Today in The Denver Post
Here’s a link to its digital counterpart.
Here’s a link to its digital counterpart.
Back in January, I bought tickets to see Madeline Miller at the Tattered Cover.
A lot’s happened since then.
Luckily, in response to the pandemic, the Tattered Cover didn’t cancel the conference, but moved the Author Reading and Q&A to Zoom.
Hair the color of gingerbread, Madeline Miller appeared on my computer screen, on my writing desk, in my apartment; a celebrity encounter a little too intimate for my wife and myself. We repeatedly worried she could see or hear us, and we whispered sheepishly throughout the event.
(She couldn’t see us and the mikes were muted.)
Our awkwardness aside, the format was brilliant, with Len Vlahos (one of the bookstore’s owners) acting as interlocutor and host. Madeline Miller read from her work, her writing beautiful as Greek poetry, and talked briefly about childcare and cat ownership during the COVID-19 crisis. Her cat’s name is Sif, by the way, the Norse Goddess of Spring.
One of the themes of her talk was how classic literature can provide us context for modern problems. Miller employed the famous saying that there’s ‘nothing new under the sun.’ Humanity struggles, now and then, with many of the same things. Her first example was The Illiad. In Book One, a plague spreads through the Greek host and its leaders botch their response, ego and rage making for poor decision-making. How familiar. Her second example was Cassandra, the Trojan princess, who always presented the truth, despite being cursed by Apollo to never be believed. In many versions of the myth, Cassandra incurred the god’s wrath by refusing to be his lover. How prescient, Miller said, to have a woman struggling to tell her truth but no one will listen.
The central focus of the talk, however, was Circe.
To those unfamiliar, Madeline Miller’s best known novels are retellings of famous Greek myths, using a contemporary style combined with ancient backdrops. Her two great novels are The Song of Achilles and Circe, the famous sorceress from The Odyssey.
Madeline Miller was very clear about how intention guided her approach to Circle. Years ago, when she first read The Odyssey, Miller was disappointed by Homer’s depiction of the famous meeting between Odysseus and Circle. Here were two smart and complicated people, but while Odysseus was brave and clever, Circle merely fell to her knees before his sword then invited him to bed. “The phallic sword did not escape my notice,” Miller added. Furthermore, Odysseus was one of the most curious men in Greek literature, and Miller was puzzled why he never asked Circle about turning men to pigs.
Later, Miller realized Odysseus was also the greatest liar of Greek literature, and that Circle’s section of the epic was reported from his point of view while he was trying to impress a royal court. Odysseus was a man concerned about his reputation and status; by glorifying Circle’s beauty and his sexual conquest, Odysseus was really saying look how great I am!
“Odysseus has told his story for the last 3,000 years,” Miller said. “It was time for Circe to speak for herself.”
There were other elements the author was interested in incorporating into the narrative, like motherhood as its own epic story, and how Circle wasn’t born into power, but used witchcraft, a skill and passion that Miller likened to art. The author also wanted to redeem Circe from her villainization; to respond to male anxiety about female power. Writing Circe, therefore, was an attempt to give the sorceress a full psychological portrait. “This is a story about a woman coming into her power and into her voice in a world hostile to women in power and the female voice,” Miller said.
In other words, Circe was always intended to be a feminist take on the character, just as Song of Achilles was intended as a queer take on Achilles and Patroclus.
In regards to process, Madeline Miller was more ambiguous. She described the craft as a mystery, the reason the ancients spoke of inspiration as a muse.
“My role is to keep showing up to the work,” she said. To sit down every day, to focus, to write, to try her best to tell her characters’ story.
When asked, Miller said she doesn’t really outline. Instead, she has the ending of her novel fixed firmly in her mind. The problem is finding the beginning, the first line. “I know where to shoot the arrow, the target,” she said, “I just don’t know where to stand to shoot.”
“I research as I go,” Miller said. “When I get to a section, I deep dive. Only 1% of what I learn makes it into the novel. Any more would be deadly.”
An important aspect of history writing, she added, was the material culture. An author must give the story a real physicality. The knives, the broaches, the snakes, the beetles, they were all inspired by real finds and studies.
“What something looks like might not make it into the story, but it’s important for the writer to know,” she said. Miller also traveled to Greece to smell the olive groves, to look at the sea, to observe the light on the wall.
