Novels Set In Roman Britain

I did this list for an archaeology forum but thought it might be fun to post it here. I've asterisked my personal Top Ten. Do let me know if I've missed any.

NOVELS SET IN ROMAN BRITAIN

GILLIAN BRADSHAW

Island of Ghosts (Sarmatian cavalry on Hadrian’s Wall, late 2nd century. Plenty of atmosphere and authenticity)*

Dark North (North African troops in Britain in the reign of Septimius Severus)

AMANDA COCKRELL

Legions of the Mist (what happened to the Ninth Legion, but probably not)

LINDSEY DAVIS

The Silver Pigs (first Falco mystery, partly set in 1st-century Britain. Wryly amusing with lots of authentic detail)*

A Body in the Bathhouse (Falco is sent to investigate murder around Chichester and Fishbourne Roman Palace)

WILLIAM DIETRICH

Hadrian’s Wall (set in 4th century. Implausible characters doing implausible stuff and the subtitle A Novel of Roman England doesn’t inspire confidence in historical accuracy)

R S DOWNIE (RUTH DOWNIE in USA)

Ruso and the Disappearing Dancing Girls (USA: Medicus)*

Ruso and the Demented Doctor (USA: Terra Incognita)*

2nd-century mystery series about an army surgeon based in Deva who becomes a reluctant sleuth. Perceptive, atmospheric and often wryly amusing.

ALFRED DUGGAN

The Little Emperors (Britain and the fall of the Roman Empire)

ADAM FERGUSSON
Roman, Go Home! (Roman noble and British princess at end of Roman Britain. Nice touch of humour in Roman Empire-British Empire parallel, if I remember rightly.)

JANE FINNIS

Aurelia Marcella mysteries set in c. 100AD on the road to York – Aurelia runs a mansio.

Get Out Or Die, A Bitter Chill, Buried Too Deep

PAULINE GEDGE

The Eagle and the Raven (from Caradoc to Boudica via Cartimandua, historical romance.)

DOUGLAS JACKSON

Claudius (Claudian invasion of Britain, the one with the elephants)

Hero of Rome (Boudica again but from Roman side for a change)

JOHN JAMES

The Bridge of Sand (set during the governorship of Agricola, c 80AD, with Juvenal (yes, that Juvenal) as a junior army officer sent on a mission)

MARY MACKIE

People of the Horse (Boudica, again but not too much romance)

ANTHONY RICHES

Empire: Wounds of Honour

Empire: Arrows of Fury.

Roman military adventure series set on Hadrian’s Wall late 2nd century

JOSEPH E ROESCH

Boudica, Queen of the Iceni

ROSEMARY ROWE

Libertus mysteries set in Roman Gloucester in late 2nd-century:

The Germanicus Mosaic, A Pattern of Blood, Murder in the Forum, The Legatus Mystery etc.

SIMON SCARROW

Roman military adventure series of which the first 5 are set during and just after the Claudian invasion:

Under the Eagles, The Eagle’s Conquest, When the Eagle Hunts, The Eagle and the Wolves, The Eagle’s Prey

Lots of thud and blunder, effing and blinding. Spawned imitators (see RICHES, JACKSON)

MANDA SCOTT

Dreaming the Eagle, Dreaming the Hound, Dreaming the Bull, Dreaming the Serpent Spear (highly original take on Boudica, with lots of shamanic dreaming and complex relationships)

ANYA SETON

The Mistletoe and the Sword (Roman soldier and foster-daughter of Boudica. Good mix of adventure and romance)

GEORGE SHIPWAY

Imperial Governor (Boudica story from Suetonius Paulinus’s point of view. Solid soldierly stuff; author even made me sympathise with Suetonius)*

ROSEMARY SUTCLIFF

Eagle of the Ninth (quest to find Eagle standard of the “lost” Ninth Legion, soon to be a film)

The Silver Branch (Carausius)

The Lantern Bearers (end of Roman Britain. Full of atmosphere and impending tragedy)*

The Mark of the Horse Lord (gladiator on quest to Caledonia, 2nd-century, I think. Dark and moving.)*

Frontier Wolf (cavalry adventure on Hadrian’s Wall and beyond, 4th century)

Outcast (boy cast out by tribe, sent to Rome as a slave, struggles to get back to Britain)

Song for a Dark Queen (Boudica, from both British and Roman perspectives. Absorbing, elegaic)*

These are billed as children’s fiction but all of them make satisfying reads for grown-ups too, especially The Mark of the Horse Lord, Song for a Dark Queen and The Lantern Bearers (which foreshadows RS’s masterpiece, Sword at Sunset - written for adults – the definitive Arthurian novel, in my view).

