The Odd Angry Shot
This film is an example of why, and how, Australian cinema is so awesome.
It’s also quite the who’s who of male actors of A Certain Age in Australian film and TV; there’s even a cameo from Frankie J Holden (for whom I have quite the soft spot).
This is not a film I would tend to watch off my own bat, for a whole bunch of reasons. But I did, and I’m glad I did.
The story focusses on Bill, a fresh young man (John Jarratt!) off to the Vietnam War as part of the SAS. When there he falls in with some likely lads (Graham Kennedy! Bryan Brown!!) with whom he drinks, jokes, and gets into trouble – and goes on patrol with too. Some of them get wounded. Some of them die.
The film has some remarkable character moments. At one point, Harry is explaining why he’s sketching – he was an artist before he joined up. He then goes on to explain that he joined the army after he got a divorce, and why he got a divorce. It’s a sad story – as such stories ought to be – but it is neither pathetic nor overwrought; it is as pragmatic as your classic Aussie bloke would make it. This is not to say that Harry is unfeeling; quite the contrary. He feels it deeply. But he does not make a song and dance about it.
I think the pragmatism, and the understatement, is the big difference between this film and an American one. I’ve seen Born on the Fourth of July, which is a remarkable piece of cinema. But this captures another, equally true (?for given values of…) version of the experience of war. And it is realistic. There’s tinea, porn, fear, death, the random nature of events; there’s camaraderie, and making the best of a dreadful situation. Like having a cage fight between a spider and a scorpion. As you do.
As with many such films, it’s based on a book. Apparently the author was concerned that the film would turn his anti-Vietnam-but-pro-army story into a buddy war movie. I hope that, when he saw it, he saw a film that did capture some of the essence of his book. Because this is definitely not a pro-war film.
I’m glad I watched it. It’s pretty raw – there are definitely some cringeworthy moments, made all the more cringey because they almost certainly reflect actual attitudes of the 70s, if not the 60s; but as a short, sharp suggestion of an Australian experience in Vietnam, it works.
Rasputin’s daughter
A little history lesson: Gregory Rasputin was a Siberian peasant who, after being introduced to the Tsar and Tsarina of Russia in the early part of the twentieth century, somehow appears to have had a positive impact on the haemophilia of their son and heir. There were all sorts of rumours going around about him and his relationship to the Romanovs and the way he behaved in St Petersburg, and he was eventually assassinated. This book is more than a hundred pages of his daughter reminiscing about her father, and about 30 – which I didn’t read – of Rasputin’s own reflections on holy places he’s visited.
I recently helped my sister to move house, and one of my jobs was unpacking her books. In doing so I discovered that she had appropriated a number of books that belonged to me but that I’d left at home… anyway. I also discovered this book on her shelf, and I was astounded for a few reasons: that the book exists at all; that she had bothered to nab it (I was reminded that she had studied the Russian Revolution at school)… and that it had belonged to our paternal grandfather. This is somewhat surprising because although not a Communist, our Grandpa was definitely an old-school union man, voted Labor all this life, detested the Vietnam War (wasn’t it awkward when Dad enlisted and went over?)…
etc. So why he had a book aimed at salvaging Gregory Rasputin’s reputation is beyond my ken.
This book is part vindication of Rasputin as a largely good man, part protest at his treatment while alive and his reputation after death, and part somewhat dubious insight into life in Petersburg in the lead up to, and early part of, World War 1. Did I learn anything that I am willing to treat with little scepticism? Yes: Maria Rasputin’s explanation of the fact that her father was not a monk, but was rather a Starets has no need to be distorted and was genuinely helpful in my thinking about him. So too is the fact that Maria and her sister lived with Rasputin for most of the time he was in Petersburg! – this is not something that I have ever seen discussed, and although obviously a father is perfectly capable of being evil and not showing it to his daughters, it’s still an interesting addition to his character. Like I said, Maria (and I’ll keep referring to her by her first name because ‘Rasputin’ would be just too confusing) is clearly aiming to redeem her father’s name, so she stresses that their living room/reception area door was very rarely closed – thus clearly refuting the idea that, at home at least, Rasputin was up to no good and holding orgies (one of the big accusations against him). She doesn’t pretend he was a saint – in fact, she protests against that idea vigorously – and admits that he took up drinking… but blames that on the experience of Petersburg itself, and bad influences, and the need to get just a little bit of downtime.
