B owie, « Links between Antonius Diogenes and Petronius », p. 121-132. Philopseudès et De Morte Peregrini, Paris, 1 st edition, Les B (.)
7 Jacques S chwartz, Lucien de Samosate. 6 Jacques S chwartz, Biographie de Lucien de Samosate, Collection Latomus 83, Brussels, Latomus, 1965. So is Lucian - as well as provoking many of the thoughts about the pleasures and dangers of reading fiction that Karen has suggested - ‘simply’ (a term always to be used only as a last resort in interpreting Lucian) using a dialogue frame to bookend a sequence of tales of the unexpected (as Costa in 2005) and in the process ‘having his cake and eating it’ (as suggested by Nesselrath in 2013) 3 ? Is his concatenation of these tales of the unexpected either upgrading or sniping at (or both) such collections as that of Phlegon of Tralles, published only a few decades earlier, in his own brand of fancy dialogue packaging ? Daniel Ogden in 2007) or on what is at stake when a writer claims to be vouching for ἄπιστα that are supernatural (as in Karen ní Mheallaigh’s great 2014 chapter, which of course also has much more) 2. But there has been much scholarship since then, especially in the last fifteen years, a high proportion focusing on Philopseudes ’ handling of the supernatural, either on Lucian’s sources in literature and popular culture (e.g. Translated with an Introduction and Notes, Oxford, (.)ġ What is Lucian’s game in the Philopseudes ? This dialogue received remarkably little attention from Bompaire in 1958 or Reardon in 1971 1. Fakes, Freaks and Hyperreality, Cambridge, Cambri (.) 2 Karen ní M heallaigh, Reading Fiction with Lucian. 1 Jacques B ompaire, Lucien écrivain. Is it historical? Is it contemporary? Is it science fiction? What we do have is an epic tale about the power of story and the importance of dreamers. I’d like to read it again, because even glancing at the Prologue, I see some details I’d missed the first time around. But once I got off to a good start, the result was rewarding. I’m now more accustomed to reading children’s books, so starting such a long book was daunting. The weaving together of the stories is beautiful. One of their stories begins in 1941, and another begins in 2002.Īll these characters and times end up having a relationship with the story of Aethon, as well as parallels with his story. And then we get backgrounds of two characters who we’ve seen in the library. Another time is the future, on the ship Argos traveling to an exoplanet from earth. This was sidestepped by making it just before that date.) Another time is inside and outside Constantinople in the 1400s. (I wonder if originally the date was during the pandemic when libraries were closed. One of those times is Februat the Lakeport Public Library. Small fragments of Diogenes’ story are threaded through the book, along with stories from five other times. Along the way, he has unpleasant adventures, including being transformed into an ass, before he can reach his goal. This book is threaded through with a story, supposedly written by Antonius Diogenes and only recently recovered in a damaged copy, about a shepherd named Aethon who wishes to become a bird so he can travel to this mythical city. The title comes from Aristophanes’ play, The Birds, talking about a utopian city for birds located in the clouds. If you enjoyed Anthony Doerr’s All the Light We Cannot See, I think that Cloud Cuckoo Land is even better. 
Review written September 14, 2021, based on an advance reader copy.
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