader soupy mix of Hellenistic traditions that he inherited, Ovid was attentive to the dynastic and intertextual posturing of his sources.

(25) “Pergamon and Rome: A ‘Special Relationship’?” (with G. Pezzini and S. Rebeggiani), in T. J. Nelson, G. Pezzini and S. Rebeggiani (eds) (2025) Pergamon and Rome: Culture, Identity, and Influence. Oxford (Oxford University Press) 3-27

• From their establishment of ‘friendship’ in the late third century BCE, the fates of Pergamon and Rome were closely intertwined. The two cities are often thought to have shared a ‘special relationship’, emblematized by the transferral of the Magna Mater in 205 BCE and Crates of Mallos’ later embassy to Rome. This introduction calls for a reconsideration of the nature and extent of this ‘special relationship’: our evidence is limited, and often skewed by later Roman sources; moreover, it is frequently very difficult to identify and define what is distinctively ‘Pergamene’. There was certainly an important relationship between these two cities, but what was its precise nature, scope and extent? To start addressing these questions, this chapter frames the key themes and topics of the volume and summarizes the contributions of each chapter, before closing with a conclusion that draws together its various threads and lays out a path for future research. 

(24) “荷马史诗《奥德赛》中的传统和影射”, Museum Sinicum 西方古典学辑刊 7 (2025) 183-224 [“Tradition and Allusion in Homer’s Odyssey”, in Chinese, translated by Zhou Peiqi; Full Text]

• Homer’s Odyssey is a story about stories. It is replete with references and allusions to many other myths beyond Odysseus’ homecoming, including other episodes of the Trojan war cycle and the exploits of heroes and heroines from other mythical traditions. In this paper, I explore how – and why – Odysseus’ story is situated against so many other traditions. Building on and developing the arguments of my 2023 book (Markers of Allusion in Archaic Greek Poetry), I analyse how the Odyssey engages with a wide range of other myths and traditions: stories about Heracles, the Argonautic expedition, female catalogue poetry, the broader Trojan myth cycle, wider traditions about Odysseus himself, and the Iliad. Many of these episodes and allusions are well known, but by bringing them together here, I start to trace the contours of a distinctly Odyssean ‘grammar of allusion’. I conclude by asking how different this Odyssean ‘grammar’ is to that of the Iliad.

(23) “Équitation, Char/Chariot, Horseriding: Metapoetic Chariots in Latin Literature” in J.-P. Guez, F. Klein, J. Peigney and E. Prioux (eds) (2025) Dictionnaire des images du poétique dans l'Antiquité. Paris (Classiques Garnier) Vol. 1, 293-305 [author manuscript at academia.edu]

• ​This chapter explores the metapoetic potential of horse- and chariot-riding in Latin literature. I first highlight the malleability of the 'chariot of song' metaphor and its particular Roman inflections (especially the image of the 'triumph' and equestrian contests). I then consider the metaphor's application to a wide range of genres and styles through differing descriptions of the nature and terrain of the journey and the trappings and steed of the chariot (focusing on epic, elegy, lyric, didactic poetry and epistolary prose). Finally, I explore how the metaphor was employed to represent the gradual progress of a poet or reader through a book, poem or collection, marking the start, middle and end of a poet's course.​

(22) “Pas, traces de pas/Steps, Footsteps” in J.-P. Guez, F. Klein, J. Peigney and E. Prioux (eds) (2025) Dictionnaire des images du poétique dans l'Antiquité. Paris (Classiques Garnier) Vol. 2, 1214-1220 [author manuscript at academia.edu]

• “Following in the footsteps” of a predecessor was a common metaphor of imitation and succession in ancient Greece and Rome. In this chapter, I explore how Greek and Latin authors are often described, or describe themselves, as following their predecessors' tracks. But many poets also feel the need to break free from the literary past and to strive for originality by pursuing 'untrodden' paths, a paradoxically 'unoriginal' motif – most poetic composition involves an ambiguous mix of both tradition and innovation. I end by exploring how Greek and Latin poets used ἴχνια and vestigia as implicit markers of intertextual connections, a means to signpost both allusive debts and innovative departures.