ANNA TAYLOR

The Gods Are Not Mocked (Druid priestess and Roman lover in time of Caesar’s 55BC invasion)

HENRY TREECE

The Dark Island (Romans vs Caratacus. Brutal but affecting – great sense of “being there”)*

Red Queen, White Queen (Boudica)

PETER VANSITTART

Three Six Seven: The Memoirs of a Very Important Man (end of Roman Britain through the eyes of someone who doesn’t see it coming)

PAUL WATERS

Cast Not The Day (4th-century Britain)

JULES WATSON

The White Mare and The Dawn Stag (Tribal resistance to Agricolan campaign in 1st-century northern Britain, romance/fantasy.)

The Boar Stone (4th-century, same area, same genre)

DAVID WISHART

The Horse Coin (Boudica-lite, but interesting)*

Good sources of titles:

http://tinyurl.com/26khojz (searchable database by title or period)

Steven Saylor’s website: http://tinyurl.com/2953hpd

Historicalnovels.info: http://www.historicalnovels.info/Ancient.html#RomBrit

Master of Historical Fiction by Allan Massie

I've just come across this essay by Allan Massie. He's no slouch at historical fiction himself, having written novels about Roman emperors, the Dark Ages and WWII, amongst others. But the master he refers to in his title is Sir Walter Scott, whom he makes the starting point for this stimulating piece in the May 2010 issue of Standpoint.*

Massie offers some interesting points about the value of historical fiction and why novelists and readers are attracted to it, in addition to its undoubted entertainment value:

Scott wrote at a time when interest in history as a means of understanding the contemporary world was being born. He contributed to this and stood also on the threshold of one of the 19th century's most significant features — the development of history as an academic study. The father of academic history, Leopold von Ranke, insisted on the autonomy of the past and sought to recreate it "wie es eigentlich gewesen ist" ("as it actually was"). This is the aim, or at least an aim, of the serious historical novelist, who sets out to offer more than entertainment. In Wolf Hall, for example, Mantel evokes the revolutionary decade of the 1530s, and her hero, Thomas Cromwell, is an emblematic figure precise ly because he represents a new way of thinking. Mantel uses him to show how a new England will take shape.

Why do novelists turn away from the present day to the past, and sometimes, like [Robert] Harris, to the now far distant past? There is evidently no single reason. The writer may have become fascinated by some historical figure, as Mantel with Cromwell or Adam Foulds, whose The Quickening Maze was one of the six on the Man Booker shortlist, with the poet John Clare. Obsession with a particular period — the First World War, for instance — may suggest the theme for a novel. The author may wish to explore the past for its own sake, or to use it to point up the present. Harris's Cicero novels certainly offer a vivid picture of late Republican Rome, but Harris has worked as a political journalist, and these books are also an examination of the nature and craft of politics, all the more effectively so for being divorced from immediate political concerns.

The past is more manageable and easier to grasp than the present. It rewards brooding, whereas the contemporary world shifts and defies reflection.

Massie makes another point, using a favourite novel of mine, Alfred Duggan's The Cunning of the Dove, which a dear friend introduced me to:

The past is, as L. P. Hartley said, another country where they do things differently, and exploring this difference is one of the things that may attract the novelist. There is a fine moment in Alfred Duggan's novel about Cerdic, the first king of Saxon Wessex. Duggan has him as a Romanised Briton who, after misfortunes and adventures, becomes leader of a Saxon war-band. Early in the novel, he is reading Ovid in the courtyard of his father's villa when word comes of a Saxon raid. He puts down the book and picks up his sword, and observes, casually, "I think that was the last time I read a book." In that brief observation, the reader has a moment of illumination, catching the transition from Rome to Barbarism. This is something the novelist can do better than the historian.

