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Agamemnon Must Die
To sail against Troy, Agamemnon sacrificed his virgin daughter Iphigenia. Ten years later, he returns victorious, hoping that Queen Clytemnestra has forgiven him. He is so wrong.
The royal family of Mycenae has a bloody, monstrous history. Agamemnon returns with his war trophy, the Trojan Princess Cassandra whom he unthinkingly flaunts before his queen. After an epic sword fight in his own banquet hall, Agamemnon is killed. Cassandra has her nightmares/visions of the gory and unspeakable deeds of the House of Atreus; she is led away to be executed. Clytemnestra and her lover Aegisthus have their respective reasons, but this regicide must be avenged. Or so say the voices in Orestes' head. He must avenge his father. He must kill the regicides. He must kill his own mother.
But killing one's own mother would break the greatest of ancient taboos and would result in even more voices in his head. Are they just voices? Can they be placated?
The royal family of Mycenae has a bloody, monstrous history. Agamemnon returns with his war trophy, the Trojan Princess Cassandra whom he unthinkingly flaunts before his queen. After an epic sword fight in his own banquet hall, Agamemnon is killed. Cassandra has her nightmares/visions of the gory and unspeakable deeds of the House of Atreus; she is led away to be executed. Clytemnestra and her lover Aegisthus have their respective reasons, but this regicide must be avenged. Or so say the voices in Orestes' head. He must avenge his father. He must kill the regicides. He must kill his own mother.
But killing one's own mother would break the greatest of ancient taboos and would result in even more voices in his head. Are they just voices? Can they be placated?
150 pages, Kindle Edition
First published January 1, 2014
1 person is currently reading
216 people want to read
About the author
Hock G. Tjoa
8 books91 followersHock G. Tjoa was born to Chinese parents and studied history at Brandeis and Harvard. He taught European history and Asian political thought at the University of Malaya in Kuala Lumpur. He is married and lives with his family in the Sierra Nevada foothills of California.
He published in 2010 The Battle of Chibi (Selections from The Romance of the Three Kingdoms) that he had translated, and in 2011, Heaven is High and the Emperor Far Away, A Play that he translated and adapted from Lao She's Teahouse. Both are part of his project to make more widely known traditional Chinese values. In 2013, he published The Chinese Spymaster and The Ingenious Judge Dee, a Play.
Agamemnon Must Die was published (see reviews) in 2014.
Another volume in The Chinese Spymaster series, The Ninja and theDiplomat was published in 2015.
I struggle to bring the Book of Job to life for my current writing project.
He published in 2010 The Battle of Chibi (Selections from The Romance of the Three Kingdoms) that he had translated, and in 2011, Heaven is High and the Emperor Far Away, A Play that he translated and adapted from Lao She's Teahouse. Both are part of his project to make more widely known traditional Chinese values. In 2013, he published The Chinese Spymaster and The Ingenious Judge Dee, a Play.
Agamemnon Must Die was published (see reviews) in 2014.
Another volume in The Chinese Spymaster series, The Ninja and theDiplomat was published in 2015.
I struggle to bring the Book of Job to life for my current writing project.
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Displaying 1 - 30 of 48 reviews
April 20, 2019
No page turner, but fascinating retelling of Aeschuylus' trilogy The Oresteia: Agamemnon, The Libation Bearers, The Eumenides. An easy read updated for a 21st century audience. A happy mixture of prose and poetry.
March 27, 2015
This novel challenged me in ways I did not originally anticipate... I enjoyed the challenge. Agamemnon Must Die is a author Hock G. Tjoa's reimagining of the ancient Greek myths surrounding Oresteia. This rich, many layered story is well paced, and is completely engaging even as it requires a fair amount of concentration. I found myself flipping backward through the novel more than a few times, when I would become perplexed by a new development or failed to recognize a character (there are many) and needed to refresh my memory. I consider this more an indication of my own lackluster background in mythology than a limitation of the novel. Indeed, the fact that I needed to concentrate on this novel more than most speaks highly of the author's impeccable attention to detail.
I found it very easy to love Aigisthos, and very easy to hate Agememnon. Athena was a perplexing but intriguing character. As I pondered Athena's character development, I kept coming back to the idea that Athena herself is an excellent case study in the intersection of mythology and philosophy, and how both disciplines work together to form the underpinnings of modern law.
I look forward to reading more of Hock G. Tjoa's work.
I found it very easy to love Aigisthos, and very easy to hate Agememnon. Athena was a perplexing but intriguing character. As I pondered Athena's character development, I kept coming back to the idea that Athena herself is an excellent case study in the intersection of mythology and philosophy, and how both disciplines work together to form the underpinnings of modern law.
I look forward to reading more of Hock G. Tjoa's work.
February 18, 2015
Oh boy! And I thought I had arguments and disagreements in my family.
'Agamemnon must Die' is a retelling of the Greek legend surrounding their war against the Trojans. Agamemnon was king and commander of the victorious Greek forces, whose family suffered a noxious curse laid on their house by the Gods. It is the struggle against this curse, the resulting grotesque family disputes, and appeasement with the Gods that form the basis for this fable.
Much of this book is written like a school history book, which gives it authority. Mingled with the facts are sections of bloodthirsty details, engaging action, classical sections of verse, and heart-rending sorrow; a mixture I found engrossing. The cast is huge and the names difficult to remember, but Mr Tjoa holds our hands throughout the book and provides plenty of reminders of who's who. He even supplies a list and brief description of the characters to help us along.
I highly recommend this book to all those interested in Greek mythology.
I received a free copy of this book in exchange for an honest review and thank Mr Tjoa for an excellent read.
'Agamemnon must Die' is a retelling of the Greek legend surrounding their war against the Trojans. Agamemnon was king and commander of the victorious Greek forces, whose family suffered a noxious curse laid on their house by the Gods. It is the struggle against this curse, the resulting grotesque family disputes, and appeasement with the Gods that form the basis for this fable.
Much of this book is written like a school history book, which gives it authority. Mingled with the facts are sections of bloodthirsty details, engaging action, classical sections of verse, and heart-rending sorrow; a mixture I found engrossing. The cast is huge and the names difficult to remember, but Mr Tjoa holds our hands throughout the book and provides plenty of reminders of who's who. He even supplies a list and brief description of the characters to help us along.
I highly recommend this book to all those interested in Greek mythology.
I received a free copy of this book in exchange for an honest review and thank Mr Tjoa for an excellent read.
February 26, 2015
I received a free copy of this book for an honest, non-reciprocal review. This book is set in Classical Greece, in the immediate aftermath of the Trojan War.
Hock Tjoa’s breaks of epic poetry are well-timed. They do more than just break up the prose: they provide another side to the human experience that the characters are going through. Conversations, whether public or private, display the “public face” of the characters involved – while the poetry sheds light on the dark, mysterious interior of each person: their plots and regrets, their hidden terrors, and the seething resentments that they dare not show. Such revelations happen in all genres of course, but Hock Tjoa’s use of the poetry in this way makes it more vivid and powerful.
We don’t experience human sacrifice, regicide and the atrocities of war detailed in the tales of Classical Greece as detached students twenty-five centuries later, shaking our heads at what we see as the senseless barbarism of ancient times. We experience them as human beings, who even today often wonder, even in victory, what a war was for and why anyone could have ever thought that it was all worth it.
Even though the war with Troy is over, it seems that the struggle over what Greece is to become is not. Athena faces down the Furies in a debate that pits “the old ways” of tribal mysticism against the rising tide of an ever-more-political polytheistic confederation. In a way, the warriors are going through a similar transition as the more hidebound warriors chafe against archery (or the humdrum day-to-day responsibilities of military life, coming to replace the traditional “adventures” of the likes of Ulysses and Hercules).
I’m not an expert at the literature of Ancient Greece; before reading this book, I would have said I never much cared for it. Now that I’ve read the book, I remember the fascination that such mythological adventures held for me in childhood.
I was also happy to see that the tale was not all analytic and allegorical. I loved the easy common sense of Aigisthos, and admired his boundless love for the queen Clytemnestra. She won me over when she told him “It is as if you make my toes smile whenever I think of you.” I never stopped rooting for them.
Hock Tjoa’s breaks of epic poetry are well-timed. They do more than just break up the prose: they provide another side to the human experience that the characters are going through. Conversations, whether public or private, display the “public face” of the characters involved – while the poetry sheds light on the dark, mysterious interior of each person: their plots and regrets, their hidden terrors, and the seething resentments that they dare not show. Such revelations happen in all genres of course, but Hock Tjoa’s use of the poetry in this way makes it more vivid and powerful.
