Review: The House with the Golden Door by Elodie Harper

★★★★★ — The House with the Golden Door was probably my most anticipated read for this year, and boy, I was not disappointed! Please do not read on if you haven’t read The Wolf Den.

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The House with the Golden Door by Elodie Harper is the second in a trilogy, which began with my favourite read of 2021, The Wolf Den. I am always slightly hesitant when it comes to the second instalment of a trilogy, with many (Catching Fire excluded) often serving as nothing more than a stepping stone or filler to a grand conclusion. The House with the Golden Door, however, did not fall into this unfortunate phenomenon.

Historical Context

Elodie Harper has once again produced a captivating historical fiction novel that takes you right into the streets and the homes of ancient Pompeii. Set in 75 CE, Pompeii is still a thriving Roman town, looked on by Venus Pompeiana, the patron deity of the city. When reading this book, it feels like you are walking right alongside Amara, you can feel the heat beat down on you as she sits in her garden, you can feel the cobblestones as she walks the streets and you can almost see the detailed wall paintings described throughout the book. This is particularly interesting since in 79 CE, Mount Vesuvius erupted and the entire city of Pompeii (and the neighbouring city of Herculaneum) was covered in ash, preserving the daily life of ancient Romans in Pompeii.

First Writer: Lovers, like bees, live a honeyed life.

Second Writer: I wish.

— Pompeii Graffiti exchange (pg. 189)

Harper includes vivid detail of surviving wall art, architectural features and even whole buildings (like The Wolf Den which survives along with the erotic wall paintings). Harper continues to include snippets of graffiti from the walls of Pompeii, and introduces us to different homes and interiors. Harper has the distinct ability to use what survives of the ancient city, and the lives of those who once inhabited it, and bring it back to life, or, has given it a second life, a new life.

My Thoughts

This was a beautiful and heart-wrenching tale. As you know, this series of books follows Amara, a Greek woman who was sold into slavery and ended up as a prostitute in the brothel at Pompeii, known as the Lupanar or ‘Wolf Den.’ At the end of the previous instalment, poor Dido was killed, and Amara was freed by Pliny, and given a new home to live in by her Patron, Rufus. So although she was heartbroken with the death of her friend, having to leave her fellow women behind at the brothel and having to end her budding romance with a fellow slave Menander, she was feeling optimistic about her newfound freedom. Just because this book wasn’t set primarily in the brothel doesn’t mean it was a light and happy read. Amara has to be more courageous than she ever has before in the face of heartache and betrayal. Her friendships with the women she left behind don’t remain the same as when they were all at the same social standing, and the fluctuation of these personal relationships made this story feel all the more real.

The gods raised you to freedom. Treating slaves as equals only lowers you back to the gutter you came from.' (pg. 90)

The House with the Golden Door is an incredibly nuanced exploration of the social lives and class structure both in Pompeii and the wider Ancient Roman world. We see these social complexities all through the eyes of Amara, who is grappling with her own shifting status, now as a freedwoman, with slaves of her own, however still at the complete mercy of Rufus, and to another extent Felix. Harper delves into these social complexities by exploring the rules to be upheld and the social expectations to be maintained by a freedwoman, who wants to reclaim agency over her own life but is still restricted. I think what struck me early on was how believable it all felt. We as readers experience the conflicting aspects of Amara’s life, the intricacies of social relationships she has to uphold, and the deterioration of some of her friendships. To expect her relationships to stay static while she changes as a character in both status and mind, would feel false. However, Amara’s liminal role as a freedwoman dependant on a man whose love is dwindling and who knows intimately the life of a slave, traverses a new world of love, deceit and friendship that sees her continually grow in courage and strength.

I love the way Harper sets up her chapters. She prefaces each chapter with a quote, either from an ancient poet or writer, or graffiti found at Pompeii. These aren’t just random quotes, but they are imbued with the theme of the following chapter, and really set either the physical or emotional scene for Amara. These kinds of details absolutely blow me away, and it’s one of the main reasons why I adore this book (and its predecessor).

Have you read The House with the Golden Door or The Wolf Den? I would love to hear your thoughts in the comments below, or over on my Instagram @kell_read ✨

Review: The Aeneid by Virgil (Translated by Robert Fagles)

★★★★☆ - my main issue with this was definitely some of the choices made by the translator, not the tale itself. I buddy read this with my lovely friend Lorna over at Unexpectedlearningjourney which was such a wonderful experience, especially since she brought her Latin expertise to the table and did some amazing translations throughout our read along - some of which I will be including in this review! You should also check out her article on Moaninc all about learning Latin!

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What is the Aeneid?

Before we get into my thoughts, lets introduce the text, it’s historical context and purpose in the ancient world. The Aeneid was written by the Roman poet Virgil who lived in the Early Roman Empire between 70-19BCE. As a sponsor of the first emperor of the Roman Empire, Augustus, The Aeneid tells the founding story of Rome with the Trojan hero Aeneas travelling through the Mediterranean to finally establish the lineage of Romulus and Remus and the Roman Empire. Aeneas, a Trojan and son of the goddess Venus, escaped from the sack of Troy and was told his destiny was to found a grand city in Italy. After some time on the sea, not unlike Odysseus on his long journey home after the Trojan War, Aeneas finds himself in Carthage and falls in love with the Queen, Dido. After spending six years on Carthage, Mercury reminds Aeneas of his purpose and departs Carthage, leaving a grief-stricken Dido who ends up throwing herself on a burning pyre.