There’s a whole lot that is pure propaganda. And I can understand that; it can’t have been a comfortable position to be in, as the daughter of such a notorious man. Especially if he had been a loving father, and all the calumny just felt so alien and unlike the man you knew. I was fascinated to read that Maria accepted – or at least wrote that she accepted – the supernatural elements of Rasputin’s story: that he was clairvoyant, enabled by a special connection to God that also enabled him to have special healing powers… I hadn’t expected that aspect.
One problem, for me: I couldn’t help but here Tom Baker’s voice every time Rasputin spoke. That was distracting.
A history of blue
Did you know blue has been the favourite colour of Westerners over the last couple of centuries?
This book is and intriguing idea, although not entirely well executed. I enjoyed the broad sweep of time that Pastoureau attempted to cover – the Neolithic and ancient use of colour very briefly, the medieval world and on in a bit more detail – because the comparison across hundreds of years is fascinating. Unsurprisingly though, this was also one of its downfalls, since the occasional times it treated an idea or subject in detail it felt out of place; and the lack of detail in some areas annoyed me. In some ways this felt, perhaps deliberately, like this was a preparatory work; a number of times Pastoureau raised questions as areas requiring further research, or mentioned medieval manuscripts that have yet to be transliterated or studied in any fashion.
In appearance this is halfway between a history book and a coffee table number. It’s beautifully presented, and the pictures themselves are delightful – most pages have one or two, sometimes three, pictures, illustrating some pertinent point about where and how blue was being used, or other uses of colour at relevant points. But the text is too dense to really work as an art book, while it’s not long enough somehow for it to feel like a really serious treatment of the subject – especially not over such a vast span of time.
As a history book, I remain unconvinced by some of Pastoureau’s suggestions about how blue worked in culture. The lack of blue in very early art, Neolithic right through to much ancient illustration, is curious but I didn’t entirely buy his explanation for its lack of symbolism and therefore appearance and I’m not sure why. Perhaps it just didn’t feel explained enough to accept such a radical idea. This problem permeated much of the text, in fact; the sober, moral overtones that blue acquired thanks to the Protestants, as well as the issues discussed around its symbolism in the later medieval period, were presented as a little bit too definitive, a little bit too unarguable, for me to be entirely comfortable. Clearly Pastoureau was not setting out to write the definitive work on the colour; he himself points out that a vast amount more work needs to be done in a whole range of areas before such a thing is possible. And perhaps it’s also a fault of translation; maybe there was a bit more uncertainty in the original French?
Anyway, overall this is a fascinating book that has made me think about colour and its uses, but not entirely satisfactory.
Amazons of Black Sparta: a review
My mother gave me this book for Christmas 2010, I think after hearing about it on the radio? I’ve had great intentions of reading it since then, of course, but until now they have gone the way of many other good intentions. The other day, though – at least partly inspired by Tansy’s post about ‘Historically Authentic Sexism in Fantasy’ (which also appeared over at Tor.com, although be warned that one of the first comments is ‘most readers of SF are men’ and…I don’t even) – I decided it was time to read it. (There’s also been a bunch of great stuff written about the historical position of powerful women, as queens and warriors etc recently, calling out people who say women have had basically no part in the Great Historical Narrative That Is Mankind.)
This is a book of history. It appears to be thoroughly researched and meticulously end-noted. Alpern constantly refers to his sources, comparing the differences in their perspectives and attempting to explain them based on time, possible prejudice, and other aspects. This is particularly relevant and important because the sources come from a span of two centuries or so, sometimes using second-hand sources, and occasionally coming long after the actual events.
