My debut novel The Way Home officially launches in just a few days. The pre-order also has found its way to Amazon early, both for the paperback and the e-book. It’s actually doing pretty well already, given that I haven’t officially announced that it is available! It is a little bit surreal, seeing it in the top ten of its little niche, alongside Rick Riordan’s Percy Jackson books. It’ll be properly available next week, and you can bet I’ll let you know when it’s out. In the meantime, a few people have asked me where I got the idea to write the Ashes of Olympus trilogy, a YA adaptation of Virgil’s Aeneid.
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It started when I was an undergraduate in Latin class. My lecturer’s enthusiasm for the Aeneid was infectious, and I was not immune. Just about every lesson he would put a passage from Virgil on the board for us to decipher with the air of Santa Claus pulling a toy from his sack. Determined to know more of the story, I picked up a translation of the Aeneid and read it cover to cover. I had encountered Homer’s Iliad and Odyssey before, but the plight of the Trojan prince Aeneas spoke to me on a level I had not really expected. Perhaps the desire for a place to belong spoke to me in my late teens. On a more superficial level, I loved the sense of adventure. I had always been a reader of fantasy and historical thrillers, and here was a classic quest with monsters, gods, and epic battles. More than that, I adored the sensitivity of Virgil’s characterisation, particularly of Dido. Though I sometimes found the character Aeneas difficult, it helped me to understand that when we are reading classics we are dealing with the ideals of another age. Discovering the joys of Latin scansion helped me to find the music in Virgil and gave me an appreciation of poetic language which I had never really found before. Every time I returned to the poem, the same thought would occur to me: this would make such a great novel!
Later in my degree, when I came to translate the poem itself, I decided to translate it into the prose of an adventure novel whose language echoed the historical thrillers I had always enjoyed. Something along the lines of Valerio Massimo Manfredi, Conn Iggulden, or Bernard Cornwell. There was just one problem: the translation was awful! For some reason, dactylic hexameters didn’t gel with the direct language of a thriller or fantasy. I hated what I had written, and so would anybody with sense, so I shelved it and moved on.
Several years passed. I wrote a lot of terrible stories which will never see the light of day. I married and became a young dad. I did a postgrad research degree, worked for a museum, and immersed myself deeper into the classical world than is healthy. Eventually I went to present a paper at the Classical Association conference at the University of Reading. This was the first time I had travelled overseas on my own, and I felt very far from home. It was worth it though. One of the themes of the conference was the reception of Greek and Roman culture in children’s and young adult novels. There were a lot of great panels on Caroline Lawrence and Rosemary Sutcliffe. But the key moment didn’t come until I was on my way home.
At Heathrow I met a young woman who was struggling with her luggage. I offered to help, and we got chatting, and I casually asked where she was from. At this point she started crying—she was from Bosnia, but she was effectively homeless, a citizen of nowhere. Neither side of the civil war wanted anything to do with her. One side rejected her because of her heritage, and the other side because of her father’s religion. The war had been over for years, but she was still a refugee. She had endured horrors as a child which no human being should have to go through. I was sitting on the plane home, reflecting on what she had said. And that’s when it hit me: the Aeneid is in its essence a refugee’s tale from a world of gods and magic. It’s a tale for anybody who has felt there’s no place in this world for them. A theme which, two thousand years after the Aeneid was written, is still sadly relevant. And somehow this idea connected with the panels on YA literature I had seen. By the time I got off the plane, a plan was forming.
I wasn’t going to translate the Aeneid. I was going to adapt it, tell the story in my voice. I wasn’t going to put Virgil up on a pedestal. Instead, I would write an original work which captured something of what made the story significant to me. It would still be a rip-roaring adventure for young readers. Yet it would focus on the deeper theme of the refugee crisis. My goal was to make it a great story in its own right, not edutainment. And I would infuse it with something of my own experiences, make it personal. And you know what? This last part was actually really scary. But for the first time, I felt like the writing worked. It was real.
Five years and many drafts later, here we are. The book will be in readers’ hands very shortly. I’ve done all I can to make it the best story possible.
I hope you’ll join me for the journey.
Until next time,
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