"Extinction" is the story of Franz-Josef Murau, a wealthy Austrian gentleman living in Rome as a private tutor in German literature. His tastes run to the esoteric and philosophical, and his relationship with his student, Gambetti, is intellectually mutual. He has just returned to Rome from the wedding of his younger sister, Caecilia, to an "obese wine cork manufacturer," held at the family estate in Austria, called Wolfsegg. At the wedding were his parents, older brother Johannes, and his other younger sister, Amelia.

He receives a telegram in Rome: "Parents and Johannes killed in accident." For the first half of this 320-page book (each half being one unbroken paragraph!), he describes his life, and his narration becomes a deep reflection on his childhood and life to date. He delivers a marvelous psychological portrait of himself, as well as the family members who have just died, and his long-dead Uncle Georg, whom he remembers with great fondness. He hates his family deeply, and the feeling is mutual. He is a philosopher, they are down to earth. He is an aesthete, but they are simple folks. He is a scholar, but they are hunters and farmers, despite their fantastic wealth and their prosperous family estate. Only Uncle George understood him, artistic, free-spirited, and educated. Franz-Josef reflects passionately on his current situation, and tells us many stories of himself and his family.

For the second half of the book, he describes the funeral at Wolfsegg. Lacking parents and older siblings, he is now the master of the estate. His sisters look to him for leadership. He must now decide what to do with the estate. Will he move back to Wolfsegg in Austria, a land he loves, but an estate he hates? Will he pass it to his sisters and remain in Rome, a city he cherishes more than any other? Bernhard will stun the reader with the beauty of the resolution, but will do it in his own literary fashion.

During the story, we learn Franz-Josef disdains Catholicism and National Socialism (i.e., Nazism) in equal parts. His mother had been having an affair with a Catholic Archbishop in Rome, a relationship which was supposedly secret, but which all her children seem to know of. The Archbishop is a close family friend, and will certainly visit the estate for the funeral. His father had many Nazi friends, unbelievably still openly Nazi all these years after the war. He tells us of the fun times he enjoyed playing at his estate's Children's Villa, and how disappointed he was when it was shuttered. He vows to open and restore it when he is master. He tells us of the five libraries---five!---scattered about the estate, similarly shuttered up, collecting dust despite a half-dozen generations' worth of valuable books stored within. He tells us childhood stories of his parents, his brother, and his sister, all disdainful, and heaps contempt upon his brother-in-law, whose name he cannot even bring himself to utter, in generous proportions. At one point, he bathes in his father's bath, and wears some of his clothes. Is this a metaphor for his feelings? We learn that he blames his father only for being such a simple man, but hates his mother passionately, for dragging his father into the mud.

We struggle with the idea that this is an unreliable narrator, and we are only hearing one side of a two-sided story, but unlike Italo Svevo's masterpiece, "Confessions of Zeno", it is clear that despite this narrator's one-sided story, there is no reason to disbelieve him. He is as critical of himself as of others, and he demonstrates the pettiness and crudeness of his family in many different ways. We trust him, not only because he is self-critical, but because despite his self-confidence, he is not a fool. We also learn some untoward truths about his family, and a few hidden secrets, which cannot be dismissed, even from the most unreliable narrator. His angst comes from a simple sentiment, expressed early on: "I can't abolish my family just because I want to." He struggles to resolve the question of extinction: Must he extinguish himself to satisfy his family? Must his family be extinguished to satisfy himself?

Finally, after a rollicking narration of heartfelt emotions and deeply-help philosophies, Bernhard's narrator demonstrates how he chooses to reconcile his thoughts and feelings, his inheritance and his sisters, his legacy and his future, and all the elements demonstrated through the length of the novel braid together like a jewel. Bernhard's prose is difficult for those unfamiliar with experimental or cutting-edge literature, but actually not very difficult once one tries. Curious readers will greatly enjoy engaging their mind with this book. If they wish to sample a smaller work before digging into this one, Bernhard's "Yes" is another masterpiece of style and depth. Both are rewarding, brilliant works from a literary master.