(21) “Vol, larcin/Stealing, Theft” in J.-P. Guez, F. Klein, J. Peigney and E. Prioux (eds) (2025) Dictionnaire des images du poétique dans l'Antiquité. Paris (Classiques Garnier) Vol. 2, 1888-1894 [author manuscript at academia.edu]

• Theft was a common metaphor in antiquity to describe a poet’s appropriation and reuse of his models. Although the image could convey skill and subtlety, it was tarred with primarily negative connotations, akin to the modern conception of plagiarism. In this chapter, I explore how poets were accused of theft by critics and rivals, despite the ambiguity of the term: the distinction between literary larceny and imitation was extremely hazy, and largely seems to have been a matter of context and perspective. Yet beyond the immediate sphere of literary polemic, the metaphor of theft was also frequently reclaimed by poets as a more positive trope for their own allusive activity. I explore instances from Virgil, Horace, Ovid, Longus, Callimachus, Aristophanes, Sophocles, and the Homeric Hymn to Hermes.​

(20) “[Theocritus], Idyll 23: A Stony Aesthetic”, Bulletin of the Institute of Classical Studies 67.2 (2024) 14–26

• The pseudo-Theocritean Idyll 23 is frequently criticized as a wretched and unattractive poem. In this article, I argue that such allegedly ‘unattractive’ qualities do not betray the shortcomings of its poet, but are rather part of a distinctive aesthetic strategy. The Idyll embraces the murky, the hard and the stony to construct an alternative aesthetic mode opposed to the traditional ‘sweetness’ of Theocritean bucolic and to the slender ‘refinement’ of Callimachus and Posidippus. First, I explore the poem’s knowing engagement with epic, tragedy and epigram to demonstrate its familiarity with the common aesthetic strategies of Hellenistic poetics, whose rules it can both follow and break. Second, I analyse its ‘stony aesthetic’: the poem is dominated by both the literal and figurative language of hardness through its stone-hearted eromenos and lithic landscape. I argue that this stony environment is pointedly set against the ‘sweetness’ of the Theocritean countryside. The poem’s urban landscape both reflects and embodies its distinctive aesthetic.​

(19) “Approaching Hellenistic Aesthetics” (with M. Chaldekas), Bulletin of the Institute of Classical Studies 67.2 (2024) 1–13 

• ​​‘Hellenistic aesthetics’ remains a disparate and contested field, which is approached with different assumptions and levels of approbation in various branches of classical studies. This introduction seeks to initiate a dialogue between these different disciplinary strands, drawing together the study of literary aesthetics (‘poetics’), philosophy, and art history. Building on recent developments in Hellenistic studies, the authors outline key issues and concerns, including the variety, materiality, and social embeddedness of Hellenistic aesthetics. After a case study on precious stones, the introduction concludes by mapping out the contents of the volume and flagging further avenues for future research.

(18) “Talk and Text: The Pre-Alexandrian Footnote from Homer to Theodectes”, in A. Kelly and H. L. Spelman (eds) (2024) Texts and Intertexts in Archaic and Classical Greece. Cambridge (Cambridge University Press) 235–255 [author manuscript at academia.edu] 

• How much continuity was there in the allusive practices of the ancient world? I explore this question here by considering the early Greek precedent for the so-called ‘Alexandrian footnote’, a device often regarded as one of the most learned and bookish in a Roman poet’s allusive arsenal. Ever since Stephen Hinds opened his foundational Allusion and Intertext with this device, it has been considered the preserve of Hellenistic and Roman scholar-poets. In this chapter, however, I argue that we should back-date the phenomenon all the way to the archaic age. By considering a range of illustrative examples from epic (Iliad, Odyssey, Hesiod), lyric (Sappho, Pindar, Simonides) and tragedy (Sophocles, Euripides, Theodectes), I demonstrate that the ‘Alexandrian footnote’ has a long history before Alexandria. 