The book is about genuinely documented, real-life warrior women, who were pretty much automatically called Amazons by European observers, in the kingdom of Dahomey, on Africa’s western coast. And these are not from some far-off misty time; no, they date from the late 1700s at the very latest, and last saw action against the dastardly French when those colonisers decided to fight against and take Dahomey… in 1892. They were experts at the use of muskets and spears and – my favourite – the giant razor: said to have weighed 20 pounds or more, it had a blade 24-36 inches long that folded into a wooden handle. It was wielded with both hands and was particularly good for decapitations.
It’s not quite the book I was expecting. I think I was anticipating that was more narrative-driven, but only the last quarter or so fits that bill. The first three quarters read more like a catalogue: the recruitment, training, weapons, and everyday life of these women. The narrative comes when Alpern documents the battles that the ‘warrioresses’ took part in – first against other local tribes for a variety of reasons, then in two set of skirmishes/pitched battles with the French.
There are a lot of fascinating parts to this book – like the fact that the women as warriors may have originated in them being elephant hunters, and the fact that Dahomey had a lot of symmetry going on with women having parallel offices etc to the male hierarchy. One awesome, somewhat incidental bit – and this is for the fabric fetishists – is that the warrior women may have been involved in creating a gigantic patchwork, along with other palace women. It was composed of samples of every type of fabric imported into the kingdom or made locally. At one stage it was apparently up to 400 yards by 10 feet, and exactly it was intended for is unclear. The other mighty fact in the story is that pretty much everyone acknowledges that the women were mighty warriors, as good or better than their male counterparts, and generally even fiercer in actual battle: like, they were the last to retreat, and on a couple of occasions it was only women who got past the enemy’s barricades. And before anyone even thinks it, apparently the enemy generally did not realise that they were facing women, at least in the early battles, so no it’s not because they let the women in (besides, they were CARRYING MUSKETS or other guns – who would be stupid to let in anyone carrying a GUN? (hmm, perhaps this is a little close to the bone today)).
A very interesting read, and a fascinating period of history in general and in specific.
This book made me angry
It’s rare that I read a book that actually makes me angry. Like, exclaim-out-loud angry.
It’s very rare that this happens with a history book.
This book had that impact on me.
The book bills itself as “A history of the suffragette movement and the ideas behind it,” which sounded perfect for me – I was convinced there was a rich 19th century tradition of ideas and activity in Britain for the women’s suffrage movement to spring out of so, naturally, I was dead keen to read about it. And, truly, the first few chapters do do that. Phillips goes right back to the very awesome Mary Wollstonecraft and her writing around the French Revolution, like A Vindication of the Rights of Women (suck it, Edmund Burke, you got ripped). She discusses women’s involvement in the campaigns against ‘vice’ and other social reforms, and all of that was quite interesting. Middle class, but perhaps that’s where the information is mostly to be found? And, yeh, a lot of this sort of campaigning required free time, which women in the working classes did not have because they were, you know, working. So I could move past that (a bit).
Anyway, well and good. Then she got up to the 20th century and the really focussed suffrage stuff, and then… well, there were gasps and strangled cried and the savage use of pencil to underline unbelievable passages. There may have been mutterings not entirely under the breath. It’s fair to say that my husband expressed concern a few times.
Now, I had just read a biography of Emmeline Pankhurst, so that didn’t help matters, because Phillip is really, really anti-Pankhursts – both Emmeline and Christabel (Sylvia seems to get a pass). She makes wild claims about them and provides quite vicious descriptions such that – I’m sorry – I had to go back and check that this was written by a woman. I can’t believe this was written by a woman. They are described as having “pathological self-importance and [the] urge to martyrdom” (p236); Christabel had “histrionics” and was “the queen of melodrama” (p240); their relationship is described as “unhealthily close and introverted” (p254). I just… what? Seriously? In a book that would quite like to be passing itself off as a readable but serious history?
And this is where another of my frustrations came in. Phillips does use a number of primary sources, and has some extensive quotes from them, which is awesome. Tick! However – and this is a really huge problem for me – there is little consideration of the perspective being brought by those sources, and whether they might be problematic. Peeps, this is the sort of thing I teach my students at high school to consider. Consider: Phillips quotes from Teresa Billington-Greig, whose book Phillips herself describes as “coruscating and merciless” (p246). Phillips draws on this book until p250, but nowhere at all does she consider whether Billington-Greig might be bitter after splitting from the WSPU (run by the Pankhursts), or that it might have been intended to discredit the WSPU in favour of the Women’s Freedom League, which she founded after the split. This is poor, poor historical work. I don’t care that she is apparently “wearing her scholarship lightly,” as a review from the Irish Sunday Independent described it; that’s shoddy scholarship.
