Two days ago, I was looking into the crater of Vesuvius. Photographs don’t capture the immensity of standing before it. My girlfrie51st book of 2024.
Two days ago, I was looking into the crater of Vesuvius. Photographs don’t capture the immensity of standing before it. My girlfriend and I stared for a long time, in silence, at the sheer drops of the sides. I was surprised to see little trees growing in the bottom. The sides were like landslides. Behind us, spanning out, were the cities of Pompei, Herculaneum, Naples. I said to my girlfriend, How strange it is to be standing here now, peering into its eerily quiet crater, when Pliny the Elder was killed trying to get here, when everyone else was fleeing.
Daisy Dunn begins her biography of Pliny (the Younger, but also the Elder):
The crisis began one early afternoon when Pliny the Younger was seventeen and staying with his mother and uncle in a villa overlooking the bay of Naples. His mother noticed it first, ‘a cloud, both strange and enormous in appearance’, forming in the sky in the distance. Pliny said that it looked like an umbrella pine tree, ‘for it raised high on a kind of very tall trunk and spread out into branches’. But it was also like a mushroom [1]: as light as sea foam — white, but gradually turning dirty, elevated on a stem, potentially deadly. They were too far away to be certain which mountain the mushroom cloud was coming from, but Pliny later discovered it was Vesuvius, some thirty kilometres from Misenum, where he and his mother Plinia were watching.
Vesuvius isn’t the focus of the book at all, though Dunn frequently calls back to it. It becomes, instead, a readable, well-researched biography about Pliny the Younger, from that moment he sees Vesuvius erupt. It has the hallmarks of any Roman life-story, with politics and murder. Pliny ended up leading a fulfilling life, both as a politician and lawyer. As I’ve said in my other classical reviews, I studied Classical Civilisation for three years, and though I never studied Pliny directly, he was friends with other famous writers of the period, such as Tacitus and Suetonius, both of whom I studied for a year. Dunn, like many writers of the Roman era, includes all sorts of interesting (and funny) throwaway remarks, such as one Roman man who tried to have sex with the statue of Aphrodite of Knidos [2], then later killed himself with shame. For these reasons, I’ve always believed, it’s one of the most interesting periods of history to study. In my years of study I went through Cicero, the men I mentioned above, Augustus, Tiberius, Claudius, Hannibal, etc., and found it all as interesting as the rest. The emperors that feature in Dunn’s book I never studied, but I knew the regular anecdotes Dunn uses about Nero, Domitian, and Trajan. The famous anecdote from Tacitus about the former, for example: he kicked his pregnant wife to death.
So I learnt a lot about Pliny the Younger’s career, marriages and so on. He had a lovely villa and Dunn includes some of the imagined reconstructions of his property that have been created over the years. The most interesting thing she explores, towards the end, is the idea of immortality. Pliny the Elder’s immortality was secured as soon as he ordered his fleet towards the erupting Vesuvius, not away from it. Dunn notes how desperate Pliny the Younger was to reach the same immortality, and in fact, by his desperate trying (mostly through writers such as Tacitus and Suetonius), he was in danger of not securing it. She suggests that trying too hard to be made immortal isn’t as effective. Of course, the Younger got his desire, and is as immortal as his uncle; he wrote, after all, the only surviving eye-witness account of the eruption. I wonder if he ever imagined us writing about him still today; he hoped so, anyway.
The saddest thing is despite both their fates being so tangled up with Vesuvius, I didn’t see a single thing about them in the pathetic gift shop at the top of the volcano. ________________________________ [1] I found a few of the descriptions made by Pliny quite unnerving in their similarities to the mushroom clouds of the atomic bomb.
I'm leaving this unrated because it's such a difficult thing to pin down. I picked Voetmann up for my flight to Copenhagen, being a102nd book of 2022.
I'm leaving this unrated because it's such a difficult thing to pin down. I picked Voetmann up for my flight to Copenhagen, being a contemporary Danish writer, and read bits and pieces of him throughout my stay and now back here in England, too. The title presumably comes from this quote from Naturalis Historia, 'I am adding hours to my life: for living only means to be awake.'
The book is a combination of quotes from the aforementioned text by Pliny the Elder and fictional scenes, monologues, etc., from the writer himself and Pliny the Younger. It's a fairly abstract book. Having some knowledge of ancient Rome would probably help, luckily I studied it for two years and have an interest in the era, and many of the names were familiar (though I never studied Pliny). Pliny the Elder famously died after rushing towards the erupting Mount Vesuvius and becoming ash. His life's work, working on the Naturalis Historia (an attempt to catalogue the whole world) was passed onto his nephew. The book is called a 'comic delight': I don't see that, though I did find many parts fascinating and somewhat playful. The scene that sticks with me the most is Pliny the Elder taking a woman to his bedroom, a woman with no orifices. The man who sells her for the evening to him tells him not to attempt to create any holes in her by cutting her. So, Pliny rubs his genitals all over her hole-less body, feeling more aroused than he has ever felt. Something about the unattainable.
