A welcome addition to any philhellenic library by a reliable, readable interpreter of the ancient past.
Eminent classicist Cartledge examines the history, mythical and proven, of an ancient Greek city that is often overlooked in standard texts.
Located in the province of Boeotia, Thebes was “almost continuously inhabited for five millennia, at one point the most powerful city in all ancient Greece.” It was unusual in having been founded, in legend, by a non-Greek, a refugee from what is now Palestine named Cadmus, who sowed a slain dragon’s teeth on the city site and harvested a mighty army. Cadmus, the legend continues, married Harmonia, the child of an adulterous affair between the god of war and the goddess of love, to unhappy result: “the near-total (metaphorical, moral) ruin of Thebes and frequent disasters for their mortal descendants.” In real life, Thebes was too close to Athens for comfort, and Athens often waged war against Thebes as a result. It was also relatively close to Sparta, Corinth, and other sometime rivals and sometime allies, and it was in the path of the invading Persians during the reign of Xerxes, when Theban soldiers died nobly alongside Spartans and Athenians at Thermopylae. In the pivotal fifth century B.C.E., writes Cartledge, “mainland Greek history can be seen as playing out within the frame of the fateful Thebes–Athens–Sparta triangle.” The Thebes of history too often suffered loss. Against this, writes the author, stands the Thebes of myth, with an equally unhappy history: It was the home of Oedipus and Electra, yielding what is widely considered the best of all the Greek tragedies, Sophocles’ cycle of Theban plays. Thebes was also the home of the musician Pronomus, who “was the first to be able to play the three harmonies or modes known ethnically as the Dorian, the Phrygian, and the Lydian on one and the same, enhanced (double) aulos.” The cultural contributions were many, but all the same Thebes was overshadowed, and Cartledge’s well-paced, illuminating survey shows why that should not be the case.
A welcome addition to any philhellenic library by a reliable, readable interpreter of the ancient past.Pub Date: Sept. 22, 2020
ISBN: 978-1-4683-1606-3
Page Count: 320
Publisher: Abrams
Review Posted Online: June 29, 2020
Kirkus Reviews Issue: July 15, 2020
A horde-pleaser, well-written and full of surprises.
“The Mongols swept across the globe as conquerors,” writes the appreciative pop anthropologist-historian Weatherford (The History of Money, 1997, etc.), “but also as civilization’s unrivaled cultural carriers.”
No business-secrets fluffery here, though Weatherford does credit Genghis Khan and company for seeking “not merely to conquer the world but to impose a global order based on free trade, a single international law, and a universal alphabet with which to write all the languages of the world.” Not that the world was necessarily appreciative: the Mongols were renowned for, well, intemperance in war and peace, even if Weatherford does go rather lightly on the atrocities-and-butchery front. Instead, he accentuates the positive changes the Mongols, led by a visionary Genghis Khan, brought to the vast territories they conquered, if ever so briefly: the use of carpets, noodles, tea, playing cards, lemons, carrots, fabrics, and even a few words, including the cheer hurray. (Oh, yes, and flame throwers, too.) Why, then, has history remembered Genghis and his comrades so ungenerously? Whereas Geoffrey Chaucer considered him “so excellent a lord in all things,” Genghis is a byword for all that is savage and terrible; the word “Mongol” figures, thanks to the pseudoscientific racism of the 19th century, as the root of “mongoloid,” a condition attributed to genetic throwbacks to seed sown by Mongol invaders during their decades of ravaging Europe. (Bad science, that, but Dr. Down’s son himself argued that imbeciles “derived from an earlier form of the Mongol stock and should be considered more ‘pre-human, rather than human.’ ”) Weatherford’s lively analysis restores the Mongols’ reputation, and it takes some wonderful learned detours—into, for instance, the history of the so-called Secret History of the Mongols, which the Nazis raced to translate in the hope that it would help them conquer Russia, as only the Mongols had succeeded in doing.
A horde-pleaser, well-written and full of surprises.Pub Date: March 2, 2004
ISBN: 0-609-61062-7
Page Count: 320
Publisher: Crown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2003
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
An overdue upending of art historical discourse.
An indispensable primer on the history of art, with an exclusive focus on women.
Prominent 19th-century art critic John Ruskin once proclaimed, “the woman’s intellect is not for invention or creation, but for sweet ordering, arrangement, and decision,” and traces of this misguided and malignant sentiment can still be found over a century later in art institutions around the world. A 2019 study found that “in the collections of eighteen major US art museums, 87 percent of artworks were by men, and 85 percent by white artists.” There’s a lot to be mad about, but London-based art historian Hessel nimbly pivots that energy into a constructive, revelatory project. This book is not a mere rebuttal to the aforementioned discrimination; deftly researched, the text reveals an alternate history of centuries of artistic movements. With palpable excitement, the author shifts the focus from widely known male participants to the unsung female players of the time. Art aficionados will delight in Hessel’s sleight of hand and marvel at her wide, inclusive reach. Spanning from Baroque art to the present day, she effortlessly removes “the clamour of men” and, in a series of short biographical profiles, shapes a historical arc that still feels grounded even without a familiar male presence. Art history must “reset,” Hessel writes, and she positions her book as an important first step in that reconfiguration. While the author progresses mostly movement by movement, her broader tangents are particularly profound. One of many highlights is a generous overview of queer artists of the Weimar era. Hessel is occasionally uneven with how much content she allots each artist, and some perfunctory profiles feel like the result of trying to highlight as many names as possible. Nonetheless, even the shortest gloss provides enough intrigue to be a successful introduction to an artist who might otherwise be forgotten.
An overdue upending of art historical discourse.Pub Date: May 2, 2023
ISBN: 9780393881868
Page Count: 512
Publisher: Norton
Review Posted Online: Feb. 16, 2023
Kirkus Reviews Issue: March 15, 2023
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