And then… ah, then. The conclusion. One of the things she’d pointed out throughout the book is the double standard that women were both too inferior to vote, because they’re women, but also too good and pure to be sullied by politics. Nasty. Anyway, in the Epilogue she says this:
The same double standard persists to this day, with women claiming ‘equality’ and yet insisting, for example, that mothers have prior claim over fathers to their children after divorce; or that women must be economically independent of their husbands, unless they separate, in which case men must turn back into breadwinners; or that if a man is violent to a woman or child, he is an irredeemable savage, but if a woman is violent towards a man or a child, she must be suffering from an emotional problem. (p316)
It’s fair to say that I still have trouble believing that paragraph.
So. Yeh. I learnt a few things about the context of the suffrage movement, so that’s good. I was also reminded just how important it is to demand a consideration of why something was written in the first place.
ETA: ooookay… thanks to Niall Harrison on Twitter, I now have a better understanding of Melanie Phillips. He directed me to this post, and I will not read any more on her blog than that for fear of heart and/or brain malfunctions. Right then.
Emmeline Pankhurst: a niche in history
I have always been a bit of a fan of Pankhurst. I can remember years back doing an assignment on her, which may have been at the very outset of my interest in feminism and is the reason why I am passionately devoted to the idea of women voting any time they can. So I was pretty happy to, finally, get around to reading this bio of a remarkable woman.
Purvis begins her account with a historiographical examination of the treatment Pankhurst has received over the last seventy years or so, which is illuminating – especially as it all really began with her daughter Sylvia’s account, which was rather bitter and very much tainted by the feud between the two, thanks both to family issues and a fundamental difference in opinion about politics (Sylvia moved/stayed quite far left and was heavily into socialist politics, Emmeline moved away from many of her socialist tendencies for various reasons). Many subsequent accounts have leaned too heavily (in Purvis’ view) on Sylvia’s story, while others have come from a decidedly ‘masculinist’ perspective and thus denigrated Emmeline’s achievements and intentions. Modern feminist historians have often been troubled by her at least partly because she moved towards a more conservative, imperial point of view during and after WW1, but Purvis is insistent that we take Emmeline on her own terms.
I really enjoyed this as a book and as a history. Purvis writes very engagingly and paints a captivating picture of an extraordinary time, an amazing woman, and the politics of the suffrage campaign especially. It appears to be a very well-researched history, with copious endnotes to back up her points that include reference to many, many letters to and from Emmeline and others in her circle, as well as newspaper accounts, court proceedings, diary entries and the like. It really makes me wish I could find The Suffragette, the WSPU’s newspaper, online somewhere. Someone get on that!
A potted bio of Emmeline’s life: interested in politics very early on, married at about 22 to the 40-something Richard Pankhurst, a lawyer who was a strong socialist and campaigner for women’s rights, among other things. She had five children, one of whom died very young, but/and she was always and still involved in campaigns and political work. Richard died when Emmeline was 40, leaving her with little money and four children to support – financial trouble continued to dog her until her death at 69. What she is most famous for, of course, is the setting up of the Women’s Social and Political Union, with her daughters but especially the eldest, Christabel – and that it eventually took the step into militancy in order to advance the cause of women’s suffrage. Window smashing, arson, destruction of paintings… all of these things were seen as much worse when committed by women. Purvis points out the success that various Irish politicians and agitators were having with similar tactics, and the fact that this got them an audience with English politicians and even the king. Not so much the women. The WSPU began in 1903; women gained limited suffrage in 1918, at the same time as men gained it with no property qualification (and women had to be 30, men 21). This was not, of course, the end of Emmeline’s life – she had started campaigning for women’s war work with WW1, and also expressing her concerns about sexual double standards and morality with the increase of VD. After the war she lectured around America and Canada on topics like public hygiene, avoiding VD, and the necessity of the British Empire. She died back in England not long after discovering Sylvia had had a son without getting married, pretty much destitute.