We don’t experience human sacrifice, regicide and the atrocities of war detailed in the tales of Classical Greece as detached students twenty-five centuries later, shaking our heads at what we see as the senseless barbarism of ancient times. We experience them as human beings, who even today often wonder, even in victory, what a war was for and why anyone could have ever thought that it was all worth it.
Even though the war with Troy is over, it seems that the struggle over what Greece is to become is not. Athena faces down the Furies in a debate that pits “the old ways” of tribal mysticism against the rising tide of an ever-more-political polytheistic confederation. In a way, the warriors are going through a similar transition as the more hidebound warriors chafe against archery (or the humdrum day-to-day responsibilities of military life, coming to replace the traditional “adventures” of the likes of Ulysses and Hercules).
I’m not an expert at the literature of Ancient Greece; before reading this book, I would have said I never much cared for it. Now that I’ve read the book, I remember the fascination that such mythological adventures held for me in childhood.
I was also happy to see that the tale was not all analytic and allegorical. I loved the easy common sense of Aigisthos, and admired his boundless love for the queen Clytemnestra. She won me over when she told him “It is as if you make my toes smile whenever I think of you.” I never stopped rooting for them.
October 15, 2016
Being familiar with the original story of Agamemnon and the Trojan War and after the war made it easier to put my mind in the time frame needed to understand the ways of post antediluvian mode of thinking. When reading such work it's difficult not to judge the character's actions by today's standard. I liked the new twists to the ancient story. He brought them to life as real living people who once existed. There are many different versions of this story. Older versions which I won't write here because that isn't what Mr. Tjoa is talking about. All in all, I think it is a great historical fictional literary work.
January 28, 2015
Agamemnon Must Die is a retelling of Aeschylus' Oresteia. I definitely recommend reading the author notes in front of the book if you are not that familiar with Greek mythology and works written about it. I am ashamed to say that the last time I really read something that dealt with Greek mythology was in my English 101 class in college. I had to take notes to make sure I could keep up with who was who and who killed who and why they killed them. It's a lot to keep up with if you do not know anything about Greek mythology.
I did thoroughly enjoy this book because it was more entertaining than it felt like getting a history lesson. Hock G. Tjoa definitely did his research and it shows in his writing. His characters are well-developed and you understand their motives and passions easily. Clytemnestra, Agamemnon's wife, has never been able to forgive Agamemnon for sacrificing their daughter Iphigenia by order of the gods during a time of war. She's very modern in her thinking that women are important too and shouldn't be treated as mere property. I really admired this about her character. When Aigisthos, Clytemnestra's lover while Agamemnon is off fighting Troy, reveals to her that he finally wants to avenge his brothers' deaths on behalf of his father they begin to formulate a plan to kill Agamemnon.
One thing I liked about this book is that it like most tragedies, there are no actions without consequences. Aigisthos and Clytemnestra planned on telling the elders they killed Agamemnon and then simply abdicating the throne and handing it over to Clytemnestra's son Orestes. Orestes and his sister Elecktra were sent to live with their aunt while their father was away fighting in Troy. Because he had been gone for so long, when they heard of their father's death, neither of them really knew how to feel. Neither of them really knew their father at all. Vengeance of their father's death had not crossed either of their minds until the god Apollo starts giving Orestes visions and terrible nightmares that are telling him to kill his mother. Orestes will is tested as he questions the gods.
As far as the actual writing of this book, I liked that it changed from different character points of view in order to give you a more rounded idea of the story. I felt like some things in the dialogue were more for the reader's benefit than the actual character but that didn't really bother me too much since I was grateful to be clued in on all of the Greek scandals. This was a great, fast paced read and I definitely recommend it to anyone interested in history, Greek mythology, or just a good scandalous story.
I received a copy of this book from the author in exchange for an honest review. Any thoughts and opinions are my own.
I did thoroughly enjoy this book because it was more entertaining than it felt like getting a history lesson. Hock G. Tjoa definitely did his research and it shows in his writing. His characters are well-developed and you understand their motives and passions easily. Clytemnestra, Agamemnon's wife, has never been able to forgive Agamemnon for sacrificing their daughter Iphigenia by order of the gods during a time of war. She's very modern in her thinking that women are important too and shouldn't be treated as mere property. I really admired this about her character. When Aigisthos, Clytemnestra's lover while Agamemnon is off fighting Troy, reveals to her that he finally wants to avenge his brothers' deaths on behalf of his father they begin to formulate a plan to kill Agamemnon.
One thing I liked about this book is that it like most tragedies, there are no actions without consequences. Aigisthos and Clytemnestra planned on telling the elders they killed Agamemnon and then simply abdicating the throne and handing it over to Clytemnestra's son Orestes. Orestes and his sister Elecktra were sent to live with their aunt while their father was away fighting in Troy. Because he had been gone for so long, when they heard of their father's death, neither of them really knew how to feel. Neither of them really knew their father at all. Vengeance of their father's death had not crossed either of their minds until the god Apollo starts giving Orestes visions and terrible nightmares that are telling him to kill his mother. Orestes will is tested as he questions the gods.
As far as the actual writing of this book, I liked that it changed from different character points of view in order to give you a more rounded idea of the story. I felt like some things in the dialogue were more for the reader's benefit than the actual character but that didn't really bother me too much since I was grateful to be clued in on all of the Greek scandals. This was a great, fast paced read and I definitely recommend it to anyone interested in history, Greek mythology, or just a good scandalous story.
I received a copy of this book from the author in exchange for an honest review. Any thoughts and opinions are my own.
September 13, 2016
To sail against Troy, Agamemnon sacrificed his virgin daughter Iphigenia. Ten years later, he returns victorious, hoping that Queen Clytemnestra has forgiven him. He is so wrong. The royal family of Mycenae has a bloody, monstrous history. Agamemnon returns with his war trophy, the Trojan Princess Cassandra whom he unthinkingly flaunts before his queen. After an epic sword fight in his own banquet hall, Agamemnon is killed. Cassandra has her nightmares/visions of the gory and unspeakable deeds of the House of Atreus; she is led away to be executed. Clytemnestra and her lover Aegisthus have their respective reasons, but this regicide must be avenged. Or so say the voices in Orestes’ head. He must avenge his father. He must kill the regicides. He must kill his own mother. But killing one’s own mother would break the greatest of ancient taboos and would result in even more voices in his head. Are they just voices? Can they be placated?
Agamemnon Must Die is a story about what happens after the Trojan War, not during. It tells the tale of Clytemnestra, who wanted revenge on Agamemnon, her husband, for killing their daughter Iphigenia, solely to appease the gods and get a good wind so they could set sail to Troy. I know, in our time, that’s pretty horrific. Who would do such a thing? However, back when people worshiped more than one god, people did things like that (though I still think it’s pretty insane, personally). Basically, the book is one tragic cycle after another.
.... read the rest @ BOOKS BY THE TON
December 14, 2014
I have only a very vague memory of Greek mythology as taught in school, but I do know it wasn’t such an entertaining read as this. I recommend, though, that you read the author’s preface about the main characters and draw yourself a family tree with a few notes before you start. Those Greek monarchs and their families led very turbulent lives. By the end I had arrows all over my diagram showing who killed whom, who were lovers, and who was seeking to avenge these murders and infidelities.
It is an interesting amalgam of the thoughts, motivations and actions of a group of hot-blooded men and women, their gods and the Furies. The author often uses dialogue to keep the reader informed of relationships and relevant history; at times I got the niggling feeling that one character was telling another things they would already know, just for the benefit of the reader, but it worked well enough for me. Overall the story was very well told, with excellent characterisation and some lovely, though short, descriptive passages.
There are very few typos, which is a pleasant change these days, but I did not like the frequent lack of correct paragraphing and suitable speech tags in much of the dialogue.
It is an interesting amalgam of the thoughts, motivations and actions of a group of hot-blooded men and women, their gods and the Furies. The author often uses dialogue to keep the reader informed of relationships and relevant history; at times I got the niggling feeling that one character was telling another things they would already know, just for the benefit of the reader, but it worked well enough for me. Overall the story was very well told, with excellent characterisation and some lovely, though short, descriptive passages.
There are very few typos, which is a pleasant change these days, but I did not like the frequent lack of correct paragraphing and suitable speech tags in much of the dialogue.
December 14, 2017
Greek Tragedy Reprised.
'O poor Orestes, I see Apollo will plague you with the noble ambition To avenge your father and your king.'
This is the classic story of 'The Oresteia' by Aeschylus retold in modern English. Orestes father Agamemnon had earned the hatred of his mother Clytemnestra because he had sacrificed their daughter. In revenge, Clytemnestra takes a lover and they plot to kill the king. When Orestes returns home from war he is torn by what he should do. Traditional honour means he should avenge his father, but that is not the path Orestes wants to take. Beset by gods and mortals, Orestes tries to make the right choice.
