Tuesday 31 March 2015

Book Review: I, Claudius by Robert Graves




Having studied Greek and Roman literature for an entire term, I have been craving some fiction that could transport me to these times – albeit without the ancient language or dry non-fiction accounts. Yet as someone who has not delved into much historical fiction before, I found it incredibly difficult to find a somewhat credible, yet entertaining read. Then a friend suggested I read the classic piece of historical fiction: I, Claudius by Robert Graves.

The title is somewhat deceptive, as the story does not actually revolve around the rule of Claudius, but rather recounts the events leading up to his accession to the Roman throne, through his perspective. Claudius is an interesting choice for a narrator: as a stammering cripple, he’s no ordinary fictional hero. I’d like to say that his physical hindrances are made up for by a clear moral integrity, but this is not entirely the case. Within the context of his family, Claudius is quite sane, smart and well, a lot nicer then the rest. But, perhaps wisely, he never really attempts to act out against the inequalities and brutalities that surround him on a day-to-day basis. He is, rather, a reclusive historian, recording the events around him dispassionately. Perhaps it would have been slightly incongruous within the setting, to have a moralizing hero, amidst the excesses and grotesque habits of the royal family. Graves’ choice of narration – a contemporaneous mock first-person history – is also a clever one, as Claudius never has to go into minute detail, describing the day-to-day lives of his subjects. His portrait is made with broad brushstrokes, with wide leaps in narrative and time, allowing Graves to take great liberties with history.

Overall, the narrative is engaging, despite becoming repetitively brutal and nonsensical towards the end. There seems to be no respite from the evils of the all-powerful, over-privileged ruling class, as the novel continually ups its perverse ante. Starting with the rule of Augustus and the behind-the-scenes machinations of his wife Livia, which already raise eyebrows and provide conflict, the novel only descends further into debauchery through the rule of Tiberius, and finally crazy Caligula. The latter is such a ridiculously unjust and cruel ruler, that these passages almost seem comic. Caligula is presented as a man who has forever stayed in the happy years of his childhood, playing pretend by acting like a God and waging pretend-wars against the sea. Yet this childlike manner is coupled with an immense bloodthirst and unchecked power, which together create the ultimate villain. The physically weak, but mentally sharp Claudius does not really provide an antithesis to this obscene villainy, yet we empathize with him and cheer him on in his attempts to evade death.

After an entire novel devoted to villains, it remains to be seen whether the sequel to I, Claudius provides a proportionate counterpoint in the hero, Claudius.

Buy the book online here

See other reviews of the book on Goodreads

Thursday 26 March 2015

TV Review: The Good Wife - Mind's Eye (Season 6 Episode 14)




The Good Wife’s departure from its usual format this week comes as breath of fresh air. With Cary Agos’ recent drug case storyline closed, the only major plotline left for the second half of the season is Alicia’s campaign to become States Attorney. Although this storyline has provided with an interesting array of new characters (Johnny Elfman a surprising new love interest and Mr. Gold’s hilarious daughter) as well as more proof of Alicia’s kick-ass woman-on-top achievements and potential, it seems to have somewhat run its course. And that’s where this slow-burning, stream-of-consciousness episode comes in.

For a cable TV drama to spend an entire episode without developing major plot points or leaving us with tantalizing cliffhangers is somewhat unusual ­– the likes of HBO and ACM, as well as shows like House of Cards, releasing 13 episodes at once, have more of a luxury to pace their shows as they like, without regard to pesky Nielsen ratings. Yet The Good Wife manages to pull of an engaging hour of television, despite its format constraints.

The episode takes place mostly within Alicia’s apartment and on the streets of Chicago as she takes a short walk – yet through her rambling mind, we see almost all of her friends, family and lovers on display, as puppets that enact her thought-processes, fears and fantasies. This gimmick is distinctly reminiscent of another TV show centered on the practice of law – Ally McBeal – and it is similarly exploited for comedic effect, but somehow remains less annoying, as it eschews the use of the simple-minded special effects of the 90’s. The sequence when Alicia walks on the street listening to her iPod as her thoughts correspond with the music is brilliant and simply fun TV – who can’t relate to being under the influence of a particularly upbeat or melancholy tune? Meanwhile, her apprehensive fantasies regarding Grace and Zach provide some of the most hilarious images of the show – Grace sniffing glue while pregnant and wearing scary make-up and Zach sitting on a park bench as a homeless boy. It's also quite possibly a realistic representation of the way parents jump to conclusions when it comes to their kids. Her mind also quickly plays a game of chess between renowned atheist Richard Dawkins (represented by an actor) and Grace's pastor – showcasing the intellectual and moral depth in Alicia's character. 



Yet the only problem with an entire episode focused on Alicia, and the potential for the rest of the season to focus solely on her race for States Attorney (and possible inauguration), is that the show seems to leave behind some of its best characters. After a somewhat weak storyline, Cary Agos has taken a backseat, while Diane Lockhart has been reduced to occasionally fretfully asking Alicia if she’s coming into the office. The characters Kalinda Sharma and Lemond Bishop seem to have been pushed into a side-plot that’s going nowhere, while promising characters such as the lawyer portrayed by Taye Diggs (he wasn’t even around long enough for me to remember his name) have been completely neglected. That’s not to say that more office-moving firm-merging shenanigans, or shocking character-deaths would be preferable, but these characters are great, and the dilution of the show with many others has perhaps been to their detriment.

Overall, this episode showed promise and inventiveness – hopefully this will be extended to the other characters on the show, as the narrative arcs balance out in the rest of the season.

[This post was written on March 9th, and published on March 26th]