A good play, despite some weird historical inaccuracies, mostly the striking of clocks, which of course, the Romans did not have. A168th book of 2020.
A good play, despite some weird historical inaccuracies, mostly the striking of clocks, which of course, the Romans did not have. Also, Romans in hats! Probably not wrong, but have you ever seen a Roman depicted in a hat, that isn’t a helmet?
[image] Julius Caesar
Shakespeare omits certain factors to help the play, and I think they do. The dates of events are reshuffled a bit, it seems, and Octavius’ adoption and name-changing is removed, presumably to make it simpler. Changing his name to Octavian half-way through is an unnecessary detail. I’m not a giant Shakespeare fan, nor do I particularly enjoy reading plays, but I did enjoy the second half of this. The start was rather slow and boring, but once Caesar was murdered (which happened sooner than I thought it was going to), my enjoyment heightened. Mark Anthony’s speech is quite brilliant, I’ll admit. As for the plot, well, we know what happens, don’t we? I spent a year studying Cicero and his body of writing, so I was pleased about his (brief) appearance.
I read this several days ago whilst in Cornwall, not all at once. Having just finished The Metamorphoses I found this in an Oxfam charity shop in DevoI read this several days ago whilst in Cornwall, not all at once. Having just finished The Metamorphoses I found this in an Oxfam charity shop in Devon (prior to then travelling to Cornwall, where I proceeded to read it on the beach). During my time reading both this and through the Metamorphoses, ironically, I've been facing some changes in my life (not quite being changed into a bird or a rock by the Gods) but certainly some changes, large enough to seem significant. I always find it odd how what one reads reflects their life. I think that's the sign of a good book, unless it's just us looking for connections in what we read to make ourselves feel better, I don't know.
Anyway. This was damn good. Hughes' 'Full Moon and Little Freida' is one of my favourite poems and his collection Birthday Letters completely rocked me when I read it so taking the awesomeness of Ovid's Metamorphoses and having Hughes rewrite them, I was there. And I was glad to be there. Hughes is perfect for this. His love and talent for writing about nature plays hand-in-hand with the myths. I cannot possibly remember and write down all the best lines, but there were some that stand out. The first line, that excited me, which made me realise how much I was going to love it was this, on page 9:
'No sword had bitten its own Reflection in the shield.'
That's some beautiful, and cool, imagery right there. The way Hughes wrote Narcissus was fantastic too, he cries to himself,
'I torture myself. What am I doing to myself - Loving or being loved?'
Or how tragically he writes too, like when Tereus realised he had eaten his children, Hughes writes:
'He staggered about, sobbing That he was the tomb of his boy.'
I could go on. This is often described as a good introduction to Ovid, in which case I have read them the wrong way round. This only includes 24 myths compared to the over 100 in the Metamorphoses. Hughes has apparently chosen his favourite, or the most important, to try his hand at. I won't comment on which is better to read first, this is far easier and far shorter. I was glad, however, to have read Ovid's first and then seen Hughes' remakes, so to speak.
Either way, Hughes has proven again to be a very good poet. But maybe, he's still not a very good man. ...more
This book reads as if it were the easiest thing in the world to write and I'm sure it wasn't. Miller has given herself quite the task and I dare say, This book reads as if it were the easiest thing in the world to write and I'm sure it wasn't. Miller has given herself quite the task and I dare say, she did very well. We all know the story of Achilles, we know how it ends, and yet, Miller has made the story fresh again. In this, Achilles and Patroclus are lovers. Miller also did the seemingly impossible - she made me like Achilles. She has made him human, relatable. There is a shocking amount of emotion in the book, and even more at the end. I knew exactly what was coming the whole time and by reading the book, I was just trudging unavoidably towards it. A sad, beautiful ending, perfectly executed.
I am now thoroughly looking forward to seeing what Miller has done with Circe, and whatever else she has in store for the future....more
I am unsure where to begin. Firstly, I respect Miller and this 1-star rating feels horribly harsh for one of her novels – but it is134th book of 2020.
I am unsure where to begin. Firstly, I respect Miller and this 1-star rating feels horribly harsh for one of her novels – but it is, sadly, the only rating I can give it that holds true to my experience. It took me twice as long to read this as it did Ulysses. Somehow, I could have read Ulyssestwice in the time it took me to read this. It is a 333 page novel: it took me 2 months to read.
