I first saw this book at the Getty Villa bookstore, when I didn't buy a bunch of physical books because I didn't want to carry them home, and was intrigued at the opening discussion about how Odysseus' wife Penelope's son told her to shut up when she voiced her opinion about her own future. Did I really read that opening correctly? Had I missed this when I was reading as a kid?

Yuuuuuuuuuup. I read it correctly. Yep, I missed it as a kid.

I picked up this book shortly thereafter from the library and read it quickly, it's a short book, essentially two essays from two lectures Mary Beard had given about women and, uh, power.

More specifically, the way women are seen in public discourse (not favorably) and in power (not favorably). Women have been dealing with being second class citizens for centuries, millennia even, of being told they are property or unfit or less.

Beard shows us the literature, gives us the quotes, demonstrates how over and over again power and the female gender do not go together historically. The concept isn't new, but it is finally, finally coming to the nation's, nay, the world's awareness.

My only gripe with the book is the subtitle, "A Manifesto." A manifesto is "a public declaration of policy and aims, especially one issued before an election by a political party or candidate." This book is a reflection, it gives no guidance or policy or direction from where we have been. I wanted the direction.

I recommend the book, yes, but read it as "this is how it is and was," not "here's a path to change."

Women, in other words, may in extreme circumstances publicly defend their own sectional interests, but not speak for men or the community as a whole.
Page 14

As we saw with Telemachus, to become a man (or at least an elite man) was to claim the right to speak. Public speech was a – if not the – defining attribute of maleness.
Page 17

In the words many of us learned at school, she seems positively to avow her own androgyny: I know I have the body of a weak, feeble woman; but I have the heart and stomach of a king, and of a king of England too –an odd slogan to get young girls to learn. The truth is that she probably never said anything of the sort. There is no script from her hand or that of her speech-writer, no eye-witness account, and the canonical version comes from the letter of an unreliable commentator, with his own axe to grind, written almost forty years later.
Page 22

A notorious recent case was the silencing of Elizabeth Warren in the US Senate – and her exclusion from the debate – when she attempted to read out a letter by Coretta Scott King.

Few of us, I suspect, know enough about the rules of senatorial debate to know how justified this was, formally. But those rules did not stop Bernie Sanders and other senators (admittedly in her support) reading out exactly the same letter and not being excluded.
Page 26

Do those words matter? Of course they do, because they underpin an idiom that acts to remove the authority, the force, even the humour from what women have to say.
Page 30

It is still the case that when listeners hear a female voice, they do not hear a voice that connotes authority; or rather they have not learned how to hear authority in it; they don’t hear muthos.
Page 30

More interesting is another cultural connection this reveals: that unpopular, controversial or just plain different views when voiced by a woman are taken as indications of her stupidity.

It is not that you disagree, it is that she is stupid: ‘Sorry, love, you just don’t understand.’ I’ve lost count of the number of times I’ve been called ‘an ignorant moron’.
Page 32

And I've lost count of the number of times a guy has told a woman she should "read the paper," when she's the one who authored said paper.

How do I get my point heard? How do I get it noticed? How do I get to belong in the discussion? I am sure it is something some men feel too, but if there’s one thing that bonds women of all backgrounds, of all political colours, in all kinds of business and profession, it is the classic experience of the failed intervention; you’re at a meeting, you make a point, then a short silence follows, and after a few awkward seconds some man picks up where he had just left off: ‘What I was saying was …’ You might as well never have opened your mouth, and you end up blaming both yourself and the men whose exclusive club the discussion appears to be.
Page 38

Why, yes, yes this was my experience at Twitter, thanks to Arnaud, who would routinely tell me no, but yes to the guy who repeated my words immediately after.

