“I’ve known a lot of Neros in my life, maybe I’m sort of a Nero too because I was lucky that I could write novels and make a living as an artist, but so few people can.”
WHAT: “A mother’s deadly ambitions. A boy who would be sovereign. A name that would be infamous. This is the epic tale of Nero’s rise to power, a thrilling story of survival, betrayal, love, and the struggle for the Roman empire that would change history.”
WHO: Margaret George writes biographical novels about outsized historical characters: Henry VIII, Mary Queen of Scots, Cleopatra, Mary Magdalene, Helen of Troy, and Elizabeth I. Her latest subject is covered in ‘The Confessions of Young Nero’ and ‘The Splendour Before The Dark’. Her novels have been ‘New York Times’ bestsellers, and the Cleopatra novel was made into an Emmy-nominated ABC-TV miniseries.
Margaret especially enjoys the research she has done for the novels, such as racing in an ancient Greek stadium, attending a gladiator training school in Rome, and studying the pharmacology of snake poison.
Why Nero? It’s because I think of all the Roman emperors, he seemed more like a person that you know. He seemed very modern. He reminded me of so many people I know personally who want to be artists. How many people do you know like that? Children want to go to film school, they want to become playwrights, they want to write novels, they want to play music and their parents say “No, I really think you’d better go to law school”.
So he was very modern in that way. It just happened that the law school his parent wanted him to go to was being the Emperor. That’s not something you can refuse by saying, “Well I don’t care to go to law school, I don’t want to be a doctor.” When that happens, most parents usually say, “All right then, go off to New York and if you don’t make it in five years, you’re going to come crawling back and we’ll see about law school.”
In this case, so many people were killed to make Nero Emperor, it was kind of his destiny. He couldn’t opt out of it. That was what really made him so interesting to me. It made his character alive in a way that say, Septimius Severus or even Julius Caesar or any of those people, who didn’t have that other side, couldn’t be. That is where I got the idea of the three Neros from. The Augustus one that did his duty, the artist in him and, last of all, the third one that had to facilitate the other two.
I feel as if I’ve known a lot of Neros in my life, maybe I’m sort of a Nero too because I was lucky that I could write novels and make a living as an artist, but so few people can.
Of course, this was a real life story so it wasn’t up to me to come up with a plot for the sequel that was as good as the first one, because history itself has provided me with that plot. It was a tragedy, of course. I must be drawn to tragic figures because when I think about it, Mary Queen of Scots was executed, Cleopatra and Nero committed suicide, Helen of Troy caused a war where many people were killed, and I’ve written about all of them. Life is sad even if you’re an emperor.
I like to write novels that cover a whole life. I think that you can’t understand the adult until you’ve met their younger self. The modern thing is to do just a slice of the life. When I started out I wanted to write about Henry VIII. At the time most of the books and plays just focused on a small part, usually the Anne Boleyn part and / or the Thomas More part – but I thought, “you can’t understand those out of context, you have to know the person, how he grew up, what formed him, you can’t just leap into the middle of his life.” That’s what people do now, because of space, I think, which is understandable, but I think you wouldn’t know the grown- up Nero until you knew the child.
How did you find writing the story in the shadow of Robert Graves’ I, Claudius novels?
I am thankful that ‘I, Claudius’ is told from Claudius’ point of view. Thank goodness Robert Graves didn’t get to do too much about Nero, because I find myself, especially from the mini-series, I just can’t get out of my mind the images I have of the actors that played those roles. Livia will always be Siân Phillips and of course, Caligula will always be John Hurt to me. Had there been a continuation with a grown-up Nero, I would certainly have had trouble in battling that image in my mind.
[DL: It’s interesting that neither you or Robert Graves haven’t got very much nice to say about Seneca.]
Neither of us do, do we? You know there’s such a difference of opinion about Seneca. He’s rather a mystery. It’s the old problem – stay within an institution and try to improve it, work from within and do what you can, don’t desert the field— or do you quit like Thomas More and say, “I just can’t have anything to do with this.” Seneca chose the first path, though he’s criticized a lot for that. You can make a case for the fact that he tried, he didn’t desert the ship. But you can also make a case that he stayed because he was getting so fabulously rich from serving Nero.
Is rehabilitating the reputation of Nero the ultimate act of iconoclasm?
I found that people are the most resistant to rehabilitating Nero. More so than they were to Henry VIII, which is kind of surprising because Henry was so much closer to modern times. What I found in some of the reviews, and some of the comments, is that people really prefer the villain. I have a friend who’s trying to rehabilitate Richard III, but it’s really hard because that colourful kind of villain is so attractive. Even in my Mary Magdalene book, Maureen Dowd in the ‘New York Times’ said that we prefer the golden-haired reformed prostitute because she’s so visual, she’s so easy to identify with. The disciple is not as interesting.
