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ROMANITAS is a debut novel and what a remarkable achievement it is. It is the first book of a trilogy in which the world is divided between two empires: the Roman Empire and the Nionian Empire (Nionia being an expanded Japan) with a few bits and pieces of independent country thrown in (Australia, in the map thoughtfully provided by the publisher, is shaded as Nionian territory). Sophia McDougall is no novice writer -- she is an established playwright and poet -- but for all that, this is a new genre for her and the work shows remarkable sophistication. The narrative begins with the funeral of Leo, brother to the Roman Emperor Faustus, and his wife Clodia. They, together with their chauffeur, were killed in a car accident and now their embalmed bodies are consigned to the care of the gods. The dead couple's son, Marcus Novius Faustus Leo, presumed to be the Emperor's choice as successor, gives a funeral oration but instead of remaining at the imperial palace, returns to his father's villa which has fallen into some neglect as Leo and his wife did not believe in slavery so kept too few servants to maintain the property in top condition. Varius was Leo's private secretary but is now his executor. He realises there are things he must discuss with 16-year-old Marcus, matters concerning, amongst other things, the deaths of Leo and Clodia, which Varius is convinced were not accidental. But before Marcus' life can settle into what would be perceived as a normal course, Varius' wife Gemella is killed, poisoned by confectionery intended for Marcus. Marcus must, therefore, flee for his life. Varius gives him vague directions to a refuge in the Pyrenees for escaped slaves. Una is a teenage slave. She and her younger brother Sulien were sold separately after the death of their father. Sulien has a mental gift that permits him to visualise the ills and wounds that beset people and to heal them. He is bought by a doctor who trains him in medicine and treats the boy as a son. Una, too, has special powers. She is able to sink herself into other people's personalities and perceive and alter their thoughts and influence their actions. Sulien is convicted of a crime of which he is innocent but is sentenced to die by crucifixion. But Una, despite not having seen her brother for years, is able to rescue him and set free other convicts awaiting execution. Together they set off, determined to eke out a living in hiding. Instead, they encounter Marcus and reluctantly agree to help him seek the refuge for escaped slaves until he can regain his rightful place in the Empire. McDougall has spun an enthralling tale and an opaque mystery. She has built a plausible alternate history which she outlines at the conclusion of the novel. She also explains the expansion of the political system of old Rome into her modern version as well as justifying the names she bestows on people and countries. The author has produced some wonderful characters and provided excellent motivations for them, not the least being the fear of an hereditary madness to spur Marcus along his way. The modern Rome that she creates is fearsome in its extrapolation of all that was evil in the ancient version, including a disdain for human life and rights. Her idea of the development of a scientific form of crucifixion is truly chilling. While McDougall's achievement is wonderful, a word of criticism of her publisher should be said. There are numerous typographical errors spattered throughout the text. While they do not detract from the power of the novel, they are annoying to the reader as they could so easily have been removed. I, for one, very much look forward to reading the two further episodes of the trilogy but trust more care is taken in their copy editing.
Reviewed by Denise Pickles, September 2005
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Contact: Yvonne Klein (ymk@reviewingtheevidence.com)
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