There was a time when the gods came in the morning to wake us, when they combed our hair and filled our mouths with the sweetness of speech and listened to our desires and tried to fulfil them for us, when they knew our minds and when they could send us signs.

The story made me think that I should return to Greek mythology soon. I vaguely remember reading about Greek gods when I was younger, but since then, my interests digressed and I have let that lie somewhere in the corner. The stories in mythology are full of scandalous things, from killing the husband to matricide.

Clytemnestra does not believe in the gods anymore, believes that their powers are waning and maybe they are. But when her daughter is sacrificed, the winds change and the warriors win. She attributes all of this to chance, and maybe it was. On the other hand, maybe it was the men's belief in the gods that made them win. However, the theme of the gods' powers waning is present throughout the book

Colm Tobin attempted to revisit a really old story and beloved to many people. Stories like this never get old as they appeal to the universal human psyche and there is nothing wrong for contemporary authors to decide to draw inspiration from them.

The book had some nice parts, mostly in the first bit when we get Clytemnestra's point of view. The prose was electric, elegiac and seems to have done justice to a female figure that tends to be portrayed as the villain of the story. However, I found the parts of Orestes and Electra quite uneven. We missed this thorough insight, which is needed in order to fully understand the motives of these two people. Especially, with Electra, I felt that her depiction was quite cartoonish and plain. Her obsession with her father and her understanding of his murderous act against her own beloved sister is hardly justified in the book. For a modern reader, however, this seems quite outrageous and Electra seems to have acted like a fanatic.

I gave 3 out of 5 stars to this read based on the fact that it was an easy read, and I quite enjoyed Clytemnestra's parts (the first and the ghost part).

I like retellings of Greek myths/legends/drama and was excited by this one but sadly I found it to be superficial and hard to engage with.

We always come back to the Greek myths, don't we? And understandably so as they certainly never lacked for drama. But they also never lacked for gods either, which is probably why Colm Toibin was so intrigued to revisit the most famous Greek drama of them all and reposition it as a drama of human failings, and to look at the devastation and destruction that become inflicted on whole communities as the repercussions of revenge ripple out ever wider.

For here we are back at the House of Atreus. King Agamemnon is beset with concern that his planned attack on Troy will not go well so, in an attempt to appease the gods and win their favour, he decides to sacrifice his daughter, Iphigenia, to them. Not only is this a heinous act, but it is one he does through both fooling and imprisoning his wife, Clytemnestra, and his other children, Electra and Orestes. And we all know where it goes from there...

This reexamination, this exploration, is told from three viewpoints - Clytemnestra's, Electra's and Orestes's. The first - Clytemnestra's - is by far the most intoxicating and most successful. Told entirely in the first person, Toibin returns to a much-loved subject of the suffering of mothers.

Here, we witness the rage of a mother who must wait years for her revenge. And a woman who must plot and plan and find a way to exert the control and authority needed to undertake such an act in a world where men rule and women obey. This section of the book is quite extraordinary. It is intense and powerful and the tension in how Clytemnestra must hide and bite down on her rage and anger, yet keep it fed for all that time until her husband returns, is quite something..

Electra's sections are less powerful, but deliberately so. Electra's desire for revenge seem less intense, until you realise that there is something quite off-balance about her - that the way she sees herself and her behaviour is not how the rest of her world see her.

She is persistently visited by the ghosts of her sister and father, and you sense Toibin here is trying to explore madness, perhaps. Certainly what she sees as logical behaviour, or at least understandable - such as wearing her sister's clothes - becomes distressing scenes for her mother and those of the Royal Court. For these sections, you feel the journey is more powerful than the climax as once she has her revenge, Electra seems to peter away, her intensity fades.

It is in Orestes's sections that Toibin takes the most risks, for it is never really explained in the play where Orestes disappeared to all those years he was away. Was he in Athens? Was he on the run? We never know. So here, Toibin envisages that Orestes is kidnapped on Aegisthus's orders (the lover of the Queen is a malevolent force in this drama) but he escapes and, through his eyes, we see how the lives of the ordinary people of Mycenae have been affected by this never-ending cycle of civil war that is unleashed upon them from Agamemnon constantly taking their husbands and sons to fight overseas wars, from the subsequent Game of Thrones-esque dramas of the Royal Court, and then how this all feeds into an uprising that will overtake the Royal Court completely.

The vision here is quite impressive. Only thing is that Orestes is lost in all this drama. He seems a very weak individual and, it must be said, Toibin doesn't invest this character with motivation in quite the same way as he does with his women. Orestes never really convinces as a fully-fleshed out complex young man, but his journey is the vehicle for a very ambitious examination of how communities are destroyed when elites battle and scheme amongst themselves. And I think we can all safely say that is a tale as old as time.

I have recently been studying Greek myths as part of my English Literature degree, so I was really excited to read this book.  The story is based on the myth of when Agamemnon (King of the Greeks) sacrificed his daughter to appease the gods and get the winds to change direction so that he could sail off to war.  He sounds like a idiot if you ask me.

The story is told from 3 perspectives and begins with Clytemnestra, who is the wife of Agamemnon who witnesses her husband sacrifice their eldest daughter to the gods by slaughtering her as if she were an animal. When Clytemnestra tries to stop it, she is thrown into a hole by her husbands men and left there for a few days.  Understandably she then makes the decision to get her revenge on Agamemnon.  She begins an affair with a notorious warrior that Agamemnon had been keeping in the palace dungeons, and together they plot to kill him on his return from battle. 

