Most Western readers have a peculiar blind spot in the historical tapestry of European history.
The Empire of Byzantium.
There’s the Glory Of Rome, and then there’s the Middle Ages. Byzantium is a missing link, something that existed over there beyond Greece, almost Asian, almost Middle Eastern, something that fascinated but did not find deep roots in the Western European psyche.
But in Eastern Europe we all know about Byzantium. It was much closer to home, looming much larger on the horizon. When I was growing up, stories of Byzantium were simply part of my education, part of my cultural milieu.
One story in particular.
As the saying goes, well behaved women never make history, or as one of my great-aunts was wont to say, the pursuit of purity and virtue never helped a woman rise in her world. A good woman cooked meals, cleaned house and raised children. Those who did not do these things were by definition not good women. And not-good women got up to all sorts of things that were then whispered about behind closed doors.
In the story of the Byzantium Empire, one of these women stands like a colossus: Theodora of the Hippodrome, daughter of a bear-keeper, arena dancer, a woman they have called a whore, someone who clawed her way from the gutter into the circles of the aristocracy. Beyond that into the purple, crowned with an imperial diadem, ruling an empire at the height of its powers at the side of the besotted Emperor Justinian.
The magnificent mosaic of Justinian and Theodora in the Basilica of San Vitale, Ravenna
It is one of the greatest love stories in world history.
By most contemporary accounts, Theodora had more than enough heart and spirit and courage to have achieved all this. But because she did so, and did so while female, the rumors started swirling and history has never stayed neutral or even silent on this.
Procopius, a Byzantine historian, depicted Theodora as a wanton temptress who used her body and her sexuality to get what she wanted out of the powerful men in her world. Procopius had his biases and much of what he wrote was exaggerated or even invented. But he helped paint Theodora as what she ended up being in the pages of history books. Sultry, sexual, full of subtle poisonous malice, selfish, given to indulging her own pet people, ideas, or obsessions.
She may have been some of these things. But she was also something that was looked on askance in her world a strong-minded woman who knew what she wanted and did what she could, what she was permitted by her gender and her society to do, in order to get it. It is quite probable that she was no saint. But she was equally probably not the wicked witch of the east, the image in which she was cast.
I grew up with Theodora and her story dangling before me like some rich Byzantine jewel. When I was younger I had no real means of judging; I read books, both fiction and non-fiction, about the time that she lived in and that was all I had to go on. She was mad bad and impossible but she was fascinating.
And in the end I suppose it was inevitable that she should take root in my storytelling mind and demand that her story the story of the woman, not the icon, not the two-dimensional harridan, not the evil power who seduced a weak-minded scholar (which some would have Justinian be in some versions of the tale) into breaking all the rules, marrying her, raising her into the aristocratic circles of her time and making them accept her, and finally crowning her as his empress.
So I wrote a historical fantasy, Empress, which was based on her story and in doing so I have written another book in MY world, the world in which the Syai of “Secrets of Jin Shei” and “Embers of Heaven” also exist in the same way as Greece and China co-exist in our reality.
I am writing books which are the building blocks of a much larger world, a world which exists INSIDE MY OWN STORY MILIEU as a huge and ongoing backdrop and in which my individual stories are set, in their own place and time, like jewels, like tiny detailed works of art set into a huge larger-than-life map of a world big enough to contains them all.
“Empress” is the first new fat historical fantasy I have produced since “Embers of Heaven” was published some years ago. It is the story of a not-quite Byzantium and a woman who is not-quite Theodora. But I drew inspiration from both, and created my own version for my own world. This is the kind of story that I so love writing the sort of tale that unfolds like a rich tapestry, and the closer you look the more glorious detail comes out, until you’re lost in it and can’t quite tell where it ends and that (by comparison) sad pale thing we call reality begins.
Quote of the DayJust as I did.
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