Settings that Inform

 The encounter with Sparta that changed everything. 

Even someone who has never studied Sparta or read a single book about it has images of Ancient Sparta transmitted through our language alone.  “Spartan” is an adjective used to denote “severe,” “plain,” and “austere.” Laconic speech is “terse,” “concise” and “economical.” The most rudimentary and fleeting brush with Sparta in literature almost invariably includes reference to rigid discipline, disdain for luxury, self-sacrifice and endurance of hardship.

The more one looks into Spartan society, the quicker he/she is confronted by references to a childhood of deprivation in which one had to steal to get enough to eat and was allowed only one garment per year. The boys, we learn, had to cut down the river reeds with their bare hands or the help of a tool which is dismissed as practically worthless, and then sleep upon these instead of real beds. Worse, they had to live practically in the wild, exposed to the elements without shelter or proper clothes.  Books like Gates of Fire describe horrendous beatings to which Spartan boys were apparently subjected for any tiny infraction of the rigid rules of acceptable behavior.

Nor are youths the only Spartans whom, we are led to believe, suffered deprivation. This was a society, according to most sources, where women were prohibited from wearing jewelry or even taking pride in their weaving. Indeed, all gold and silver was banned, and so could adorn nothing - not even the temples of the Gods.  The houses, we are told, were not painted (as else where in the Ancient world), and if one believes the oft quoted “sayings of Spartan kings” they did not even hew their house beams into regular square posts, but left them raw and untreated – one imagines crude timber as in a log cabin. Meanwhile, the young men lived in barracks (notoriously grim places in any society!) and for their entire lives ate their meals at men’s clubs where the cuisine, we soon learn, was infamous throughout the ancient world for its lack of sophistication and variety.

In short, it sounds like a society barely surviving in a hostile environment, a society which had made a virtue out of necessity. 

And then I went to Sparta... 

 

As I drove down the modern road from Tripoli (or Tegea as I prefer to think of it) toward Sparti (Sparta) there came a moment when coming around a bend I caught the first glimpse of the Taygetos mountains. The view took my breath away.  I could hardly concentrate on the winding road for straining to get another glimpse of those spectacular, snow-capped mountains. When after another twenty minutes of driving the valley of the Eurotas spread out before me, it was a revelation. My image of Sparta – Ancient Sparta and all that Sparta implied – was transformed in a single instant.

The valley of the Eurotas is anything but barren! It is quite the reverse. It is green and fertile and stunningly beautiful -- like riches cupped in the hands of the gods. From the blooming oleander to the wild iris, the valley is a garden. The orange orchards stretch as far as the eye can see, brazenly advertising not only the abundance of soil and sun but of water as well. Most spectacular of all, the Eurotas valley is one of those few places on earth that offers the sensually stimulating sight of palm trees waving against a back-drop of snow-capped mountains.

I asked myself: has Laconia perhaps changed dramatically in the last 2,500 years? Was it poor when the harsh, economical, self-disciplined Spartan society took root in its -- then -- sparse and almost barren soil?  Does it bloom now artificially because of modern fertilizers and irrigation?

If we are to believe the ancient historians, no. Herodotus speaks of Sparta’s “good soil”.[i] Thucydides describes the entire Peloponnese (with the exception of Arcadia) as the “richest part of Hellas.”[ii] It is when speaking of Athens, that Thucydides draws attention to “the poverty of her soil.”[iii]

So the fertility and abundance of the valley has not changed since Ancient times any more than the shape of the mountains that enclose it. 

 

But if this rich valley was the seat of Sparta, then Spartan austerity and deprivation did not come from necessity! If Sparta’s land was rich, fertile and productive, then it could have enabled the highest standard of living available in the ancient world -- at least to the always modest number of elite Spartiates. In short, if Sparta was as austere a society as it is depicted in modern times, then that austerity was self-imposed.

Is it reasonable to imagine that a people raised in the midst of wealth and beauty had no appreciation for either? Or is the very austerity of Spartan society as mythical as the thin soil described in modern novels about Sparta?

 

I started to wonder if our images of a rigid, harsh and brutally disciplined society were a distortion or exageration? A fractured image? A misunderstanding based on ignorant, or prejudiced foreign reporting? Imagine what American society looked liked through the eyes of the Soviets or the Taliban!

That was when I started to seriously research Ancient Sparta, focusing on ancient sources, primary sources, archaeology and and scholarly works. I soon discovered a different world from that of Hollywood, Stephen Pressfield and the global fascist movement that has expropriated so many Spartan symbols. 

