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“At once a scholar’s homage to The Iliad and startlingly original work of art by an incredibly talented new novelist....A book I could not put down.”
“Mary Renault lives again!” declares Emma Donoghue, author of Room, referring to The Song of Achilles, Madeline Miller’s thrilling, profoundly moving, and utterly unique retelling of the legend of Achilles and the Trojan War. A tale of gods, kings, immortal fame, and the human heart, The Song of Achilles is a dazzling literary feat that brilliantly reimagines Homer’s enduring masterwork, The Iliad. An action-packed adventure, an epic love story, a marvelously conceived and executed page-turner, Miller’s monumental debut novel has already earned resounding acclaim from some of contemporary fiction’s brightest lights—and fans of Mary Renault, Bernard Cornwell, Steven Pressfield, and Colleen McCullough’s Masters of Rome series will delight in this unforgettable journey back to ancient Greece in the Age of Heroes.
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Gregory Maguire is the best-selling author of Confessions of an Ugly Stepsister, Lost, Mirror Mirror, the Wicked Years, a series that includes Wicked, Son of a Witch, A Lion Among Men, and most recently, Out of Oz.
Gregory Maguire: Ms. Miller, you write with the confidence of the zealously inspired, taking as your material one of the great foundation texts of world literature. In three millennia, The Iliad has garnered somewhat wider attention than The Wizard of Oz, with which I have played, so I have to ask: where do you get the noive? How did you come to dare to take on such a daunting task, and for your first book?
Madeline Miller: A little knowledge is a dangerous thing, and in my case it was just dangerous enough to get me started. If I had stopped to ponder, I think I might have been too intimidated. But it helped that Patroclus is such an underdog—giving him voice felt like standing up for him. I had been intensely frustrated by a number of articles that kept side-stepping the love between him and Achilles, which to me felt so obviously at the story’s heart. So I wanted to set the record straight, as I saw it.
Maguire: The novel tells the story of the rise, fall and immortalization of the golden Achilles. You approach his famous story from a sideline, that of Patroclus, his bosom companion and lover. Was it hard to keep the mighty arc of legend from overwhelming shadowy Patroclus, and did you write more of him than you ended up using, just to be sure you had him firmly grounded in your mind?
Miller: Definitely yes to the second. I actually spent five years writing a first draft of the novel, took a good long look at it, then threw it out and started from scratch. Even though not a word survived, that draft was an essential first step. It helped me understand the story and characters, especially Patroclus, from the inside out.
As for the overwhelming legends, I actually think they worked in my favor—because Patroclus is overwhelmed by them himself. He is this ordinary person who is pulled into a terrifying world of angry deities and destiny because of his love for Achilles.
Maguire: Having glancingly heard of this legend before, I knew more or less how it would end. I had no idea how you might handle the loss of perspective and point of view when tragedy would inevitably strike. You managed to narrate an almost impossible transition from life into myth in part, I think, by your instinctual use of a combination of present and past tense, to say nothing of a masterly combining of authorial and first person observations. How many slaughtered bulls did you sacrifice, and on whose altar, to deserve the talent to risk such dangerous technique?
Miller: It was a lot of bulls. And whatever ended up working, I give all the credit to my background in theater. When I first started writing, I had this idea that I should be in control of the story, forcing it forward. It never worked. What I needed to do was learn how to get in character, and write from there.
It took me a long time to find just the right tone for the ending—I kept writing and throwing away, writing and throwing away. Then, in the middle of apartment-hunting, inspiration struck. All the other ideas had started out well, but would gum up before they got anywhere near the finish line. But this one kept humming right along. And it was the simplest, so there you go.
Maguire: Oscar Wilde said something like, “The Odyssey was written by Homer, or another Greek of the same name.” But Oscar Wilde had clearly not met you. This is not a question. It is a salute.
Achilles, "the best of all the Greeks," son of the cruel sea goddess Thetis and the legendary king Peleus, is strong, swift, and beautiful— irresistible to all who meet him. Patroclus is an awkward young prince, exiled from his homeland after an act of shocking violence. Brought together by chance, they forge an inseparable bond, despite risking the gods' wrath.
They are trained by the centaur Chiron in the arts of war and medicine, but when word comes that Helen of Sparta has been kidnapped, all the heroes of Greece are called upon to lay siege to Troy in her name. Seduced by the promise of a glorious destiny, Achilles joins their cause, and torn between love and fear for his friend, Patroclus follows. Little do they know that the cruel Fates will test them both as never before and demand a terrible sacrifice.
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