But if the past is that other country, it is also a place that in certain respects is much like ours. Human nature does not change, though ideas and practices do. People are always subject to the same emotions: love, hate and fear. The Seven Deadly Sins offer the same temptations, and men are driven by ambition, idealism or the desire to exercise power, in any and every age. By turning to the past, free from the busy distractions of the present, the novelist gains the advantage of perspective.

Massie also comments on dialogue in historical fiction, a bugbear of mine, for so few historical novelists seem to get the right balance between archaic and modern without sounding stilted and sometimes comical. Not even the Master got it right, seemingly:

He also failed to solve the problem of finding the right language for his characters to speak, so that they express themselves sometimes in what one might call ersatz medieval — "zounds" and "gramercy" — and sometimes as 18th-century ladies and gentlemen transported back in time. The result, especially in the works of his imitators, was what has been called "tushery" or "Wardour Street English". His real distinction is to be found in the Scottish novels, more generally, in what Carlyle identified as his ability to remind us that historical figures were men and women of flesh and blood, not abstractions, and that events in the past were once in the future. This is something Robert Harris does successfully in his two Cicero novels, Imperium and Lustrum.

*Standpoint is a magazine I'd never heard of before, but it sounds well worth a read. Here's what its website says about it:

Standpoint is a monthly cultural and political magazine published by Social Affairs Unit Magazines Ltd, a subsidiary of the Social Affairs Unit (Registered Charity No. 281530). Standpoint’s core mission is to celebrate our civilization, its arts and its values — in particular democracy, debate and freedom of speech — at a time when they are under threat. Standpoint aims to be an antidote to the parochialism of British political magazines and to introduce British readers to brilliant writers and thinkers from across the Atlantic, across the Channel and around the world.

Rosemary Sutcliff Blog

Anthony Lawton has alerted me to his blog about classic historical novelist Rosemary Sutcliff (1920-1992), to whom so many of us owe our fascination with history. Please go there for all the latest links to Rosemary Sutcliff, her books - and of course the forthcoming film of her best-known novel, The Eagle of the Ninth.

Anthony, by the way, is Rosemary Sutcliff's godson and cousin.

See also this blog on Rosemary Sutcliff.

Rome: The Emperor's Spy by M C Scott

As a child in the first century AD, Sebastos Abdes Pantera, son of a Roman auxiliary soldier, witnesses an anti-Roman Judean rebel being taken alive from a tomb in Jerusalem. Decades later we meet Pantera again as he arrives in Coriallum (modern Cherbourg) after a stint as a spy in Britannia, during which he went native in the turmoil of the Boudican revolt. No sooner has he landed than he's recruited by the Emperor Nero to discover the missing details of a prophecy that Rome will burn - and then stop it happening.

Sweeping through three contrasting and vividly imagined parts of the Roman Empire - Gaul, Alexandria and finally Rome itself - this epic historical thriller is ablaze with intrigue, treachery, murder and chariot-racing, and is peopled by characters of a depth and complexity not often found in this genre. Some of the characters are from Scott's Boudica series, which will please fans of these novels but won't, I'm sure, disadvantage those who haven't read them. Integral to the plot is an unorthodox take on St Paul (as he then wasn't) and the beginnings of Christianity. I've no idea how plausible this theory is, but it works in the context of the story and the author provides a copious note on the matter for those who want to pursue it.

Rome: The Emperor's Spy marks a welcome return to the punchy style of Scott's contemporary crime novels. The vigorous, well-paced story is satisfyingly wound up, yet there's enough in the way of loose ends and unfinished business to make this reader look forward to the next in the series.

The author's website is here.

National Petition for Libel Reform

I don't usually jump on bandwagons but a while ago, I was shocked to discover from Dr Ben Goldacre's* Bad Science blog that certain unscrupulous 'sciency' types are using English libel law to silence their critics. A campaign called Sense about Science was started to persuade the government by petition that the law had in effect become a form of censorship and therefore needed reform. Sense about Science has now joined forces with English PEN and Index on Censorship to set up The Libel Reform Campaign, a more powerful and urgent campaign to preserve our much-cherished freedom of speech. This website gives shocking examples of how our libel law is being abused.

Please read the National Petition for Libel Reform statement on the website and sign it if you feel strongly that this type of legal abuse constitutes a real threat to one of our fundamental freedoms.

*Ben Goldacre is the author of Bad Science, a book whose title speaks for itself.

