This book seeks to explore the power of names – and moreover, the power of no names – in Classical literature. The texts considered are mostly lesser-known works of Imperial literature, including plays, inscriptions, fables and verse. The concept is an interesting and original one: Geue argues that anonymity can in fact be a valuable feature or device which adds to the significance of the work, rather than detracting from it or rendering the text unimportant. Through a comprehensive and detailed analysis of the chosen texts (Res Gestae, Ovid's Ibis, the Octavia, Phaedrus’ Fables, Laus Pisonis, Calpurnius Siculus’ Eclogues amongst others), Geue argues that the authors’ decisions to name, or not to name, are deliberate, purposeful and add meaning. Both the internal and external anonymity of texts are considered throughout.

The original premise may seem obscure at first: why, in a book on anonymity, are texts with named authors discussed, for example? However, this book is about more than anonymity in its simplest sense. It is about the decisions around nomenclature and naming conventions in texts, the use of names to confer power, and the intentional erasure or avoidance of names to remove it. The book also questions the relationship between context and text. Geue proposes that texts in fact have more value when nameless as they can be appreciated without preconceptions or assumptions about the author.

The line of argument is at times difficult to follow, and, indeed, the language used in the book makes the discussion hard work for the reader in places: it would be advisable to have an English dictionary to hand. If you didn't know what antonomasia meant beforehand, you will do after reading this book. The author swings between a highly academic, scholarly vocabulary and a casual, informal and chatty tone: phrases such as ‘so damn mentionable,’ ‘whack-job’ and ‘monster-germs’ sit alongside the technical vocabulary and it is not entirely clear who the intended audience is for this book. It would most likely be too technical, and the language too daunting and inaccessible for general use in schools.

The extensive use of original sources is commendable as Geue includes many passages from the texts in the Latin or the Greek, with translations and detailed analyses. The translations are well phrased and fluent. Whilst Geue starts off including passages with translations immediately afterwards, increasingly he moves on to using Latin and Greek terms and phrases without explanation. Not all of the Greek and Latin vocabulary items used in the book's discussions are translated. Certainly, any reader would need a working knowledge of both ancient languages to access the arguments fully.

One of the first major discussions in the book is a chapter on the Res Gestae, which is a peculiar choice in a book on anonymity, but Geue makes a convincing argument for how Augustus used anonymity to further his own interests; for example, by saying that Augustus did not name what he had done in rebuilding the Capitolium or the Theatre of Pompey without inscribing his name. Of course, the author of these works would have been common knowledge and the Res Gestae helps to erase this façade of anonymity completely. The deliberate omission of Antony's name – and furthermore, the reduction of Antony's name to a relative clause – Geue argues, is clearly deliberate and demonstrates that Augustus uses anonymity to further his own interests – his is the only name worth remembering. In other words, the power of anonymity is that which Augustus forces onto others. The political dimension to this discussion was very interesting and could be useful material for stretch and challenge at A Level or IB.

Another discussion worthy of particular mention is on the ‘breathtaking nominal gymnastics’ (p.100) of the Octavia. Geue observed that, as a general rule, this play appears to avoid names and therefore is able to use names in quick succession to great effect in order to shock the audience. The extent to which any original audience would have been fully aware of any intentional ‘nominal gymnastics’ is however unclear.

Whilst the first section of the book explored political texts and their internal and external anonymity, the second part explores three relatively obscure texts which are largely anonymous: Phaedrus’ Fables; Laus Pisonis and Calpurnius Sicilus’ Eclogues. There is a valuable and thought-provoking discussion on the connection between the historical author and the persona of the author. The inclusion of texts which are little-known was refreshing and Geue's aims admirable in departing from the usual suspects: but most of the texts chosen are perhaps just too obscure to be of much immediate value in the classroom.

The third and final section of the book, titled ‘Whence and When’ explores prose texts such as the Apocolocyntosis and Satyrica. This was the most challenging argument to follow. The basic line of discussion is perhaps worthwhile, but could be expressed much more succinctly.

This book is complex, scholarly yet informal in tone, and the basic argument is an important one. Names in texts – and the lack of names in texts – are important. There is power in a name. The author's choices are deliberate. Anonymous texts – and there are many – are free of assumptions and preconceptions and can be appreciated at face value. Geue has a very wide interpretation of anonymity in this book. The extent to which anonymity is important is worth considering and it is enlightening to consider anonymity as a feature which can add to the significance of a text. The argument that the anonymous should be central to the study of antiquity is an innovative idea but it is unlikely to gain traction against the literary giants which dominate the Classical courses at school and university. As a text for use in schools, its use is arguably rather limited by the language of the book and the scope of the texts considered. For inquisitive sixth formers, the section on the Res Gestae may prove an interesting digression: but I would recommend not being too far away from a dictionary!