Just writing that down makes me exhausted. Emmeline comes across, in this book, as an amazingly energetic and passionate woman. She’s one of the reasons the Cat and Mouse Act was introduced: imprisoned suffragettes would hunger strike; be let out to recover; then get re-imprisoned. She went on hunger strike 13 times. She never wrote her speeches down but always spoke extempore; she travelled around Britain campaigning for and against political candidates, speaking at rallies, and trying to convince people about the necessity of women’s suffrage. She never wanted the vote just for its own sake; she was driven by the idea that women being able to vote would bring about the incredibly necessary changes to society that would prevent the exploitation of women, the horrors of poverty, and alleviate other social problems that she saw in her work as a Poor Law Guardian and on an education board. She worked as a registrar for births and deaths and was always shocked and saddened by teen girls coming to register the birth – and sometimes death – of their illegitimate children, often the result of incest.
This was not a woman driven by a desire to be a man, as so much of the anti-suffrage press claimed; she did not regard herself as better than men but as deserving of equal citizenship. Not least because working women had to pay taxes but could not influence how they were spent, and because she abhorred double standards and thought women’s influence could help solve many problems. (She was quite the optimist.) People at the time, and even her daughter Sylvia, often seemed to think that the cause had become almost more important than the object. It’s not hard to see how this could happen, to be honest, when you’re fighting for something that frequently gets you attacked – verbally, physically – and condemned by large sections of society. I’m personally torn on the notion of militancy, but I’m not torn on what I think of this woman. She’s a hero. I wish I’d known she has a statue near Westminster when we were in London, because I would absolutely have gone on pilgrimage.
This is highly recommended as a way of understanding the English suffrage movement – the militant side at least, because yes Millicent Fawcett and other ‘constitutional’ suffragettes are largely ignored, except as they interacted with Emmeline – as well as how late Victorian/Edwardian England society functioned. Plus, this is a woman who deserves to get as much recognition as possible. She devoted her life, her health, and even – arguably – her family and friendships to public service.
What if there were more to The Odyssey?
A number of reviews over on goodreads seem to have two things in common: the reviewer hasn’t read the source material, and they didn’t particularly enjoy this collection. I applaud someone for stepping out of their comfort zone, but I really don’t understand bagging something when the fundamental context isn’t understood. Because this really, really doesn’t stand stand with knowledge of The Iliad and The Odyssey, and it doesn’t pretend it even wants to.
I adored this collection, and I am fantastically thankful that I happened to pick it up a few years ago at the closing-down sale of my favourite bookshop (which has since reopened!). I’m not an author, but I would suggest that anyone who wants to write short fiction – and who has the background – should read this, because it does the short form in glorious, scintillating ways.
The Preface claims that this set of 44 stories translated from variations to the standard Homeric tale found in Oxyrhynchus. I’ll admit that for the first couple of stories I actually half-wondered whether this might possibly be true – I’d never heard of such a find, but Oxyrhynchus has been an incredible literary treasure trove; it’s not like I work consistently in the field so it’s feasible I might have missed hearing about it. I fairly quickly decided that this wasn’t the case, but it doesn’t matter in the slightest. I feel that Mason has stayed true to the core of the mythology, and what more could you want?
Some of the stories presented here are vignettes, others are more substantial stories. Most of them take aspects of The Odyssey and… shift them. Sometimes subtly, sometimes extravagantly, but almost always with that kernel that means it feels basically plausible to an archaic Greek mythological milieu. There are a few that stray beyond those bounds, but even those are wonderfully well written, so I don’t mind. They too help to build up sense of shifting possibilities, what-ifs and could-have-beens. There are a few stories that take aspects from other parts of Greek mythology and tie them, in convoluted but logical ways, to the Troy story; and just one or two that could feasibly be set outside of the 13th century BC, but not with any firm proof that they do so.