There is great joy to be had from this wonderful book. Its first joy is its prose - sparkling in its clarity, musical, effortless - which carries one along on a journey through the thoughts and feelings of Viennese 48 year old Franz-Joseph Murau. Intellectual resident of Rome, alienated by choice from his Austrian family, friend to Archbishop Spadolini(who is also his mother's lover!), he receives a telegram that his father, mother and brother have died in a car accident making him at one stroke inheritor of the family's wealthy estate. He is now MASTER OF WOLFSEGG. The first half of the novel THE TELEGRAM concerns his recollections of childhood and relationships and events that shaped his life. Example: " At first we always tell ourselves that our parents naturally love us, but suddenly we realise that, equally naturally, they hate us for some reason - that is to say, we appear to them as I appeared to mine, as a child that didn't conform with their notion of what a child should be, a child that had gone wrong. They had not reckoned with my eyes which probably saw everything I was not meant to see when I opened them. First, I looked in DISBELIEF, as they say, when I stared at them, and finally, one day I SAW THROUGH THEM, and they never forgave me, could NOT forgive me.(p 76)" The second half of the novel THE WILL concerns his attendance at the estate where he oversees the funeral and greets and reflects upon the range of visitors paying their respects.

Example: "In ROME I often lay on my bed, unable to stop thinking of how our nation was guilty of thousands, tens of thousands, of such heinous crimes, yet remained silent about them. The fact that it keeps quiet about these thousands and tens of thousands of crimes is the greatest crime of all, I told my sisters. It's this silence that's so sinister, I said. It's that nation's silence that's so terrible, even more terrible than the crimes themselves.(p 231)" This bare outline of the two parts cannot prepare you, dear reader, for the experiences of this novel. It is as if one becomes privy as another Viennese Mr Freud did, to the real secrets of the heart of an individual, an individual nevertheless, shaped by the world in which he was born but determined to realise some truths about that world. WE are privy then to the feelings, equivocations, doubts, fears, guilt and searching. It is a revalatory experience, scaldingly honest, which provides one man's analysis of 20th Century Austrian culture, including National Socialism, the class system, religion, architecture, cuisine et al. Sometimes mocking, sometimes self excoriating, sometimes savagely funny, we travel with Mr Murau through his thoughts and feelings at this turning point in his history. In the end, Mr Murau makes a stunning act of redemption which concludes his statement and rounds off this wonderful work of literature on a joyous note. Please accompany, or perhaps follow,this novel with a large dose of HAYDN. Most modern novels pale into the ordinary compared to this work.

This was his latest novel to appear in English. It is masterfully constructed,elegantly disturbing and satisfyingly challenging.

"What is its individual make-up? Its essence, form, and matter?..
(Marcus Aurelius, Meditations, VIII, 11)
I recall when I had in-class Greek examinations, and we were asked to translate quotes of Marcus Aurelius chosen at random. Chance did let me encounter this verse a few times, and each time I did put more effort finalized in the understanding and expression of meanings implied in these straightforward questions.
The greatness of this work could best be found in its brevity and simplicity. The plain style, and the naturalness of writing are persuasive. The moral truths that Marcus Aurelius had accepted in the past, and that much had enlightened his being both an emperor and a conflictual human-being, have been transposed in memorable form. Marcus Aurelius'soliloquy and self-analysis are a great spiritual exercise. As such, the book is an exhortation to think and meditate, and it is especially addressed to those who hold the power, and are in charge of other people who stand for them. The dynamics of leadership haven't changed in the millenia: [Yet] I ask myself if today's leaders are driven and inspired by such honesty of intents?!

Marcus Aurelius had been influenced by the work of Epictetus. Both belong to the late Stoicism: A period that didn't produce anything of original. In this viewpoint, it could be argued that "the Meditations" were a moral set of catchphrases of the earlier Stoa. As such, this work doesn't bring any novelty neither in physics, nor in logics, and ethics, or epistemology. It could also be argued that Marcus Aurelius was not a philosopher at all, but rather a self-disciplined and very well-educated man and leader. He didn't produce these chapters neither for a vast audience nor for publication. Things are best remembered when written down. As such, the emperor wrote expressions of his thought, and read them again and again to himself. I believe that this discipline much helped him to find the strength and willpower necessary to face enemies outside (and inside) Rome, and the destiny of the antiquity's greatest empire.