I was a little naïve in thinking that I could change many people’s judgment about Nero. I can see now how entrenched these ideas are about him. Public Broadcasting System recently did a programme, a kind of rehabilitation, called ‘The Nero Files’ and I braced myself. In it forensic scientists examined the case against the crimes of Nero and concluded was that he didn’t do a lot of these purported things and we can prove it by scientific evidence, for example, that plant-based poisons, which is what they had in the ancient world, worked slowly and could not cause someone to drop dead instantly, as Britannicus did. I wonder if many people watched the show and if some were convinced.
[DL: There is, of course, one crime that Nero’s associated with which is his kicking to death of his Empress Poppaea and her unborn child. She is perhaps the most famous victim of domestic abuse in history…]
Many modern historians don’t think that happened, and even the ancients fudged about it. But even if it wasn’t really true, it is so much in the popular mind that there had to be a version of it in the novel that involved Nero, but was involuntary. I couldn’t just get away with the modern view that she was ill and she had had a miscarriage. I had to acknowledge the belief that blamed Nero. But the only way to answer it, without being accused of just dodging the whole thing, was to have it happen but have it be an accident.
I say in my author’s afterword that Nero was not known to take physical action against people, striking them or abusing them. So it’s out of character if he did that, especially to his wife whom he loved very much, and they both wanted children. There’s even a papyrus, a poem written in Egypt afterwards, about Nero and Poppaea and their love, and no mention of his injuring her.
One of the problems of being a historical novelist is that a real historian can say here are the theories: one, two, three, four and he can lay them all out for the reader. But, if you’re writing a novel it has to be consistent, and you can only choose one, just one, not a list of alternative theories. So, that’s the way I handled it.
Other famous events in his reign you really cannot get away from, such as the fire in Rome and his killing Agrippina— those things really happened. The only way I can handle those them is to try to give the reasons they happened, not pretend they didn’t.
Do you have a role in selecting the narrators of the audiobook editions of your
Long, long ago when they still had cassette tapes, I would preview tapes for books from the library for a long car trip, because if I didn’t like the sound of the narrator I knew I couldn’t stand listening to it for hours. Sometimes the narrator just isn’t right.
After a certain point in my publishing career, I got the right to select the readers and that makes such a difference. If someone doesn’t sound like Nero or doesn’t sound like what I think he sounds like, I think that it just won’t capture the spirit of the book.
[DL: Why was Susan Denaker, the reader for the poisoner Locusta, so noticeably an American? Steve West, the reader for Nero, only once gives his new-found Americanness away with his pronunciation of ‘herbs’.]
I really wanted the main characters to be British – because everybody knows—ha ha— that the ancient Romans spoke with British accents. At least they do in all the movies! I think Susan sounded like an older, canny woman, the other two proposed readers sounded either really spacey or weird or else way too prissy to be like I pictured Locusta— a wise, older, and very level headed and practical person, so I hope it wasn’t too jarring that she had a different accent.
Since Peter Ustinov is unavailable, who would you cast to play your Nero?
People think of Nero as so much older than he really was. Every time I give a talk and I say, “you know he didn’t live long – he died when he was 30”, people are shocked. They had no idea. I’d like the young Robert Redford, but the current actor I came up with is Joe Alwyn. He’s 28, he looks like the young Nero, and of course, he’s British so he has the right accent.
I thought it was brilliant Zeffirelli cast ‘Romeo and Juliet’ with actual teenagers. You get older actors playing teenaged parts sometimes and it just feels ‘off’. Since the death of Luke Perry, ‘90210‘ has been back in the news. But the actors playing teenagers in it were not teenagers. One woman was 30 and Luke Perry himself was 26 so I think that if you really want to get the real Nero, you had better ask an actor who is that age, and so Joe Alwyn is my choice and I hope he is available! If he’s not taken up with Taylor Swift! But yes I think he’ll be perfect but we’ve got to do it right away or he’ll soon be too old.
[DL: Is there anything in the works to bring the novels to the screen?]
No not yet. I do have an agent in Hollywood who is working very hard to find a way of bringing it to the screen because the streaming services, like Amazon and Netflix and now Apple, are budgeting billions of dollars to bring out new series. So I’m hoping that in this climate there will be an interest in Nero because of course, a mini-series offers so much more scope than a two-hour movie. I don’t see how you could get Nero’s story into a traditional 2-hour movie format.
Did Nero’s rule produce any lasting achievements?
Ah, that’s a good question. I’m not trying to dodge this, but let me frame it a little, and consider whether anybody has real lasting achievements. It’s very rare because often the person’s accomplishments, at least within a couple of centuries, get superseded or wiped out. Nero had great diplomatic success with that treaty of peace with Parthia. That lasted 50 years.