A review of all 44 stories would be tiresome and, in some cases, impossible without ruining the sheer pleasure of the reading act. Suffice it to say that Penelope gets some attention, Athene a bit more, and Calypso and Circe a lesser bit. Most of them involve travelling, which is naturally appropriate; some are in Troy and some on Ithaka. Sometimes Odysseus is triumphant, other times a coward, and occasionally seen through others’ eyes – like Polyphemus (sorry, bad joke). Once, Paris is Death. Occasionally, the reality of a two-decade absence is hinted at. Tragically, Hektor does not feature in any meaningful way.
This collection is wonderful and glorious and I loved it very much.
Robespierre: the democrat, the radical
It’s a running joke in my Revolutions class that I have a little history-crush on Peter McPhee – one that I do all I can to play up, in all honesty. Robespierre has not, however, been my particular revolutionary crush; that’s Danton. After reading this biography, I’m half tempted to switch my allegiances… but the larger than life Danton is still more alluring than the somewhat severe Robespierre.
Anyway, this biography is exactly what I was hoping for. It’s clearly written and easy to read; I don’t know accessible it would be for someone with zero knowledge of the revolution, but I’m no expert and I had no trouble following it. It follows Robespierre’s life chronologically – indeed giving a bit of background on his family too – and provides what felt like an appropriate amount of background and contextual information on the realities of life throughout France, reasons for revolution, and attitudes among different groups for the duration of said revolution.
I’ve not read any of the other numerous biographies of “the Incorruptible,” and McPhee gives an interesting overview of them in his final chapter. I know that some have tended towards utter condemnation, but I didn’t realise that others turned into panegyrics. This one certainly comes down largely in favour of Robespierre as a man and a politician, demonstrating quite conclusively how consistent his ideals and desires were, even predating the revolution of 1789 that made at least some of those ideas acceptable. McPhee doesn’t shy away from the fact that lots of people died in the Terror, but does point out that in no way can the majority be laid at Robespierre’s feet – he was horrified by the actions of some deputies in rural France. He also doesn’t shy away from the likelihood that Robespierre was in fact going too far, by mid-1794, and may even have been tending towards paranoia.
If you’re at all interested in this period, or in how a leader can influence events, this is a really brilliant bio.
Julius Caesar on stage
I went to see Bell Shakespeare’s version of Julius Caesar last night as part of my 2010 Christmas present from my mother (Much Ado About Nothing was the first half, in which I laughed harder than I ever have before in a theatre). Often Bell makes a point of shifting a play into an obviously different era – Much Ado had a 1950s Italian-American vibe going on. But Julius just had the players in suits, and other than that was quite timeless.
It was a marvellous production and I am sure there are any number of brilliant reviews already out there. There a couple of things I wanted to note. One is that Cassius was played as a woman, which worked surprisingly well in that very few of the lines actually took on any other significance – unlike when Rosencrantz and Guildenstern are women, which I’ve seen, and gives their interaction with Hamlet maaaany more layers indeed. The woman who took the role was very good, although she did make her quite sharp and shrewd – interesting to consider whether I would have got this impression about a man (I haven’t seen this performed in years). Should also mention that Brutus was exceptionally good – and older than I have seen him played before, as was Caesar himself, which I really appreciated. Also Portia, Brutus’ wife, was agonisingly wonderful.
Mark Antony was appropriately young, and had a very clever transition in terms of costume: the first time he is on stage, his trousers are rolled up and he was shirtless. A bit later he was in a hoody… a while later he was in ‘office-casual’, shirt with cotton sweater; then by the end in quite a sharp suit, with his hair tied back (it had been out for the rest of the play; it wasn’t until this bit that it was obvious he had an UNDERCUT. Hello 1995!) So that was cleverly done.
The actress who played Calpurnia, Caesar’s wife, also played Octavian. Make of that what you will.
The thing that left me breathless with appreciation happened right at the end. The stage was enclosed on three side with office chairs, and the only prop on stage was a single pillar, a la the Forum, with some scaffolding around it. More of the scaffolding gets built throughout the play, by the actors themselves, in some beautifully choreographed movements. Right at the end the scaffold is built up quite high and rods attached to the top… and the final action, basically, is to hide the single pillar with drapes showing three pillars instead. O, the symbolism! I swoon in delight.