The "Meditations" are therefore a powerful and elightening work of self-analysis and virtues' devotion. Although it does not add anything new to the phylosophical Zeitgeist, it can be argued that -- on the contrary, both brevity and simplicity, are here best expressed with a plain, natural, and unpretentious style. Such lack of redundant embellishments make this work a duly inspiring masterwork.

This version is a very solid and contemporary transposition of Marcus Aurelius'notes. Both mastery and choice of terms are remarkable. Not only the Hicks have captured the essence and clarity of the emperor's thought and affection, but also have given him fresh and renewed life and recognition.

The Hicks brothers' collaboration has produced a masterful translation of a masterpiece. "The Emperor's Handbook" captures the sublime essence and ancient character of "The Meditations" but never strays into the arcane terminology of the ancient Stoics. The Hicks brothers also avoid the forced and complex grammatical constructs found in other translations. This translation could easily be understood by a sixth grade child yet it sacrifices none of the profound meaning or prosaic beauty of the original. Most refreshing is the absence of any effort to turn the work into some New-Age mystical revelation.

Having read about nine translations I must say, this one is, by far, the best contemporary English translation available. There are other fine ones such as the work by Hard and Gill or even the Loeb Classics version but they are better suited for people already familiar with Marcus Aurelius and Stoic philosophy.

My warmest thanks go out to David and Scot Hicks for a work that I hope will broaden the audience of Marcus Aurelius.

I have read several translations of this great work..and without a doubt this is the finest available. What makes this the best is its ability to seem both classical and modern at the same time..in other words its not overly stuffy--nor is it distorted into "New Age" drivle. Don't think twice about buying this..you won't be dissapointed.

This opened my eyes to new avenues in late antiquity scholarship. This is a MUST OWN for all serious historians of this period.

Dr. Rohrbacher's seminal work is meticulously researched and wonderfully written. Not only does it contain a wealth of information on the historians of this exciting and dynamic era, but it is also a delight to read. _Historians of Late Antiquity_ will thus be both useful to academics and accessible to general readers.

I thoroughly enjoyed this book and highly recommend it.

David Rohrbacher's The Historians of Late Antiquity is written with mind-numbing gusto. The prose is elegant, lively, and devilishly clever. Chapter Six, "Olympiodorus," is a real highlight. We history nuts have been waiting for a book like this for quite a while, and the young Dr. Rohrbacher has really stepped up and delivered.

Scholars and laymen will enjoy this magnum opus--I know I did. Buy this book!

This book is a trip through Roma from a pigeon's point of view. The pigeon flies around, through, over and past many of Rome's historical landmarks, and a brief section in back describes their history and significance.

I checked this out of the library to read with my 5 year old after I went to Rome last year, and bought a copy for myself, just to enjoy the pictures and the memories they bring! The Chiesa de San Ignazio (Church of St. Ignatius) is an especial favorite, as my choir performed there to a "standing room only" crowd! Quite a feat for an amateur choir on their first overseas tour!

The pen and ink sketches, the snippets of history, and the wonderful way they evoke the charisma of Rome make this a great addition to any child's or adult's library.

Share David MacAuley's obviously personal portrait of Rome. It's a portrait in the most obvious sense: lovingly detailed drawings of Rome's greatest architecture captured from MacAuley's witty and often weird perspective. But, through the drawings and the wonderful conceit, you see that this little book is also a personal exploration of a city that touches the heart.

This is the finest illustrated gift book for the Romaphiles that you love!! Get it now and make a gift to the one you love. It will be appreciated for years to come.

I've read all the English translations (and even some of these poems in the original Greek). This collection, while small, is the best English "Greek Anthology" going. Quick check: in "The Norton Book of Classical Literature" the Rexroth excerpts shine compared to the other (highly respected) translators.