(17) "Sappho's Rose-Fingered Moon and Traditional Referentiality", Greek, Roman, and Byzantine Studies 64.2 (2024) 147–161 [published version at academia.edu; Researchgate; Humanities Common]

• This article reassesses Sappho's description of the moon as βροδοδάκτυλος, “rose-fingered” (fr. 96.8 Voigt)—an epithet that is usually restricted to Dawn in archaic poetry. This apparent incongruity has prompted much perplexity among scholars, with various attempts to explain the adjective’s significance, or even to emend the epithet away. Here, I highlight the adjective's thematic relevance, outlining its connections with the internal logic of Sappho’s poem and its broader associations with eroticism and beauty. I then explore the underappreciated significance of its traditional resonance within the epic tradition: the epithet aligns Selene and “rose-fingered” Dawn as goddesses who each had to suffer the sorrows of love in their relationships with mortal lovers. Combined, these interpretations not only offer further support for the transmitted adjective, but also improve our understanding of Sappho’s allusive artistry more widely.

(16) "Iphigenia in the Iliad and the Architecture of Homeric Allusion", TAPA 152.1 (2022) 55–101 [​author manuscript at academia.edu; Researchgate; Humanities Commons; please contact me for an offprint]

• In this paper, I argue that the traditional narrative of Iphigenia’s sacrifice lies allusively behind the opening scenes of the Iliad (1.8–487). Scholars have long suspected that this episode is evoked in Agamemnon’s scathing rebuke of Calchas (1.105–8), but I contend that this is only one moment in a far more sustained allusive dialogue: both the debate over Chryseis and her eventual return to her father replay and rework the sacrifice story. The Iliad begins by recalling the start of the whole Trojan war. 

(15) “Beating the Galatians: Ideologies, Analogies and Allegories in Hellenistic Literature and Art”, in A. Coşkun (ed.) (2022) Galatian Victories and Other Studies into the Agency and Identity of the Galatians in the Hellenistic and Early Roman Periods. Colloquia Antiqua 33. Leuven (Peeters): 97–144 ​[author manuscript at academia.edu; Researchgate; Humanities Commons; please contact me for an offprint]

• Hellenistic literature and art commemorated victories over the Galatians through a variety of analogies and allegories, ranging from the historical Persian Wars to the cosmic Gigantomachy: each individual victory was incorporated into a larger sequence in which order constantly quelled the forces of chaos. This paper explores this analogical phenomenon by setting it within a larger Hellenistic context. The first section analyses the various analogies and allegories employed by the Aetolians, Ptolemies and Attalids, comparing these with their 5th-century Athenian precedent and reassessing the case for a Galatian allegory in the Pergamene Great Altar’s Gigantomachy frieze; the second examines how Callimachus manipulated the common Greek-barbarian antithesis with possible intercultural and metapoetic elements; and the third asks how Seleucid ideology might relate to this larger pattern, focusing on Lucian’s account of Antiochus’ ‘Elephant Victory’ (Zeux. 8–11). Although Lucian’s account probably derives from a prose source and not directly from Simonides of Magnesia’s court epic on the subject, I contend that the Syrian writer is likely indebted to the Seleucids’ own self-presentation in portraying Antiochus as the heir of the Achaemenids through a distinctly orientalising motif: the deployment of an exotic secret weapon. The Greek-barbarian dichotomy so prominent elsewhere thus collapses: the Seleucid king was depicted as the ideal blend of East and West, a worthy successor of Alexander the Great.

(14) “Clôture, fermeture” in C. Urlacher-Becht (ed.) (2022) Dictionnaire de l'épigramme littéraire dans l'Antiquité grecque et romaine. Turnhout (Brepols): 349–352 [English original at Humanities Commons; academia.edu; Researchgate]

• Closure is a topic of enduring critical attention for literary scholars, who ask both how, and to what extent, the structure and content of a work prepare a reader for its end, and how ‘satisfying’ that ending is when it comes. It is a particularly important topic for readers of epigram, a genre especially associated with concision, finality and permanence because of its inscriptional background. I explore how Greek and Latin epigrammatists exploited structure as a particularly powerful tool for conveying closure, while also thematising closure more allusively through motifs evoking a sense of finality and termination. Epigrammatists also self-consciously marked their ends by alluding to the coronis and to the endings of other works. Yet they also exploited closural techniques at other points: not only at the midpoint of a collection, but also to challenge and surprise readers with the prospect of 'false closure'.