This is a very readable version of the story, recounting the key events and characters, but with a little liberty taken to allow them to become real people, not just heroes painted on an urn. The author explores well the issues confronting all the main characters involved and follows the events as they occur in the original text.
'Whoosh-pound, whoosh-pound, Patter-patter-boom, patter-boom, Panic, fear; fear, panic.'
But there were aspects I found made it hard to keep involved with the story. there were shifts from past to present tense and then strings of words - such as shown above - which for me added very little to the narrative and reduced it a little to farce in places. The writing slipped from reportage narrative to intimate dialogue and back again in a way I found a bit too abrupt.
I would recommend this to anyone who is interested in gaining an insight into 'The Orestia', but who feels intimidated by the drier translations available and would like to have something more approachable.
'O poor Orestes, I see Apollo will plague you with the noble ambition To avenge your father and your king.'
This is the classic story of 'The Oresteia' by Aeschylus retold in modern English. Orestes father Agamemnon had earned the hatred of his mother Clytemnestra because he had sacrificed their daughter. In revenge, Clytemnestra takes a lover and they plot to kill the king. When Orestes returns home from war he is torn by what he should do. Traditional honour means he should avenge his father, but that is not the path Orestes wants to take. Beset by gods and mortals, Orestes tries to make the right choice.
This is a very readable version of the story, recounting the key events and characters, but with a little liberty taken to allow them to become real people, not just heroes painted on an urn. The author explores well the issues confronting all the main characters involved and follows the events as they occur in the original text.
'Whoosh-pound, whoosh-pound, Patter-patter-boom, patter-boom, Panic, fear; fear, panic.'
But there were aspects I found made it hard to keep involved with the story. there were shifts from past to present tense and then strings of words - such as shown above - which for me added very little to the narrative and reduced it a little to farce in places. The writing slipped from reportage narrative to intimate dialogue and back again in a way I found a bit too abrupt.
I would recommend this to anyone who is interested in gaining an insight into 'The Orestia', but who feels intimidated by the drier translations available and would like to have something more approachable.
December 18, 2017
I really enjoy mythology, Greek or Norse, and I found this book to be both interesting and informative. A retelling of the story of Helen of Troy but from the perspective of the Queen that stayed behind in Greece, it was a fresh look at this well know tale. This is a story of love betrayed and the anger and animosity that remains for ever after in the hearts of those wronged. It demonstrates how retribution by the wronged can weave tendrils that reach out and drag in all of those around them with most unfortunate consequences.
I enjoyed Hock's style of writing and found it really drew me in to this story. There are very insightful descriptions of what goes on in the minds and hearts of both men and women in a stressful situation. There were some threads that were quite horrifying to me but they are certainly in line with my understanding of life in this era. Definitely a book worth reading.
I enjoyed Hock's style of writing and found it really drew me in to this story. There are very insightful descriptions of what goes on in the minds and hearts of both men and women in a stressful situation. There were some threads that were quite horrifying to me but they are certainly in line with my understanding of life in this era. Definitely a book worth reading.
August 18, 2016
Mehreen Ahmed's review
Agamemnon Must Die by Hock G Tjoa is based on a tale from Greek mythology. Pertaining to "strong lustful desires run in that family", the chain of events in the lead up to Agamemnon''s murder has been rehashed in this fascinating tale. Clytemnestra, the queen's conspiracy to kill Agamemnon is the central theme here. A plot was hatched to kill him after she welcomed him back from ten year long Trojan war on the carpet. This carpet was made out of the softest wool in lilac; "one that would cost the king's ransom". Her deeds, the anguish for Iphigenia and the affair with the cousin and murderer Aigisthos, were preceded by other similar stories of unholy affair between king Atreus's wife Aerope and his brother Thyestes. These events eventuated in a spiraling fury of hatred, jealousy, revenge and murderous rage in the Royal family of Mycenae.
Although such themes have already found their way into the readers minds; all about the Mt Olympus, negotiations/visitations with gods, nightmares, Prometheus stealing fire from Zeus, the beacon that epic readers know only too well, but the novelty lies in the mastery of this writer's style. The mystic thrashed out of various incidences. One example, being the captivating moment of the wise watchman typically conveying palace history to a young man.
The book refreshes those memories and provokes insatiable longings of the past. Lost gods, kings, the romantic legends are all tied up in their re-visitations here. However, the hearts of readers new and old alike will be captured just the same, as they experience the thrill of the palace intrigues, politics, with each tragic drama of the royal household unfolding to gruesome, often heinous acts of torture, revenge, murder, incest and conspiracy leading to even one's own flesh and blood, sons and daughters being killed and served as cooked meals at various feasts. Invoking a similar muse, set in the enchanted land of ancient Mycenae in Greece, these descriptions are a perfect fit to the monumental mythical profile with many of its twists and turns like the present day domino effect. A task both fascinating and lyrical, it is written, yet in every man and woman's word.
To do justice to this wonderful book, one must make a journey into the terrain of the gods and kings. A short review cannot fully encapsulate its essence.
Agamemnon Must Die by Hock G Tjoa is based on a tale from Greek mythology. Pertaining to "strong lustful desires run in that family", the chain of events in the lead up to Agamemnon''s murder has been rehashed in this fascinating tale. Clytemnestra, the queen's conspiracy to kill Agamemnon is the central theme here. A plot was hatched to kill him after she welcomed him back from ten year long Trojan war on the carpet. This carpet was made out of the softest wool in lilac; "one that would cost the king's ransom". Her deeds, the anguish for Iphigenia and the affair with the cousin and murderer Aigisthos, were preceded by other similar stories of unholy affair between king Atreus's wife Aerope and his brother Thyestes. These events eventuated in a spiraling fury of hatred, jealousy, revenge and murderous rage in the Royal family of Mycenae.
Although such themes have already found their way into the readers minds; all about the Mt Olympus, negotiations/visitations with gods, nightmares, Prometheus stealing fire from Zeus, the beacon that epic readers know only too well, but the novelty lies in the mastery of this writer's style. The mystic thrashed out of various incidences. One example, being the captivating moment of the wise watchman typically conveying palace history to a young man.
The book refreshes those memories and provokes insatiable longings of the past. Lost gods, kings, the romantic legends are all tied up in their re-visitations here. However, the hearts of readers new and old alike will be captured just the same, as they experience the thrill of the palace intrigues, politics, with each tragic drama of the royal household unfolding to gruesome, often heinous acts of torture, revenge, murder, incest and conspiracy leading to even one's own flesh and blood, sons and daughters being killed and served as cooked meals at various feasts. Invoking a similar muse, set in the enchanted land of ancient Mycenae in Greece, these descriptions are a perfect fit to the monumental mythical profile with many of its twists and turns like the present day domino effect. A task both fascinating and lyrical, it is written, yet in every man and woman's word.
To do justice to this wonderful book, one must make a journey into the terrain of the gods and kings. A short review cannot fully encapsulate its essence.
November 17, 2014
Based on the trilogy “Oresteia” from Greek mythology, “Agamemnon Must Die” is a superbly-written retelling of the tale. The author combines verse with narrative in an effective way that is relatable to 21st Century audiences.
The book opens with the night watchman, an everyman, mentoring his nephew, the herald. It’s an effective way to introduce the reader to the characters and story backgrounds. He tells his nephew: “As for those who live mostly for the fighting and the killing, I have heard of such men, and may have known a few in my time. But I am not one of them.” He fell silent as if lost in a dark memory out of which he soon shook himself, “Now I’m off for the comfort of my good wife and some sleep.”
While revenge, lust and power define many of the characters, the watchman has found his happiness in the simpler life. More wise words from the happy watchman that ring true in today’s society as well: “Our society has taboos about such doings, although it seems to tolerate an unfair burden of violence to girls. I only have sons, but I envy the devotion of their wives to their parents.”
The author switches from points of view – the watchman, Clytemnestra, Agathon, Orestes, etc. – with distinct thought processes and voice for all. Strong-willed Clytemnestra is ahead of her time declaring: “What do you call your father’s actions with Cassandra and those before her—the camp followers and trophies of war?” shouted his mother in reply. “You men think that only women can be found guilty of adultery!”
I am not informed or well-read in Greek mythology, but I could appreciate the quality of the writing of this book. The author’s setting, dialog and tone all hit the mark. I think readers of Greek mythology will embrace this book, and I think people unfamiliar with it will find it an effective introduction to it.
I was given a pdf copy of this book by the author for a review group.
The book opens with the night watchman, an everyman, mentoring his nephew, the herald. It’s an effective way to introduce the reader to the characters and story backgrounds. He tells his nephew: “As for those who live mostly for the fighting and the killing, I have heard of such men, and may have known a few in my time. But I am not one of them.” He fell silent as if lost in a dark memory out of which he soon shook himself, “Now I’m off for the comfort of my good wife and some sleep.”