As for the author’s ability to give characters real voices, Miller relies on her theatrical background. One strategy is to read dialogue aloud. Another is to make very intentional decisions about word choice based on a character’s background or mental state. Would this person be contemplative or easily angered? And what would their metaphorical language be; the way they process the world? Circe, living deeply in the woods, draws on nature as her source for context. Patroclus, in rejection of the war-glory tempting Achilles, uses the metaphors of daily life, reflecting Sappho and the ancient poets of ordinary experience.
Overall, I was not surprised to find Madeline Miller as brilliant as her fiction. If you ever have the opportunity to sit in on her talks, I would highly recommend the experience.
Literacy is one of the great tools of civilization. Etymology is one aspect of this tool. Your ability to read my writing—another. The moral imagination invoked is a third. Unfortunately, writing is a recent invention—we’re still getting used to it. As Sagan notes in The Demon-Haunted World (335):
For 99 percent of the tenure of humans on earth, nobody could read or write. The great invention had not yet been made. Except for firsthand experience, almost everything we knew was passed on by word of mouth. As in the children’s game “Telephone,” over tens and hundreds of generations, information would slowly be distorted and lost.
The first question to ask about fiction is, Why bother to read it?
Laurence Perrine, an English professor whose Sound and Sense textbook series was immensely popular, splits literature between escape, which helps us “pass the time agreeably,” and interpretive, “written to broaden and deepen and sharpen our awareness of life” (3). Escape and interpretation are not “two great bins, into… which we can toss any given story” but a scale with each inhabiting opposite ends (4).
Fresh-baked, toasted wheat with a cream cheese shmear.
Chuck E. Nietzsche’s
Where a Nihilist can be a Nihilist
Dry sparkling wine, orange juice, and a dash of determinism.
Fact. Fiction. The following may be apocryphal, may be accurate. When it comes to the Romans, we have to trust the ancient writers, or ignore them. My source is Gaius Suetonius, a Roman knight and historian who lived in the first and second century.
1. Augustus. Aged 75. Last words to his friends from his sick-bed: “Since well I’ve played my part, all clap your hands, and from the stage dismiss me with applause.” And to his wife, Livia: “Live mindful of our wedlock, Livia, and farewell.” Finally, at the very moment preceding death, he shouted in terror that forty men were carrying him off, then breathed his last (Suetonius, “Life of Augustus,” 99).
2. Tiberius. 78, violently ill, called for attendants to no response, got up, fell over, and died near the couch. No last words, but the people’s eulogy was: “Tiberius to the Tiber!” in hopes of his body being tossed, as was custom to do to criminals, into the river Tiber (Suetonius, “Life of Tiberius,” 73-75).
3. Caligula. Assassinated at 29 in a manner similar to Julius Caesar: “I am still alive.” His enemies responded: “Strike again!” The historian takes note that their sword thrusts included his genitals (Suetonius, “Life of Caligula,” 58).
4. Claudius. 63. Poisoned by wife or eunuch, likely by mushrooms (a favorite dish). After swallowing the poison he became speechless, which was probably for the best, as he was known for his stutter (Suetonius, “Life of Claudius,” 44). According to Seneca’s Apocolocyntosis (good satire, go read it), after shitting himself, he whimpered: “Oh dear, oh dear, I think I have made a mess of myself” (3).
5. Nero. 32. In the face of rebellion, abandoned by allies and his guard, just delivered a false report that he’d been declared public enemy by the Senate, and hearing the sound of horse-steps, Nero wept and said again and again: “What an artist the world is losing!” Finally he drove a dagger into his throat, after shouting, “Hark, now strikes on my ear the trampling of swift-footed coursers!” As centurions rushed in, Nero gasped, “Too late!” and expired (Suetonius, “Life of Nero,” 49).
C. Suetonius Transquillus, The Lives of the Twelve Caesars. Loeb Classical Library (1913). University of Chicago Site, 19 Feb. 2017.
Seneca, Apocolocyntosis. W. H. D. Rouse, trans. Perseus, 19 Feb. 2017.
That’s the challenge I posed to my Humanities course. I made it clear that I was using the gender-neutral variety of “man” (meaning I wouldn’t accept a “cheating pig”), that I wanted to avoid unrewarding labels like “Homo sapien” and “human being,” and that I preferred an adjective paired to a noun, or a genus and specific difference.
Think, I said over confused glances. What makes man different from every other living and non-living thing?
Their answers were wonderful.