(13) “Érudition: Épigramme Grecque” in C. Urlacher-Becht (ed.) (2022) Dictionnaire de l'épigramme littéraire dans l'Antiquité grecque et romaine. Turnhout (Brepols): 592–594, 597–599 [English original at Humanities Commons; academia.edu; Researchgate]

• Erudite learning is one of the defining features of Hellenistic and later Greek poetry, and epigram is no exception. I explore Greek epigrams' intense interest in literary history, formalistic play and visual literary games. I also consider Greek epigrammatists' learned interest in philology and language, including foreign words, technical vocabulary and obscure poetic glossai. Epigrammatists also exhibit a broad range of knowledge and learning in other fields, including aetiology, astronomy, botany, ethnography, geography and topography, local antiquarianism, mathematics, medicine, mythology, paradoxography, philosophy, and zoology. I end by arguing that such erudition is not a sign that literary epigram was solely designed for or read by a highly esoteric and cloistered elite; much of the learning on display in epigram would be, at least to some degree, familiar and accessible to a relatively broad audience.

(12) “Intertextual Agōnes in Archaic Greek Epic: Penelope vs. the Catalogue of Women”, Yearbook of Ancient Greek Epic 5 (2021) 25–57 [Open Access] 

• Archaic Greek epic exhibits a pervasive eristic intertextuality, repeatedly positioning its heroes and itself against pre-existing traditions. Here I focus on a specific case study from the Odyssey: Homer’s agonistic relationship with the Catalogue of Women tradition. Hesiodic-style Catalogue poetry has long been recognized as an important intertext for the Nekyia of Odyssey 11, but here I explore a more sustained dialogue across the whole poem. Through an ongoing agōn that sets Odysseus’ wife against the women of the Catalogue, Homer establishes the pre-eminence of his heroine and—by extension—the supremacy of his own poem.

(11) “Archilochus’ Cologne Epode and Homer’s Quivering Spear (fr. 196a.52 IEG²)”, Zeitschrift für Papyrologie und Epigraphik 219 (2021) 4–7 [published version at academia.edu; Researchgate; Humanities Commons]

• In this note, I highlight a hitherto unrecognized literary resonance in the climactic final verses of Archilochus' First Cologne Epode: Archilochus parodically and subversively reworks the Homeric description of a quivering spear. This Homeric resonance caps the poem's ongoing clash between the generic conventions of epic and iambus, while also adding a further hint towards how we might read the poem's enigmatic close.

(10) “Repeating the Unrepeated: Allusions to Homeric Hapax Legomena in Archaic and Classical Greek Poetry”, in D. Beck (ed.) (2021) Repetition, Communication, and Meaning in the Ancient World (Orality and Literacy in the Ancient World Vol. 13, Mnemosyne Suppl. 442). Leiden (Brill): 119–157 [author manuscript at academia.edu; Researchgate; Humanities Commons; please contact me for an offprint]

• ​In this paper, I investigate the repetition of Homeric hapax legomena in archaic and classical Greek poetry. Scholars frequently assume that fine-grained engagement with Homeric rarities is a distinctive feature of the Hellenistic period, but I reveal the significant precedent for this phenomenon in earlier poetry. Proceeding through comedy, tragedy and lyric, I explore a range of case studies which demonstrate the extremely sophisticated appropriation of Homeric unica in the pre-Hellenistic world. I argue that this evidence requires us to reconsider the extent of allusion in archaic and classical Greece and to rewrite traditional narratives of literary history. 

(9) “Tragic Noise and Rhetorical Frigidity in Lycophron’s Alexandra”, Classical Quarterly 71.1 (2021) 200–215 (with K. Molesworth) [Open Access]

• This paper seeks to shed fresh light on the aesthetic and stylistic affiliations of Lycophron’s Alexandra, approaching the poem from two distinct but complementary angles. First, it explores what can be gained by reading Lycophron’s poem against the backdrop of Callimachus’ poetry. It contends that the Alexandra presents a radical and polemical departure from the Alexandrian’s poetic programme, pointedly appropriating key Callimachean images while also countering Callimachus’ apparent dismissal of the ‘noisy’ tragic genre. Previous scholarship has noted links between the openings of the Aetia and Alexandra, but this article demonstrates that this relationship is only one part of a larger aesthetic divide between the two poets: by embracing the raucous acoustics of tragedy, Lycophron’s poem offers a self-conscious and agonistic departure from Callimachus’ aesthetic preferences. Second, this article considers another way of conceiving the aesthetics of the poem beyond a Callimachean frame, highlighting how Lycophron pointedly engages with and evokes earlier Aristotelian literary criticism concerning the ‘frigid’ style: the Alexandra constructs its own independent literary history centred around the alleged name of its author, ‘Lycophron’. The article proposes that this traditional attribution is best understood as a pen name that signposts the poem’s stylistic affiliations, aligning it not so much with the Ptolemaic playwright Lycophron of Chalcis, but rather with Lycophron the sophist and a larger rhetorical tradition of stylistic frigidity. Ultimately, through these two approaches, the article highlights further aspects of the Alexandra’s aesthetic diversity. 

