A retelling of the lives and times of the Roman emperors traces how their reigns marked Rome's shift from a republic to an influential empire, offering a sequence of biographies that offers insight into the political and social dynamics of each ruler's time.
'A masterly account of this first wicked century of the Roman Empire' Sunday Times 'Holland does not just tell the story of the reign of the Julio-Claudian family. He knits the history of ancient Rome into his narrative - its founding myths, the fall of the republic, the religious superstitions - with a skill so dextrous you don't notice the stitching. Dynasty is both a formidable effort to compile what we can know about the ancient world and a sensational story' Observer 'A witty and skilful storyteller... He recounts with pleasure his racy tales of psychopathic cruelty, incest, paedophilia, matricide, fratricide, assassination and depravity' William Dalrymple, New Statesman 'A wonderful, surging narrative... [for] anyone interested in history, politics or human nature - and it has never been better told' Mail on Sunday THE TOP TEN SUNDAY TIMES BESTSELLER
In her new book about the men who were instrumental in establishing the Rome of the Emperors, Colleen McCullough tells the story of a famous love affair and a man whose sheer ability could lead to only one end -- assassination. As The October Horse begins, Gaius Julius Caesar is at the height of his stupendous career. When he becomes embroiled in a civil war between Egypt's King Ptolemy and Queen Cleopatra, he finds himself torn between the fascinations of a remarkable woman and his duty as a Roman. Though he must leave Cleopatra, she remains a force in his life as a lover and as the mother of his only son, who can never inherit Caesar's Roman mantle, and therefore cannot solve his father's greatest dilemma -- who will be Caesar's Roman heir? A hero to all of Rome except to those among his colleagues who see his dictatorial powers as threats to the democratic system they prize so highly, Caesar is determined not to be worshiped as a god or crowned king, but his unique situation conspires to make it seem otherwise. Swearing to bring him down, Caesar's enemies masquerade as friends and loyal supporters while they plot to destroy him. Among them are his cousin and Master of the Horse, Mark Antony, feral and avaricious, priapic and impulsive; Gaius Trebonius, the nobody, who owes him everything; Gaius Cassius, eaten by jealousy; and the two Brutuses, his cousin Decimus, and Marcus, the son of his mistress Servilia, sad victim of his mother and of his uncle Cato, whose daughter he marries. All are in Caesar's debt, all have been raised to high positions, all are outraged by Caesar's autocracy. Caesar must die, they decide, for only when he is dead will Rome return to her old ways, her old republican self. With her extraordinary knowledge of Roman history, Colleen McCullough brings Caesar to life as no one has ever done before and surrounds him with an enormous and vivid cast of historical characters, characters like Cleopatra who call to us from beyond the centuries, for McCullough's genius is to make them live again without losing any of the grandeur that was Rome. Packed with battles on land and sea, with intrigue, love affairs, and murders, the novel moves with amazing speed toward the assassination itself, and then into the ever more complex and dangerous consequences of that act, in which the very fate of Rome is at stake. The October Horse is about one of the world's pivotal eras, relating as it does events that have continued to echo even into our own times.
This biography of Marcus Cato the Younger -- Rome's bravest statesman, an aristocratic soldier, a Stoic philosopher, and staunch defender of sacred Roman tradition -- is rich with resonances for current politics and contemporary notions of freedom.
