No review can do justice to this fantastic book. Pellegrino not only gives a matter-of-fact explanation of how the Atlantis myth arose, a fascinating jump back in history to the beginning of time, and information on everything from Edith Russell Syndrome to Love Canal, he also shows the real-life workings of archaeology and the fascinating lives of Spyridon Marinatos and Christos Doumas.

I've read a few other books of his, all of them great. I hope to read many more.

All the maps are very clean, freshly rendered and easy to read. In addition to a few omnibus maps in the back matter, there are many smaller maps throughout the book, each having only as many landmarks as are necessary to illuminate the particular passage. This turns out to be particularly helpful. One can find a place like Naupactus, (not obscured by too many dots and words and unclear print) and understand why it was so important for Athens to hold onto. The other editorial matter are also very helpful. Using the index and the notes, the reader can follow the stories of the people, places, and themes invovled.

If you are at all concerned about Ancient Greece, or history, this book is worth it, for the maps alone even if for nothing else.

Strasser uses Richard Crawley's translation, apparently revised and updated. In any case the text is very good, though Thucydides syntax is sometimes complex and even a bit confusing. Strasser uses marginal notes besides each paragraph to summarize the events described in the text. The most valuable additions are the maps- there are maps every few pages, illustrating the geography described in the text as needed. Other welcome additions are a timeline, breaking down the events of the book according to date, appendices covering topics such as Athenian and Spartan government, trireme construction, land and naval warfare in ancient times, and even an essay on the monetary units and religious festivals used in the ancient world. There is also an introduction, discussing both the text and the author in detail and in the context of their time. There is also a full and complete index. If you want Thucydides, this is the book to buy!

For those further interested in Thucydides and the war he recounts, I highly recommend Donald Kagan's four-volume analysis of the Peloponnesian War. An up-to-date, thoroughly scholarly work, it is also very accessible to the non-expert and well-written to boot. For expanded views and interpretations of the war, as well as an evaluation of Thucydides himself, pick up any one of his volumes.

Another important thing to remember in reading "Medea" is that the basic elements of the story were already known to the Athenian audience that would be watching the play. Consequently, when the fact that Medea is going to kill her children is not a surprise what becomes important are the motivations the playwright presents in telling this version of the story. The audience remembers the story of the Quest for the Golden Fleece and how Medea betrayed her family and her native land to help Jason. In some versions of the story Medea goes so far as to kill her brother, chop up his body, and throw it into the sea so their father, the King of Colchis, must stop his pursuit of the Argo to retrieve the body of his son. However, as a foreigner Medea is not allowed to a true wife to Jason, and when he has the opportunity to improve his fortune by marrying the princess of Corinth, Medea and everything she had done for him are quickly forgotten.

To add insult to injury, Jason assures Medea that his sons will be well treated at the court while the King of Corinth, worried that the sorceress will seek vengeance, banishes her from the land. After securing sanctuary in Athens (certainly an ironic choice given this is where the play is being performed), Medea constructs a rather complex plan. Having coated a cloak with poison, she has her children deliver it to the princess; not only will the princess die when she puts on the cloak (and her father along with her), the complicity of the children in the crime will give her an excuse to justify killing in order to literally save them from the wrath of the Corinthians.

This raises an interest questions: Could Medea have taken the children with her to her exile in Athens? On the one hand I want to answer that obviously, yes, she can; there is certainly room in her dragon-drawn chariot. But given her status as a foreigner, if Jason goes to Athens and demands the return of his children, would he not then have a claim that Medea could not contest? More importantly, is not Medea's ultimate vengeance on Jason that she will hurt him by taking away everything he holds dear, namely his children and his princess bride?

In the final line of the play the Chorus laments: "Many things beyond expectation do the gods fulfill. That which was expected has not been accomplished; for that which was unexpected has god found the way. Such was the end of this story." This last line has also found its way into the conclusion of other dramas by Euripides ("Alcestis," "Bacchae" and "Andromache"), but I have always found it to fit the ending of "Medea" best, so I suspect that is where it originally came from and ended up being appended to those other plays sometime during the last several thousand years. However, the statement is rather disingenuous because one of the rather standard approaches in a play by Euripides is that his characters often deserve their fate. In a very real sense, Euripides provides justification for Medea's monstrous crime and his implicit argument to the Athenian audience is that the punishment fits the crime. However, Athenians would never give up their air of superiority; at least not until foreigners such as the Macedonians and the Romans conquered the self-professed cradle of democracy.

Unfortunately, despite Mr. Cage's credential as an investigative reporter, the book falls short on historical accuracy and serves as a [...] tool for the pro-western faction of the civil war against the "evil" communism. It is a romanticized version of the actual events as witnessed by a young boy who wants to "protect" the memory of his mother since he was not there to defend her life and as re-told by the villagers who want to absolve themselves of any crime.

Great portrayal of a mother's love for her children just do not buy it for its historical value!

The book is full of colorful observations, and is written in a far more traditional and accessible style than Miller's "Tropic" books. I only have a couple of quibbles about this very fine book. First, the title character of the book, a Greek friend of Miller's, is never developed in a way that justifies the appellation "Colossus." Second, I think Miller sometimes strains a bit to lend a literary effect to rather commonplace things or experiences.

I absolutely love Miller's, "Tropic of Cancer," and was expecting the same style for Maroussi. However, I was mistaken. Miller doesn't include any of his notorious womanizing stories here. Instead, Miller writes about finding peace in contemplating Greece, modern and ancient. Again, his written prose is like reading poetry. There are some passages from this book that I had to "cut out" and keep for inspiration.

I highly recommend this book to anyone interested in Henry Miller or Greece. I must also recommend Edmund Keeley's, "Inventing Paradise," which is something of a companion to Maroussi. In it, Keeley discusses Miller's Greek journey, which he took along with George Seferis, Lawrence Durrell, and other 20th century Greek poets, writers, and painters.

I also enjoyed the format of this book because the original greek was printed on the left side of each page, so for Classics experts, you can see what Xenophon is really writing and come up with your own interpretation.

However, I feel that the interpretation is a good one though (evidenced by the many footnotes explaining why the translater did what he did). All in all, this is a great book for Classics experts and those who aren't, but just want to know what happened.