Every novelist who works with ancient mythology eventually arrives at the same uncomfortable discovery: the sources disagree, they fall silent, or they compress into a few lines of poetry what would have taken days or weeks of human effort to accomplish. The Calydonian Boar Hunt presented me with those three problems, and the most instructive […]
Of all the gods of the Greek pantheon, Artemis is the one most commonly misread. Popular imagination has settled on her as a figure of cold severity, the virgin huntress, remote and punishing, more comfortable among animals than among people, quick to anger and slow to forgive. There is evidence for this reading in the
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There is a particular dishonesty that runs through a great deal of fiction written by and about men, a tendency to grant male characters the external architecture of complexity without the internal substance of it. Men in such novels have ambitions, rivalries, codes of honor, and moments of violence, but their inner lives remain largely
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I have spent a great deal of my writing life inside the minds of women. Atalanta, Elena, Pasiphaë, Costanza, Stella—the women of my novels are not secondary figures, not love interests arranged around a male protagonist. They are the story, or so much of it that the distinction barely holds. People sometimes ask me how
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On Ovid, Myth, and Historical Imagination There is a question every novelist must answer, if only to themselves: why this story, and why now? For me the answer arrived not gradually but all at once, in the final lines of a myth I had known for years without truly seeing. Ovid tells Atalanta‘s story across
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People sometimes ask me why I write the way I do. The question usually comes wrapped in a polite puzzlement, as if the asker suspects a rational explanation must exist but cannot quite locate it. Occasionally it comes less politely: “People don’t talk like that.” True enough. They didn’t talk like that even then, not
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Asterios and the Labyrinth (Mythos of Knossos) by Edmond Thornfield transports readers back to the time of ancient Greek power, of mythical beasts, sorcerers, and the battle for royal succession. Upon the death of King Minos, his son Asterios must succeed to the throne before the various warlords tear the kingdom apart in their quest
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There is a mountain that watches over the plain of Neméa from the north—flat-topped, unmistakable, rising above the valley with the quiet authority of a place that has been looked at for a very long time. I first saw it in April 2019, at the end of forty kilometers on a bicycle, with the Temple
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Novelist Edmond Thornfield explains why literary travel is essential to writing historical fiction, from Knossos and Mycenae to Florence and Cortona. There is a question I am sometimes asked, usually by readers who have noticed something in the novels that feels too precise to be invented. How did you know what the road from Knossos
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A Tale of Paris & Paris: Echoes of Troy by Edmond Thornfield is an adult historical fantasy set primarily in fifteenth-century Cortona, Italy, a period defined by religious authority, political tension, and unspoken desire. The novel follows the intertwined lives caught between duty and longing, most notably Lorenzo di Ranieri, a Florentine soldier returning to