The regulation trouser suits, or at least the trousers, worn by so many Western female political leaders, from Angela Merkel to Hillary Clinton, may be convenient and practical; they may be a signal of the refusal to become a clothes horse, which is the fate of so many political wives; but they are also a simple tactic –like lowering the timbre of the voice –to make the female appear more male, to fit the part of power.
Page 54

Ben Cody once commented to me that I dress very conservatively. I wondered about his comment, have looked at my standard outfit, and realized that, well, yeah, it is remarkably conservative: no hijab, but all of my body is covered with many layers, my clothes are unshaped, and nothing beyond my hands and head are exposed. I'm not sure when I drifted into my uniform, but I know it was a defensive response to cultural pressures I didn't want.

And it was that idea of the divorce between women and power that made Melissa McCarthy’s parodies of the one time White House press secretary Sean Spicer on Saturday Night Live so effective. It was said that these annoyed President Trump more than most satires on his regime, because, according to one of the ‘sources close to him’, ‘he doesn’t like his people to appear weak.’ Decode that, and what it actually means is that he doesn’t like his men to be parodied by and as women. Weakness comes with a female gender.
Page 54

"Weakness comes with a female gender." We all know Trump is weak, so go McCarthy and her parody!

But Athenian drama in particular, and the Greek imagination more generally, has offered our imaginations a series of unforgettable women: Medea, Clytemnestra and Antigone among many others. They are not, however, role models –far from it. For the most part, they are portrayed as abusers rather than users of power. They take it illegitimately, in a way that leads to chaos, to the fracture of the state, to death and destruction. They are monstrous hybrids, who are not, in the Greek sense, women at all. And the unflinching logic of their stories is that they must be disempowered and put back in their place. In fact, it is the unquestionable mess that women make of power in Greek myth that justifies their exclusion from it in real life, and justifies the rule of men.
Page 59

Then she’s a virgin, when the raison d’être of the female sex was breeding new citizens.
Page 69

Athena, warrior god, was portrayed as a man. Gotcha.

We have to be more reflective about what power is, what it is for, and how it is measured.
Page 83

But I do wonder if, in some places, the presence of large numbers of women in parliament means that parliament is where the power is not.
Page 85

Those reasons are much more basic: it is flagrantly unjust to keep women out, by whatever unconscious means we do so; and we simply cannot afford to do without women’s expertise, whether it is in technology, the economy or social care.
Page 86

But this is still treating power as something elite, coupled to public prestige, to the individual charisma of so-called ‘leadership’, and often, though not always, to a degree of celebrity. It is also treating power very narrowly, as an object of possession that only the few – mostly men – can own or wield (that’s exactly what’s summed up by the image of Perseus, brandishing his sword). On those terms, women as a gender – not as some individuals – are by definition excluded from it.

You cannot easily fit women into a structure that is already coded as male; you have to change the structure. That means thinking about power differently. It means decoupling it from public prestige. It means thinking collaboratively, about the power of followers not just of leaders. It means, above all, thinking about power as an attribute or even a verb (‘ to power’), not as a possession.

What I have in mind is the ability to be effective, to make a difference in the world, and the right to be taken seriously, together as much as individually. It is power in that sense that many women feel they don’t have –and that they want. Why the popular resonance of ‘mansplaining’ (despite the intense dislike of the term felt by many men)? It hits home for us because it points straight to what it feels like not to be taken seriously: a bit like when I get lectured on Roman history on Twitter.
Page 86

If I were starting this book again from scratch, I would find more space to defend women’s right to be wrong, at least occasionally.
Page 96

I bought this book on a whim while visiting a newly opened journal / papergoods / travel lifestyle shop in Los Angeles a couple weeks back. The book was small, with the blurb, "The Founding Fathers tried to protect us from the threat they knew, the tyranny that overcame ancient democracy. Today, our political order faces new threats, no unlike the totalitarianism of the twentieth century. We are no wiser than the Europeans who saw democracy yield to fascism, Nazism, or communism. Our one advantage is that we might learn from their experience." Yes, okay, I'm interested, keep going.

Turns out, the whole book was one big smack upside the head, complete with actionable items to do to help stem the tide of tyranny currently rising in our country. While reading the book, I wanted to highlight every passage, share all of the lessons with everyone, buy a million copies and send them out to everyone I come in contact with in all aspects of life. It is a fast read, 128 pages, so even people who don't read much or fall asleep while reading (read: many of my relatives) can finish it.

