100 books like Dangerous Voices

My journey to specialising in gender and revenge in ancient Athens began when I read this trilogy of tragedies by Aeschylus in the original ancient Greek. These plays captivated me because of their stunningly powerful and breathtakingly beautiful use of imagery and language.

The characters are equally striking, especially the clever and determined queen Clytemnestra, a ruthless and duplicitous killer who murders her husband in the bath. In turn, her son Orestes is faced with the dreadful prospect of killing his own mother to avenge the death of his father. Performing matricide brings forth the terrifying Erinyes, goddesses of vengeance, who demand that Orestes pay the price.

The powerful female characters and the dilemmas of the revenge plot are what make this trilogy one I return to time and time again.

This translation of four of Euripides’ plays features his three best female avengers.

Electra is the loyal daughter who conspires with her brother Orestes, to avenge the killing of their father by slaughtering their mother, Clytemnestra. Hecabe is the fierce maternal figure who exacts revenge for her dead son Polydorus on the man who killed him for his riches. Medea is the murderous mother who avenges herself on her faithless husband, Jason, by killing her own children to destroy his family line.

The power of these plays is in the way their plots build as the women move from grief to anger, culminating in their fatal acts of revenge and leaving the audience to ponder on the nature of justice.

This lucidly written scholarly book considers how revenge was understood in ancient Athens and what the implications of this understanding are for reading tragedies whose plot lines feature revenge.

My favourite chapter is the one on Sophocles’ fragmentary Tereus, in which Procne takes revenge against her husband, Tereus, for raping and mutilating her sister Philomela, by killing her son Itys and serving him to his father in a pie. It is a compelling and horrifying storyline that influenced Shakespeare’s Titus Andronicus.

Burnett’s careful reading seeks to reconstruct the fragments of the play to explain how the playwright delivered this extreme violence as a tragic revenge plot.

Sophocles’ play depicts Electra beautifully, from her bitter mourning for her dead father to her grim determination when she contemplates taking vengeance herself as she believes her brother Orestes is dead. The debate between Electra and her sister Chrysothemis over what they, as women, should do is a high point for me.

This edition features the Victorian translation of Jebb that matches the majesty of Sophocles’ play well and is enjoyable to read. Easterling’s introduction to the scholar’s career and approach is also fascinating.

This book provided me with a magisterial overview of how Jewish writers both in the diaspora and Judaea during the period from c. 300 BCE until 100 CE produced a variety of texts that simultaneously engaged with Hellenic culture and traditions, and, with amazing creativity, imagination, and often playful humor, used the rich religious and philosophical traditions of Hellenism to assert the superiority of the Jews’ diverse, yet unique heritage. Written by one of the greatest contemporary historians of the ancient world this elegant and beautifully written book was a delight to read.

Fifth-century BC Athenian society was male-dominated, so most of our evidence comes from – and is about – men. Elegantly written, immaculately researched, and pleasingly illustrated, Aphrodite’s Tortoise goes a long way towards restoring the gender balance, uncovering the complex role that women played in Greek society, whether as wives, priestesses or slaves. At the heart of the book is the use of the veil, which not only protected women from the male gaze as they ventured outside (hence the title) but could convey a variety of visual signals depending on how it was worn. It’s a really stimulating book, the kind that makes you sit up and think about not just the ancient world but our own.

A team of experts got together to create this wonderful book. It is well illustrated, clearly written throughout, and firmly based on textual and other evidence. That is, the authors typically start with a general statement such as “There were increased opportunities for women to be educated in the Hellenistic world,” and then go on for a few pages to show how this came about by translating and commenting on the relevant texts, and showing the relevant vase paintings. Ancient Greek history tends to be very male-oriented – almost all ancient Greek writing was done by men, for instance – so this book is a much-needed antidote.

In this witty and intelligent book, broadcaster and novelist Natalie Haynes applies a woman’s mind to stories that in the past have been told to us mostly by men. She presents us with ten female characters who not only feature in ancient myths, but also have starring roles in later paintings, plays, novels, films, operas, and musicals. They include Pandora, Helen, Medusa, Eurydice, and Penelope: whether traditionally seen as victims or villains, all these women are explored in their ‘difficult, messy, murderous’ complexity. 

We know that there were women in Ancient Greece who did philosophy like Diotima and Aspasia (Socrates’s teachers) or Hypatia (who was murdered by Christians in Alexandria) or Lasthenia and Axiothea (students at Plato’s Academy).

There are also ancient texts signed with women’s names like Perictione (Plato’s mum), or Theano (Pythagoras’s wife). But we can’t always trust that those texts were written by these actual women.

Do we really think that if Plato’s mother had written philosophy, her work would have turned up a century later with a bunch of fake letters in Alexandria? What Dutsch’s book does is much more exciting than trying to prove that Plato’s mum was a philosopher.

It looks at the texts that these women supposedly wrote, and the stories that were told about them, so that we get to find out what it would have been like to be a woman and a philosopher… show more.

If Arnott’s approach makes it easier to understand and appreciate how Greek drama and theatre were part of a performance culture in classical Athens, Baldry’s widens that perception to the much broader social and political climate of ancient Greece, from the likely ‘invention’ of tragedy and comedy in Athens at the end of the 6th Century BCE, to their development throughout the Greek world over the next two centuries and survival to our own time.

The whole sense of this new art form, a synthesis of storytelling, poetry, music, and dance, which developed as a kind of living and moving sculpture, is a hard one to take in all at once.

What Baldry offers is a brief but clear introduction to the background of both tragedy and comedy for anyone whose awareness of the potential of plays and players only begins with Shakespeare. He is both readable and a reliable… show more.