The new novel from seven talented members of the H-team is published today – and as ever, they’ve been weaving old stories together in new ways.
I wasn’t involved this time (deadlines!) and I can’t wait to find out what the team have done with the story we all ‘think’ we know. Meanwhile, they’ve been kind enough to drop by and answer a few questions. The first thing I wanted to know was:
What is it about the story of Troy that’s kept drawing people back to it for thousands of years?
Stephanie: The classicists out there are going to string me up for this, but I see the story of Troy as one of the world’s first soap operas, or at least an ancient version of “Game of Thrones,” sans dragons and white walkers. There’s adultery, gory battles, death, sneaky traps, and tons of other emotional plot twists. Not only that, but the story has been added to over the ages to give it even more tragic layers. It’s also easy for everyone to find a favorite character to root for: wily Odysseus, brave Hector, misunderstood Cassandra, noble Andromache, and so many others.
Vicky: I think Stephanie nailed it. It’s chock full of great stories! But also I think it continues to fascinate because of the surprising depth and complexity of emotions it explores throughout. One the one hand, there is empathy for the defeated–particularly for Hector, who emerges as truly noble–and, at the same time, frustration and exasperation with the devastation that results from Achilles’ unchecked rage. So it ends up being not “just” a battle story, but a moving exploration of humanity and of the costs of war.
How did you share out the characters? Was there anyone everybody wanted, or nobody wanted?
Simon: As a general writer of Roman fiction and lover of all things Roman, even the mention of the Trojan war sets me off blathering about Virgil, Aeneas and the founding of Rome by their Trojan forebears. How could I refuse the opportunity to write the tale of a man that might be considered the progenitor of Rome? I think if there was one writer in this book destined for one character, that was me and Aeneas! Plus, he’s cool.
Stephanie: I think we were all in utter agreement that no one wanted to write from Paris’ perspective. He’s an utter punk that we all wanted to kick to the curb at one point or another. For me, Cassandra leapt off the page of possibilities, jumping up and down and shouting, “Pick me! Pick me!” My passion is retelling the stories of misunderstood or maligned women in history, and Cassandra fits the mold perfectly.
Kate: Yeah, pretty much everyone hated Paris. I still remember Libbie cackling like crazy when she realized she’d get to kill him off. Otherwise, we all had our own obsessions in this story; everyone beelined for their own favorite and no one had to arm-wrestle over who got Achilles/Odysseus/Cassandra. A big advantage to having a huge cast of characters, when there are multiple authors involved!
Russ: I was made up to get Agamemnon because everyone hates him and I thought it’d be fun to try and write a story from his point of view (no baddie THINKS they’re a baddie). Agamemnon’s inciting incident for me doesn’t even occur in Homer’s story, it’s (mainly) in Euripides – the sacrifice of his daughter. Whatever the circumstances, that single act will have changed Agamemnon utterly… so for me, that was key to why he acts as he does. In truth, it was a pretty hard story to write in all sorts of ways, but it was fascinating to delve into the black soul of the High King (he insisted on capital letters for his title).
So, definitely ‘Nul Points’ for Paris there. Were you ever tempted to change the story because you really didn’t like the way things went in the original?
Simon: I (and the rest of the crew too, in fact) went a long way to try and rationalise all the magic and myth of the tale, to try and write a realistic, grounded and plausible version of Homer’s tale, while retaining the epic Greekness of the whole thing. Aeneas’ story, for example, is full of ghosts and visits from gods and the dead, and I tried to tweak this to fit the real world. In deciding how mythical we wanted the tale to be, we essentially walked that fine line between history and fantasy. We came down on the historical side this time.
Vicky: Right. As Simon says, we didn’t want to get too mythical or magical–because then it drifts into fantasy–but at the same time we had to make our characters believe in magic and the gods. After all, it wasn’t “myth” to them!
Kate: I really would have liked to save Hector, dammit. His death gets me every time.
Christian: I really wanted to write Achilles. Despite Achilles’ modern rep as a sort of useless lie-about or a mere sword swinger, I’ve always been fascinated by him, and more especially by his status as the ‘perfect gentleman’ and ‘best of the Greeks’ among such figures as Pericles and Socrates. And, apparently alone, I’ve never really liked Hector, who seems too dense to see how he is being used by lesser men… So I was happy to get to kill him (ducks… sorry Kate).
Libbie: I would have liked to save Hector, too. I’d counter that he’s a troubled character (as is everybody in “A Song of War”) but he was one of the few men in the story who was a genuinely good person, and who cared about the outcome for others. Overall, I really liked the way we cooperated to represent our world as a diverse landscape, with characters from a variety of ethnic backgrounds and sexual orientations. In the West, we tend to think of heroes, or even of characters in general, as one particular type of person: white, young, and heterosexual. I really welcomed the opportunity to shake up the way people envision Troy and ancient Greece by showing a broader range of the cultural mix that existed in those places and at that time.
Russ: The thing with “The Iliad” is – so much is actually unsaid. It’s a vast tale with (literally) a cast of thousands … So you can weave stuff in that you want to without actually changing the “facts” as it were. We wanted to keep it real as Libbie and Si say above, but aside from the “no Gods” rule, there’s still massive scope in the story to look at fresh angles.
If you could ask Homer one thing, what would it be?
Kate: Why do so many names in the Iliad begin with P? Priam, Penthesilea, Polyxena, Patrocles, Phoenix, Polites, Paris, Penelope, Polydorus, Peleus, Philoctetes, Phthia . . .
Libbie: I agree! The P names have always jumped out at me. It makes me wonder if there’s some kind of linguistic significance that we don’t understand as 21st-century Americans and Brits, but that would have been very clear to the original audience for these stories.
Vicky: I’d want to know all the different versions of the story that had been sung over time and why he wrote down these particular ones.
Christian: I’m with Vicky. There were dozens of versions of these stories in the Ancient World; I know at least one in which both Achilles and Hector are cowards; one of the original ‘big names’ was Memnon, Prince of Aetheiopia… an African hero at Troy! Anyway, so many questions about why Homer (s) chose this particular thread… My other question (which really burns for me!) is ‘Where did you get the ‘Catalogue of Ships’ The Ship list, in Book 2, is probably much more ancient than the rest, and may contain evidence of the actual Bronze Age world… as opposed to much of the rest, which is 8th and 7th c. Iron Age Greece..how did it survive? Please tell us, Homer🙂
Russ: Was your wife really called Marge? It’s a question that has bothered classicists for decades and they need an answer.
If Homer (or Marge) would like to respond, or if anyone has a good word to say for Paris, there’s plenty of room for comments below. Meanwhile, big thanks to the team for taking the time to join me and since it’s publication day TODAY, I’m off to check the Kindle and get reading!
If you haven’t already, here are some of the places where you can find A SONG OF WAR: