In the “Introduction” to Oscar Wilde and Classical Antiquity, Kathleen Riley positions the book as an answer to the question Simon Goldhill poses about Iain Ross’s Oscar Wilde and Ancient Greece: “why [does] Wilde’s classicism meri[t] dedicated examination” when his “knowledge of Greek and his treatment of classical subjects by and large seem remarkably ordinary and usual for the time?” To argue that the ubiquity of classical education in the late Victorian period should preclude examination into its influence on an amateur classicist such as Wilde is to suggest that we, in fact, treat him in isolation. The eighteen essays collected in Oscar Wilde and Classical Antiquity do no such thing; the book adeptly fulfills its mission statement “to demonstrate in what ways Wilde’s classicism is typical, in what ways heterodox or distinctive, and where it is situated in relation to Victorian social and intellectual frameworks” (Riley 9). Divided into five sections, the book moves from Wilde’s early classical education at Trinity College Dublin and at Oxford, to sections on Wilde as dramatist, Wilde as philosopher, Wilde as novelist, and finally Wilde and his Roman influences. The book is undoubtedly Greek heavy. Riley rightly calls the Roman section “unique” (Riley 14) in that studies in Wilde’s classicism typically focus solely on his Hellenism, but, as Iarla Manny points out in his excellent essay, most of what we, and the Victorians, understand of ancient Greece has been filtered through Roman interpretations. One hopes that this collection can serve as a starting point for a more thorough investigation into Wilde and Rome.