including some important Italian research. Discussion of Catullus resumes piecemeal on page 114, and in earnest only at the foot of 117; much of the remaining seven pages is taken up with images of 62.30–48 as they are presented in the four manuscripts of authority (TOGR) and the Aldine edition of 1502: this is based on Manutius’ consideration of the ancient evidence, and yet moves decisively towards modern norms. (Unfortunately there are errors in the report of O at 62.25 [p. 118]: it has him(en) and himenee in the second half of the line with i not u.) It is a pity that the book was completed too early to record the appearance of a funda- mental resource for the study of Catullus, the splendid website http://www.catullusonline. org/ meticulously assembled by D. Kiss: this provides a critical text, a full apparatus and images of key MSS. S.J. HEYWORTH Wadham College, Oxford stephen.heyworth@wadh.ox.ac.uk CATULLAN SILENCES S TEVENS (B.E.) Silence in Catullus. Pp. x + 338. Madison, WI and London: The University of Wisconsin Press, 2013. Paper, US$34.95. ISBN: 978-0-299-29664-3. doi:10.1017/S0009840X1500102X Readers may be interested to know that a 300-page study of Catullus’ poetry has been pub- lished on the topic of what the poet has not written. ‘Silence’ in Catullus, it turns out, cov- ers a great deal of ground. As ‘an essential aspect of his experience as a person, a poet, and, more generally, as a being-in-language’, it includes ‘the silences that precede, structure, and follow utterance’ (p. 6). It runs the gamut from ‘the work’s own sense of negation, selection-against, and suppression as necessary preconditions and co-conditions of its own being as an utterance’ (p. 12), to the ultimate, natural silence of death, not to mention more difficult concepts like the silence of articulate speech, the poems’ sounds ‘as they must rise up from, relate to, and ultimately recede into a background of silence’, sexualised silence, gendered silence, internal silences, pauses, sociocultural silences imposed on char- acters (including the speaker and ‘ideal audience’) that mark ‘what may or may not be said according to cultural traditions and social controls’, and abstract or philosophical treat- ments of silence as a theme (pp. 6, 14–5). S. explores these silences in seven chapters. ‘Natural and Sociocultural Silence in C. 6’, studies a poem to the otherwise unknown Flavius, who wishes to keep his girlfriend secret from Catullus. S. argues that the poem illustrates the difference between natural silences (what cannot be said or what goes unsaid) and sociocultural silences (what may not or should not be said, but could/can be). Catullus requests information, but at the same time Flavius and his girl are silenced by Catullus, while that very silence is the factor enab- ling the poem’s existence. All we perceive, in synaesthenic technicolour, are the perfumed scents, the worn-out pillows and the creaky bedframe. The bedroom in fact cries out, cla- mat, using ‘the same root found in the kleos of “undying fame”. Etymologically ... it is as if Flavius’s story is worthy of epic memory’ (p. 28). So vivid is Catullus’ imagination that one ‘may think, then, of Catullus truly wanting not his own imagination or even Flavius’s story but precisely the sex Flavius has evidently had’ (p. 33). The poem illustrates a theme S. returns to throughout the book: ‘For Catullus ... the combination of “can” and “may not be said” is tantamount to must’ (p. 35). THE CLASSICAL REVIEW 444 The Classical Review 65.2 444–446 © The Classical Association (2015)