100 books like Helena Augusta

Dr. Watts, a prolific author on Roman history, gives a detailed survey of the lives and careers of some of the last prominent pagan intellectuals who lived from the time of Constantine's conversion to Christianity to Theodosius' outlawing of paganism. He shows the intellectual, social, and religious changes in the fourth century as the Roman world was transformed from a pagan to a Christian society. A fascinating story brilliantly told.

Dr. Crawford, a specialist in ancient history and religion, offers a detailed and readable account of the life and reign of Constantine's longest surviving son and successor in the mid-4th century (A.D. 324-361). Often criticized by ancient sources and modern scholars alike for not being as great a soldier as his father and for favoring Arian-leaning bishops, the author tries to rehabilitate the reputation of Constantius as a capable ruler in difficult times.

There are a great many novels about Roman emperors, and even a few about the rulers of the later age – Gore Vidal’s Julian, for example – but this one stands out for its originality. The emperor of the title is Constantine, one of the towering figures of Roman history, and incidentally quite important in my own books too. The novel covers the two months leading up to the battle of Milvian Bridge in AD312, but rather than giving us a panoramic view of the military campaign in Italy, Thubron chooses to tell the story as a collection of letters and diary entries. So we get the internal thoughts and reflections, ambitions and fears of a range of protagonists: Constantine himself, his wife Fausta, a Christian bishop, and several competing imperial ministers and servants. The central dilemma is the emperor’s own crisis of faith, which will lead up to his… show more.

Constantine has come to be synonymous with the conversion of Rome to Christianity, and in the popular imagination the image often goes no further. I certainly always linked the man with this outcome in my mind. But he was so much more. He was ambitious to the point of revolutionary. He was ruthless to the point of megalomaniacal. He both stabilized the Empire and contributed to the factors that led to its fall. This book helped me understand the whole figure of Constantine, contradictions and all.

I’ve always seen Muriel Spark as a kindred spirit, and her experience of Rome as mirroring my own, albeit on a more luxurious scale (although I did once live round the corner from her flat near Piazza Farnese).

Of the novels she set in Italy, my favourite is probably The Public Image, a story of revenge and dissimulation that captures the dark heart of the city at a time when it was known as Hollywood on the Tiber. It’s a wonderful portrait of what lay beneath the dolce vita and also, presciently, has a lot to say about celebrity culture and its manufacture. Listen up, influencers!

I discovered Bernhard—miraculously—in a provincial train station in southern Italy, where the bar had a selection of books on sale.

This was when Bernhard translations into English were hard to find, so my early experience of the writer, in my opinion one of the most extraordinary of his generation, was in Italian. His final novel, Extinction, is set in Rome and it’s a classic of Bernhardian nihilism, scratching at the itch of the absurdity that is life in the face of death.

Bernhard’s Rome is the yin of intellectual freedom to the suffocating and hypocritical yang of Austria. In the end, what I love most about this book is probably its exhilarating contempt for mediocrity and its capacity, I’ll admit it, to make me laugh out loud at just how awful life really is.

I'm loving this novel by Liam Callanan.

It poses questions I feel close to and presents turns of life I have been surprised by myself, if in a different way. The writing is richly textured and so very delicate.

"...She'd known quiet, of course... But not silence, not like this. This silence had texture and shape; it felt attached to each molecule of air. Everything inside her was falling silent, too."

Claire, 52 and a real estate broker, deeply desires a fresh start. She receives a call from a convent in Rome that is facing its end. When she arrives she meets a colorful, fierce group of nuns living in a crumbling villa and starts wondering if she should stay forever.

Pasolini’s films, Mamma Roma and Accattone, were among the reasons I decided to move to Rome in the first place.

Their blend of poetry and wretchedness chimed with my own vision of life at that time and I seized the chance to improve my knowledge of the city, of Italian and of Roman dialect, by reading his first novel Ragazzi di Vita, as soon as I arrived in the city.

Ragazzi di vita are hustlers, doomed from birth by circumstances outside their control, and I was drawn to the novel’s dark non-conformist romanticism, its refusal to compromise and the sheer texture of the language, which I only partly understood. It’s like Kerouac, but for real.

I never miss an opportunity to recommend this book for its broad scope and human courage.

It’s such an immersive and very human story full of adventure, challenge, will, and passion. Auriane is brought to such exquisite life as a woman born to a destiny meant to free the people she loves.

This book lands on my list for a call to destiny answered by love because Auriane’s life is an example of how we can’t see ourselves, or how we often don’t know where to fit, whom to challenge, and where to connect—but we find our way by being relentlessly devoted to doing what feels right to us, guided by that internal flame until we unite with the force that gives us a purpose, place, meaning.

Often, if not always, that destiny is deeply anchored in love. 

For Auriane, that love is her tribe, and her community, family, friends,… show more.

Richards’ book broadens the perspective advanced here with a concise overview of American and British films and some American-European co-productions about ancient Greek, Roman, biblical, and other cultures.

Its main focus is on the 1950s and 1960s, when epic filmmaking reached its height with color and widescreen cinematography, giant sets, huge casts, stereophonic sound, extreme lengths, and ruinous costs.

Richards rides to the rescue of several less-than-stellar films but can be severe as well, e.g. about 300: “probably the most Fascistic film to come out in cinemas since the fall of the Third Reich.” (No argument here.)

A few inaccuracies concerning antiquity and cinematic details detract from the book’s value, but they are instructive, since errors can create new fictions from the fictions that films invariably create from history.