In terms of directness and emotional resonance Rexroth, "the father of the beats," triumphs again and again. For those who want to explore one of the world's greatest collections of poetry, this is a good place to start. For those interested in translation, there is much to learn from this volume.

The real Greek Anthology is massive and not all the poems are winners. Rexroth has boiled it down to his favorites and in so doing created perhaps the best poems he ever wrote. Those who want a deeper exploration should go to the library. To those who want to add to the bookshelf, this is the essential volume.

Kenneth Rexroth is the best translator of the Greek Anthology since the Renaissance. The Greek Anthology has suffered big ups and downs in reputation, depending on whether the sensibility is available in one time or another to approach it. Rexroth gets it right on. For further information, you may take a look at the online review in the Bryn Mawr Classical Review.

Elite 26th-century commandos, the ARC Riders patrol time to protect all human history...

The USSR crumbles, Russian hardliners jump from 1991 to AD 9, when their modern weapons can warp the course of the Roman Empire and create a world ruled by the Kremlin-using time technology that doesn't exist in the 20th century...or the 26th.

To solve the mystery, the Riders must split into teams separated by millennia. And while three Riders are trapped between the Roman legions and a blood-maddened barbarian horde, their comrades are at war on the Moscow streets. And fighting an inconceivable enemy.

Altman and Lechner have created a neat supplement for elementary school students. I was particularly pleased with the range of topics covered. They hit all the important highlights covered in elementary Roman history, from architecture and notable emperors to specific aspects of Roman life such as clothing, eating and Roman numerals. We use Veritas Press history and this just tied right in each week. I suspect in fact that my second grader will remember more from this book than from the more in depth historical texts that we read. He frequently picks this up and reviews Roman Roads, the Praetorian Guard and Nero (his favorite topics anyway). Good for memorizing to go with the Veritas Press cards; the poems provide more than two facts each!

A book on the cooking of Rome was long overdue. Hooray for David Downie and his meticulous research into the myriad secrets of Rome's great culinary traditions! I was enchanted to find a recipe for Vignarola, that incomparable Roman spring vegetable stew, and to discover delicious new pasta dishes such as a mouth-watering concoction of spaghetti with fresh favas, lettuce hearts and pancetta. Not to mention the sublime sweet peppers stuffed with mozzarella and anchovies and the delectable fried artichokes - Roman-style. David Downie vividly brings alive the day-to-day, season-to-season, rich kaleidoscope of the eternal city's trattorias, open-air markets, butchers, bakers and grocers galore.This beautiful book is richly illustrated by Alison Harris's marvellous photographs which admirably capture the essence of Rome and the Romans. Bravo Downie and Harris for an indispensable addition to any food lover or serious cook's library. Cooking the Roman Way certainly tops my Christmas gift list!

The recipes are great. I especially loved the carbonara and the spicy Amatriciana tomato sauce. Finally I have a cookbook with my favorite recipes! I own many Italian cookbooks but I wasn't aware that some of the classics I love are from Rome. A friend gave this book to me as a gift. It's a beautiful book with lavish color photos. I like it so much I'm going to give it to everyone on my Christmas list.

A friend sent me a review of Cooking the Roman Way. The reviewer made it sound too good to be true, so I ordered a copy to find out. Even for a passionate but untrained foodie like me, I've got to say that this is a great piece of work -- it's funny and articulate -- a literate cookbook that reads like a cross between fine travel writing and memoir. I have also found a bunch of classic Roman recipes that anyone can do -- bruschetta, spaghetti with garlic and hot pepper, Carbonara, Amatriciana, crostini with anchovies (my girlfriend loved that one in particular). I have been to Rome a couple of times and everything in the book rang true -- the atmosphere, the cooking style, the sites, the sensuality. Now I'm recommending the book to everyone I know, both for their own use and as gifts. What a find. Kudos (or however you say it in Italian) to the the author and photographer!

This work was merely the abridged version (the actual version is 3000 pages long), but Gibbon's command and use of the English language is so rich and varied that one must take the time necessary to savor and fully digest his arguments. Besides, at nearly 800 pages, this isn't light reading.

