Reappropriated Histories

a response to Neville Morley, “Future’s Past.”

I was very excited looking forward to a classicist’s response to these books, and very satisfied that the references to antiquity loomed large for him as I expected. My use of the Enlightenment is intentionally conspicuous, even ostentatious, throughout the book. Antiquity is a quieter presence, but still, as Morley observed, deeply pervasive, in the Masons, and in Mycroft’s own thought and imagery.

I actually worked in an intentionally cumulative momentum to the presence of antiquity in the book, and especially the presence of the Iliad, as Mycroft’s references to Homeric imagery become more frequent, and as his use of grand Homeric similes become more frequent and more explicit over the course of the first two books. Ganymede is the Sun in the first book but Helios in the second, and the first time dawn has “rose fingers” as she always does in Homer is the morning of the Sixth Day of Mycroft’s history, the irrevocable day when civilization’s rose-tinted daydream breaks. This momentum builds toward the revelations of the book’s end, both the final revelation in the chapter “Hero,” and final solidification of that word which Mycroft begs Providence not to bring into his history: war. Like many subtle writing things, I don’t expect most people to be conscious of it, or for it even to have a strong effect on everyone, but especially for a classicist its presence was intended to add a more epic feeling as momentum built, and to make the end of Seven Surrenders feel, not predictable, but correct, as when a long, elaborate algebraic exercise yields a solid 1=1. [click to continue…]