In this story of the most famous assassination in history, “the last bloody day of the [Roman] Republic has never been painted so brilliantly” (The Wall Street Journal). Julius Caesar was stabbed to death in the Roman Senate on March 15, 44 BC—the Ides of March according to the Roman calendar. He was, says author Barry Strauss, the last casualty of one civil war and the first casualty of the next civil war, which would end the Roman Republic and inaugurate the Roman Empire. “The Death of Caesar provides a fresh look at a well-trodden event, with superb storytelling sure to inspire awe” (The Philadelphia Inquirer). Why was Caesar killed? For political reasons, mainly. The conspirators wanted to return Rome to the days when the Senate ruled, but Caesar hoped to pass along his new powers to his family, especially Octavian. The principal plotters were Brutus, Cassius (both former allies of Pompey), and Decimus. The last was a leading general and close friend of Caesar’s who felt betrayed by the great man: He was the mole in Caesar’s camp. But after the assassination everything went wrong. The killers left the body in the Senate and Caesar’s allies held a public funeral. Mark Antony made a brilliant speech—not “Friends, Romans, Countrymen” as Shakespeare had it, but something inflammatory that caused a riot. The conspirators fled Rome. Brutus and Cassius raised an army in Greece but Antony and Octavian defeated them. An original, new perspective on an event that seems well known, The Death of Caesar is “one of the most riveting hour-by-hour accounts of Caesar’s final day I have read....An absolutely marvelous read” (The Times, London).
"Caesar" is not so much about Caesar the man as all the many versions of him in poetry, literature, opera, and drama. . . . A lively and thought-provoking read which skips lightly across the centuries.--Adrian Goldsworthy, "Spectator"
The acclaimed author of Rubicon and other superb works of popular history now produces a thrillingly panoramic (and incredibly timely) account of the rise of Islam. No less significant than the collapse of the Roman Republic or the Persian invasion of Greece, the evolution of the Arab empire is one of the supreme narratives of ancient history, a story dazzlingly rich in drama, character, and achievement. Just like the Romans, the Arabs came from nowhere to carve out a stupefyingly vast dominion—except that they achieved their conquests not over the course of centuries as the Romans did but in a matter of decades. Just like the Greeks during the Persian wars, they overcame seemingly insuperable odds to emerge triumphant against the greatest empire of the day—not by standing on the defensive, however, but by hurling themselves against all who lay in their path.
“People who take God seriously will not remain silent about their faith. They will often disagree about doctrine or policy, but they won’t be quiet. They can’t be. They’ll act on what they believe, sometimes at the cost of their reputations and careers. Obviously the common good demands a respect for other people with different beliefs and a willingness to compromise whenever possible. But for Catholics, the common good can never mean muting themselves in public debate on foundational issues of human dignity. Christian faith is always personal but never private. This is why any notion of tolerance that tries to reduce faith to private idiosyncrasy, or a set of opinions that we can indulge at home but need to be quiet about in public, will always fail.” —From the Introduction Few topics in recent years have ignited as much public debate as the balance between religion and politics. Does religious thought have any place in political discourse? Do religious believers have the right to turn their values into political action? What does it truly mean to have a separation of church and state? The very heart of these important questions is here addressed by one of the leading voices on the topic, Charles J. Chaput, Archbishop of Philadelphia. While American society has ample room for believers and nonbelievers alike, Chaput argues, our public life must be considered within the context of its Christian roots. American democracy does not ask its citizens to put aside their deeply held moral and religious beliefs for the sake of public policy. In fact, it requires exactly the opposite. As the nation’s founders knew very well, people are fallible. The majority of voters, as history has shown again and again, can be uninformed, misinformed, biased, or simply wrong. Thus, to survive, American democracy depends on an engaged citizenry —people of character, including religious believers, fighting for their beliefs in the public square—respectfully but vigorously, and without apology. Anything less is bad citizenship and a form of theft from the nation’s health. Or as the author suggests: Good manners are not an excuse for political cowardice. American Catholics and other persons of goodwill are part of a struggle for our nation’s future, says Charles J. Chaput. Our choices, including our political choices, matter. Catholics need to take an active, vocal, and morally consistent role in public debate. We can’t claim to personally believe in the sanctity of the human person, and then act in our public policies as if we don’t. We can’t separate our private convictions from our public actions without diminishing both. In the words of the author, “How we act works backward on our convictions, making them stronger or smothering them under a snowfall of alibis.” Vivid, provocative, clear, and compelling, Render unto Caesar is a call to American Catholics to serve the highest ideals of their nation by first living their Catholic faith deeply, authentically.