The book under review is the most recent publication by Gabriel Zuchtriegel, Director of the Archaeological Park of Pompeii since April 2021. It is structured into five chapters, preceded by an introduction and followed by an afterword, and is complemented by nine pages of notes and index, two maps, and thirty-two pages of images. At times anecdotal in tone, the book explores why antiquity continues to appeal to modern audiences, how we engage with the past, and what this engagement reveals about ourselves.

Pompeii offers an unparalleled sense of proximity to the ancient world, and Zuchtriegel investigates what he terms the ‘Pompeii effect’. Guiding the reader through both well-known and recent discoveries, he presents visitors, scholars, and tourists alike as ‘spiritual pilgrims’ (p. 8), who reflect on life, art, death, and suffering, rediscovering the ancient world with a childlike sense of wonder. Zuchtriegel memorably describes the ‘Pompeii effect’ as ‘a rip in the screen’ (p. 143), through which daily life in an ancient society can be observed almost unmediated, seemingly free from the biases and socio-political agendas that shape literary sources. It is precisely this ‘rarity of everyday life’ (p. 142) that makes Pompeii unique and unrivalled in the field of archaeology.

Zuchtriegel starts the book off by examining the presence and significance of Greek art within Roman domestic spaces. The ‘Pompeii effect’ sheds light on the role and reinterpretation of what we label as ‘Classical’ art and myth within a new social framework, namely the Roman context. What modern audiences consider ‘classical’, that is, Greek and Roman antiquity, was already perceived in similar terms by ancient Roman viewers, who distinguished between Greek (classical) and Roman (contemporary) art. Each generation, Zuchtriegel argues, constructs its own idea of what is ‘classical’ and its own canon of classics; in other words, the classical is always in the eye of the beholder. In Pompeii, as in the modern world, classical culture functioned as a marker of social distinction. In this way, the city becomes a visual laboratory for examining the ‘social function’ (p. 33) of classical education: here we encounter the tastes and anxieties of numerous Trimalchio-like figures, as well as newly wealthy families such as the Vettii, all eager to display their cultural capital. At the same time, Pompeii allows us to glimpse how members of the Roman elite (the Ciceros and Ovids of their time) may have lived and experienced art.

Zuchtriegel also reflects on the importance of myth and ritual, remarking that ‘understanding ancient rituals’ is like ‘trying to learn to swim in the middle of the desert’ (p. 90). Through case studies such as the Villa dei Misteri and, to a lesser extent, the House of Orpheus, he explores the reception of myth, particularly the cult of Dionysus, in Roman society. The frescoes of the Villa dei Misteri suggest that Dionysian worship functioned as a kind of ‘melting pot’, absorbing diverse mystical traditions and initiation rites. For modern viewers, however, the language of these rituals has largely been lost, rendering them opaque and genuinely mysterious. Zuchtriegel proposes that the scenes depicted in the Villa dei Misteri may be interpreted as wedding imagery, viewed from the perspective of young brides anxious about marriage to men they scarcely knew. The study of Pompeii underscores the fundamental importance of context in archaeological interpretation. This extraordinarily preserved city offers a rare window onto everyday life, challenging traditional historical narratives. Much of ancient history is reconstructed from sources (texts, inscriptions, monuments) that primarily reflect the lives of a wealthy and powerful minority. Attempting to understand antiquity through these sources alone would be akin to reconstructing modern society solely from the lifestyles of today’s super-rich. Pompeii, by contrast, represents that ‘rip in the screen’ through which we can observe the daily experiences of slaves, women, and foreigners living in a provincial town over 2,000 years ago.

However, despite its evocative title and the promise of fresh insight into Pompeii, the text is as much about the philosophy of archaeology, heritage management, and even the author’s own career as it is about the ancient city itself. For readers seeking a conventional monograph on Pompeian society, this blend of memoir and manifesto may divert attention from systematic analysis of recent discoveries.

Nonetheless, Zuchtriegel’s reflections on how modern audiences engage with Pompeii (whether through tourism, education, or digital media) are timely. His discussion of involving local communities and young people in heritage work exemplifies a broader modern shift toward inclusive archaeological practice, one that positions Pompeii not only as a subject of study but also as a site of ongoing social and cultural dialogue. Where The Buried City truly excels is in inviting readers to interrogate their own assumptions: about classical antiquity, about what constitutes evidence, and about why we are drawn to ruins in the first place. It is at its strongest when it balances descriptive richness with reflective depth, encouraging teachers and students alike to think of Pompeii not merely as a past that is lost but as a presence continually mediated by our own intellectual and cultural frameworks.

Although not written specifically as a textbook, it would serve as valuable background reading for both teachers and students of secondary schools. For those studying GCSE or A-Level topics related to the Roman world (especially modules and units on Pompeii and Roman daily life), it offers vivid case studies and up-to-date archaeological perspectives that complement more traditional course materials. Its accessible style makes it appropriate for motivated students, while its interpretative depth provides teachers with useful material for enriching classroom discussion.

For these reasons, it is a book I would readily recommend to my own students who wish to broaden their understanding of Roman daily life and society, and to gain a more nuanced appreciation of Pompeii beyond the standard curriculum.