(8) “The Coma Stratonices: Royal Hair Encomia and Ptolemaic-Seleucid Rivalry?”, in J. J. H. Klooster, M. A. Harder, R. F. Regtuit and G. C. Wakker (eds) (2021) Women and Power in Hellenistic Poetry. Hellenistica Groningana 26. Leuven (Peeters): 299–320 [author manuscript at academia.edu; Researchgate; Humanities Commons; please contact me for an offprint]

• In this paper, I investigate how Ptolemaic poets' presentation of their queens compares with and relates to the practice of their major rivals, the Seleucids. No poetic celebration of a Seleucid queen survives extant, but an anecdote preserved by Lucian sheds intriguing light on Seleucid poetic practice (Pro Imaginibus 5): queen Stratonice, bald through a long illness, organised a competition in which poets elaborately praised her non-existent locks. I subject this testimonium to a close analysis. First, I consider the details and reliability of Lucian's account, arguing that it reflects key aspects of the queen's character and story as told elsewhere, and is likely drawn from a pre-existing source, perhaps even from the ambit of the Seleucid court itself; then I compare this episode with Alexandrian poets' encomia of Ptolemaic queens, highlighting parallel encomiastic techniques and possible direct connections with the poetry of Callimachus, especially his own poem on queenly hair: the Coma Berenices. Given the nature of the evidence, my arguments must be considered tentative and exploratory, but I suggest that the anecdote offers hints of an inter-dynastic poetic rivalry: royal women and their hair stood at the centre of a literary battleground, in which poets not only celebrated the status of their own queens, but also negotiated the poetry and authority of their rivals.

(7) "Achilles’ Heel: (Im)mortality in the Iliad", Omnibus 82 (2021) 7–9 [author manuscript at academia.edu; Researchgate; Humanities Commons; please contact me for an offprint] 

• In this article for sixth-formers and school teachers, I explore the story of Achilles' heel and Homer's likely suppression of the myth in the Iliad. Homer's Iliad appears to acknowledge, but simultaneously reject, an alternative tradition in which Achilles was more than mortal, part of a broader downplaying of heroic invulnerability and immortality within the poem. The only way to achieve immortality in the Iliad is through the fame and glory provided by Homeric song.

(6) “Attalid Aesthetics: The Pergamene ‘Baroque’ Reconsidered”, Journal of Hellenic Studies 140 (2020) 176–198 [Open Access] 

• In this paper, I explore the literary aesthetics of Attalid Pergamon, one of the Ptolemies’ fiercest cultural rivals in the Hellenistic period. Traditionally, scholars have reconstructed Pergamene poetry from the city’s grand and monumental sculptural programme, hypothesizing an underlying aesthetic dichotomy between the two kingdoms: Alexandrian ‘refinement’ vs. the Pergamene ‘baroque’. In this paper, I critically reassess this view by exploring surviving scraps of Pergamene poetry: an inscribed encomiastic epigram celebrating the Olympic victory of a certain Attalus (IvP I.10), and an inscribed dedicatory epigram featuring a speaking Satyr (SGO I.06/02/05). By examining these poems’ sophisticated engagements with the literary past and contemporary scholarship, I challenge the idea of a simple opposition between the two kingdoms. In reality, the art and literature of both political centres display a similar capacity to embrace both the refined and the baroque. In conclusion, I ask how this analysis affects our interpretation of the broader aesthetic landscape of the Hellenistic era and suggest that the literature of both capitals belongs to a larger system of elite poetry which stretched far and wide across the Hellenistic world.​