 

Following extensive research, participation in scholarly fora, and personal contact with some of the leading modern scholars of Ancient Sparta, I have come to believe that popular modern images of Sparta are based largely on inadequate, hostile and sometimes purely fanciful source material.  So I set out to describe a different Sparta, a Sparta consistent with the ancient sources, but enhanced by common sense interpolation and an understanding of human nature. On the assumption that exaggerations and myths often have a kernel of truth, I did not turn Sparta into paradise of luxury and self-indulgence, but sought instead to provide logical explanations of where the legends might have had their roots in a normal, if unique, society. This Spartan world is depicted in my six novels set in Ancient Sparta, which have been praised by scholars for their plausibility and contribution to an understanding of the real Sparta.   

 

---

[i] Herodotus, Book I.66, p.26.

[ii] Thucydides, Book I.2, p.36.

[iii] Ibid.

Find out more about my novels set in Ancient Sparta at: https://helenapschrader.net/ancient-sparta/

                                 

Settings that Inspire Inspiration

 Inspirational Kantara!

 

Personally, the Island of Cyprus and most especially the above pictured castle of Kantara was the setting which had the most profound influence on my writing. An unplanned trip to Cyprus (my husband and I had booked a trip to Egypt but because of a terrorist attack had to rebook our holiday at short notice), inspired years of further research and travel culminating in six published and three unpublished novels. The most obvious of these is The Last Crusader Kingdom.

 

I was immediately intrigued by Richard the Lionheart's sojourn on the island, but then became fascinated by the dramatic opposition of the Cypriot barons to the tyrannical Frederick II Hohenstaufen. I wrote a series of novels about Cyprus during the civil war in the early 13th century, but doubting the appetite of the reading public for such an obscure topic I never sought a publisher.

Several years later, the release of the film "The Kingdom of Heaven" re-ignited my interest in this period of history. Suspecting Hollywood might not have gotten all the facts right, I started to research Balian d'Ibelin and discovered that the historical Balian was considerably more interesting than the Hollywood Balian. I became inspired to write my Jerusalem Trilogy, set in the Holy Land during the end of the twelfth century. Yet having come to the end of Balian's known life I was confronted by an alluring mystery. How was it possible that the ever incompetent Guy de Lusignan had managed to pacify an island the Knights Templar had given up on? How had the disastrous King of Jerusalem become the wise and successful ruler of Cyprus. 

The mystery took me back to Cyprus and indeed a new and exciting hypothesis, which is the basis of The Last Crusader Kingdom.  Not only that, but the story of Balian's eldest son, the historically more famous John d'Ibelin, Lord of Beirut, had its roots in Cyprus too. And so I returned -- to Kantara again and again. 

Find out more about the novels set in Cyprus at: https://helenapschrader.net/crusades-era/

                                                      

Settings aren't just Background

When speaking about novels, most readers focus on the plot and characters and to a lesser extent on the themes. Yet the  settings of novels are important, too. Fantasy novels and science fiction, for example, create entire worlds, while even novels set in contemporary reality have clear settings that influence their impact. The same murder mystery has a different edge when set in Paris than New York. A romance has a different feel if the lovers are ranchers in Wyoming rather than bankers on Wall Street etc. Vivid settings enliven and enrich any book. Yet in the case of historical fiction, settings are more than background: they shape the entire book. Let me explain.

 

 

The settings of historical fiction novels don't just create atmosphere, and they also create 'facts.' In a book set in ancient Rome no one can travel by plane or place a telephone call. In short, the 'setting' determines the options the characters have for movement and communication. The setting establishes parameters for climate, the type of clothing worn, languages spoken, prevailing religious beliefs, social customs, the status of women and so on. While that is true in contemporary fiction too, it is not necessary to explain a setting that is familiar to the reader.

By contrast, in the historical fiction, setting is so important that it is the single most important factor used for classifying books within the genre. Historical fiction books are categorized first and foremost by the time period in which they are set and then the geographic region. We speak of "a novel set in the American civil war" or "a novel of Ancient Rome" or perhaps "a novel set against the tumultuous backdrop of the War of the Roses." In all cases, the setting of the novel defines it before we dig deeper to discover if this is a romance, a war-story, or a mystery. 

The other way in which settings are particularly important to historical fiction is that for most readers the setting will be unfamiliar. In a novel set in contemporary times, an author can say: " He stopped at  MacDonald's for a Big Mac, and then ...." No further explanation is needed. For a novel set in Ancient Egypt, the author is going to have to describe what a quick snack looked like and where it could be obtained -- or maybe do without that little episode altogether in order not to bore the reader.... A novel set in modern times can say: "He worked in a open-space office with tiny cubicles" and the reader already sees the environment. Most readers, however, cannot immediately picture the scene if the novelist says: "He worked in the Scriptorium of the abbey."

Given the importance of settings to the genre, it hardly surprising that historical novelists are particularly influenced by settings before they even set out to write. Settings can inspire, inform and enrich an author -- enabling them to share that experience with the readers. I will be discussing each of these functions in the weeks ahead.

My novels are set in three distinct historical eras: Ancient Sparta, the era of the Crusades and the mid-20th Century, Find out more at: https://helenapschrader.net