While revenge, lust and power define many of the characters, the watchman has found his happiness in the simpler life. More wise words from the happy watchman that ring true in today’s society as well: “Our society has taboos about such doings, although it seems to tolerate an unfair burden of violence to girls. I only have sons, but I envy the devotion of their wives to their parents.”
The author switches from points of view – the watchman, Clytemnestra, Agathon, Orestes, etc. – with distinct thought processes and voice for all. Strong-willed Clytemnestra is ahead of her time declaring: “What do you call your father’s actions with Cassandra and those before her—the camp followers and trophies of war?” shouted his mother in reply. “You men think that only women can be found guilty of adultery!”
I am not informed or well-read in Greek mythology, but I could appreciate the quality of the writing of this book. The author’s setting, dialog and tone all hit the mark. I think readers of Greek mythology will embrace this book, and I think people unfamiliar with it will find it an effective introduction to it.
I was given a pdf copy of this book by the author for a review group.
December 28, 2014
Majestic. Violent. Straightforward. Tjoa casts a spell with wonderful verses that bespoke of vengeful gods, larger-than-life characters and their terrible fates.
In ‘Agamemnon Must Die’, a stage is set for the death of a king- who sacrificed his daughter for a successful journey across the sea- at the hands of his wife-queen who will be avenged by their own son, who in turn will have to face Apollo, Furies and Athena before he can have a happy ending - i.e. live and be a king - without his beloved lover-prince who chooses to marry a girl instead. It’s ‘All My Children’ over-the-top soap, greek-style!
In classic mythology fashion, it does not matter that the poor King won a long war and has a successful triumphant return - he will be bumped off nonetheless; that his concubine (war trophy) spurred the advances of a God and has premonitions of blood baths in the castle - all that virtuosity and apparition is of no use to her; that the wife-queen, so ‘Lady Macbeth‘ is her maneuvers will be rendered helpless infront of her own son Orestes; that her own lover-wannabe king will not even have his place under the sun after all; It does not even matter that you make your peace with one God - somehow you’ve managed to displease another one! As one character (Uncle) says in the beginning “Human happiness invites the jealousy of the gods”. It’s all fatalistic, pre-ordained and only ends when a God lays down the law (pun intended) that all future problems will be dealt with by a jury of twelve men, not a king or queen or their children and their sword-fighting skills.
In mythology, everyone is fit, prime, beautiful, dark, ready, epitome of physical, intellectual perfection - it is their deeds and hearts that sets them apart - wily men, vengeful women, nature of relationships, truths, gloom, doom, all are explored.
Enjoyable read.
I received a free copy of the book in exchange for a fair, unbiased and non-reciprocal review.
In ‘Agamemnon Must Die’, a stage is set for the death of a king- who sacrificed his daughter for a successful journey across the sea- at the hands of his wife-queen who will be avenged by their own son, who in turn will have to face Apollo, Furies and Athena before he can have a happy ending - i.e. live and be a king - without his beloved lover-prince who chooses to marry a girl instead. It’s ‘All My Children’ over-the-top soap, greek-style!
In classic mythology fashion, it does not matter that the poor King won a long war and has a successful triumphant return - he will be bumped off nonetheless; that his concubine (war trophy) spurred the advances of a God and has premonitions of blood baths in the castle - all that virtuosity and apparition is of no use to her; that the wife-queen, so ‘Lady Macbeth‘ is her maneuvers will be rendered helpless infront of her own son Orestes; that her own lover-wannabe king will not even have his place under the sun after all; It does not even matter that you make your peace with one God - somehow you’ve managed to displease another one! As one character (Uncle) says in the beginning “Human happiness invites the jealousy of the gods”. It’s all fatalistic, pre-ordained and only ends when a God lays down the law (pun intended) that all future problems will be dealt with by a jury of twelve men, not a king or queen or their children and their sword-fighting skills.
In mythology, everyone is fit, prime, beautiful, dark, ready, epitome of physical, intellectual perfection - it is their deeds and hearts that sets them apart - wily men, vengeful women, nature of relationships, truths, gloom, doom, all are explored.
Enjoyable read.
I received a free copy of the book in exchange for a fair, unbiased and non-reciprocal review.
August 10, 2015
This book is about the Greek story of Agamemnon, the man who sailed to Troy with his army to pursue Helena (his brother’s wife) and Paris (her seducer). A retelling of the tale, it adheres faithfully to the events.
In the prologue we see Agamemnon sacrifice his own daughter so the gods will allow him to sail to war – and his wife Clytemnestra’s resultant rage. The story then switches to the end of the ten year war, when Agamemnon returns.
In his long absence, his wife has found solace in the arms of his cousin, Aigisthos. Agamemnon has in fact as brought home a captive princess for himself, so we waste little time feeling sorry for him. He wishes to be welcomed as a hero, having won his war, but few would count it a victory. Only one ship returns of the thousand that sailed.
His wife has never forgiven him for her daughter’s death, and pushes Aigisthos to take her vengeance. When the two men fight and the outcome is uncertain, the wife herself insures Agamemnon dies.
Orestes, Agamemnon’s son, and Elektra, his daughter, were sent away to live with an aunt. After their father dies, Aigisthos insists that himself and Clytemnestra will vacate the throne whenever Orestes chooses to return and claim it. But in the way of Greek gods, Apollo cannot forgive Clytemnestra’s role in slaying her husband. He hounds Orestes to kill his own mother -- a horrible crime the boy does not want to do.
If you like Greek Mythology, with its capricious gods and tragic heroes, this is a nice read. The author brings the characters to life, capturing the tragedy that seems to run through the lives of those the gods touch. And if you’re required to know this for class – you might find this a pleasant option.
In the prologue we see Agamemnon sacrifice his own daughter so the gods will allow him to sail to war – and his wife Clytemnestra’s resultant rage. The story then switches to the end of the ten year war, when Agamemnon returns.
In his long absence, his wife has found solace in the arms of his cousin, Aigisthos. Agamemnon has in fact as brought home a captive princess for himself, so we waste little time feeling sorry for him. He wishes to be welcomed as a hero, having won his war, but few would count it a victory. Only one ship returns of the thousand that sailed.
His wife has never forgiven him for her daughter’s death, and pushes Aigisthos to take her vengeance. When the two men fight and the outcome is uncertain, the wife herself insures Agamemnon dies.
Orestes, Agamemnon’s son, and Elektra, his daughter, were sent away to live with an aunt. After their father dies, Aigisthos insists that himself and Clytemnestra will vacate the throne whenever Orestes chooses to return and claim it. But in the way of Greek gods, Apollo cannot forgive Clytemnestra’s role in slaying her husband. He hounds Orestes to kill his own mother -- a horrible crime the boy does not want to do.
If you like Greek Mythology, with its capricious gods and tragic heroes, this is a nice read. The author brings the characters to life, capturing the tragedy that seems to run through the lives of those the gods touch. And if you’re required to know this for class – you might find this a pleasant option.
September 28, 2019
The story by , Hock G. Tjoa was a rewrite of Aeschylus' Oresteiathe trilogy.
The tale was based on Greek Mythology and took place in ancient Greece.Without giving anything away or spoiling it for you.
The story took time to develop also with me not much of a scholar on Greek mythology .Some of the characters were hard to make a connection or follow.
Overall the book was written well very detailed and you could see that Hock G. Tjoa really was really well informed and that came accross in his writing.The book just may not be appealing to everyone that is why i gave 4 stars.
January 29, 2015
I rated this 4 stars. I was thoroughly engaged by a large part of this writing. I found the retelling of the legendary heroes of Greece captivating, but then I've always been interested in anything to do with that period of classic history (whether myth or not).
The author is clearly well educated and expert in this field and does a good job with the main characters, Aigisthos, Clytemnestra and Agamemnon, and weaves in mini-stories of Helen and Paris, Hector and Achilles, the Gods and others to provide a rich tapestry. The writing itself is of a high standard.
The reasons I didn't give this 5 stars were that some of the dialogue seemed to me to be out of context and the story petered out towards the end. I'd like to have seen a little more development of the tale of Orestes's adventures in Athens. Also, there were one or two sections where nothing much happens and these could have been omitted without harming the story.
I thoroughly enjoyed reading this book and would recommend it to anyone with an interest in well written tales of Greek Gods and Heroes.
Please note, I was provided with a copy of this book in return for an honest review.
The author is clearly well educated and expert in this field and does a good job with the main characters, Aigisthos, Clytemnestra and Agamemnon, and weaves in mini-stories of Helen and Paris, Hector and Achilles, the Gods and others to provide a rich tapestry. The writing itself is of a high standard.