As I put it off for probably about thirty other books in the meantime, I couldn’t begin to understand why I disliked it so much. The more I read the harder it got, the writing became more irritating, and so did the novel in general. The text was simply impenetrable – I read no more than a page before dropping it, before even realising I’d dropped it. Not a good sign, for starters. Though the novel started well with Circe and her character’s backstory (a bit like Rhys giving Bertha a backstory in Wide Sargasso Sea), it quickly lost its charm. Any emotion that was drawn in the beginning, for there was, sympathy for Circe, soon vanished. The rest of the novel dragged with no emotion whatsoever. Circe was a husk; she was a wooden chess piece: even when she moved about, or did anything of worth, she was still a tiny wooden figure with no emotional value. I’m a sucker for Greek and Roman myth. I really enjoyed The Song of Achilles: the plot had a good rhythm, plenty happened, and the love between Achilles and Patroclus lay at the beating heart of the story. Which brings me to the fundamental problem with this novel.
Miller certainly challenged herself here and I respect her for that. Circe is banished to an island and spends most time alone – doing nothing – so how does one write a novel about that? It is like a stage, with Circe sat in the middle for the whole novel and characters coming and going all the time. The issue is (I discovered around 75% of the way in) that as a reader, I got the impression everything exciting and interesting was happening behind the curtain, off the sides. All these characters arrived to tell their stories… But why couldn’t I see them for myself? I cried. Why was I stuck here with this boring, moping, miserable woman? Even when Odysseus arrived with his men (which I presumed was going to be the saving grace of the story) I was bored, and realised not even he could bring any worth to the story. The last 50 pages, more stories were recounted, ones we knew already or ones we wished we had seen in the story’s ‘present’, but instead have some character telling them about it. The whole novel felt like sitting in a coffee shop whilst all your friends tell you all these amazing stories about a weekend away they’ve had when you were stuck at home with your grandma. They all say, “Then this happened! Then this! Oh, you had to be there.” On the island with Circe, we were not there, we were not anywhere, but the same depressing island where nothing truly happened.
And though the writing in The Song of Achilles was gentle and lovely, the writing here got tiresome. On page 306 alone these are all the mentions of how Circe is feeling is the same overdrawn way which in the end had no meaning to me whatsoever:
I felt as though I had slipped from a cliff. I was in the air, falling, with nothing to hold me. I bared my teeth I was breaking to pieces. I was a grey space filled up with nothing but air. One of us must grieve. I would not let it be him.
On a single page. This sums up the whole novel. Great exciting things happening elsewhere and Circe sitting about feeling sorry for herself, wanting to break apart, or run away, or sleep forever, or disappear, or cry her kidneys out, or sit on her lungs, or eat her heart, or knock her own teeth out, or rip her hair out, or rip her ears off, or jump off a cliff, or run into a wall, or hit her head on a table, or punch herself in the face, or stab herself, or throw herself into the fire, or be eaten by one of her own wolves, or drown, or be shot by a bolt of lightning, or be crushed by her collapsing house, or poison herself, or explode.
All in all this book tired me and frankly I’m glad it’s over. Miller tried something difficult here and it didn’t pay off. But, on the other hand, for my 1-star review, there are ten 5-star reviews, so who knows? I’m hoping in my next few books I’m there at that party and not having my cool friends constantly telling me what I missed out on....more
I read this about two months after my second stay in Rome in 2019, so sadly never had the book itself in the city. The city though, was of course, on I read this about two months after my second stay in Rome in 2019, so sadly never had the book itself in the city. The city though, was of course, on my mind, throughout.
The Metamorphoses is an 8 AD Latin narrative poem which consists of 11,995 lines, 15 books and over 250 myths. It is known as one of the most influential works in Western Literature, influencing the likes of Dante, Shakespeare, Chaucer. It is accredited with having over 200 characters. My edition stands at over 700 pages long. Elements from the poem have been depicted throughout art forms for centuries. On a beach in St Ives, Cornwall, one year, I read Ted Hughes' Tales From Ovid, his brilliant retelling of twenty-four of the tales. (For a taster of the myths, it is certainly a good place to start, at only 250 pages.)
[image]
Most of the myths are familiar: Apollo and Daphne, Narcissus and Echo, the Rape of Proserpina, Arachne - Niobe, Medea and Jason, Theseus and Aegeus, Scylla and Minos, the Minotaur, Daedalus and Icarus, Hercules, Venus and Adonis, Orpheus and Eurydice, Midas, the Death of Achilles, the Ships of Aeneas, Ajax, the Fall of Troy, Ulysses and Circe, and countless more. It ends with the apotheosis of Julius Caesar.
The short prologue reads, and distinguishes the theme of the entire poem:
Changes of shape, new forms, are the theme which my spirit impels me now to recite. Inspire me, O gods (it is you who have even transformed my art), and spin me a thread from the world's beginning down to my own lifetime, in one continuous poem.