The book reminds us that we are not special. Democracy has fallen many times in the last century, and we have the advantage of historical perspective to see what happened. We aren't coming into this blind, we can see what is happening. We can stop it. Others have, we aren't too late.

So, yeah, I strongly recommend this book, it is incredibly worth reading. Let me buy you a copy, ebook or physical, I don't care which. I want you to read this book.

The twenty lessons:

1. Do not obey in advance. Much of the power of authoritarianism is freely given. In times like these, individuals think ahead about what a more repressive government will want, and then start to do it without being asked. You've already done this, haven't you? Stop. Anticipatory obedience teaches authorities what is possible and accelerates unfreedom.

20. Be a patriot. The incoming president is not. Set a good example of what America means for the generations to come. They will need it.

It is your ability to discern facts that makes you an individual, and our collective trust in common knowledge that makes us a society.
Page 73

Like Hitler, the president used the word lies to mean statements of fact not to his liking, and presented journalism as a campaign against himself.
Page 73

We are free only insofar as we exercise control over what people know about us, and in what circumstances they come to know it.
Page 88

Words written in one situation make sense only in that context. The very act of removing them from their historical moment and dropping them in another is an act of falsification.
Page 89

In the twentieth century, all the major enemies of freedom were hostile to non-governmental organizations, charities, and the like.
Page 94

Today’s authoritarians (in India, Turkey, Russia) are also highly allergic to the idea of free associations and non-governmental organizations.
Page 94

To Ukrainians, Americans seemed comically slow to react to the obvious threats of cyberwar and fake news. When Russian propaganda made Ukraine a target in 2013, young Ukrainian journalists and others reacted immediately, decisively, and sometimes humorously with campaigns to expose disinformation.
Page 96

The most intelligent of the Nazis, the legal theorist Carl Schmitt, explained in clear language the essence of fascist governance. The way to destroy all rules, he explained, was to focus on the idea of the exception. A Nazi leader outmaneuvers his opponents by manufacturing a general conviction that the present moment is exceptional, and then transforming that state of exception into a permanent emergency. Citizens then trade real freedom for fake safety.
Page 100

People who assure you that you can only gain security at the price of liberty usually want to deny you both.
Page 100

Similarly, it is none too difficult to imagine choices that increase both freedom and safety, like leaving an abusive relationship or emigrating from a fascist state. It is the government’s job to increase both freedom and security.
Page 101

When the American president and his national security adviser speak of fighting terrorism alongside Russia, what they are proposing to the American people is terror management: the exploitation of real, dubious, and simulated terror attacks to bring down democracy.
Page 109

Courage does not mean not fearing, or not grieving. It does mean recognizing and resisting terror management right away, from the moment of the attack, precisely when it seems most difficult to do so.
Page 110

A patriot, by contrast, wants the nation to live up to its ideals, which means asking us to be our best selves.
Page 114

A nationalist will say that “it can’t happen here,” which is the first step toward disaster. A patriot says that it could happen here, but that we will stop it.
Page 114

The acceptance of inevitability stilted the way we talked about politics in the twenty-first century. It stifled policy debate and tended to generate party systems where one political party defended the status quo, while the other proposed total negation. We
Page 119

Eerily, when judges said that a parliamentary vote was required for Brexit, a British tabloid called them “enemies of the people”—a Stalinist term from the show trials of the 1930s.
Page 122

In his 2016 campaign, the American president used the slogan “America First,” which is the name of a committee that sought to prevent the United States from opposing Nazi Germany.
Page 123

The habit of dwelling on victimhood dulls the impulse of self-correction. Since the nation is defined by its inherent virtue rather than by its future potential, politics becomes a discussion of good and evil rather than a discussion of possible solutions to real problems.
Page 123

itself. History allows us to see patterns and make judgments. It sketches for us the structures within which we can seek freedom.
Page 125

History permits us to be responsible: not for everything, but for something.
Page 125

One thing is certain: If young people do not begin to make history, politicians of eternity and inevitability will destroy it.
Page 126

This is book 2 of the Peter Grant series.