Make Your Own Academic Sentence

This is such fun to play with (thanks to Dr. Syntax's books and publishing blog). Here are two sentences I generated earlier:

The reification of post-capitalist hegemony replays (in parodic form) the historicization of pedagogical institutions. The epistemology of normative value(s) functions as the conceptual frame for the discourse of the gendered body.

It comes from the University of Chicago's Writing Program where you can also find examples of real academic gobbledegook.

Here's one for generating business jargon.

HMS Victory fires a Broadside

Last September when we visited Portsmouth Historic Dockyard, we had an unexpected treat: the spectacle of HMS Victory firing a full 64-gun rolling broadside in honour of the new National Museum of the Royal Navy which incorporates all the naval museums under one umbrella. My photos (below) of the broadside don't do justice to the event but I found a You Tube video of it made by the companies who provided the pyrotechnics and set them off. Even with the sound on full blast, it doesn't do full justice to the real volume and depth of the noise.












We were also lucky enough to be able to visit Henry VIII's warship Mary Rose (which sank in the Solent in 1545) just before the viewing gallery closed for the building of a new museum which will display the remains of the ship and a reconstruction of its missing side to full advantage, now that the lengthy preservation process of the surviving hull is complete.

Now that's what I call A Grand Day Out.

The Fighting Temeraire by Sam Willis

I'm a sucker for the majestic, elegant but deadly ships of the Great Age of Fighting Sail and HMS Temeraire, a British 98-gun ship of the line is, as author Sam Willis points out in this spendid new book, an iconic ship of the era. Unlike HMS Victory, alongside which she fought at the Battle of Trafalgar, Temeraire ended her life as a prison hulk and receiving ship and was eventually broken up in 1838 in the unsentimentally expedient way of the Royal Navy. But JMW Turner immortalised her in his famous painting, The Fighting Temeraire tugged to her last Berth to be broken up, reproduced on the cover of Sam Willis's book. The painting is not only Turner's best known, it was also voted the greatest painting in a British art gallery, having beaten Constable's Hay Wain and Jan Van Eyck's Arnolfini Wedding in a 2005 poll organised by the Today programme on BBC Radio 4.

The Fighting Temeraire, the first in a series published by Quercus called Hearts of Oak, is the story of not one ship but two. The earlier one of the name was a French 74-gun two-decker built in 1749 and captured in 1759 by HMS Warspite during the Seven Years' War. She was taken into the Royal Navy and sold in 1784. HMS Temeraire (without the accents) was built at Chatham and launched in 1798. At Trafalgar, under Captain Eliab Harvey, she fought astern of HMS Victory. Badly damaged relieving Nelson's flagship, she also captured the French ship Fougueux and helped force the surrender of the Redoutable, the ship from whose mizzen top a French sniper fired the shot that killed Admiral Nelson.

This book is driven by a fluid narrative, full of the authentic historical detail you'd expect from an Honorary Fellow in Maritime Historical Studies. And it's all informed by well-chosen illustrations and diagrams and the whole is made exceptionally vivid by the author's own experience: he spent 18 months as a Square-Rig Able Seaman, sailing the tall ships used in the Hornblower TV drama series and the TV film Shackleton.

The epilogue of The Fighting Temeraire is an essay on iconic warships and their continuing relevance down the ages. A sample:

...the biographies of warships are multi-layered and complex. Most obviously, the story of the Temeraire matters to our society because it was immortalized by one of the greatest artists ever to have lived, but Turner immortalized that story because it mattered to his society. In 1839 the Temeraire had already become icionic, and therein lies one of the peculiar values of iconic warships. They are potent historical objects because they transcend eras, and the ability to illuminate both our own times and those more distant offers an immediate and unmistakable example of the value of history. Moreover, the story of the Temeraire can be used to illuminate a whole range of historical topics, from the very broadest perspective of self-perception on an international stage - the question of how the navy serves to carry a nation's message around the world - to the tightest possible focus on day-to-day life in a warship.

Find out more on the author's website, including details of the forthcoming books in this Hearts of Oak series, Admiral Benbow and The Glorious First of June.