​​
(5) "Nicander's Hymn to Attalus: Pergamene Panegyric", Cambridge Classical Journal​ 66 (2020) 182–202 [full text online]

• This paper looks beyond Ptolemaic Alexandria to consider the literary dynamics of another Hellenistic kingdom, Attalid Pergamon. I offer a detailed study of the fragmentary opening of Nicander's Hymn to Attalus (fr. 104 Gow-Scholfield) in three sections. First, I consider its generic status and compare its encomiastic strategies with those of Theocritus' Encomium of Ptolemy Philadelphus (Idyll 17). Second, I analyse its learned re-use of the literary past and allusive engagement with scholarly debate. And finally, I explore how Nicander polemically strives against the precedent of the Ptolemaic Callimachus. The fragment offers us a rare glimpse into the post-Callimachean, international and agonistic world of Hellenistic poetics.

(4) “Penelopean Simaetha: A Flawed Paradigm of Femininity in Theocritus’ Second Idyll”, in C. Cusset, P. Belenfant and C.-E. Nardone (eds) (2020) Féminités hellénistiques : voix, genre, représentations. Hellenistica Groningana 25. Leuven (Peeters): 387–405 [author manuscript at academia.edu; Researchgate; Humanities Commons; please contact me for an offprint]

• Scholars have long noted the deeply intertextual features of Simaetha’s monologue in Idyll 2, including its Homeric, Sapphic and tragic resonances. In this contribution, however, I focus on an underexplored connection between Theocritus’ speaker and the Odyssean Penelope. I first highlight the Idyll’s pervasive engagement with heroic epic, dwelling especially on parallels with Callimachus’ Hecale and Homer’s Odyssey, before turning to investigate Simaetha’s attempts to fashion herself on the paradigm of the faithful Penelope. Through a series of verbal and situational parallels, I argue that she articulates an idealised vision of herself as the perfect match for the Odyssean Delphis. But as her narrative goes on to show, both she and her lover ultimately fail to live up to this Homeric model. In reality, she is merely one stop-off on Delphis’ merry rounds of love, more like the Odyssean witch Circe than Odysseus’ loyal and loving wife.

(3) “Metapoetic Manoeuvres Between Callimachus and Apollonius: A Response to Annette Harder”, Aevum Antiquum 19 (2019) 107–127 [published 2020; author manuscript at academia.edu; Researchgate; Humanities Commons; please contact me for an offprint]

• This article reconsiders a number of the metapoetic oppositions which Harder has identified between Callimachus and Apollonius (in the lead article of this volume of Aevum Antiquum, 'Aspects of the Interaction between Apollonius Rhodius and Callimachus') and subjects them to closer scrutiny. First, I explore two metapoetic motifs (talking birds and programmatic paths), before turning to examine issues of narrative (dis)continuity. In particular, I focus on moments where clear-cut distinctions between the two poets appear to break down.

(2) “‘Most Musicall, Most Melancholy’: Avian Aesthetics of Lament in Greek and Roman Elegy”, Dictynna 16 (2019) 1–47 [Open Access]

• In this paper, I explore how Greek and Roman poets alluded to the lamentatory background of elegy through the figures of the swan and the nightingale. After surveying the ancient association of elegy and lament (Section I) and the common metapoetic function of birds from Homer onwards (Section II), I analyse Hellenistic and Roman examples where the nightingale (Section III) and swan (Section IV) emerge as symbols of elegiac poetics. The legends associated with both birds rendered them natural models of lamentation. But besides this thematic association, I consider the ancient terms used to describe their song, especially its shrillness (λιγυρότης/liquiditas) and sweetness (γλυκύτης/dulcedo) (Section V). I demonstrate how these two terms connect birdsong, lament and elegiac poetry in a tightly packed nexus. These birds proved perfect emblems of elegy not only in their constant lamentation, but also in the very sound and nature of their song.

