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For her follow-up, Hughes opted to excavate another misunderstood figure. But painting a more realistic vision of his messy Athens was part of her aim.
Of her choice of subject she has said that the time had come to capture the sheer chaos mess of his milieu:. We can now imagine very clearly Socrates walking around those stoas [arcades] and around the agora.
He was padding around in mud, talking about his ideas. It really helps clarify the picture of him for me. This revisionist portrait proved another critical and popular success. This tension between "the good" and the real is given full respect in this beguiling book, and the Socrates Hughes creates is ultimately a towering yet intensely human figure. He lives and speaks again in these pages: it's a singular accomplishment. Now a spokesman for the endeavour of popular history, Hughes is outspoken about what she sees as its crucial role in society.
And she is frank about the enemies that success brings:. Sometimes, you get into trouble for dumbing down, of course.
Some people seem to get angry about that. Not just academics but also journalists. I suspect that is because they think it is they who should be on telly. They really get the knife in. Over the course of her well-regarded books on classical topics, she has performed the often thankless task of communicating esoteric archaeological and historical research to the masses. We publish a Literature Newsletter when we have news and features on UK and international literature, plus opportunities for the industry to share.
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