Editor David Womersley did a masterful job with the editing. In situations where chapters of the abridged version were truncated, Womersley still favored the reader with a description of Gibbon's arguments, as well as with commentary on why/how Gibbon's observations were of consequence. Additionally, Womersley's introduction is well worth one's time--he is able to give us an accurate and fascinating portrait of Gibbon, which enables us to better understand and appreciate the nature of Gibbon's arguments.

Of course, the best part about the book is Gibbon's own observations regarding the history of Rome. Gibbon was a masterful and witty commentator--oftentimes issuing backhanded insults and wryly discussing certain historical personages. Even the footnotes are filled with such commentary. Consider one footnote where Gibbon said "The Dissertation of M. Biet seems to have been justly preferred to the discourse of his more celebrated competitor, the Abbé le Boeuf, an antiquarian, whose name was happily expressive of his talents." Of the emperor Gordian, Gibbon remarked that both his gigantic collection of books, and his impressive collection of concubines were "for use rather than ostentation." Who could help but be charmed by this cheeky and mildly scandalous commentary?

But beyond dry wit and well-placed insults, Gibbon's work stands out because it is so relevant to our world today. The collapse of empire is a subject of much debate in the United States--what with various commentators and pundits assuring us that we will go the way of the Romans quite soon. Gibbon tells us what the crumbling of an empire really is and what it means--in sumptuous detail. In discussing the empire of the Romans, Gibbon lends perspective to geopolitical arguments of today. We can use his analysis as a starting point--the definitive discussion on how a world power may reach its nadir, and may ultimately see its power dissipate.

At times, Gibbon's attention to historical detail is eerie in its ability to pick out important and consequential subjects for discussion. In analyzing the rise of Islam, Gibbon remarks upon the rewards that await the faithful Muslim: "Seventy-two Houris, or black-eyed girls, of resplendent beauty, blooming youth, virgin purity, and exquisite sensibility, will be created for the use of the meanest believer; a moment of pleasure will be prolonged to a thousand years, and his faculties will be encreased a hundred fold, to render him worthy of his felicity." Tell me that you don't read that passage without a shiver running down your spine. Over two hundred years before the attacks of September 11th, Gibbon identified and remarked on the mythology that would drive madmen to plot and execute that mad deed.

Equally impressive was Gibbon's complete and absolute mastery of allegory and analogy. His use of the story of the "Seven Sleepers" to describe the human advancement "from youth to age, without observing the gradual, but incessant, change of human affairs," is a shining example, as Womersley points out, of "human insight, historical vision and philosophical reach" that confirm Gibbon's "range and power as a historian." A relation of the history of the Paulician sect would have struck other lesser historians as tedious and unnecessary, but Gibbon--who was no lesser historian--undertook an analysis of the history with excellent results--making clearer to the reader the nature of religious culture in Gibbon's own time.

Like any work devised by the human hand, the book does have characteristics that receive criticism. Throughout The Decline and Fall Gibbon takes shots at the Persians--a sore spot with me, personally. One bit appears to occur when Gibbon discusses Sultan Mahomet [Mohammad] II of the Ottoman Empire. Remarking on the fact that Mohammad II "spoke or understood five languages, the Arabic, the Persian, the Chalaean or Hebrew, the Latin and the Greek," Gibbon goes on to say that "The Persian might indeed contribute to [Mohammad's] amusement, and the Arabic to his edification." Needless to say, this is a slam against the Persian language--one of the most beautiful and lyrical tongues in existence, and a language that is perfectly suited to poetry--as Hafez, Rum'i, Sa'adi and Omar Khayyam would attest to, and do attest to by their eternally magnificent poetry. Gibbon also has his favorite figures. He openly roots for the Romans, under Emperor Julian, to vanquish the Persian Empire by force of arms, and laments the fact that the Romans lost their holdings in Persia thanks to the death of Julian, and the incompetence of the Emperor Jovian--Julian's successor. Indeed, Gibbon goes so far as to say that "Julian, on this occasion, shewed himself ignorant, or careless, of the laws of civility, which the prudence and refinement of polished ages have established between hostile princes. Yet these wanton ravages need not excite in our [heart] any vehement emotions of pity or resentment. A simple, naked, statute, finished by the hands of a Grecian artist, is of more genuine value than all these rude and costly monuments of Barbaric labor: and if we are more deeply affected by the ruin of a palace, than by the conflagration of a cottage, our humanity must have formed a very erroneous estimate of the miseries of human life." Additionally, Gibbon tells us that "The native race of Persians is small and ugly: but it has been improved by the perpetual mix of Circassian blood." Maybe it's just because my ethnicity is Persian, but I found these remarks wholly unnecessary.

