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4.22 AVERAGE
4.22 AVERAGE
inspiring
reflective
slow-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Complicated
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
emotional
reflective
medium-paced
I hesitated to begin this book. Having not long ago read both Stoner and Butcher's Crossing I had great expectations. However, I also balked a bit at both the epistolary format and the topic (which I was afraid I knew all too little about). Who can say if my hesitation was wrong? I can say however that this is an excellent book. I am not much one for authoring reviews, so if you want to know more go read one of the other reviews inscribed here on the stone columns of this mausoleum of books read.
An unusual novel, Augustus slowly unravels the mystery of Augustus's character through glimpses of it by others, in moments ordinary and extraordinary.
There are many points of view from Augustus's friends and enemies alike, starting with letters regarding his rise to power. One immediately sees how he is very unlike Marcus Antonius, who starts in an excellent position after the assassination of Julius Caesar. Antonius lacks the temperament to hold on to power, and Octavius slowly accrues it for himself.
After his victory at Actium, we see more of the intimate moments of Augustus among his family and friends. The highlight here is Julia, Augustus's daughter, as we follow her through her marriages and her self-discovery. Her story often feels more intimate than that of Augustus, whose point of view is concealed until the end of the novel. The novel heavily hints at the parallels between her state of being and that of Rome itself; but I won't delve into that subject further here. I have no compunction about spoiling historical events, but getting to know the personalities of Augustus is an intimate experience.
The highlight of the novel must be the very long letter written by Augustus at the end. This is Augustus's soliloquy, in which his journey at last comes to an end. It's utterly brilliant and would be worth the price of admission even without the rest of the novel backing it.
Brilliantly written, highly quotable, and historically accurate with a unique interpretation of motivations and feelings and private experiences that aren't encapsulated in the history books. Recommended highly.
There are many points of view from Augustus's friends and enemies alike, starting with letters regarding his rise to power. One immediately sees how he is very unlike Marcus Antonius, who starts in an excellent position after the assassination of Julius Caesar. Antonius lacks the temperament to hold on to power, and Octavius slowly accrues it for himself.
After his victory at Actium, we see more of the intimate moments of Augustus among his family and friends. The highlight here is Julia, Augustus's daughter, as we follow her through her marriages and her self-discovery. Her story often feels more intimate than that of Augustus, whose point of view is concealed until the end of the novel. The novel heavily hints at the parallels between her state of being and that of Rome itself; but I won't delve into that subject further here. I have no compunction about spoiling historical events, but getting to know the personalities of Augustus is an intimate experience.
The highlight of the novel must be the very long letter written by Augustus at the end. This is Augustus's soliloquy, in which his journey at last comes to an end. It's utterly brilliant and would be worth the price of admission even without the rest of the novel backing it.
Brilliantly written, highly quotable, and historically accurate with a unique interpretation of motivations and feelings and private experiences that aren't encapsulated in the history books. Recommended highly.
loved it, a topic i’d never really read about, I especially liked the end letter / life reflections bit
Wow. I love historical fiction and this is one of the best I have ever read, even though it is written in epistolary fashion, a narrative approach that normally does not appeal to me. This is the second book by John Williams i have read, the other being Stoner, which is not about my high school years but about a literature professor in the American mid-west in the early 20th century. Also an amazing read. Williams writes with so much care, so much insight, with empathy and humanity. The range of his artistry is evident in these two disparate and equally accomplished works. Unfortunately, he only wrote a total of four novels. His books deserve your attention.
informative
medium-paced
Op zich een knap geschreven boek met origineel achterliggend idee, echt goed gevonden. Maar persoonlijk vond ik het lastig dat er zoveel verschillende namen/personages in voorkwamen (ontvangers/verzenders van brieven bv) die niet zo bekend zijn en dus (voor mij) moeilijk te plaatsen zijn in het grotere verhaal. Desondanks zat het wel echt goed in elkaar. 3,5 sterren!
Augustus by John Williams chronicles the establishment of the Roman Empire following Julius Caesar's death through a series of chronological letters.
The narrative unfolds across three books. Interestingly, Octavian (Augustus) himself remains silent throughout Books 1 and 2. The first book recounts the formation of the principate and young Octavian's efforts to establish rule at just eighteen. Book 2 centres on the thornier issue of succession - admittedly, this section does drag a bit. Finally, we get Augustus's own voice in a letter to a friend in Syria, written in his seventies. Here, he reflects on his call to power, his (mostly outlived) friends, and his philosophical outlook.