Okay, yes, so my reading list contains a whole bunch of non-fiction books, to balance out the copious fiction I've been reading as of late. Except that I enjoyed Midnight Riot so much, that I ignored my entire reading list, expecting I could squeeze this book in before the next book on my list becomes due in 12 days. And hey, I managed it!

As I enjoyed the last Peter Grant book, I also enjoyed this Peter Grant book. The humour flavor isn't quite Dresden, clearly my reading yardstick for urban fantasy, but Aaronovitch still does the Talking To The Camera / Breaking The Fourth Wall style really well. The humour is drier than Dresden, but still great.

What I am particularly enjoying with the Grant series so far, other than the world building, the magic rules, Grant's scientific inquiry instead of mere acceptance of magic, and the dry wit, are the history lessons. Aaronovitch drops names and events into casual conversation and I'm left wondering, "Wait, what?" Off to Wikipedia I go, and, oh, there's the Great Stink, Tacitus, the sons of Mūsā ibn Shākir, and the Thief-Taker General Jonathan Wild. History lessons dropped into casual conversations that are completely fascinating!

I'm pretty sure once I finish the current 10 book reading list I have to clear the library holds I currently have, I'm going to rip through the next 5 Peter Grant books. Totally enjoying them, strongly recommended so far for fans of urban fantasy.

I knew all this because I’d been reading the Annals of Tacitus as part of my Latin training. He’s surprisingly sympathetic to the revolting Brits and scathing about the unpreparedness of the Roman generals who thought more of what was agreeable than expedient.
Page 1

Yeah. People. In war.

Whatever you see, he’d said, take as long a look as you need to get used to it, to accept it, and then move on as if nothing has changed.
Page 3

EVERY HOSPITAL I’ve ever been to has had the same smell, that whiff of disinfectant, vomit, and mortality.
Page 7

“Do I have a signature?” I asked.

“Yes,” said Nightingale. “When you practice, things have an alarming tendency to catch fire.”
Page 23

The sons of Mūsā ibn Shākir were bright and bold and if they hadn’t been Muslims would have probably gone on to be the patron saints of techno-geeks. They’re famous for their ninth-century Baghdad bestseller, a compendium of ingenious mechanical devices that they imaginatively titled Kitab al-Hiyal—The Book of Ingenious Devices.
Page 25

This is one I looked up. Fascinating!

And what do Nightingale and I have to measure vestigia with?
Page 26

When I read books, I listen to the audiobook when I'm out and about (usually walking) or doing errands or chores (raking leaves, washing dishes, etc.). I much prefer to read the words than to listen to the words, but when a story is engrossing, I want to keep going.

I happened to be listening to the book as I was reading it, and, oh, there are significant differences between the British and Amercian versions of the book. The ebook American version has "Nightingale and I," whereas the British audiobook has "me and Nightingale."

I have to say the "me and _______" form drives me nuts. It is an emerging speech pattern that makes me want to go all grammarian on people's asses when they use it. New pet peeve, I guess.

In 1986 Courtney Pine released Journey to the Urge Within and suddenly jazz was back in fashion and with it came my dad’s third and last brush with fame and fortune.
Page 26

Well, I guess I have a new album to consume now.

My dad always said that a trumpet player likes to aim his weapon at the audience, but a sax man likes to cut a good profile and that he always has a favorite side. It being an article of faith with my dad that you don’t even pick up a reed instrument unless you’re vain about the shape your face makes when you’re blowing down it.
Page 27

I’ve never been what you’d call a strong swimmer but if the alternative is being a statistic it’s amazing what you can pull out of the reserves.
Page 112

People don’t like to speak ill of the dead even when they’re monsters, let alone when they’re loved ones. People like to forget any bad things that someone did and why should they remember? It’s not like they’re going to do it again.
Page 119

The central atrium at the Trocadero Centre is four stories high with an open basement that added another story to the fall. The space is crisscrossed at random intervals by escalators, presumably because the architects felt that disorientation and an inability to find the toilets were integral parts of the shopping experience.
Page 223

Cracked me up.

