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Orestes #1
The Young Lion
The Trojan War leaves Orestes, the prince of Mycenae, a spiritual orphan. He cannot remember his father Agamemnon, who leads the Achaean forces against Troy, and who seems to value glory and conquest above even the lives of his own children. And he is estranged from his mother Clytaemnestra, who never wanted him, and who, mad with grief over her murdered daughter, takes as her lover a rival kinsman who threatens to tear the royal family of Mycenae apart.
When the war ends, and the unthinkable happens, Orestes must flee for his life. As an exile far from home, can he survive long enough to grow to manhood and reclaim his birthright?
When the war ends, and the unthinkable happens, Orestes must flee for his life. As an exile far from home, can he survive long enough to grow to manhood and reclaim his birthright?
326 pages, Kindle Edition
First published July 7, 2011
83 people want to read
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Displaying 1 - 6 of 6 reviews
May 14, 2013
Note: In the interest of full disclosure, I received a free copy of The Young Lion in return for an honest review.
The story of Orestes is a well-known classical myth in the Atreid cycle so I'm not too concerned about spoilers. Still, just in case... The young Mycenaen prince Orestes endures a particularly horrific family trauma, escapes into exile, grows up, and returns home to...
What earned stars? The author is obviously passionate about Greek history and knows a lot of cultural detail, which she uses liberally and competently to flesh out the bare bones of the classical history. As someone who has been to Mycenae, I enjoyed her use of the setting to describe daily life in the palace and the city. Clytemnestra and Elektra, as seen through the narrator's (Oreste's) eyes, are fully developed characters and their motivation is comprehensible, even worthy of some empathy.
What didn't earn stars? Orestes gives us a lot of factual details about his activities, but only the shallowest of introspection. Admittedly, when he starts his narration he is only a child, but his character never seems to grow in complexity or insight. He wasn't just unlikeable, he was less intriguing than his mother and less dynamic than his sister.
Which brings me to my biggest problem with the book: it doesn't end. It builds and builds to a climax that never occurs. The quality of the detail and the writing earned it three stars; my disappointment with the ending kept it at three.
I suppose it is a matter of opinion that a book should actually have a climax and a satisfying ending. I don't object to cliffhangers that encourage a reader to continue the next book in a series, but I find it bothersome not to have been rewarded with something after all that detailed build-up. Certainly the story justifies multiple volumes, but why not give a climax and then in the next one use it as a traumatic memory with some fresh insights? As it is, I won't be moving on to the next book.
I should add that the quality of the writing and the use of detail merits the attention of other readers who may not agree with me on the notion that a climax is important.
The story of Orestes is a well-known classical myth in the Atreid cycle so I'm not too concerned about spoilers. Still, just in case... The young Mycenaen prince Orestes endures a particularly horrific family trauma, escapes into exile, grows up, and returns home to...
What earned stars? The author is obviously passionate about Greek history and knows a lot of cultural detail, which she uses liberally and competently to flesh out the bare bones of the classical history. As someone who has been to Mycenae, I enjoyed her use of the setting to describe daily life in the palace and the city. Clytemnestra and Elektra, as seen through the narrator's (Oreste's) eyes, are fully developed characters and their motivation is comprehensible, even worthy of some empathy.
What didn't earn stars? Orestes gives us a lot of factual details about his activities, but only the shallowest of introspection. Admittedly, when he starts his narration he is only a child, but his character never seems to grow in complexity or insight. He wasn't just unlikeable, he was less intriguing than his mother and less dynamic than his sister.
Which brings me to my biggest problem with the book: it doesn't end. It builds and builds to a climax that never occurs. The quality of the detail and the writing earned it three stars; my disappointment with the ending kept it at three.
I suppose it is a matter of opinion that a book should actually have a climax and a satisfying ending. I don't object to cliffhangers that encourage a reader to continue the next book in a series, but I find it bothersome not to have been rewarded with something after all that detailed build-up. Certainly the story justifies multiple volumes, but why not give a climax and then in the next one use it as a traumatic memory with some fresh insights? As it is, I won't be moving on to the next book.
I should add that the quality of the writing and the use of detail merits the attention of other readers who may not agree with me on the notion that a climax is important.
