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Gathers poems by W.H. Auden, Ted Hughes, W.S. Merwin, Adrienne Rich, David Wagoner, Stephen Spender, Anne Sexton, Sylvia Plath, and Stanley Kunitz

In the field of classical studies, the psychoanalytic construction of the unconscious is rarely regarded as a fruitful methodological concept. Commonly understood as a modern conceptual invention rather than the discovery of a psychic reality, the notion of the unconscious is often criticized as an anachronistic lens, one that ineluctably subjects ancient experience to modern patterns of thought. The Ancient Unconscious seeks to challenge this ambivalent theoretical disposition toward the psychoanalytic concept and reclaim the value of the unconscious as a methodological tool for the study of ancient texts by transforming our understanding of what the unconscious means, the way it operates, and how it relates to textual hermeneutics. It considers the debate over whether the ancients had an unconscious as an invitation to rethink the relationship between antiquity and modernity, investigating the meaning of textuality through contact between historical moments that have no priority under the law of chronology: associations and connections between the past and its future - including the present - belong to the sphere of the unconscious, which is primarily employed here in order to study the inherent, often hidden, links that bind modernity to classical antiquity and modern to ancient experiences. Drawing on an incisive examination of the complicated, often conflicted, relationship between classical studies and psychoanalytic theory, the volume aims to explain why the concept of the unconscious is in fact inseparable from, and crucial for, the study of the ancient text and, more generally, the methodology of classical philology.

Leo Steinberg was one of the most original art historians of the twentieth century, known for taking interpretive risks that challenged the profession by overturning reigning orthodoxies. In essays and lectures ranging from old masters to contemporary art, he combined scholarly erudition with an eloquent prose that illuminated his subject and a credo that privileged the visual evidence of the image over the literature written about it. His writings, sometimes provocative and controversial, remain vital and influential reading. For half a century, Steinberg delved into Michelangelo's work, revealing the symbolic structures underlying the artist's highly charged idiom. This volume of essays and unpublished lectures elucidates many of Michelangelo's paintings, from frescoes in the Sistine Chapel to the Conversion of St. Paul and the Crucifixion of St. Peter, the artist's lesser-known works in the Vatican's Pauline Chapel; also included is a study of the relationship of the Doni Madonna to Leonardo. Steinberg's perceptions evolved from long, hard looking. Almost everything he wrote included passages of old-fashioned formal analysis, but always put into the service of interpretation. He understood that Michelangelo's rendering of figures, as well as their gestures and interrelations, conveys an emblematic significance masquerading under the guise of naturalism. Michelangelo pushed Renaissance naturalism into the furthest reaches of metaphor, using the language of the body to express fundamental Christian tenets once expressible only by poets and preachers. Michelangelo's Painting is the second volume in a series that presents Steinberg's writings, selected and edited by his longtime associate Sheila Schwartz.

A farm boy from Alabama moves to a northern city during wartime and convinces the neighborhood boys to create a garden on the roof of the adjacent factory.