Fire from Heaven by Mary Renault
My rating: 4 of 5 stars Young Alexander, or A Dysfunctional Family Tragedy In Mary Renault’s Fire from Heaven (1969), King Philip and Queen Olympias of Macedon have the mother of all toxic marriages, permanently scarring their young son Alexander with their scorched earth warfare: “a pain he had been born with.” While at first one’s sympathy is with Olympias, Philip appearing drunken, brutish, and ugly and flinging four-year-old Alexander out of her bedroom and down the stairs, in time one begins sympathizing with the King, who seems to act with ironic restraint in the face of his wife’s hatred and curses (invoking the gods) and witchcraft (piercing the penis of a doll figure of the king with a needle), not to mention her provocative exaggerations, treasonous intrigues, and emotional blackmailing of her son when Alexander tries to be independent. True, Philip marries a series of teenage girls and has affairs with his young male squires (“minions”), but one suspects that had Olympias been more loving, Philip might have been more faithful. Another compelling thread through the novel is the relationship between Alexander and Hephaistion--“Alexander’s shadow.” Although the novel demonstrates a general acceptance of homosexuality or bisexuality, Alexander is mostly beyond things like sex and mainly just wants to unburden himself to Hephaistion as they sleep together, while Hephaistion tries to convince himself that he’s blessed by the gods to be so close to Alexander and to refrain from wanting more than pillow talk. Renault depicts their love and friendship as natural and deep: “Without you I should go mad.” “I, too, without you.” The story begins with four-year-old Alexander waking up with a snake wound round his waist and sneaking into his mother’s bedroom to return it, he thinks, to the Queen. Renault proceeds to depict landmark events from the future conqueror’s youth that reveal his personality, historical context, and destiny, including having his growth stunted by an overly zealous pedagogue admirer of Spartan severity, learning about Achilles and Patroclus, meeting Hephaistion for the first time, making Ptolemy his blood brother, killing his first man in his first violent action (at age twelve), meeting Demosthenes, winning and naming his beloved horse Bucephalus, receiving an education from Aristotle, successfully leading an army in battle for the first time, becoming regent at sixteen and cavalry general at eighteen, protecting his father during a mutiny, and so on. Renault renders such things suspenseful and compelling. Interestingly, the book stops before Alexander is king of Macedon, before he’s set foot in Asia, and before he’s known as Alexander the Great--although at sixteen he does defeat a Thracian tribe, displace them from their land, and found a city in his name there, earning the nickname Basilicus, or Little King. The novel, then, is about Alexander’s youthful potential. It does not even relate what happens in the aftermath of Philip’s death, ending, in a way, with a shocking cliffhanger. And the second novel in the Alexander trilogy, The Persian Boy (1972), will begin several years later with the point of view of the orphaned, enslaved, and castrated son of a Persian noble in the middle of the Persian Empire, while the third, Funeral Games (1981), begins with Alexander’s death. Mary Renault is impressive in her refusal to pander to readers. Another impressive feature of Fire from Heaven is the psychological complexity of her central characters, Alexander, Philip, and Hephaistion. Especially interesting is Alexander’s relationship with Philip: “Each eyed the other with curiosity, resentment, suspicion, regret, and a half-hope which each hid too well.” Philip loves Alexander and is proud of him but can’t help but see Olympias in the boy’s features and mannerisms, while Alexander is often too quick to believe his mother’s worst interpretations of Philip’s actions, even when it means ignoring his beloved Hephaistion’s more balanced ones. The King is at times reduced to wondering, “What did I do to deserve this?” Alexander is superb in Renault’s hands: beautiful, brave, loyal, loving, poised, reckless, clever, curious, unpretentious, charismatic, and destined for glory and fated to die early: “Shining and calm at the center of his mystery, the godlike freedom of killing fear.” Renault narrates by switching from among multiple points of views in third person, doing things like telling us what Alexander was up to on an early campaign by showing Philip reading a letter from the boy telling him what he accomplished (instead of showing Alexander accomplishing it in real time), and efficiently making events lead up to Philip’s death, the tragic core and climax of the novel. En route, she works in plenty of matter from Greek myths and The Iliad, Greek, Macedonian, and Persian history, and cultural contrasts, like Greek-Macedonian, Thebes-Athens, Attic-Sparta, Greek-Persia, etc. The novel is vivid, believable, transporting, moving, exotic, lean, fierce. It does what the best historical fiction does, transporting us to another time and place with details and imagination while making the characters relatable, as in the following lines: “In the midst of it, dwarfing shrines and altars like toys, a vast oak lifted its bare black labyrinth above the snow.” “She gave him with dropped lashes a little smile, fragile, mysterious like a hamadryad slipping out briefly from her tree.” “The smell of its sweat and breath and leather bathed him in its steam.” “He walked over, put out his hand, and touched Hephaistion as a man might touch a sacred object for luck or a good omen, while deeply concerned with something else.” Brian May reads the novel professionally and engagingly. View all my reviews
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