Her phantom sifting through my fingers, light as wind, quick as a dream in flight. (102)

Once again reminiscent of Odysseus, Aeneas takes a journey to the underworld where he sees the shade of Dido, many a deceased Trojan and his father. Aeneas eventually makes it to Latium where war ensues led by Aeneas on the Trojan side and Turnus of the Rutuli - especially since the hand in marriage of the Princess Lavinia is at stake as well. In the final lines of the poem, Turnus is killed and Aeneas’ descendants Romulus and Remus would eventually establish the city of Rome. Virgil died without finishing the tale and asked his friend Lucius Varius Rufus to destroy it - and thankfully for us he didn’t! Although Virgil wasn’t too happy with the work before his death, Augustus was pleased and despite Virgil’s desire to have it destroyed, the emperor had it published instead. Why did Virgil compose the poem? The main reasons were to honour Augustus and praise him by highlighting his ancestors, and to show parallels between the protagonist, Aeneas and Augustus. At the time it was written, Rome was in a bit of political instability with the ending of the Roman Republic after the assassination of Julius Caesar and the dawn of the Roman Empire, and so the Aeneid was something of a parallel between the events that Aeneas lived through and the unsteady beginnings of Rome, and the instability the early Roman Empire was facing at the time.

The Aeneid not only alludes to The Iliad and The Odyssey by Homer, many facets of the tale is reminiscent of it. Plus, The Aeneid is actually where we get the tale of the Trojan horse which wasn’t mentioned in the Iliad and only referred to in the Odyssey, since much of the Epic Cycle now only survives to us in fragments. Sections such as the death of Pallas is reminiscent of the death of Patroclus, and the funeral games for Anchises is comparable to the funeral games of Patroclus. Of course there is also divine intervention with the gods and goddesses influencing the mortals like game pieces, although not to the same extent as in Homers tales. The epic poem covers themes of renewal and conflict, and unlike the Iliad and the Odyssey, it references and alludes to the historical past of Rome like the Punic Wars which can be summed up as Rome vs. Carthage and the destruction of Carthage.

Thoughts and Opinions

Overall, I really enjoyed reading this poem. Some books were slower than others, but some were so gripping that I didn't want to put the book down. Throughout the book I really enjoyed finding snippets that felt Homeric, especially the use of Homeric simile which occurred all throughout the story. I think that made it feel more cohesive, as if it wasn’t written down 800 years after Homer’s tales.

Most of my thoughts about this book will be focussed on translation and word choice - mainly because I truly think it let the story down. Buddy reading with Lorna who was reading a different translation (prose E.V. Riu) really illuminated some questionable choices in my edition, and therefore translations as a whole. It is such a personal thing, translation, and having learnt some Ancient Greek basics and talking to Lorna about the Latin throughout reading this book, the choices made by translators can really alter a passage, it’s the meaning and emphasis. There were little things like the choice of ‘heaven’ and ‘hell’ rather than ‘Olympus’ and ‘Hades’ or ‘Tartarus,’ they were definitely questionable choices, especially when looking back at the Latin and seeing the use of Tartarus in the original which happened a couple of times, for example:

“…crying out to Hecate, mighty Queen of Heaven and Hell.” (Fagles 6.183)

“…Hecate, mighty in the sky and mighty in Erebus.” (E.V.Riu)

“Hecaten caeloque Ereboque potentem” - Lorna’s literal translation “... Hecate, powerful in the sky and powerful in Erebus.”

There was the use of Persephone instead of Proserpina which was interesting, and the most frustrating thing was the consistent use of the word ‘awesome.’ Here’s an example-

“… the goddess in all her glory, just as the gods behold her build, her awesome beauty.” (Fagles 2.732-733).

“She revealed herself as a goddess as the gods in heaven see her, in all her majesty of form and stature.” (E.V.Riu pg. 42)

“... deam qualisque videri caelicolis et quanta solet'.” - Lorna’s translation “I beheld the goddess, just as the gods are accustomed to her, in her quantity of form and stature.”