Ovid says so himself; the art of transformation is the crux of this giant work. And it is true, we witness the Gods turning men into animals, stones, constellations. It is about love; it is violent; it is also witty, Ovid does not write without humour at times. I remember to this day the humour spinning from the absurdity of some of the events, made absurd by Ovid, who is always seemingly self-aware. At the end of "The Creation" in Book 1, from line 84, the first mention of a metamorphosis occurs, that of man:
Where other animals walk on all four and look to the ground, man was given a towering head and commanded to stand erect, with his face uplifted to gaze on the stars of heaven. Thus clay, so lately no more than a crude and formless substance, was metamorphosed to assume the strange new figure of Man.
Where Ovid calls Man "strange", Hughes, to compare, likens us to Gods:
Then Prometheus Gathered that fiery dust and slaked it With the pure spring water, And rolled it under his hands, Pounded it, thumbed it, moulded it Into a body shaped like that of a god.
[image] "The Untangling of Chaos, or the Creation of the Four Elements", Hendrik Goltzius—1589
The gods are mischievous throughout. At times their actions seemed completely unprovoked, uncalled for, at other times, they were cruelly fair. Over the 250 myths we see gods and men fight, gods and gods fight, men v. man, heroes against creatures and gods, we see almost everything pitted against one another. And despite the humour, there are poignant moments of feeling, beauty and emotion.
Like in one of my many favourite passages in the poem, the fall of Icarus in Book 8:
He ceased to follow his leader; he'd fallen in love with the sky, and soared up higher and higher. The scorching rays of the sun grew closer and softened the fragrant wax which fastened his plumage. The wax dissolved; and as Icarus flapped his naked arms, deprived of the wings which had caught the air that was buoying them upwards, 'Father!' he shouted, again and again. But the boy and his shouting were drowned in the blue-green main which is called the Icárian Sea. His unhappy father, no longer a father, called out, 'Icarus! Where are you, Icarus? Where on earth shall I find you? Icarus!' he kept crying. And then he caught sight of the wings in the water. Daedalus cursed the skill of his hands and buried his dear son's corpse in a grave. The land where he lies is known as Icária.
[image] "Landscape with the Fall of Icarus", Pieter Bruegel the Elder—c. 1560 [Icarus' legs can be seen in the bottom right of the painting, protruding from the sea, surrounded by feathers.]
Or, in Book 10, Orpheus leading Eurydice from the Underworld, which has always been one of my favourite myths; Ovid tells it hauntingly:
Not far to go now; the exit to earth and the light was ahead! But Orpheus was frightened his love was falling behind; he was desperate to see her. He turned, and at once she sank back into the dark. She stretched out her arms to him, struggled to feel his hands in her own, but all she was able to catch, poor soul, was the yielding air. And now, as she died for the second time, she never complained that her husband had failed her—what could she complain of, except that he'd loved her? She only uttered her last 'farewell', so faintly he hardly could hear it, and then she was swept once more to the land of the shadows.
And because I've somehow managed to avoid any of the metamorphoses in the book, the transformation of Daphne into a tree in Book 1:
[...] She had hardly ended her prayer when a heavy numbness came over her body; her soft white bosom was ringed in a layer of bark, her hair was turned into foliage, her arms into branches. The feet that had run so nimbly were sunk into sluggish roots; her head was confined in a treetop; and all that remained was her beauty.
[image] "Apollo and Daphne", Gian Lorenzo Bernini—1622–1625 [This is one of my favourite statues ever, life-sized and made from marble. It is housed in the Galleria Borghese in Rome, which I have never seen. It is my priority, on my next trip to the city, to finally see the sculpture in person.]
Ovid's report of Achilles' death is short and intriguing in Book 12:
So saying, he pointed the hero out, still hacking the Trojans down; then turning Paris' bow in the same direction he guided an arrow with deadly aim at Achilles' heel. If Priam, after the death of Hector, had cause for rejoicing, this surely was it. So Achilles who'd vanquished the mightiest heroes was vanquished himself by a coward who'd stolen the wife of his Greek host. If he was destined to die at the hands of a woman in war, he'd rather be cut down by the axe of Penthesilea.
(The most popular recent depiction of Achilles and the story of Troy is Madeline Miller's The Song of Achilles, which actually chooses to omit the concept of Achilles' heel as she used principally Homer's Iliad as her inspiration, where it is not mentioned as it is here in Ovid.)
I could continue quoting elements of the poem forever. The myths are immortal, of course, and this new verse translation by Raeburn is stunning: it is fresh, readable, but maintains a beautiful poetic voice. Hughes' retellings are also brilliant and I recommend them. I read them after Ovid's original, which I preferred, though it is a long-haul. Any lovers of myth should flock here. Ovid is witty, profound and above all, genius. Of the Roman texts I've read, studying Classical Civilisation in college, this is still the greatest to date....more