CI 5442: Fantasy Response #2

Being myself an avid fan of Greek and Roman mythology and having read both The Odyssey and The Aeneid—I even translated some of this from the Latin texts—I was intrigued to read Adèle Geras’ novel Troy. While the facts and figures from the text fit within my prior knowledge and understanding of the long siege of Troy, the book itself left me a little disappointed. While there were many elements I enjoyed in the story itself, I had a hard time connecting with the characters in a way that made me actually care for them on a personal level. Part of this might come from my aversion to stories with dramatic love triangles that seem trite, but I also think the number of characters contributed to my disinterest—not that I wanted anything bad to happen to them, but I was as involved in their lives as I wished to be. That being said, let’s talk about the things I did enjoy about the text.

The Gods. I thought the use of the gods and goddesses within the texts was brilliant! I loved the fact that they would come and disclose information about the present or future only to be dismissed as lunatics by the very people they conversed with in Troy. Characters within the text either found themselves completely disregarding the information provided by the gods and then simply forgetting what they heard or acknowledging their presence only to forget it anyway. The only character who was able to instantly recognize, believe, and remember the gods walking among them was Marpessa who’s near death experience seems to have given her some connection with the gods—at least that is my guess for her capabilities. It could also be her belief and continued exposure to them that allows her to recognize the gods when they appear to interfere with the citizens of Troy.

While some might think the constant interference of the gods and the inability of the citizens to remember them doesn’t fit within the text, I think it is the perfect way to not only explain some of the events that have, are, or will take place so that the audience can keep up with the intricacies of the Trojan War. The use of the gods also reinforces the idea that the gods were a constant part of the lives of the Trojans and Greeks alike. As Ares, the god of war, claims, “It’s not as easy as it looks, organizing things. Every battle has a plan, and every death, every wounding, has to be worked out. It’s exhausting, I can tell you. But it’s almost over…this war” (266). Ares goes further to explain that the gods are tired of the war and ready for it to be over, “It’s enough…That’s the feeling on Olympus. It’s all gone on long enough. I had to promise the end was in sight” (266). His presence throughout the text and the work of the other gods in orchestrating or divulging information about the war makes it explicitly clear who is in charge of Fate.

Geras also does an admirable job in showing the humanness of the gods. When the gods were created by the ancient peoples of the Mediterranean, they imagined them as possessing the same faults and humors as mankind as well as a similar appearance. The actions of the gods illustrate these human characteristics. Hermes loves to gossip and spread news, Hera feels the need to comfort, Artemis laments the loss of life, Hephaestus wants to make the best armor there is, Zeus seeks out human lovers, Ares plans battles, Poseidon has a temper that shakes the ground, both Hera and Athena are jealous and can hold a grudge, and Aphrodite needs lots and lots of attention and feels guilt over the amount of damage she unknowingly created. She says at the end of the book after Troy has been ravaged by war and fire, “‘As for that…’She looked toward Troy, now vanishing into the distance. ‘I didn’t really mean for so much destruction’” (356). They are human yet not and their actions influenced the course of history.

I also enjoyed the reflective nature of the situation in Troy and the characteristics of the gods with the characters in the book. The “Gossips” of the cooking women in the palace reminded me of the three “Fates” who decide, measure, and cut the life threads of all mortals. The women gossiping were forever discussing what was going on around them and the latest news that influenced the Fate of Troy. The jealousy of the goddesses was reflected in both the lives of the Trojan princes and princesses and the lives of their servants in Marpessa, Xanthe, and Iason with Alastor and Polyxena thrown into the mix. The wills of the gods also mirrored the wills and actions of the different armies and warriors as they battle tirelessly for ten years. The micro/macro parallel marks a good work of historical fiction—throw in the aid of the Greek gods, and Geras creates an exemplary piece of historical fantasy.

What I liked about Geras’ interpretation, besides the accuracy to ancient texts, is the fact that she was able to capture the anguish of the war and the destruction of lives on both sides of the wall—Greek and Trojan. While the Greeks may come out more as the villains, there is enough detail on both sides of the story to suggest that both sides were fighting an impossible war that had negative consequences and feelings all around; both nations have good and bad warriors and people living among them, both nations have people who regret the destruction caused by the war both in regards to human life and the city itself. I liked the inclusion of Greek thoughts at the end of the book that let the reader into the minds of different Greek warriors as they sacked, burned, and looted Troy. These thoughts gave us thoughts to balance those of the Trojans—some happily following orders to burn and loot, others questioning the decisions, orders, and actions of those in command; “Of course we couldn’t afford to leave Hector’s son alive. I see that. But there’s ways and ways. Kid wasn’t more than a baby. He could’ve been smothered with a pillow….But he wasn’t….That’s what I’ll see. That’s what I can’t stop seeing” (337-338). The narrator, whoever he is, cannot stomach or forget the image of Astyanax being tossed over the wall and onto the sharp rocks below showing a sense of humanity among the brute force of his commander.

Overall, Geras takes a very complex tale with a great amount of required background knowledge and reworks it into a text that is accessible and, perhaps, more appealing to younger readers. It reads very much like a modern Soap Opera-esque drama—like The Hills of an ancient era. I think the characters deal with timeless issues of love, hate, jealousy, and the overarching destruction of war; issues readers can still identify with. I think my own distaste for the overly dramatic realm of daytime television clouds my reading to some degree and denies my absolute love for the text, but there are many redeeming qualities that place it among novels that I like and admire. I wish that I could have learned more about the characters—their pasts and presents—in order to form a greater bond with them, but alas, it was not to be. When it comes down to it though, I think Geras does an admirable job and I can see myself recommending this book or maybe using it as a companion text to classical Greek and Roman literature.