Longer term, I would say the beginning of urban planning is his lasting legacy. He was the first one to tackle this, as he had a clean slate after the devastating Great Fire of Rome, so he had an opportunity to put green space in the rebuilding plan of Rome. He also dictated that the new streets had to be a certain width. They had to have fire fighting equipment in each house and the walls had to be at least a yard apart with no more common walls, and they had to build with a certain kind of stone that was fire resistant. Of course, people grumbled about these restrictions but he could mandate them because he was the emperor. Today we accept the necessity of city planning, but it was a radical idea then.
I have a new issue of ‘National Geographic’ examining planning cities – what did China do wrong in the last 30 years and Los Angeles in the last 15 years? How do you shape urban spaces in cities? How do we learn from past mistakes so that we have pleasant places to live? I’d say that urban planning is Nero’s one legacy which he would be very surprised about. He was proud of it but it came to him by accident because of the fire. It’s not that he set out saying, “I think I will redesign a city.” He was too focused on a different kind of art.
I would also say perhaps preparing the way for Hadrian was a legacy. Nero was a bit ahead of his time. Later, Hadrian could grow a beard and be a Grecophile and be gay, be all kinds of things that Nero did and was pilloried for.
If you could possess any one item associated with Nero, what would you have?
I would like to have his very own cithara, I could have it enthroned in some kind of shrine because none have survived from his time, and it was a very difficult virtuoso instrument to master. I’ve seen statues of Apollo holding it and that way it’s like 3D; you can walk around it and see how big and boxy and bulky it was but I’d like to see the real thing.
I do have some things from Nero’s time. I have coins which I have collected and I do have some jewellery from that era that is wearable. That I love having because I know someone wore it when Nero was emperor. I have learnt so much about history through my coin collecting. I did it with Cleopatra too.
If you could ask Nero any question what would it be?
I assume by your question that that means he’d have a retrospective vision. Because if he knows what’s happened since I would ask him for an honest appraisal of his art. Would he make the same choices knowing how posterity has painted him? To answer he would have to know how posterity painted him.
In the book I have him saying, “Do I care enough to throw everything over for my art?” If he cannot know what happened after his life, I would still ask him toward the end of his life: if you could go back and do it all over again, will you throw everything over for your art?
You’ve got a one way ticket to the Roman Empire for you and your family, you’re not coming back, when and where are you taking them?
I’m never coming back? Then I would go to England at the time when Hadrian was building his wall, and it would be okay for me to stay there because my ancestors were all there, so I’m going back to my roots. That’s one reason I want to go, seriously, but the Roman Empire in Britain fascinates me. It’s odd that Britain ever was in the Roman Empire, but it was for 400 years, so it’s a bit like the EU and Britain. Were they ever really and truly in their hearts, part of it?
I’d like to see Roman Britain at its height. I want to live in one of those heated villas but that’s so far from Rome it’s almost a mythological place. I remember my father saying years and years ago when I was writing Henry VIII, that I ought to do a novel about the end of the Roman Empire in Britain because they just upped and left and it must have been very strange to have this suddenly happen for both sides. So that’s what I would do but I’d better take some warm clothes.
You’ve got a solo return ticket for either a year on campaign with Julius Caesar; a fortnight with Hadrian and his entourage at Tivoli; or a day in the library of Alexandria. Which do you pick?
I wouldn’t take the library of Alexandria because I’ve spent so much time in libraries lately, I need a change of scene. And I’m sure I’d have a great time with Hadrian and his entourage, but I would choose the Julius Caesar campaign. Now I hope, because I’m being magically transported back in time, this would mean that I could keep up with the rigors of the campaign as I would be a ramped up version of myself.
I became fascinated by Caesar when I saw him through Cleopatra’s eyes as I was writing about them. He’s such an extraordinary character and I am curious about his genius on campaigns. But he also had the trait of being easy going and tolerant of his soldiers. When some of them ran away in a key battle, he grabbed them by the shoulders, turned them around and said calmly, “the enemy is this way.” He was unique and I would just like to watch him in action.
Also, his campaigns were the beginning of Europe, when it was wild and untamed. I would like to experience that moment in time. When Augustus, (Octavian) and Antony split up the Roman Empire, Octavian got the bad part, he got Europe, and Antony got the rich part, the Eastern part. How things have changed!
What are you working on now, what’s next for you?
I would love to stay in the ancient world and as I said I really am drawn to Britain and Roman Empire Britain. I haven’t quite decided who is calling me to go there. I hear a few voices, but I’m not sure which one is absolutely the loudest–or the most beguiling. So I will demur on that until I know for sure.
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