Why you’d choose to use the word awesome is beyond me, and it happens all throughout the book. Of course sometimes it works, but other times, I felt like there were more appropriate words to use (like above). But in saying that, there were other lines that were so beautiful, some that were incredibly sad and some that were super gory. Overall it’s an interesting tale that documents the early ideology of the Roman Empire, and although I probably didn’t get as much out of it in terms of historical importance (I’m more of an Ancient Greek history gal), I still truly enjoyed delving into this. I loved that we got some strong female figures like Dido and Camilla, even though they both literally ended up dying which was disappointing. You can really understand the way women were seen from the Roman male’s perspective, with Dido committing suicide after Aeneas left her, Camilla the incredible warrior woman on par with the Amazons being killed after only 400 lines in the poem because she saw a shiny gold brooch and had to go for the plunder, and even Lavinia who was completely without agency throughout the tale and was simply a pawn used to incite war. It’s truly fascinating, especially with the continued theme from Homer’s poems of the gods using humans as their pawns to get their way - and one really interesting comparison was that of Aeneas, Lavinia and Turnus in the final few books to Paris, Helen and Menelaus. As if their battle over Lavinia’s hand in marriage was to the same degree as the Trojan War. It was so interesting having the figures in this story compare themselves to the Trojan war, and the way in which Aeneas was the link between Ancient Greece and Ancient Rome. There are truly so many things I could comment on but it’s just impossible, so I should probably end my meaningless rambles here. HAH!

I’d love to learn more about this epic poem, to hear about your thoughts about The Aeneid and the things I brought up in this review! Make sure to comment below or find me over on Instagram. I am planning on re-reading this again at some point (as with The Iliad and The Odyssey), and I would love suggestions for different translations. Now that I’ve read the Fagles edition of this, I am not really interested in picking up The Iliad or The Odyssey in his translation because of the issues I had with The Aeneid, so any suggestions for any translations of any of these texts would be most welcome!✨

Review: Venus & Aphrodite: History of a Goddess by Bettany Hughes

★★★★☆.5 I am only now getting into reading non-fiction books for fun, and not for uni or work so I’m still working on how I feel about rating them. With that being said, overall I really enjoyed reading this book.

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What's the book about?

Venus & Aphrodite: History of a Goddess by Bettany Hughes is a light, easy read which follows the history of the goddess best known as Venus or Aphrodite, from her beginnings to the modern reception of the goddess. Using archaeological evidence with textual sources and more recent artworks and literature, Bettany traces the origins of the goddess of love, and both her movements and developments through history.

As some will know, Aphrodite is the Ancient Greek goddess of love, desire, beauty and sexuality, and Venus is the Roman counterpart to Aphrodite, and held dominion over fertility, prostitution and victory. However, as Bettany delves into in the first few chapters of her book, Aphrodite didn’t just appear in the artwork and literature of Ancient Greece suddenly, but evolved from both the Cypriot spirit of procreation and fertility, as well as the Near Eastern goddesses of war Inanna, Astarte and Ishtar. Beginning from both the mythological beginnings of Aphrodite (with the castration of Ouranos, and the goddess emerging from the sea foam caused by the god’s genitals falling into the ocean), as well as the archaeological beginnings, and moving all the way through the renaissance depictions and the morphing of her dominions and depictions through to the modern-day, Bettany has provided an accessible and easy to read guide to the goddess and her history.

“A potent idea, given a name and a face across five millennia, this deity is the incarnation of fear as well as love, of pain as well as pleasure, of the agony and ecstasy of desire”

thoughts and feelings

From the very first page, I knew this was going to be a far easier read than I was initially anticipating. Bettany has written this book as if she was just chatting to a mate, and honestly, I loved that. Although it initially caught me off guard, it made it so much more appealing, and tempted me to pick it up more often knowing that the language used was easygoing. The colloquial language, however, doesn’t take away from the importance of this goddess, and her significance throughout history, especially in ancient civilisations. What Bettany has done, is a thorough investigation on the goddess, and then turned that hard evidence into a book that is easily understood and accessible to anyone. Bettany has achieved the goal of bringing archaeological and historical facts into the world in an easy to read and enjoyable book, and I love it! Her addition of images throughout the book, both in black and white dispersed through the book, and in the middle which is full of coloured images, makes it all the more interesting, especially in the discussions around the changes in the physical depictions of the goddess.

“It [desire] is the life force that spurs us on to do, to be, to think.”

I love that it was a short, easy read. It means that there’s a far better chance that more people will pick it up (and I love the idea that the ancient world is becoming something more open and available). But, some points Bettany made, I felt like I wanted more evidence that backed up her conclusion. I am sure that she has done her research, and I don’t doubt any of the statements or conclusions she has come to in this fascinating history, but I would have loved just a bit more depth into some of the evidence (whether it be archaeological or textual), that she has used to form her conclusions. In saying that, I always want more out of my books, and I commend her for making this book so full of information, and yet so easy to read.

I definitely feel like the goddess Aphrodite/Venus has been simplified into the goddess of sex and desire with little substance, and this book is out here to remind the world that she is so much more. Bettany explores the goddesses roots in the war-goddesses of the Near East (Inanna, Ishtar and Astarte), and brings to the forefront the seemingly contradictory beginnings of this goddess through love, desire and war. This book details just how much the attitudes towards the goddess has developed throughout the millennia, and what her body and her symbols have meant throughout the years. The complexities of Aphrodite/Venus have been written and painted out of history in the last thousand years, and this book is bringing back the intricacy of this goddess, which will hopefully culminate in the respect and adoration she deserves.

Have you read Venus & Aphrodite: History of a Goddess by Bettany Hughes? What did you think of it? I would love to chat about this book, either in the comments below, or find me over on Instagram @kell_read.