September 29, 2018
I enjoyed the book a lot, although I admit I can’t quite rate it higher than I would perhaps like to. That is not because of any fault on the book’s part, but simply because it is the opener in a trilogy and that really does show. The ominous build up is great, but although we do get our dramatic moments here, I am left with the sense of anticipation that the best is being saved for the second and third entries. It does make me want to grab those, but it is also a feeling of more to come, with this book as the storm clouds gathering. I noticed that the other reviewer mentioned a lack of introspection. I do agree – it could have done this more, and I think it would have been better for it. If there’s ever a time to have complex characters pondering the aftermath of mind-bendingly shocking events, its during the family story of the Atreides, and I would say milk it for all its worth and go dark with it. But I wouldn’t say that the book was totally lacking in this respect. The big plus point is just how much the story expands upon Orestes’ early years, creating an epic over the course of the whole trilogy. If you want to really get into Orestes’ story, this is the trilogy to dive in to. I still remain a tad disgruntled about Elektra and Pylades and their relationship one another, but that’s simply because that’s one dark ship I’ve always been firmly onboard.
7 out of 10
October 5, 2021
“There is an advantage in the wisdom won from pain.”― Aeschylus, The Eumenides
Orestes is often an overlooked character in mythological reinterpretations. However, Laura Gill does a wonderful job bringing him and the Bronze Age Greek world to life in this novel. In this first part of the trilogy, we see Orestes mature from an impudent youth into a mature and skilled prince. Much of his childhood and adolescence is fraught with familial drama and violence. Orestes yearns for the presence of his father, High-King Agamemnon of Mycenae; the king is off fighting in the Trojan War, leaving Orestes' indifferent and calculating mother Clytemnestra in charge.
After his sister, Iphigenia is sacrificed to the gods to ensure a safe journey to Troy, his mother's anguish leads her to bed Aegisthus, Agamemnon's exiled kinsman. Aegisthus is an unwelcomed presence in the royal court and is a constant reminder that Agamemnon's absence has left the palace devoid of any powerful men. The royal court becomes engrossed in intrigue and betrayals. All of this leaves Orestes and his sisters Elektra and Chrysothemis without much protection or guidance. There is even an attempt on young Orestes' life, with Aegisthus being the likely culprit. The only real support the prince has during these trying times is his tutor Timon. After his father's murder, Orestes will only succeed when he claims his birthright and kills both his mother and Aegisthus in retribution for his own father's unjust murder.
Ms. Gill's research in Bronze Age Mycenaean culture and history is extremely thorough. I could get a clear sense of the setting and the landscape. I many ways Ms. Gill reminds me of Mary Renault; both of these women have created vivid reimaginings of Greek Antiquity. Both of their protagonists, Theseus and Orestes respectively are the sons of kings; they possess a sense of entitlement and quick wit that more than compensate for their other shortcomings. They both learn that just because someone is the son of a king, it does not make him naturally fit to rule a kingdom. The mythic themes provide the outline for Gill's novel. Within this context, the ‘historical’ aspect of this ‘historical' fiction is very realistic and true to its age and time. In both novels, there were tinges of historical misogyny, but that is indicative of the Mediterranean Bronze Age.
If anything I wanted more of Clytemnestra. She in particular is one of the most powerfully presented characters in ancient Greek drama (especially in Aeshuylus's Oresetia trilogy). She is a seemingly a single-minded and dangerous woman; however, beneath her venom is a deep, inconsolable pain stemming from the death of Iphigenia, at the hands of her husband (and Iphigenia's father). The ten years apart have done little to heal those wounds. And in the intervening time, her heart has died within her and settles on her Aegisthus as her lover (who has the banality of a preening gigolo). We see Clytemnestra mourn, but we never hear her real voice her pain and anger, because only someone as badly wounded as she could kill with so little apparent remorse. And Elektra, as loathed as she would be to admit it, is definitely her mother's daughter. She can be just as volatile and calculating, but at times she was such a shrieking shrew I wanted someone to shake her!
Yes, Orestes and Elektra's lives have been tragic, but it took them both a very long time to realize that they are not the only ones suffering from the aftermath of the Trojan War! The issue of the inability of this family to escape destiny is repeatedly seen through the different generations. Agamemnon is required to sacrifice Iphigenia to appease the angry Artemis, which starts the cycle of Clytemnestra's killing of Agamemnon and Cassandra. Then Orestes must come to terms with murdering Clytemnestra, but can he do so and still hold on to his dream of becoming king?
I highly recommend this book as a solid foundation for this trilogy and anyone who loves reinterpretations of classic myths.
