AUGUSTA: Volume 2, Part 1 - 4
By G. G. MacLeod
Publication Date: 25th April 2023
Publisher: Independently Published
Genre: Historical Anciet World
"I will make you remember me and if I cannot reach Heaven, THEN I SHALL RAISE HELL."
As a child she was mentored by the only other woman to have become the Empress of the Roman Empire, her great-grandmother, the infamous power-broker, Livia Drusilla Caesar. In due course, she was destined to become the only Roman woman to ever openly rule as an Empress in her own name. Her lifelong war of all against all was going to include history's most notorious criminals, bar none, with eternally familiar names like Sejanus, Livilla, Caligula, Messalina, Claudius, Seneca, Tigellenius, and ultimately her own son, the "The Anti-Christ", "The Beast 666", more commonly known as the Emperor Nero.
She could have had every luxury possible to excess, and she could have lived out her string at the summit of the most obscene levels of wealth and decadence, but she only wanted one thing and no one was going to give that to her. She was going to have to kill for it until she had it, and ultimately she was going to have to die for it in order to keep it.
POWER
Her name was Julia Caesar Agrippina Germanicus and Hell followed after her.
Agrippina may only be three, but she is no ordinary child. Her intelligence is unparalleled, and she has a thirst for knowledge that is seemingly unquenchable. Through Aunt Livilla’s palace invitation, Agrippina discovers more about her family’s illustrious past and meets her grandfather, the magnificent Emperor Tiberius. Surrounded by power, she fervently desires to harness it, but to do so means she must watch, learn, and always be one step ahead of anyone who dares to get in her way.
The vibrant depiction of Agrippina’s life continues in “AUGUSTA,” the second volume of G. G. MacLeod’s historical biography.
In contrast to the initial volume, this book delves into Julia Caesar Agrippina Germanicus’s childhood. The story begins during a funeral procession on the Appian Way. Agrippina is just four years old as she walks behind the urn with the rest of her family. The noisy, chaotic crowd that are also part of the procession would frighten most children but she feels indifferent, even disgusted, revealing a sense of superiority. Her encounter with a young girl named Valeria links again to the first novel, where the reader meets Valeria in adulthood. While there’s a sense of impending doom and an underlying mystery surrounding the reason for the march, and who has died, the atmospheric depiction allows the reader to absorb the details of the setting and the emotional state of the characters. The narrative then takes a step back to earlier in the year, and the reader is then privy to the lead-up to the funeral.
Agrippina, though only three, possesses the intellect and speech of a seasoned senator. Likewise, her physical abilities suggest a much older child - she can dress and undress herself. Not once in this novel does she play, and she scorns her younger sister, Drusilla, thinking her intellectually deficient for prioritising toys over knowledge. Likewise, she has no need for an afternoon nap, as most children do at this age, and although she becomes tired from hours of political wrangling, she never once drifts off to sleep. Her intelligence is undeniable, yet she reads books beyond her understanding, memorises information she cannot grasp, and hears her aunt talk about inappropriate topics for a child her age. At times she does ask an adult to help her to understand certain words, and she often refers to her grammar book to look up things she does not understand. When she discovers its meaning, she becomes fixated on the notion of “influence”. The only time Agrippina appears childlike is when she needs lifting to look out of a window.
Unlike others, Agrippina doesn’t respond to fear and negativity in the way a child should; she’s fearless. Agrippina’s chilling thoughts and casual murder plots unsettle the reader, revealing a disturbing lack of empathy that raises concerns about her future and the question of whether she’s a genius, a psychopath, or both. Initially, the connection between her and Lucius Aelius Sejanus, the Prefect of the Praetorian Guard, appears innocent. However, as he recognises Agrippina’s intelligence, he sees her as a potential ally in achieving his ambitions. He acts as her mentor, but really, he is more of a manipulator. Despite being unsettled by her words at times, he supports her, setting a risky precedent. There are moments when he does ask himself if she were his child would he support her or have her killed, to which he always concludes that he will support her.
MacLeod draws comparisons between Agrippina and Livia Drusilla. Despite the reader’s lack of direct interaction with Livia, she is depicted as cunning, ruthless, and power-hungry. Her motivations are clear: to regain her status and power. Agrippina’s future is foreshadowed through the reader’s understanding of Livia’s ruthless ambition and moral depravity.
Despite the abundance of sexual references in this novel, the author goes to great lengths to ensure that they are not aimed at a three-year-old girl. But, Agrippina’s growing awareness of sex’s complexity and its use in power plays and intrigue fascinates her.
Despite her age, Agrippina often joins Emperor Tiberius, her grandfather, at dinner parties, entertaining him and his guests with recitals. Roman elites’ hypocritical and morally bankrupt natures are exposed during one of these dinners. Agrippina does not fully comprehend the meaning or impact of her words, but her grandfather does. The Emperor’s surprisingly open-minded (or perhaps strategically manipulative), uses the issues Agrippina mentions in her recitals to debate legal reform. Senator Silanus is depicted as a sanctimonious hypocrite, representing the greed and self-serving nature of the Roman elite. The other senators are largely defined by their collective greed and adherence to the status quo. This scene is particularly insightful to the reader and clearly demonstrates MacLeod’s understanding of the political atmosphere during Tiberius’ reign.
The narrative is told from a third-person perspective, primarily focusing on Agrippina’s thoughts and observations. This allows the reader to understand her motivations and internal conflicts while also experiencing the events unfolding around her. The choice of point of view creates intimacy and enhances the reader’s connection to the character. Agrippina’s advanced behaviour belies her three years; her maturity often makes one forget her actual age. A more believable portrayal of Agrippina would be as an older child rather than a three-year-old.
The exceptionally well-written descriptions provide a vivid sensory experience for the reader. The author’s use of sensory details—the cold wind, the muddy cobblestones, the smells and sounds of the crowd—brings scenes to life. While the cynicism and dark humour the author employs are effective, there are moments where it is overly heavy-handed. A little more subtlety in these areas might elevate the writing. The vocabulary is precise and evocative, enhancing the impact of the narrative. MacLeod cleverly uses the nicknames “sow” and “spider” to enhance the reader’s understanding of certain characters while also adding a layer of metaphorical meaning. The setting is meticulously crafted. The author uses detailed descriptions to bring ancient Rome to life, creating a strong sense of place and atmosphere. The contrast between the opulence of the palace and the poverty of the slums is particularly effective, highlighting the social inequalities of the time. With some minor revisions focusing on sentence structure and character development, this story has the potential to be even more compelling. The ending leaves the reader wanting more, eager to see how the story progresses and what challenges Agrippina will face.
AUGUSTA Volume 2 truly captivates the reader, making it more engaging than the first volume in the series where sex and violence dominated the storyline. In this novel, G. G. MacLeod really demonstrates his skills as a writer and his understanding of Roman politics during this era. This novel comes highly recommended.
G. G. MacLeod
I'm a Canadian indie author who also has a straight job. I'm 54 years old and "Augusta" is my first major foray into the world of publishing my work. Otherwise, there's nothing particularly interesting to say about me. I'm a pretty boring person, really who enjoys living a quiet life of reading/writing and thinking up story ideas that no one has actually pursued.
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Congratulations on such a lovely review.
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ReplyDeleteCongratulations! I always love how Mary Anne's reviews are so honest.
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