Additionally, Gibbon lionizes Mohammad II, Julian, the Byzantine general Belisarius, and others--lending such favoritism at times that one cannot help but wonder whether his analysis is sufficiently dispassionate. And despite the fact that Gibbon was a believing Christian, Gibbon does show a hostility to religion that is characteristic of a man of the Enlightenment, but one that stands out nonetheless, and could very well have colored his analysis. I suppose that "The Decline and Fall" wouldn't be the same if this opinionated commentary was omitted, and overall, I did rather enjoy having the opportunity to gain an insight into Gibbon's own feelings and beliefs, but the reader should be warned that Gibbon's history is not exactly objective in nature.

In the end, however, these are trifling concerns. I haven't created anything like a Top Ten List of Favorite Books, but when I do, Gibbon's magnum opus will surely be included, and will have a place of honor. In remarking on the success of "The Decline and Fall," Gibbon stated that "my book was on every table, and almost on every toilette." I would not be in the least bit surprised if this were so, and few works in history would deserve similar popularity and acclaim. Given Gibbon's masterful historical relation, given his erudition and expert use of the English language and the contribution he made to the language through his work, and given the relevance of "The Decline and Fall" to our present day and age, let us hope for the sake of contemporary intelligence and society, that more tables and toilettes are graced with a copy of this magisterial work. More importantly, let us hope that Gibbon is read faithfully and constantly--like a Bible of the Enlightenment whose discussion of the past could very well serve to illuminate the present and the future, and offer guidance to meeting the challenges posed to us by modern day events.

This book would be worth every penny if purchased solely for David Womersley's introduction. The introduction is written so beautifully that it effortlessly carries the reader through every facet of the life of Edward Gibbon. I intended but to scan only a few pages of the introduction. Candidly, I expected it to be at best irrelevant and at worst tiresome. I was struck at once by how thoroughly Gibbon's life was recounted. My imagination was launched into flights of fancy at the sharp contrasts between Gibbon's classic European education and my decidedly less useful American public indoctrination. Gibbon spent time with major philosophers and these interactions helped to shape an intellect that was uniquely able to see 'truth', especially through religious dogma. The introduction provides the reader with invaluable insight and, dare I say, a device that may grant the reader a greater understanding and likely a greater appreciation of this classic work. Womersley has wisely chosen to abridge only the number of chapters while not 'blending' chapters. Womersley explains that the beauty of Gibbon's writing is best viewed in the arc of a complete chapter and therefore 'blending chapters' would be a horrible injustice. I liken Gibbon's writing to that of a non-fictional Shakespeare. Shakespeare helped us see truth in fictional stories as Gibbon does so in a non-fictional format. This is THE book to buy about the Roman Empire. Bravo - Sir Womersley!

How can you not love Edward Gibbon? Master of the one-liner, the backhanded compliment, the passing zinger, who else could have remarked famously of Gordian, a relatively obscure 3rd century emperor, that his enormous library and twenty-two acknowledged concubines were both "for use rather than ostentation." Gibbon is known to be no fan of Christianity's influence on Rome, nor is he a friend of Byzantium. Yet these prejudices are more than just pet hates: they reflect the fact that he, more than any other historian of the Englightenment, was prepared to cast aside the received wisdom of recent generations and delve back to the source to give an authentic view of history. Not only does he rank as a writer of Shakespearean proportions, he is one of historiography's most successful revisionists.