Orestes is often an overlooked character in mythological reinterpretations. However, Laura Gill does a wonderful job bringing him and the Bronze Age Greek world to life in this novel. In this first part of the trilogy, we see Orestes mature from an impudent youth into a mature and skilled prince. Much of his childhood and adolescence is fraught with familial drama and violence. Orestes yearns for the presence of his father, High-King Agamemnon of Mycenae; the king is off fighting in the Trojan War, leaving Orestes' indifferent and calculating mother Clytemnestra in charge.
After his sister, Iphigenia is sacrificed to the gods to ensure a safe journey to Troy, his mother's anguish leads her to bed Aegisthus, Agamemnon's exiled kinsman. Aegisthus is an unwelcomed presence in the royal court and is a constant reminder that Agamemnon's absence has left the palace devoid of any powerful men. The royal court becomes engrossed in intrigue and betrayals. All of this leaves Orestes and his sisters Elektra and Chrysothemis without much protection or guidance. There is even an attempt on young Orestes' life, with Aegisthus being the likely culprit. The only real support the prince has during these trying times is his tutor Timon. After his father's murder, Orestes will only succeed when he claims his birthright and kills both his mother and Aegisthus in retribution for his own father's unjust murder.
Ms. Gill's research in Bronze Age Mycenaean culture and history is extremely thorough. I could get a clear sense of the setting and the landscape. I many ways Ms. Gill reminds me of Mary Renault; both of these women have created vivid reimaginings of Greek Antiquity. Both of their protagonists, Theseus and Orestes respectively are the sons of kings; they possess a sense of entitlement and quick wit that more than compensate for their other shortcomings. They both learn that just because someone is the son of a king, it does not make him naturally fit to rule a kingdom. The mythic themes provide the outline for Gill's novel. Within this context, the ‘historical’ aspect of this ‘historical' fiction is very realistic and true to its age and time. In both novels, there were tinges of historical misogyny, but that is indicative of the Mediterranean Bronze Age.
If anything I wanted more of Clytemnestra. She in particular is one of the most powerfully presented characters in ancient Greek drama (especially in Aeshuylus's Oresetia trilogy). She is a seemingly a single-minded and dangerous woman; however, beneath her venom is a deep, inconsolable pain stemming from the death of Iphigenia, at the hands of her husband (and Iphigenia's father). The ten years apart have done little to heal those wounds. And in the intervening time, her heart has died within her and settles on her Aegisthus as her lover (who has the banality of a preening gigolo). We see Clytemnestra mourn, but we never hear her real voice her pain and anger, because only someone as badly wounded as she could kill with so little apparent remorse. And Elektra, as loathed as she would be to admit it, is definitely her mother's daughter. She can be just as volatile and calculating, but at times she was such a shrieking shrew I wanted someone to shake her!
Yes, Orestes and Elektra's lives have been tragic, but it took them both a very long time to realize that they are not the only ones suffering from the aftermath of the Trojan War! The issue of the inability of this family to escape destiny is repeatedly seen through the different generations. Agamemnon is required to sacrifice Iphigenia to appease the angry Artemis, which starts the cycle of Clytemnestra's killing of Agamemnon and Cassandra. Then Orestes must come to terms with murdering Clytemnestra, but can he do so and still hold on to his dream of becoming king?
I highly recommend this book as a solid foundation for this trilogy and anyone who loves reinterpretations of classic myths.
July 23, 2020
Read this!
Finding this author was like discovering Mary Renault. Through her writing, characters embedded deep within our cultural roots are given voices, opening up a worldview that resonates.
Finding this author was like discovering Mary Renault. Through her writing, characters embedded deep within our cultural roots are given voices, opening up a worldview that resonates.
July 24, 2025
Dnf. The writing style is poor, simplistic, dull. Orestes is an extremely complex man who loves his absent father, his dead sister and his surviving sisters to madness, all of whom remain omnipotent in his life no matter how far he is from his home. Yet Gill managed to reduce him to a simple-minded boy who is just stating facts and going with the flow. The chapters are short and awkward; within five pages 3 years have gone by or 3 days. I’m quite disappointed; I was excited to have an Orestes retelling from his pov. However, I might give this book another try as I am pretty desperate for an Orestes retelling.
One positive aspect is the author’s research on Mycenae & its culture. I was very pleased with that.
One positive aspect is the author’s research on Mycenae & its culture. I was very pleased with that.
April 5, 2012
Great! Review coming
Displaying 1 - 6 of 6 reviews