This chapter looks at Lucian’s intervention on the genre of comic dialogue through a discussion of one of the Dialogues of the Gods. In the dialogue between Aphrodite and Selene, Lucian imagines a sexy conversation between Aphrodite and Selene. The story of Selene and Endymion is well known, but in antiquity is almost always told in the barest of forms. Lucian tries to fill in the gaps by having Selene tell Aphrodite about her affair, but leads the reader towards the moment of revelation of what Selene does with Endymion only to pull shut the curtain at the last moment. Through this narrative, Lucian plays with the tradition of myth, with the reader’s sense of knowledge and knowingness, and with the erotics of the visual – in a way that amusingly makes the reader complicit with the author’s satiric fun.

The Poet’s Voice is an intervention in the field of classics and is committed to the slow, close reading of Greek texts. The testing of how critical activity could be transformed by theoretical reflection is to be found in how the texts of antiquity were opened to a transformative exploration of their meaning. The practice of the discipline – how texts are read and understood, what questions are authorized, what sorts of answers countenanced – is what is at stake in such an enterprise. The Poet’s Voice is written from within the discipline of classics, to transform it from within, and hence its focus is on critically reading the texts of the discipline, both the ancient literature and its modern critics. That is how its theoretical commitment is embodied and enacted.

This chapter defends the unity of the Charmides as a dramatic whole. It does so by a close analysis of Socrates’ interactions with Charmides throughout the dialogue. The chapter argues that Socrates is presented as driven by an erotic quest for discovering beauty in Charmides’ soul. This explains the nature of Socrates’ initial interactions with Charmides; his abandonment of Charmides for the long discussion with Critias that follows; and his recalling of Charmides into the conversation at the end of the dialogue. It is argued that Socrates’ procedure for seducing Charmides into exposing his soul consists of the interplay of two arts, which I describe and analyse: the art of soul-medicine and the art of erotics, with the former art deployed by Socrates in service of the latter.

This essay attends to representations of sexual themes and desires in Caribbean Literatures. It traces the emergence and development of a body of writings that propel both a sense and a politics of place while enacting epistemological and ontological ruptures of the Judeo-Western heteronorms that often frame Caribbean discourses and narratives. We argue that through their particular literary remittances of plural sexual subjectivity to the public archive of Caribbean historical memory, these writers engage in a shared advocacy for the interrogation, removal and dismantling of heteronormativity as the defining framework for contemporary Caribbean discourse. The expansive politics of this writing also shifts the thematic focus away from dominant depictions of Anglophone homophobia and Hispanophone ‘machismo’ to the multiple significances of women’s erotic agencies within the quotidian; the irruptions of transgender and gender nonconforming subjectivities; the performance poetics of transvestism and cross-dressing; and the passionate corporeal reversals of Antillean carnival and masquerade.

To enter the world of Nonnus’ Dionysiaca, the greatest and most influential Greek poem of the fifth century CE, is to enter an echo chamber of Greek literature and engage with a swirling repertoire of mythic narratives. The erotic narratives of Dionysus and his entourage have to be read through this formative poetics – and so it is here, with poetics, that I will begin my travel towards one of ancient poetry’s most bizarre scenes of lustful, fondling, inappropriate desire in action. If any writer of late antiquity reforms the form of epic, from within, as it were, it is Nonnus, whose forty-eight books add up to the forty-eight books of the Iliad and Odyssey combined, but whose narrative discourse, narrative structuring and even verse forms radically disrupt and remould what is understood by the tradition of epic.

In this and the next chapter, I turn to a poetic form that plays a particular role in the aesthetics of late antiquity, namely, the hexameter narratives generally known as epyllia. In this chapter I will be looking specifically at how an epyllion narrates a story of eros. The parochial fights over definition – what precisely is or is not an epyllion, and is it a genre recognized in antiquity? – need not detain us here, though such debates have repeatedly vexed scholars.1 I have already indicated that questions of form need to go far beyond such restricted, formal perspectives. This chapter is primarily more concerned with the issue of scale, namely, what the effect is of taking a grand subject and renarrating it in the space of a few hundred lines. If scale matters, then the epyllion’s treatment of eros should prove to be a particularly telling space in which to interrogate how the scale of narrative – its form – affects its perspective. What can and cannot be said in a love story? How long should a love story be? How does size matter?