In their authoritative reference grammar of Greek, Kühner–Blass devote only a little over a page to interjections, dismissing them as “blosse Empfindungslaute und … daher für die Grammatik bedeutungslos” (“simple sounds of emotion and … therefore of no importance for grammar”) (§326, pp. 253–4). But anyone who has ever read Greek drama knows that they are ubiquitous, with nearly 1700 examples in the plays and fragments of the three tragedians and Aristophanes, which serve as Nordgren’s corpus. Thus, especially in light of recent theoretical work (e.g. that of Felix Ameka), the time was ripe for a new investigation of the subtle differences, in semantic meaning and pragmatic use, between such exclamations as αἰαῖ, οἴμοι, and φεῦ. Michèle Biraud’s Les interjections du théâtre grec antique (Peeters, 2010) was a significant step towards filling this lacuna, with important discussions of many interjections, but as it did not receive much attention outside the Continent (L’Année philologique records only one review in an English-language journal) and is not structured as a reference work, Nordgren’s comprehensive study of these most slippery of words is timely and welcome. While not everyone will agree with all of his assessments—in the end, it is probably impossible to avoid a certain amount of subjectivity in deciding whether, say, pain or surprise is the key emotion expressed by a particular instance of an interjection—his book will nevertheless serve as the first port-of-call for anyone wishing to understand the most distinctive nuances of these words.