“What made you think Ty would tell you?” asked Nightingale.

“She couldn’t help herself,” I said. “First law of gossip—there’s no point knowing something if somebody else doesn’t know you know it.
Page 239

You don’t experience a bomb blast so much as remember it afterward. It’s like a bad edit or a record jumping a groove. On one side of the moment there is music and laughter and romance and on the other—not pain, that comes later, but a stunned incomprehension.
Page 254

It’s weird watching an elderly parent when he’s half naked. You find yourself staring in fascination at the slack skin, the wrinkles, and the liver spots, and thinking—one day all that will be yours.
Page 259

I grabbed her wrist and twisted her knife hand up and away. The rule for fighting a person with a knife is to start off by making it point away from you and then ensure that it hurts too much to hold on to.
Page 263

Whatever you’ve been told, seeing is not believing. Your brain does a great deal of interpretation before it deigns to let your consciousness know what the hell is going on. If we’re suddenly exposed to something unfamiliar, a damaged human face, a car flying through the air toward us, something that looks almost but not quite human, it can take time, sometimes even seconds, for our minds to react.
Page 265

This is an example of the fourth wall explanation thingy that I enjoy.

It’s no fun looking down on people if you can’t let them know you’re above them.
Page 273

I’d been working on loosening the chimney stack with what I call impello vibrato, but Nightingale called will you stop messing about and pay attention, while Faceless had been chatting.
Page 273

For a terrifying moment I thought he was going to hug me, but fortunately we both remembered we were English just in time. Still, it was a close call.
Page 276

You do this because it is your job, because it’s necessary, and because, if you’re honest, you love it. Repeat this process until the bad dreams stop or you just get used to them—whichever comes first.
Page 283

This is book 1 of the Peter Grant series. Finally, a wizard who isn't named Harry. No, wait. Finally a wizard series not in Chicago. No, wait. I give up, it's a wizard in London, not Potter, not Verus, not Harry, but loads of fun, and I am wonderfully delighted to find another modern-day, urban-fantasy, adult wizard series. This book was recommended on micro.blog, as the Rivers of London, which is the English title of this book. I thought, "Eh? Adult wizard not named Harry? Sign me up!"

I enjoyed this book enough to immediately check out book two from the library. I was planning on reading a few other books before reading the second one, but enjoyed this one enough to skip over the carefully curated to-be-read pile and read that one, too.

Right, so, this book.

Peter Grant is a a sucky cop in London. He happens to have a whiff of wizardly talent, which makes him qualified for an apprencticeship in the supernatural branch of the London police. He rather sucks at being a detective, missing a lot of details around him and being generally oblivious to much around him, but seems to do okay as a cop, with his size and such. His partner, a woman, however, is a fine detective, but has to work twice as hard to be seen as half as good.

Shock.

Anyway, Grant has a bit of wizarding in him, and is recruited, with his training actually being difficult. Imagine that, wizarding powers that take some effort and a lot of hard work, over the course of weeks and months and years, to build up. IMAGINE THAT.

I like Grant's science bent, too. "Well, that's nice, but HOW?"

I'm glad there are seven books (so far!) in the series. It's going to be difficult not to read through all of them in one sitting.

This is why you have procedure, training and drill, so that you do things when your brain is too shocked to think for itself—ask any soldier.
Page 47

The window over the stairs had had sheets of black construction paper crudely taped over to block the sunlight.
Page 98

Nightingale said that everything was true, after a fashion, and that had to include vampires, didn’t it? I doubted they were anything like they were in books and TV, and one thing for certain, they absolutely weren’t going to sparkle in the sunlight.
Page 98

Cracking up here.

Despite what you think you know, most people don’t want to fight, especially when evenly matched. A mob will tear an individual to pieces and a man with a gun and a noble cause is happy to kill ever so many women and children, but risking a fair fight—not so easy.