(1) “The Shadow of Aristophanes: Hellenistic Poetry’s Reception of Comic Poetics”, in M. A. Harder, R. F. Regtuit and G. C. Wakker (eds) (2018) Drama and Performance in Hellenistic Poetry. Hellenistica Groningana 23. Leuven (Peeters): 225–271 [author manuscript at Humanities Commons; academia.edu; Researchgate; please contact me for an offprint]

• The significance and influence of Attic drama on Hellenistic poetry has been a topic of little consistent focus in recent scholarship, reflecting the dominant academic emphasis on Hellenistic poetry as a written artefact, allegedly detached from any immediate context of performance. This paper attempts to reverse this trend by setting out the continuing vitality and cultural importance of drama in the Hellenistic world, before exploring the role of Attic Old Comedy as both a precedent and a model for Hellenistic poetry. Much of what is often thought distinctively ‘Hellenistic’ can in fact be shown to have clear old comic precedent: Old Comedy, just like Hellenistic poetry, is heavily intertextual (even to the point of re-appropriating Homeric hapax legomena); engages in frequent generic manipulation; displays a strong interest in literary history; emphasises its own literary and metrical innovations; and displays a self-conscious awareness of the tensions between textuality and performance. Yet more than this, Old Comedy also offered a key paradigm of agonistic self-fashioning and literary-critical terminology which Hellenistic poets could parrot, appropriate and invert. Hellenistic poets’ direct engagement with Old Comedy extended well beyond the famous literary agon of Aristophanes’ Frogs.​ ​

Reviews

(12) Euripidean Quotationality: Review of Wright, M. (2024) Euripides and Quotation Culture (London). Journal of Hellenic Studies​ 145 (2025) 271-273.

(11) Ps.-Moschus, Megara: Review of Tsomis, G. P. (2022) Das hellenistische Gedicht Megara. Ein Kommentar (Stuttgart). Gnomon 97.3 (2025) 487-494. 

(10) Archaic and Hellenistic Poetry: Review of Acosta-Hughes, B. (2024) The Olive and the Laurel (Berlin). Phoenix 78.3-4 (2024) 316-318

(9) Homer's Thebes: Review of Barker, E. T. E and Christensen, J. P. (2020) Homer's Thebes: Epic Rivalries and the Appropriation of Mythical Pasts (Cambridge MA). Classical Journal 117.2 (2021–2022) 232-234 [Classical Journal Online pre-print]

(8) Seleucid Literature: Review of Visscher, M. S. (2020) Beyond Alexandria: Literature and Empire in the Seleucid World (Oxford). Classical Review 71.2 (2021) 336-338

(7) The Odyssey and the Cycle: Review of Burgess, J., Ready, J., Tsagalis, C. (eds) (2019) Yearbook of Ancient Greek Epic 3 (Leiden and Boston). Bryn Mawr Classical Review 2020.03.32

(6) Simonides the Poet: Review of Rawles, R. (2018) Simonides the Poet: Intertextuality and Reception (Cambridge and New York). Bryn Mawr Classical Review 2019.02.46

(5) Hesiodic Fragments: Review of Tsagalis, C. (ed.) (2017) Poetry in Fragments: Studies on the Hesiodic Corpus and its Afterlife (Berlin and Boston). Bryn Mawr Classical Review 2018.07.33 [Author Manuscript at Humanities Commons]
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(4) A New Hellenistic Poetry Anthology: Notice of Sider (D.) (ed.) (2017) Hellenistic Poetry. A Selection (Ann Arbor). Classical Review 68.1 (2018) 287 [Author Manuscript at Humanities Commons]

(3) Poetry and Art from Alexander to Augustus: Review of Linant de Bellefonds, P., Prioux, É., Rouveret, A. (eds) (2015) D’Alexandre à Auguste. Dynamiques de la création dans les arts visuels et la poésie (Rennes). Classical Review 67.1 (2017) 246-268 [Author Manuscript at Humanities Commons; Zenodo]
 
(2) Callimachus’ Hymns: Review of Stephens, S. A. (2015) ‘Callimachus: the Hymns’ (Oxford and New York). Mnemosyne 69.6 (2016) 1070-1073 [Author Manuscript at Humanities Commons; Zenodo]
 
(1) Seleucid Space and Ideology: Review of Kosmin, P. J. (2014) ‘The Land of the Elephant Kings. Space, Territory, and Ideology in the Seleucid Empire’ (Cambridge MA and London). Classical Review 66.1 (2016) 180-182  [Author Manuscript at Humanities Commons; Zenodo]