The reasons I didn't give this 5 stars were that some of the dialogue seemed to me to be out of context and the story petered out towards the end. I'd like to have seen a little more development of the tale of Orestes's adventures in Athens. Also, there were one or two sections where nothing much happens and these could have been omitted without harming the story.
I thoroughly enjoyed reading this book and would recommend it to anyone with an interest in well written tales of Greek Gods and Heroes.
Please note, I was provided with a copy of this book in return for an honest review.
January 26, 2015
I was given this book in exchange for an honest review.
Mythology is hard to review because the reviewer has to be knowledgeable and passionate about it to understand what’s going on. You have to know the characters and their back stories before you even jump into the story. This was my main frustration with this book, but it’s a frustration that dates back to when I had to read the Odyssey in class a long time ago.
While the story was sound, I had no idea who most of the characters were and there was no time for me to get to know them and connect with them before they were thrust into action. Although for the action I could follow, I thought it was engaging.
There were times I thought the language was clunky and way too fragmented. I think the author could’ve broken some of the longer sentences up. This would’ve helped the reader digest the information in small segments rather than get lost in a sea of words.
Overall a sound story. I just wish I could’ve enjoyed it the way it was intended.
Mythology is hard to review because the reviewer has to be knowledgeable and passionate about it to understand what’s going on. You have to know the characters and their back stories before you even jump into the story. This was my main frustration with this book, but it’s a frustration that dates back to when I had to read the Odyssey in class a long time ago.
While the story was sound, I had no idea who most of the characters were and there was no time for me to get to know them and connect with them before they were thrust into action. Although for the action I could follow, I thought it was engaging.
There were times I thought the language was clunky and way too fragmented. I think the author could’ve broken some of the longer sentences up. This would’ve helped the reader digest the information in small segments rather than get lost in a sea of words.
Overall a sound story. I just wish I could’ve enjoyed it the way it was intended.
December 28, 2014
I'm a big fan of greek mythology. My favorite god is zeus, and then maybe poseidon and Ares. So when I read the description of this book and it says it is about a greek myth, I was excited. And as expected, this book didn't disappoint. It is well written and the brilliance and knowledge of the author can be seen throughout the pages of the book. You can easily tell the author has done his research well and knows exactly what he's talking about. The dialogue and the language is well written to match the time.
However, while reading, it can be confusing to know or remember who is killing who and who is avenging who. Also, the book reads more like a history book, not entertainment. I think he can do more by adding more life and excitement for the characters and add more drama to their lives.
Above all, I enjoy reading this book. And I would gladly recommend for lovers of ancient stories and greek myth.
However, while reading, it can be confusing to know or remember who is killing who and who is avenging who. Also, the book reads more like a history book, not entertainment. I think he can do more by adding more life and excitement for the characters and add more drama to their lives.
Above all, I enjoy reading this book. And I would gladly recommend for lovers of ancient stories and greek myth.
February 16, 2015
It combined a trilogy verse that was a play narrated with both mortals & Gods/Goddesses.
I did not receive any type of compensation for reading & reviewing this book. While I receive free books from publishers & authors, I am under no obligation to write a positive review. Only an honest one.
A very awesome book cover, great font & writing style. A very well
written historical Greek mythology book. It was very easy for me to read/follow from start/finish & never a dull moment. There were no grammar/typo errors, nor any repetitive or out of line sequence sentences. Lots of exciting scenarios, with several twists/turns & a great set of unique characters to keep track of. This could also make another great Greek mythology movie, animated cartoon, PP presentation or mini TV series (A & E, History channel). It was just OK for me so I will rate it at 4/5 stars.
Thank you for the free Goodreads; Making Connections Group; Author; PDF book
Tony Parsons MSW (Washburn)
I did not receive any type of compensation for reading & reviewing this book. While I receive free books from publishers & authors, I am under no obligation to write a positive review. Only an honest one.
A very awesome book cover, great font & writing style. A very well
written historical Greek mythology book. It was very easy for me to read/follow from start/finish & never a dull moment. There were no grammar/typo errors, nor any repetitive or out of line sequence sentences. Lots of exciting scenarios, with several twists/turns & a great set of unique characters to keep track of. This could also make another great Greek mythology movie, animated cartoon, PP presentation or mini TV series (A & E, History channel). It was just OK for me so I will rate it at 4/5 stars.
Thank you for the free Goodreads; Making Connections Group; Author; PDF book
Tony Parsons MSW (Washburn)
January 28, 2015
The ancient Greek playwright Aeschylus has been hailed by many as the founding father of the modern tragedy genre with works arguably rivaling those of Sophocles and Euripides. Perhaps the most prominent of these works was the Oresteia trilogy; a literary triumph that would not be done justice by a writer inferior to the talents of Hock G. Tjoa.
Tjoa's take on this classical tale of sacrifice, love and vengenance perfectly complements the original Greek text in a way that makes it ideal for begineers seeking to gain an understanding of Oresteia but also for experts wishing to investigate interpretations of fellow scholars.
A succinct tale of greed, love and godly power in ancient Greece which I would recommend to anyone interested in a quick but engrossing read. My only regret is that it wasn't longer!
-Brownell
Tjoa's take on this classical tale of sacrifice, love and vengenance perfectly complements the original Greek text in a way that makes it ideal for begineers seeking to gain an understanding of Oresteia but also for experts wishing to investigate interpretations of fellow scholars.
A succinct tale of greed, love and godly power in ancient Greece which I would recommend to anyone interested in a quick but engrossing read. My only regret is that it wasn't longer!
-Brownell
July 11, 2016
I liked the book, it was well plotted starting by the old watchman. Though I have never read any ancient story; this one looked great which grabbed my attention while reading. Everything was defined nicely and smoothly but I wished to know more about Agamemnon- the name of the book itself is enough to gather a group of curious people. I was so immersed into it that i didn't realize that i had finished 11 chapters very fast,uninterrupted. Clytemnestra was successful in her revenge!
Overall it was a whole new experience for me, getting introduced to this genre. Honestly, reading the book was a great pleasure for me and I enjoyed every chapter of it.I hope to get more like this!
Overall it was a whole new experience for me, getting introduced to this genre. Honestly, reading the book was a great pleasure for me and I enjoyed every chapter of it.I hope to get more like this!
February 18, 2018
I have heard of Agamemnon, Helen, and Clytemnestra before, but had never read any Greek tragedies or legends before. While this book is very different than what I usually read, I found it to be a very interesting read. This book has a large cast of characters and I sometimes had a slightly hard time trying to keep straight in my mind who they all were, but for the most part this book was pretty easy to follow. It was quite interesting to read about the different Greek gods and goddesses shown and mentioned in this book, and I can definitely understand why so many people are fascinated with Greek legends and myths, as it is certainly a completely fascinating subject. This book was very well written, I loved the authors' writing style and the fact that this book was written in a very easy to read way!
There are a couple of brief non-detailed sex scenes in this book, as well as a few instances of violence, but otherwise it is a pretty clean read.
This book was definitely a bit outside my reading comfort zone, but I very much enjoyed reading it and look forward to reading more of this authors' work in the future.
There are a couple of brief non-detailed sex scenes in this book, as well as a few instances of violence, but otherwise it is a pretty clean read.
This book was definitely a bit outside my reading comfort zone, but I very much enjoyed reading it and look forward to reading more of this authors' work in the future.
April 11, 2018
Agamemnon Must Die is a dark story about a corrupt royal family. The opening scene of the father killing his daughter before the court is outstandingly written, but off-putting to readers who may not like a lot of violence in their stories, like me. But this bloody scene is only the beginning of a distressing tale in which not only must Agamemnon must die, but pretty much everyone else too. It reminded me of Shakespeare's Titus Andronicus story, and I found the book a little repulsive.
That being said, the writing is superb, and the characters, though reprehensible, are described with prose nearing poetry at times. If nothing else, this tale is a fine example of the writing craft.
That being said, the writing is superb, and the characters, though reprehensible, are described with prose nearing poetry at times. If nothing else, this tale is a fine example of the writing craft.
This entire review has been hidden because of spoilers.
December 9, 2016
This book is a retelling of "The Oresteia", by Aeschylus. The fundamental question for such a book is "why?" What does this book do that The Oresteia doesn't? For me, the answer is "not much", but I realized too late that I'm not the target audience. I'm a big fan of the Classical world, and I already understand pretty well the mythology, as well as the historical and philosophical issues the plays deal with. As such, perhaps I am unable to appreciate what are probably this book's greatest strengths.
