Witty nicknames, crude jokes, public nudity and lavish monuments, all of these things distinguished Greek courtesans from respectable citizen women in ancient Greece. Although prostitutes appear as early as archaic Greek lyric poetry, our fullest accounts come from the late second century CE. Drawing on Book 13 of the Athenaeus' Deipnosophistae, which contains almost all known references to Hetaeras from all periods of Greek literature, Laura K. McClure has created a window onto the ways ancient Greeks perceived the courtesan and the role of the courtesan in Greek life.

Witty nicknames, crude jokes, public nudity and lavish monuments, all of these things distinguished Greek courtesans from respectable citizen women in ancient Greece. Although prostitutes appear as early as archaic Greek lyric poetry, our fullest accounts come from the late second century CE. Drawing on Book 13 of the Athenaeus' Deipnosophistae, which contains almost all known references to Hetaeras from all periods of Greek literature, Laura K. McClure has created a window onto the ways ancient Greeks perceived the courtesan and the role of the courtesan in Greek life.

This collection attempts to recover the voices of women in antiquity from a variety of perspectives: how they spoke, where they could be heard, and how their speech was adopted in literature and public discourse. Rather than confirming the old model of binary oppositions in which women's speech was viewed as insignificant and subordinate to male discourse, these essays reveal a dynamic and potentially explosive interrelation between women's speech and the realm of literary production, religion, and oratory. The contributors use a variety of methodologies to mine a diverse array of sources, from Homeric epic to fictional letters of the second sophistic period and from actual letters written by women in Hellenistic Egypt to the poetry of Sappho.

Throughout, the term "voice" is used in its broadest definition. It includes not only the few remaining genuine women's voices but also the ways in which male authors render women's speech and the social assumptions such representations reflect and reinforce. These essays therefore explore how fictional female voices can serve to negotiate complex social, epistemological, and aesthetic issues. The contributors include Josine Blok, Raffaella Cribiore, Michael Gagarin, Mark Griffith, Andre Lardinois, Richard Martin, Lisa Maurizio, Laura McClure, D. M. O'Higgins, Patricia Rosenmeyer, Marilyn Skinner, Eva Stehle, and Nancy Worman."

In ancient Athens, where freedom of speech derived from the power of male citizenship, women's voices were seldom heard in public. Female speech was more often represented in theatrical productions through women characters written and enacted by men. In "Spoken Like a Woman," the first book-length study of women's speech in classical drama, Laura McClure explores the discursive practices attributed to women of fifth-century b.c. Greece and to what extent these representations reflected a larger reality. Examining tragedies and comedies by a variety of authors, she illustrates how the dramatic poets exploited speech conventions among both women and men to construct characters and to convey urgent social and political issues.

From gossip to seductive persuasion, women's verbal strategies in the theater potentially subverted social and political hierarchy, McClure argues, whether the women characters were overtly or covertly duplicitous, in pursuit of adultery, or imitating male orators. Such characterization helped justify the regulation of women's speech in the democratic polis. The fact that women's verbal strategies were also used to portray male transvestites and manipulators, however, suggests that a greater threat of subversion lay among the spectators' own ranks, among men of uncertain birth and unscrupulous intent, such as demagogues skilled in the art of persuasion. Traditionally viewed as outsiders with ambiguous loyalties, deceitful and tireless in their pursuit of eros, women provided the dramatic poets with a vehicle for illustrating the dangerous consequences of political power placed in the wrong hands.

Ruth Reid thinks her old life is dead. She's abandoned her crappy career, her unavailable boyfriend, and her hopeless idealism. But just as she's settling into her new life, which involves a bottle of scotch, her cat, and her Brooklyn couch, she learns that her former colleague, the famed Victoria Shales, has been murdered in the middle of a major union organizing campaign. Against her better judgment, Ruth agrees to take Victoria's place and rescue the campaign - if she can. With the election clock ticking loudly, Ruth scrambles to pull together a ragtag group of workers who can help her outgun the company and outrun a pair of deadly thugs who also want her to take Victoria's place - in the cemetery.

'Sex, murder, politics, whisky, and very bad girls with good attitudes. Organize or Die is a great read that gives you a glimpse of union organizing subculture and the people who make it their lives and livelihood.'

-Ed Ott, former executive director of the NYC Central Labor Council, Distinguished Lecturer in labor studies at City University of NY

"McClure has written one for the 99 percent. Full of intrigue, suspense, and drama, Organize or Die exposes the joy - and, yes, the inherent risk - found in all hard-fought workplace organizing campaigns. The characters' commitment to workplace equity, as well as their good humor, are infectious."

-Eleanor J. Bader, author, Targets of Hatred