That’s why you see those pissed young men doing the dance of “don’t hold me back” while desperately hoping someone likes them enough to hold them back. Everyone is always so pleased to see the police arrive, because we have to save them whether we like them or not.
Page 143

Magic, as Nightingale understood it, was generated by life. A wizard could draw on his own magic or on magic that he’d stored by enchantment, which sounded interesting but not relevant to exploding cash tills. However, life protected itself, and the more complex it was, the more magic it produced, but the harder it was to draw off. “It’s impossible to draw on magic from another human being,” said Nightingale. “Or even a dog, for that matter.”
Page 154

Even at closing time, Covent Garden was packed; the post-performance crowd was emerging from the Royal Opera House and looking for somewhere to have a bite to eat and a pose, while clusters of young people on school-sponsored holidays from all over Europe exercised their time-honored right to block the pavement from one side to the other.
Page 161

My dad had once told me that the secret to a happy life was never to start something with a girl unless you were willing to follow wherever it leads.
Page 172

Sometimes when someone tells you not to go somewhere, it’s better not to go there.
Page 189

The tube is a good place for this sort of conceptual breakthrough because, unless you’ve got something to read, there’s bugger all else to do.
Page 189

Nightingale’s breath started to falter.

“Keep breathing,” I said. “It’s a habit you don’t want to break.”
Page 204

The trouble with the old boy network is you can never be really sure whether it’s switched on or not and whether it’s operating in your interest or some other old boy’s.
Page 204

Sometimes you have to stand still and take the first blow, that way you see what the other man has in his hand, expose his intentions and, if that sort of thing is important to you, put yourself unequivocally on the right side of the law. And if the blow is so heavy that it puts you down? That’s just the risk you have to take.
Page 204

“How fast can you move something?” said Seawoll.

“Not as fast as a bullet,” I said.

“Really,” said Stephanopoulos. “How fast is that?”

“Three hundred and fifty meters per second,” I said. “For a modern pistol. Higher for a rifle.”

“What’s that in old money?” said Seawoll.

“I don’t know,” I said. “But if you lend me a calculator I can work it out.”
Page 207

I looked at Seawoll and he gave me the “at last he wakes up” look so beloved of teachers, senior detectives and upper-middle-class mothers.
Page 207

There we continued the time-honored tradition of brazenly lying through our teeth while telling nothing but the truth.
Page 210

“The Fire Brigade are sailors?”

“Not now,” she said. “But in the old days, when they were looking for disciplined guys who knew about water, ropes, ladders and didn’t freak out at altitude. On the other hand, you had a lot of sailors looking for a nice steady career on dry land—marriage made in heaven.”

“Still, Neptune,” I said. “Roman god of the sea?”

Beverley laid her head on my shoulder. Her hair was wet, but I wasn’t complaining. “Sailors are superstitious,” she said. “Even the religious ones know you got to have a little respect for the King of the Deeps.”
Page 256

“It’s not that I’m scared of commitment,” I said to the ceiling. “It’s just that I want to know what I’m committing to first.”
Page 264

“Was that part of the deal?” I asked.

“Apparently so,” said Dad. “Your mum thought it was, when I told her. She said that only a fool expects to get something for nothing.” That sounded like Mum, whose principal saying was, “If it doesn’t cost something it isn’t worth anything.” Actually her principal saying was, at least to me, “Don’t think you’ve got so big that I can’t still beat you.” Not that she ever beat me, a deficiency that she later blamed for my failure to pass my A-levels.
Page 267

“I don’t want to go,” said Henry Pyke.

“You must,” I said. “That’s the mark of true greatness in an actor—knowing, down to the precise moment, when to make his exit.”

“How wise of you, Peter,” said Henry Pyke. “That is the true mark of genius, to give oneself to one’s public, but to retain that private side, that secret space, that unknowable …”

“To leave them wanting more,” I said trying to keep the desperation out of my voice.

“Yes,” said Henry Pyke. “To leave them wanting more.”
Page 290