I think Tjoa's goal is to bring classic tales to a modern audience who might find the actual Oresteia a bit difficult for some reason. Perhaps this book will make the Oresteia more accessible, interesting, and lively to people who are not already familiar with the tales and their historical and mythological context. I cannot comment for such people beyond saying that the Oresteia is a really great and interesting story, and this is a pretty faithful overview that also does a good job of explaining the issues that Aeschylus' audience may have simply taken for granted. If you're interested in the Oresteia, but find the trilogy of plays daunting, this is a fine place to start.
Nevertheless, I had a few complaints: First off, I didn't particularly like the characters. One reviewer described this as "The Xanax version of 13th century B.C. Greece." She complained that "everyone is so reasonable and sympathetic." When I read this, I thought to myself "That's the beauty of the Oresteia! Everyone has a really good reason for his or her actions. Everyone has a great point! Agamemnon has a point. Clytemnestra has a point. Aegisthos has a point. Orestes has a point. The Furies have a point. Apollo has a point. Even Athena has a point. All these characters choose their respective paths with very good reason, and the very difficulty of their unspeakable choices creates great drama as we sympathize with their dilemmas and wonder what each will do, and how they will respond to the others.
But as I read this story, I came to believe that this reviewer was absolutely right. About the Xanax comment. She is right precisely for the reason I thought she was wrong. Everyone in this play is in a very difficult position, but I don't think this book does a great job at expressing how terrible their dilemmas are.
Take, for example, Agamemnon. The author has no sympathy for Agamemnon. Agamemnon faced a terrible conflict between his duties as King, brother, and subject of the Gods on the one hand, and his duties as husband and father on the other hand. Tjoa completely ignores this drama to make Agamemnon a sort of cartoon villain. There's a line or two about needing to sacrifice a virgin, and the other chieftains won't sacrifice anybody, so he has to, but there's no sense of the wrenching decision he had to make. After sacrificing his daughter for a fair wind, Agamemnon's only thought is to look lustfully at his wife's boobs then launch the fleet for Troy.
Some may argue that this book isn't about Agamemnon, the same issue crops up with other characters as well. Aigisthos is sappily sweet. He's portrayed in such an insanely good light that it's almost like Aigisthos hired a PR firm to write a book to make him look like a Saint. I mean we are talking "Kim Jong" levels of hagiography.
This might not be a big deal if he weren't central to the conflict of the book. He and the adulterous queen have murdered the king! He is called "the usurper," but doesn't act like one. He and Clytemnestra exercise no power to protect themselves from the impending wrath of Orestes and Electra. They just sort of wait around, meekly offering the throne until Orestes comes and murders them without even a fight.
That's how everybody is. Clytemnestra is the most passionate person in the book, but still doesn't do anything to stop Orestes. Everyone just kind of meekly accepts their fate, like they all just know the ending of the play and are waiting for it all to play out. Nobody seems all that interested in what they have to do. Orestes doesn't seem to want to kill his mom or even rule Mycenae. He just wants to make out with his boyfriend. Pretty much nobody seems to have their heart in the driving events of this book except Clytemnestra and Aigisthos wanting to kill the king, which I guess explains why it's called "Agamemnon Must Die", but that even is over rather early. The rest of the play, the characters' hearts aren't in what they're doing.
I should add, in closing, that Tjoa is pretty faithful to the source material, and he does a good job of going over the historical and philosophical issues of the plays.
I think Tjoa's goal is to bring classic tales to a modern audience who might find the actual Oresteia a bit difficult for some reason. Perhaps this book will make the Oresteia more accessible, interesting, and lively to people who are not already familiar with the tales and their historical and mythological context. I cannot comment for such people beyond saying that the Oresteia is a really great and interesting story, and this is a pretty faithful overview that also does a good job of explaining the issues that Aeschylus' audience may have simply taken for granted. If you're interested in the Oresteia, but find the trilogy of plays daunting, this is a fine place to start.
Nevertheless, I had a few complaints: First off, I didn't particularly like the characters. One reviewer described this as "The Xanax version of 13th century B.C. Greece." She complained that "everyone is so reasonable and sympathetic." When I read this, I thought to myself "That's the beauty of the Oresteia! Everyone has a really good reason for his or her actions. Everyone has a great point! Agamemnon has a point. Clytemnestra has a point. Aegisthos has a point. Orestes has a point. The Furies have a point. Apollo has a point. Even Athena has a point. All these characters choose their respective paths with very good reason, and the very difficulty of their unspeakable choices creates great drama as we sympathize with their dilemmas and wonder what each will do, and how they will respond to the others.
But as I read this story, I came to believe that this reviewer was absolutely right. About the Xanax comment. She is right precisely for the reason I thought she was wrong. Everyone in this play is in a very difficult position, but I don't think this book does a great job at expressing how terrible their dilemmas are.
Take, for example, Agamemnon. The author has no sympathy for Agamemnon. Agamemnon faced a terrible conflict between his duties as King, brother, and subject of the Gods on the one hand, and his duties as husband and father on the other hand. Tjoa completely ignores this drama to make Agamemnon a sort of cartoon villain. There's a line or two about needing to sacrifice a virgin, and the other chieftains won't sacrifice anybody, so he has to, but there's no sense of the wrenching decision he had to make. After sacrificing his daughter for a fair wind, Agamemnon's only thought is to look lustfully at his wife's boobs then launch the fleet for Troy.
Some may argue that this book isn't about Agamemnon, the same issue crops up with other characters as well. Aigisthos is sappily sweet. He's portrayed in such an insanely good light that it's almost like Aigisthos hired a PR firm to write a book to make him look like a Saint. I mean we are talking "Kim Jong" levels of hagiography.
This might not be a big deal if he weren't central to the conflict of the book. He and the adulterous queen have murdered the king! He is called "the usurper," but doesn't act like one. He and Clytemnestra exercise no power to protect themselves from the impending wrath of Orestes and Electra. They just sort of wait around, meekly offering the throne until Orestes comes and murders them without even a fight.
That's how everybody is. Clytemnestra is the most passionate person in the book, but still doesn't do anything to stop Orestes. Everyone just kind of meekly accepts their fate, like they all just know the ending of the play and are waiting for it all to play out. Nobody seems all that interested in what they have to do. Orestes doesn't seem to want to kill his mom or even rule Mycenae. He just wants to make out with his boyfriend. Pretty much nobody seems to have their heart in the driving events of this book except Clytemnestra and Aigisthos wanting to kill the king, which I guess explains why it's called "Agamemnon Must Die", but that even is over rather early. The rest of the play, the characters' hearts aren't in what they're doing.
I should add, in closing, that Tjoa is pretty faithful to the source material, and he does a good job of going over the historical and philosophical issues of the plays.
November 29, 2014
This is the story of what happens when King Agamemnon returns from the Greek conquest of Troy.
For ten years, his queen Clytemnestra has been nursing her hatred of Agamemnon for sacrificing their daughter Iphigenia at the beginning of the Trojan campaign. In her husband's long absence, she has taken his cousin Aigisthos as her consort. Aigisthos loves her unconditionally and is easily persuaded to help her kill the king.
After the deed is done, the story becomes that of Orestes, son of Agamemnon and heir to the throne. Honour and tradition require him to avenge himself on his father's killers, but is it really in his nature to do so?
In this re-telling of the tale, all of the characteristics of Greek tragedy are faithfully preserved. Mortal heroes and heroines struggle to reconcile lofty ambitions, innate character flaws, and the dictates of love, while immortal gods and goddesses manipulate them to further their own schemes and petty squabbles.
However, that is not all there is to the novel; the central storyline is overlaid with subtle facets which engage the reader on different levels. For example, Aigisthos' backstory makes him a noble character whose motives the reader can sympathise with. And Orestes' inner struggle is what makes him susceptible to Apollo's attempts to coerce him to act contrary to his nature.
The supernatural element of the story is prefaced by some of the mortals openly questioning society's belief in the literal existence of the gods. This gives the reader an insight into what motivates the likes of Apollo, Hermes, and the Furies to compel mortals to do their bidding. The gods' very existence is at stake; if the values and traditions that define them are abandoned, they themselves will fade into oblivion.
This theme culminates in an enthralling debate between the Furies, who want to maintain the power of the gods, and Athena, who wants to end the cycle of violence begun by Agamemnon's murder of his own daughter. Athena's stance is a fascinating one; in proposing to supplant the supreme authority of the gods with the rule of law, she is advocating her own eventual demise. The Furies' make an apposite observation in response: "This is too new for us. We grasp not the reason nor the desired outcome. Do you think to make men good by enacting more laws?"
Good question.
Good story.
(I received a free copy of this story in exchange for an honest, non-reciprocal review.)
For ten years, his queen Clytemnestra has been nursing her hatred of Agamemnon for sacrificing their daughter Iphigenia at the beginning of the Trojan campaign. In her husband's long absence, she has taken his cousin Aigisthos as her consort. Aigisthos loves her unconditionally and is easily persuaded to help her kill the king.