The epistolary format proves quite clever - it's brilliant for spanning decades quickly, with major events often revealed through casual reflection. Lepidus's fall from governor of the African provinces, for instance, which gets mentioned almost in passing. Where this approach falls short is in conveying scale and imagery. We never really grasp its magnitude or the true expanse of his empire. The book expects readers to understand or fill in these historical gaps themselves.
Being historical fiction, it inevitably draws comparison with Robert Graves's [book:I, Claudius|18765]. Graves's take is decidedly more dramatic, particularly in his portrayal of Livia. Where Graves paints her as a master manipulator orchestrating deaths to secure Tiberius's power (drawing from hostile ancient sources like Tacitus and Suetonius), Williams offers a more nuanced view. His Livia emerges as a shrewd political operator who helped stabilise the empire, rather than a murderous schemer. Historical evidence tends to favour Williams's interpretation, though neither book likely tells the complete truth. Graves aimed for compelling drama with modern political parallels, while Williams explored the complexities of power and relationships in the early empire.
Williams himself acknowledges this as fiction in his introduction, admitting to tweaking dates for narrative appeal. This approach works well - Williams proves rather good at character development. That said, Book 2 occasionally gets bogged down establishing various characters and their motivations. Williams manages to walk the tightrope between historical accuracy and reader engagement quite successfully. The writing is impressive—sometimes beautiful, and at times, poetic.
The narrative unfolds across three books. Interestingly, Octavian (Augustus) himself remains silent throughout Books 1 and 2. The first book recounts the formation of the principate and young Octavian's efforts to establish rule at just eighteen. Book 2 centres on the thornier issue of succession - admittedly, this section does drag a bit. Finally, we get Augustus's own voice in a letter to a friend in Syria, written in his seventies. Here, he reflects on his call to power, his (mostly outlived) friends, and his philosophical outlook.
The epistolary format proves quite clever - it's brilliant for spanning decades quickly, with major events often revealed through casual reflection. Lepidus's fall from governor of the African provinces, for instance, which gets mentioned almost in passing. Where this approach falls short is in conveying scale and imagery. We never really grasp its magnitude or the true expanse of his empire. The book expects readers to understand or fill in these historical gaps themselves.
Being historical fiction, it inevitably draws comparison with Robert Graves's [book:I, Claudius|18765]. Graves's take is decidedly more dramatic, particularly in his portrayal of Livia. Where Graves paints her as a master manipulator orchestrating deaths to secure Tiberius's power (drawing from hostile ancient sources like Tacitus and Suetonius), Williams offers a more nuanced view. His Livia emerges as a shrewd political operator who helped stabilise the empire, rather than a murderous schemer. Historical evidence tends to favour Williams's interpretation, though neither book likely tells the complete truth. Graves aimed for compelling drama with modern political parallels, while Williams explored the complexities of power and relationships in the early empire.
Williams himself acknowledges this as fiction in his introduction, admitting to tweaking dates for narrative appeal. This approach works well - Williams proves rather good at character development. That said, Book 2 occasionally gets bogged down establishing various characters and their motivations. Williams manages to walk the tightrope between historical accuracy and reader engagement quite successfully. The writing is impressive—sometimes beautiful, and at times, poetic.
The young man, who does not know the future, sees life as a kind of epic adventure, an Odyssey through strange seas and unknown islands, where he will test and prove his powers, and thereby discover his immortality. The man of middle years, who has lived the future that he once dreamed, sees life as a tragedy; for he has learned that his power, however great, will not prevail against those forces of accident and nature to which he gives the names of gods, and has learned that he is mortal. A man of age, if he plays his assigned role properly, must see life as a comedy. For his triumphs and his failures merge, and one is no more the occasion for pride or shame than the other; and he is neither the hero who proves himself against those forces, nor the protagonist who is destroyed by them. Like any poor, pitiable shell of an actor, he comes to see that he has played so many parts that there no longer is himself.
This is certainly a solid read for anyone with a passing interest in the Roman Empire, particularly its establishment. I've heard good things about Williams's other novel, [book:Stoner|166997], though I've yet to read it myself.