Love and Romanpunk: not a review
This is not a review. It can’t be, really. Partly because it’s by a friend – although I have reviewed Tansy’s work before, and that by other friends too (fortunately, I usually like it, so that’s no hardship). No, the main reason why this isn’t really a review is the dedication. It’s dedicated to meeee!! Tansy says that this is dedicated to Random Alex (heh), and that I am totally wrong for liking Marc Antony more than Octavian.
Of course, she is totally wrong about that. How could anyone appreciate a psychopathic megalomaniac, who played up his relationship with Caesar in order to capitalise on Roman sentimentality and killed opponents willy-nilly, who rewrote history to make him and his look better and changed laws to suit himself, and who was utterly ruthless when it came to his family? Especially when said ego-tripper is set in opposition to a man who evinced so much humanity that he loved a non-Roman woman and anticipated that his children with her would actually inherit from him, whose prowess in battle didn’t need to be eulogised by an imperial flunky, and whose generosity was legendary.
Ahem. So Tansy and I have some… issues. Clearly, however, she loves me despite our differences, and that’s very nice indeed. She did put me in a slightly awkward position, though, when I made her sign my copy: she said (in caps no less), that I HAVE TO LOVE THIS BOOK.
Oh yeh, no pressure.
I am, of course, a fan of Roman history. I studied at uni, and I even wrote my honours topic on Nero and his love of Greek things. Thinking about Tansy’s area of study, though – Roman imperial women – makes me realise that my study of Rome was entirely typical. That is, a bit of the Gracchi, Marius-Sulla-Caesar, a run through of the Empire… and a little bit of ‘daily life’ blah. Not a whole lot on women , really, except where they happen to be interesting either for genealogical reasons or because of their notoriety. Like Julia Agrippina Minor. I’ve always liked her.
The first story in this collection is “Julia Agrippina’s Secret Bestiary.” It gives a potted history of the Caesar family… with added monsters. I really enjoyed Tansy’s characterisation of the various members of this crazy family. She captures an essence, I think, of the various emperors and their wives/sisters/mothers that actually rings quite true. I particularly liked that although Gaius – Caligula – is shown to be a bit nuts eventually, he’s handled much more sensitively than most other fictional representations bother. Of course. And the monsters made a bizarre sort of sense; they fit in delightfully well with the overall vibe of the story.
The stories progress chronologically through what Tansy affectionately calls the Agrippinaverse. The second story is “Lamia Victoriana” – lamias being the Roman equivalent of female vampires. Here, in Victorian England, Fanny and Mary run away “with a debauched poet and his sister,” as the blurb has it, with the coda that “If it was the poet you are thinking of, the story would have ended far more happily, and with fewer people having their throats bitten out.” The blurb is, by the way, one of the most enticing and true to the story that I’ve read in a long time. It gives an accurate, and seductive, portrayal of each story, and teams that with snarky comments which perfectly fit the tart, sometimes lovingly exasperated, voice of the stories. This second story is the odd one out in some ways; it’s a great story, still, but it’s different in mood and tone from the other three. Darker.
“The Patrician” is the story written in a time most clearly like our own… if Australia had a recreated Roman city somewhere. This is in many ways the centrepiece of the collection. Clea Majora meets a stranger visiting her town, and gets drawn into an adventure even weirder than living in a town called Nova Ostia. There’s not much to say without giving away the awesome way in which the story develops. It’s brilliant. Everyone should read it. It stands by itself as well as being perfect within the context of the other stories.
Finally, the collection is rounded out with “Last of the Romanpunks.” Where the first story is basically historical fantasy, and the second riffs off the Gothic sensibilities of the Victorian era, and the third is beholden to urban fantasy, the fourth ventures into science fiction territory. Managing all four of those genres, clearly connecting the stories through characters and ideas but keeping the vibe of each distinct, is quite the feat. Anyway, Tansy decided to close the collection with a bang, since I think of this story as the most action-based of the four. And again, very enjoyable.
So… it wasn’t going to be a review, but I guess it sort of has. Oops.
Randomly Yours, Alex 