After the deed is done, the story becomes that of Orestes, son of Agamemnon and heir to the throne. Honour and tradition require him to avenge himself on his father's killers, but is it really in his nature to do so?
In this re-telling of the tale, all of the characteristics of Greek tragedy are faithfully preserved. Mortal heroes and heroines struggle to reconcile lofty ambitions, innate character flaws, and the dictates of love, while immortal gods and goddesses manipulate them to further their own schemes and petty squabbles.
However, that is not all there is to the novel; the central storyline is overlaid with subtle facets which engage the reader on different levels. For example, Aigisthos' backstory makes him a noble character whose motives the reader can sympathise with. And Orestes' inner struggle is what makes him susceptible to Apollo's attempts to coerce him to act contrary to his nature.
The supernatural element of the story is prefaced by some of the mortals openly questioning society's belief in the literal existence of the gods. This gives the reader an insight into what motivates the likes of Apollo, Hermes, and the Furies to compel mortals to do their bidding. The gods' very existence is at stake; if the values and traditions that define them are abandoned, they themselves will fade into oblivion.
This theme culminates in an enthralling debate between the Furies, who want to maintain the power of the gods, and Athena, who wants to end the cycle of violence begun by Agamemnon's murder of his own daughter. Athena's stance is a fascinating one; in proposing to supplant the supreme authority of the gods with the rule of law, she is advocating her own eventual demise. The Furies' make an apposite observation in response: "This is too new for us. We grasp not the reason nor the desired outcome. Do you think to make men good by enacting more laws?"
Good question.
Good story.
(I received a free copy of this story in exchange for an honest, non-reciprocal review.)
May 19, 2015
Agamemnon Must Die is a well written book. The prose is lyrical and descriptive and the writing is very good. The narrative appears to be based on Greek mythology, but aside from watching The 300, I am relatively ignorant of Greek history and mythology.
The tale starts out being told by an old watchman to his son, a herald, about the goings on in the royal family they both serve. The palace occupants are seething with intrigue; tales of conspiracies, infanticide, cannibalism, incest, rape are told as if not exactly normal, than as an accepted part of their royal lives.
Everyone is awaiting the arrival of the King after his army's victory in battle over the Trojans and they all exchange stories of Agamemnon and his father's deeds and misdeeds. The king returns with a beautiful female captive, heavy with his child, who is also an oracle. The queen, and her lover, the King's cousin, decide that for various misdeeds, the king and his captive must be killed.
I had a hard time following the storyline as various parties relay tales of depravities and intrigue constantly and It didn't hold my attention as the buildup to the climax is largely told rather shown. Additionally, and there is so much told calamity that it's hard to remember who raped, murdered or cannibalized who.
There is a lot of talk and not a lot of action; some of the latter is even punctuated by talk or deep thoughts that seem unlikely to occur in battle. My preference is to have more action with my action. In my opinion, the author should have done more showing and less telling. There are a few fleeting moments when he does this; like when the Queen throws a cape over Agamemnon's head, thus blinding him in the middle of a sword fight. it's an awesome scene as it caused me to accurately visualize what transpired. Unfortunately, there is not enough of this.
There is dialog that occurs between the two combatants during the sword fight that makes me think of an old Errol Flynn movie where the two swordsmen locked in combat make threatening and witty quips to each other in between parries. It's hard to believe two Bronze Age warriors throwing heavy sword blows would have the energy to engage in such banter.
I've reviewed another of the author's books and his writing is solid. What I feel it lacks is the ability to sufficiently excite his audience. However, that being said, if you're a fan of tales of palace intrigue such as Game of Thrones, you'll probably like this book.
The tale starts out being told by an old watchman to his son, a herald, about the goings on in the royal family they both serve. The palace occupants are seething with intrigue; tales of conspiracies, infanticide, cannibalism, incest, rape are told as if not exactly normal, than as an accepted part of their royal lives.
Everyone is awaiting the arrival of the King after his army's victory in battle over the Trojans and they all exchange stories of Agamemnon and his father's deeds and misdeeds. The king returns with a beautiful female captive, heavy with his child, who is also an oracle. The queen, and her lover, the King's cousin, decide that for various misdeeds, the king and his captive must be killed.
I had a hard time following the storyline as various parties relay tales of depravities and intrigue constantly and It didn't hold my attention as the buildup to the climax is largely told rather shown. Additionally, and there is so much told calamity that it's hard to remember who raped, murdered or cannibalized who.
There is a lot of talk and not a lot of action; some of the latter is even punctuated by talk or deep thoughts that seem unlikely to occur in battle. My preference is to have more action with my action. In my opinion, the author should have done more showing and less telling. There are a few fleeting moments when he does this; like when the Queen throws a cape over Agamemnon's head, thus blinding him in the middle of a sword fight. it's an awesome scene as it caused me to accurately visualize what transpired. Unfortunately, there is not enough of this.
There is dialog that occurs between the two combatants during the sword fight that makes me think of an old Errol Flynn movie where the two swordsmen locked in combat make threatening and witty quips to each other in between parries. It's hard to believe two Bronze Age warriors throwing heavy sword blows would have the energy to engage in such banter.
I've reviewed another of the author's books and his writing is solid. What I feel it lacks is the ability to sufficiently excite his audience. However, that being said, if you're a fan of tales of palace intrigue such as Game of Thrones, you'll probably like this book.
March 20, 2016
I would like to thank the author for offering this book in exchange for an honest review.
I found the story to follow along a swift path. Here is a retelling of an ancient Greek myth. The story of Agamemnon and his death by his wife and lover. It is full of revenge and atrocities. I myself sided with Clytemnestra after all Agamemnon killed her daughter. As a mother I can empathize with the pain she would have suffered when her bright beautiful young girl was killed. I feel he had it coming.
Orestes the son of Agamemnon, is allowed to grow up and when he is a young man Apollo forces him to kill his mother in revenge of his father. I say force because Orestes had no qualms with his mother and her new husband. Since her husband was allowed revenge for the death of his brothers on the son of the king who had done the horrific deed of killing and feeding them to his father, he was not the target of Apollo wrath. But Clytemnestra had inflicted the first blow that made it easy for her lover to kill the king. Apollo forces Orestes by sending him nightmares and terrible headaches.When he questions Apollo later at his temple at Delphi, Apollo punishes him with such pain that he is left prostate for a week.
The whole affair with Orestes and Pylades his cousin speaks to me of incest. The fact that these two young men are allowed to become lovers is at odds with society today. Then the ending with his sister marrying his lover and her cousin also is strange and typical of the practices ascribed to the ancient Greeks.
I really believe the furies were in the right, what Apollo says about the role of the mother carrying a seed for a short time is childish and arrogant. A mother is more than a vessel, she carries that child and nourishes and protects it. She breastfeed and teaches that child to be a part of her society, sure the father is part of that circle but his role is later in life once the child learns to walk and talk in that ancient society. To kill his mother was a pollution on his soul, no one should ever kill their mother the way he did, and not have to pay for it now or later.
I found the story to be thought-provoking. Well worth reading, a quick and concise adaption.
I found the story to follow along a swift path. Here is a retelling of an ancient Greek myth. The story of Agamemnon and his death by his wife and lover. It is full of revenge and atrocities. I myself sided with Clytemnestra after all Agamemnon killed her daughter. As a mother I can empathize with the pain she would have suffered when her bright beautiful young girl was killed. I feel he had it coming.
Orestes the son of Agamemnon, is allowed to grow up and when he is a young man Apollo forces him to kill his mother in revenge of his father. I say force because Orestes had no qualms with his mother and her new husband. Since her husband was allowed revenge for the death of his brothers on the son of the king who had done the horrific deed of killing and feeding them to his father, he was not the target of Apollo wrath. But Clytemnestra had inflicted the first blow that made it easy for her lover to kill the king. Apollo forces Orestes by sending him nightmares and terrible headaches.When he questions Apollo later at his temple at Delphi, Apollo punishes him with such pain that he is left prostate for a week.
The whole affair with Orestes and Pylades his cousin speaks to me of incest. The fact that these two young men are allowed to become lovers is at odds with society today. Then the ending with his sister marrying his lover and her cousin also is strange and typical of the practices ascribed to the ancient Greeks.
I really believe the furies were in the right, what Apollo says about the role of the mother carrying a seed for a short time is childish and arrogant. A mother is more than a vessel, she carries that child and nourishes and protects it. She breastfeed and teaches that child to be a part of her society, sure the father is part of that circle but his role is later in life once the child learns to walk and talk in that ancient society. To kill his mother was a pollution on his soul, no one should ever kill their mother the way he did, and not have to pay for it now or later.
I found the story to be thought-provoking. Well worth reading, a quick and concise adaption.