Another iconic ship of the era is HMS Bellerophon which also fought at Trafalgar (as well as the Glorious First of June and the Battle of the Nile) but which is perhaps best known as the ship that received Napoleon's surrender in 1815. She was affectionately known as Billy Ruff'n (Billy Ruffian) by her crew, hence the title of David Cordingly's fascinating biography of her.

NaNoWriMo

It’s National Novel Writing Month again, that madcap annual race to write a 50,000-word novel in the 30 otherwise dreich* days of November (at least it is, here in England).

In 2007 I did it for the first time, but had to abandon 2008 after 6 days because of a family emergency (see previous post). And so here I am again, just about keeping up the daily wordage and thoroughly enjoying it in a scary roller-coastery sort of way.

Here’s why I do it:

1. It’s fun, especially if you have the competitive urge.

2. It’s serious.

3. For those of us who can procrastinate to Olympic standards it has a foolproof built-in secret weapon: a DEADLINE (not so secret, then, but it really does work).

4. To make the word count and deadline, you have to write with the brakes off, disabling your Inner Editor and your Inner Critic, that pair of dispiriting demons. No plot is too preposterous, no character too cringeworthy, no scene too silly. This your chance to try ’em all.

5. It’s fun. Really.

However, I’m sure most proper novelists will think NaNoWriMo an absurd and futile waste of time, perhaps even belittling to their careful craft. But I, and probably thousands of fellow NaNo nutcases, look upon it (and this is the 6th and most important reason for doing it) as a no-holds-barred, all brake-cables-cut, 30-day brainstorming session at the end of which we’ll be rewarded with our own tottering pile of literary poo - and a lot of it will certainly be umitigated poo, having been written at such an unfeasible pace. But from all that dross, a few rough-diamond-like characters and exciting plot-bunnies will be twinkling irresistibly out at us. These we can spend the coming months carefully extracting and polishing to shining perfection. In theory.

The NaNoWriMo website is full of encouragement and jokes, whilst the NaNoWriMo handbook, No Plot, No Problem! (UK, USA), written by that inestimable genius Chris Baty, founder of all this inspiring nonsense, is crammed with brilliant motivational tips which you don't have to be NaNo-ing to use.

Last year I put up a wordcount widget here – and look what happened. But as I don’t believe there’s a Providence to be Tempted I’ll probably put one up again, if I can remember how to do it.

Right, so. I’m off on another trip to NaNoLand. I'm excited because I'm on the verge of inserting my first plot ninja (cunning devices to further the plot and up the wordcount): This one's called The Travelling Shovel of Death.

You see, NaNowriMo doesn't take itself too seriously. Just seriously enough.

*dreich is Scottish for "dull, damp and miserable." I got the this expressive word from my mother-in-law.

Seasonal Suicide Notes: Roger Lewis

Gosh, this blog has performed more comebacks than any number of wrinkly pop stars or botoxed celebs. But here it is again, after a long hiatus resulting from my father's death last November which, as well as being sad, caused no end of medico-legal problems and my assumption of full-time care for my mother, a victim of Alzheimer's disease. After this long silence, I'll probably just be talking to myself but what the hell. I've had stupider conversations recently.

However, I've been considerably cheered up by the reviews of Seasonal Suicide Notes: My Life as it is Lived by Roger Lewis, an academic, journalist and sometime-notorious biographer. Here's one review that particularly creased me up and convinced me to buy at the earliest opportunity. Seasonal Suicide Notes looks like a book-length spoof of those smug, boastful round robin letters that plop dismayingly on your doormat every Christmas. Except that it isn't - the book is composed of genuine missives that the recipients persuaded Roger Lewis to publish: funny, vitriolic and oh-so-true to life as it's really lived. I was especially tickled by Mrs Lewis's experience in a TK Maxx changing room during a Two-Minutes' Silence.

A few Christmases ago, I got so irritated by these self-regarding incitements to envy that I composed a spoof round robin from Cuthbertson Acres. It was a catalogue of Dickensian misfortune which had us bankrupted in a scam moneymaking scheme and our offspring variously involved in drug-running/people-smuggling/unspeakable terrorist outrages, instead of becoming top lawyers/doctors/scientists/Booker-winning novelists. Sadly, I chickened out of sending it on the grounds that the recipients would either take offence at being sent up or, having no sense of the absurd, would have been only too willing to believe it.

And I wouldn't want that, would I?