Ovid, maybe the greatest Roman poet of the Augustan period, was famous not only for his "Metamorphoses" but also his works on the art of love. It was these works which dragged him into scandal and censorship of his works. Yes, as long as there has been authority, authority has been afraid of rebels. For his scandalous works and perhaps for some political reasons Ovid was exiled to the ends of the empire, the equivalent of Siberia to the Romans. He would live out the rest of his days away from everything and everyone he had ever known. This work tries to chronicle his thoughts and actions in those last years in the village of Tomia on the Black Sea. Ovid only has the memories of his past to give him consolation in his loneliness. In particular, he has memories of encounters with a wild boy raised by wolves that he last saw as a young boy. During a hunt with the villagers he sees what he believes to be this very same wild boy. He convinces the village headman to capture the boy and Ovid sets about trying to civilize the Child into what he believes to be humanity. Ironically, it is Ovid who finds himself being educated. This is a short and beautiful book. Its transcendent message of casting off the past and finding your destiny is one very relevant to our age. We have lost touch with primal nature.

The title of this review is from Ovid's Metamorphoses. It has been quite some time since I read of Hercules, Pygmalion, Thisbe, and a host of others. I do not believe the original Ovid must be read to enjoy Mr. David Malouf's book, but it certainly add to the experience. The irony is Ovid's work is probably four or five times the length, and even a greater consumer of time. A general grasp of what he wrote will suffice. The book also can be read with no reference material, and perhaps that is as the Author intended, each reader will have to decide.

In his work, "An Imaginary Life", the Author takes you to an Ovid in exile. His Emperor has sent him away to a place he knows nothing of, amongst a people as different from he as perhaps can be imagined, and without the ability to communicate at all. Time facilitates the learning of language, and the differences that first are so extreme between Ovid and his fellow inhabitants moderate if they do not disappear.

The catalyst for much of the effort to learn is a "creature" that also is present among Ovid and his neighbors. This is what I believe to be the "shape transformde" in Mr. Malouf's tale. Many are changed when the story is complete, perhaps most importantly Ovid. Mr. Malouf makes many points about nature, the definition of what it is to be human, and human relations. However for me this was not the most fascinating event while reading.

The Author places Ovid in the midst of a situation where everything is unknown to him. Perhaps the most dramatic unknown is a young child that lives among the Deer that he is said to have grown up amongst. When Ovid becomes aware of the child, he desires to capture the boy. His experiences with his plan, his preconceptions, and the very different views of those he hunts the Child with, are fascinating, and wonderfully original. Some may argue that since this work flows as a result of the writings of one of History's great poets the work by definition cannot be unique, only derivative. And such a point is well taken.

But to label this work derivative is to do the Author an injustice. He has taken a man who has greatly influenced literature, and in a manner of speaking dropped Ovid into an environment where Ovid is no longer the creator, the narrator, he is the subject. He is the subject not only of his ideas, and preconceptions, he is subject to them as well. Mr. Malouf places Ovid in an environment and with players that contain what Ovid so often wrote of. In this book he being subjected to the experience, not creating it, and Mr. Malouf pays tribute to the man by the quality of what he has created.

Again the more of Ovid you bring with you, the deeper you will be able to involve yourself in the Author's purpose. I was forced to go back and refresh my memory, and because I did, I do not believe I experienced all the Author intended. If you read this after Ovid's own work, I believe the experience will be even better.

David Malouf, the talented Australian author of this novel, often writes of cultural conflict or misunderstanding, and he never fails to convey the tensions felt by his protagonists as they grapple with the demons they face. I probably should have had more faith when I began this novel, but the plot line is so bizarre that I couldn't imagine becoming involved with these characters. Exiled to a remote part of Asia Minor where he knows no one, does not understand the culture, and does not speak the language, the Roman poet Ovid, after failing to become an integral part of his new community, makes contact with a wild child who has been living with wolves, the only being more isolated than he. As the unlikely pair begins to communicate, the author's themes of identity, value, and truth take shape and lead to an inevitable conclusion. Ultimately, I did begin to identify with Ovid and to share the feelings of the wolf child, a tribute to the awesome ability of this author to create new worlds.