This entire review has been hidden because of spoilers.
October 7, 2015
This was one of the most unique books I have had the pleasure of reading. It is both prose and poetry, and bravely delves into the murder of poor Iphigenia by her ruthless father, Agamemnon, and the not surprising hatred that act births in Iphigenia’s mother, Clytemnestra. Then it goes on to the affair between Clytemnestra and Aigisthos and the affair (probably not consensual) between Agamemnon and Cassandra, the return of Agamemnon from Troy, and his own murder, which of course sparks the story of Orestes.
The protagonists of this story are beautifully fleshed out—even Cassandra, a secondary character: her torment and madness, if it was indeed madness and not divine Sight. The entire book is a lovely yet keen character study, not only for Clytemnestra, a woman with whom I have long sympathized, but also Orestes and Aigisthos, plus we have history and myth delicately woven in.
The second part of the story goes into a fierce argument between the Furies and Apollo, and later between the Furies and Athena, as Athena takes up Apollo’s side. Apollo seems to suggest that as power has passed to men, it’s no big deal to kill one’s mother, and though he says, “the senseless cycles of murder must end,” he seems to have perpetuated it. He of course wants Orestes pardoned for his crimes, but the Furies do not agree. They ask, pointedly, “For the son killed his mother. Are mothers less than fathers and kings? Do they not deserve to be avenged?” A good question!
This is a story that has long needed to be written. I myself can remember reading of the myths for many years, and seeing, again and again, Clytemnestra cursed and condemned on all fronts for the murder of Agamemnon, while Agamemnon slipped away from any judgment for what he did.
The Furies speak a warning which resonated with me: “The day will come when gods and men will rue this day…” and “The day will come, you will wish the Erinyes were still with you and your farms and cities.”
I enjoyed this book immensely. It spoke well to my sense of fair play and has added to the richness of Greek stories and myths.
The protagonists of this story are beautifully fleshed out—even Cassandra, a secondary character: her torment and madness, if it was indeed madness and not divine Sight. The entire book is a lovely yet keen character study, not only for Clytemnestra, a woman with whom I have long sympathized, but also Orestes and Aigisthos, plus we have history and myth delicately woven in.
The second part of the story goes into a fierce argument between the Furies and Apollo, and later between the Furies and Athena, as Athena takes up Apollo’s side. Apollo seems to suggest that as power has passed to men, it’s no big deal to kill one’s mother, and though he says, “the senseless cycles of murder must end,” he seems to have perpetuated it. He of course wants Orestes pardoned for his crimes, but the Furies do not agree. They ask, pointedly, “For the son killed his mother. Are mothers less than fathers and kings? Do they not deserve to be avenged?” A good question!
This is a story that has long needed to be written. I myself can remember reading of the myths for many years, and seeing, again and again, Clytemnestra cursed and condemned on all fronts for the murder of Agamemnon, while Agamemnon slipped away from any judgment for what he did.
The Furies speak a warning which resonated with me: “The day will come when gods and men will rue this day…” and “The day will come, you will wish the Erinyes were still with you and your farms and cities.”
I enjoyed this book immensely. It spoke well to my sense of fair play and has added to the richness of Greek stories and myths.
March 15, 2016
(I received a free copy of this book in exchange for a review).
(This review may contain spoilers).
Having been an avid reader of Greek mythology for a really long time, I was quite eager to read this book that was a retelling of one of the stories I know... though not every aspect as well as the others.
It was good to see all of the different characters, but I didn't feel like they were really expanded upon. I liked being able to see Clytemnestra and getting some hints of her feelings for Aegisthus and his for her... but I lost a lot along the way of the hostility/rage of Clytemnestra apparently had towards her husband. When Aegisthus kept talking about what had happened to his brothers, I had the strong feeling that was just an excuse. There was very little depth to him as a character.
I didn't feel that the story changing to prose worked very well. I found it very distracting to read the conversations between Apollo and the Furies and Athena and the Furies. The rest of the book wasn't like that... and it did throw me out of the story as I tried to translate the archaic language of the prose.
While there were elements of Orestes being driven mad by Apollo's voice in his head, I did think that was the strongest part of the book. I would have liked to see more in the way of showing rather than telling... especially with Orestes' and his sister's relationships with their cousin. I couldn't actually figure out why Orestes and his cousin were lovers, since I knew very little about their personalities.
There were some really dark moments in this book... and I found it really hard to figure out who I was supposed to empathise with. I was really disappointed that Cassandra's character was completely ignored and not expanded upon. I couldn't actually care about her fate, because there was nothing more of her character added than what I already knew.
I felt that this book could have been made longer and had more emotion involved to add more to the myth. I don't think I'll be reading this book again... and I can't say I'll seek out any more by this author in the future.
(This review may contain spoilers).
Having been an avid reader of Greek mythology for a really long time, I was quite eager to read this book that was a retelling of one of the stories I know... though not every aspect as well as the others.
It was good to see all of the different characters, but I didn't feel like they were really expanded upon. I liked being able to see Clytemnestra and getting some hints of her feelings for Aegisthus and his for her... but I lost a lot along the way of the hostility/rage of Clytemnestra apparently had towards her husband. When Aegisthus kept talking about what had happened to his brothers, I had the strong feeling that was just an excuse. There was very little depth to him as a character.
I didn't feel that the story changing to prose worked very well. I found it very distracting to read the conversations between Apollo and the Furies and Athena and the Furies. The rest of the book wasn't like that... and it did throw me out of the story as I tried to translate the archaic language of the prose.
While there were elements of Orestes being driven mad by Apollo's voice in his head, I did think that was the strongest part of the book. I would have liked to see more in the way of showing rather than telling... especially with Orestes' and his sister's relationships with their cousin. I couldn't actually figure out why Orestes and his cousin were lovers, since I knew very little about their personalities.
There were some really dark moments in this book... and I found it really hard to figure out who I was supposed to empathise with. I was really disappointed that Cassandra's character was completely ignored and not expanded upon. I couldn't actually care about her fate, because there was nothing more of her character added than what I already knew.
I felt that this book could have been made longer and had more emotion involved to add more to the myth. I don't think I'll be reading this book again... and I can't say I'll seek out any more by this author in the future.
March 4, 2015
"Agamemnon Must Die" has some really good dramatic dilemmas. I found Aigisthos and his decisions fascinating.
Unfortunately, I felt very removed from the characters. Partly this is due to the culture gap. Because the system of ethics and honor was so different in Ancient Greece, I had a hard time believing many of the characters’ reactions to events. This gap is not the fault of the author, as the story is a retelling of the original Greek plays, but I think perhaps if the retelling had more immediacy, we could have understood the characters better and found ourselves more fully part of their world. Much of the distance came from the narrated feel of many of the passages, the free verse, and the sometimes-stilted dialogue. I thought at first the formality of the prose was to lend historic flavor, but there were too many modern phrases to feel fully historical (“alpha male,” for example). There was also a lot of awkward exposition in dialogue, where characters tell each other things they both know or wouldn’t really talk about, just for the benefit of the reader. Again, much of this is probably due to the nature of retelling a story that was written in a format distinct from a modern novel.
The book is very well edited, and as a way to learn history/mythology, this is definitely more absorbing, accessible, and effective than a text. It’s really interesting observing the differences in what was considered honorable then and now.
"Agamemnon Must Die" is so unlike many current works that it’ll add spice to your reading experience, no matter whether it’s your genre or not.
And if you enjoy mythology and don’t mind free verse, you’ll really like this book.
*I was given a free copy in exchange for an honest review*
Unfortunately, I felt very removed from the characters. Partly this is due to the culture gap. Because the system of ethics and honor was so different in Ancient Greece, I had a hard time believing many of the characters’ reactions to events. This gap is not the fault of the author, as the story is a retelling of the original Greek plays, but I think perhaps if the retelling had more immediacy, we could have understood the characters better and found ourselves more fully part of their world. Much of the distance came from the narrated feel of many of the passages, the free verse, and the sometimes-stilted dialogue. I thought at first the formality of the prose was to lend historic flavor, but there were too many modern phrases to feel fully historical (“alpha male,” for example). There was also a lot of awkward exposition in dialogue, where characters tell each other things they both know or wouldn’t really talk about, just for the benefit of the reader. Again, much of this is probably due to the nature of retelling a story that was written in a format distinct from a modern novel.
The book is very well edited, and as a way to learn history/mythology, this is definitely more absorbing, accessible, and effective than a text. It’s really interesting observing the differences in what was considered honorable then and now.
"Agamemnon Must Die" is so unlike many current works that it’ll add spice to your reading experience, no matter whether it’s your genre or not.
And if you enjoy mythology and don’t mind free verse, you’ll really like this book.
*I was given a free copy in exchange for an honest review*
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