The other 2 perspectives are told through the eyes of her son Orestes and her other daughter Electra.  The story unfolds over many years and follows the repercussions of Clytemnestra's murder of Agamemnon.  Colm Toibin's writing is really engrossing and descriptive.  I really enjoyed this book and would definitely recommend it to others.  I think that it would make a great movie or TV series, and I certainly wouldn't object if Colm Toibin chose to write more retellings of Ancient Greek myths.  I've got my fingers crossed that he appears at the Edinburgh International Book Festival this year.
The only thing that could have improved the book was that I felt like it ended suddenly and maybe I was missing some pages! Part 2 maybe? A great read that I would definitely recommend.

Tόibίn has been around for a good while and written several notable titles, including Man Booker Shortlisted titles and a film adaptation of Brooklyn in 2015. But I have yet to sample his work. Thankfully, I have now broken that trend, with his newest release: House of Names.

King Agamemnon makes a horrific choice: the day she was to be married, Agamemnon has his daughter sacrificed. It is brutal and shocking. It is the will of the Gods. It is only this act that will bring him favour in the Trojan War. Or so he believes. This brutal act leaves a legacy of grief and treachery for his wife, Clytemnestra and they’re surviving children, Orestes and Electra.

As a student and lover of the classics, I found it fascinating. House of Names is based on Greek myths that I am not particularly familiar with, so I don’t know how true it is to historical sources, but given Tόibίn’s calibre, I think we can safely assume that a fair amount of research went into it. Something I really appreciated and enjoyed while reading this novel, was the considered effort to create an ancient – and therefore timeless – narrative. The writing style reminded me of that which we find in existing ancient texts, such as Livy.

It is a style that shuns embellishment and uses very little description. Yes, landscapes have their dimensions and facets – be they open fields or cold stone prison cells. And yes, characters have their thoughts and actions – be they private and murderous or steadfast and brave. But Tόibίn finds more than that unnecessary. The result is an action driven narrative, governed by its restrained descriptive style. My imagination thrived on this starvation of description, and when I think back to some of the action scenes in the book, vivid images instantly appear inside my mind.

While this is a story driven by soul-consuming emotion, Tόibίn’s decision to heavily restrain his character’s voices compresses and represses these violent emotions, emulating the experience of his characters. Unfortunately, while I found the style overall to be effective, it was the restraint that prevented me from truly connecting with the characters. I felt removed from them. Therefore, even when a first person narrative was being used, I could only observe and not empathise with them.

Perhaps that was intentional on the part of Tόibίn; a decision made as part of his endeavour to recall this ancient myth of murder, betrayal and power.

Coln Toibin takes us into the Greek Mythological world of Clytemnestra and Agamemnon. And pretty bloody it is too starting from the sacrifice of their daughter to the Gods, by Agamemnon, in the hope of their support in his up coming battles. Life hardly gets better within the family with lovers, jealousies, scheming and deceit...Can the surviving children restore sanity? Not simply. It's all something of a "Soap Opera" but gripping, nonetheless.

This is a retelling of a classic tale. Now I am not someone who read or studied Classics so I come to this story with limited knowledge. This lack of knowledge didn't effect the enjoyment of the book though.
It is a retelling of the Greek tragedy of Agamemnon and Clytemnestra and is told from three different perspectives Clytemnestra, her daughter, Electra, and her son, Orestes.
It is essentially about family, love, betrayal and trust and is brutal to all involved in the story. I found the perspective from Orestes the most interesting and would have liked the whole story to be from his perspective.
I was completely hooked on the story and couldn't put it down. It is a great read and I highly recommend especially for a holiday read.

House of names by Colm Toibin.
They cut her hair before they dragged her to the place of sacrifice. Her mouth was gagged to stop her cursing her father, her cowardly, two-tongued father. Nonetheless, they heard her muffled screams.'

On the day of his daughter's wedding, Agamemnon orders her sacrifice. His daughter is led to her death, and Agamemnon leads his army into battle, where he is rewarded with glorious victory. Three years later, he returns home and his murderous action has set the entire family - mother, brother, sister - on a path of intimate violence, as they enter a world of hushed commands and soundless journeys through the palace's dungeons and bedchambers. As his wife seeks his death, his daughter, Electra, is the silent observer to the family's game of innocence while his son, Orestes, is sent into bewildering, frightening exile where survival is far from certain. Out of their desolating loss, Electra and Orestes must find a way to right these wrongs of the past even if it means committing themselves to a terrible, barbarous act.

Bit slow but I managed to read it. I just took my time but then it got good. But I'm still not sure how I feel about this book. 3*. Netgalley and penguin books UK.

A true treasure and a fabulous retelling done with restraint. This project could easily have dissolved into hyperbole but not so with Colm Toibin, who is The Master in more ways than one!

This was an interesting take on a classic tale - I liked it, but I think I prefer the source material.

I was struck from the beginning by the pared back but lyrical writing. As the author says
"Now our words are trapped in time, they are filled with limits, they are mere distractions, they are as fleeting and monotonous as breath."

The writing seems to keep close to the stark nature of the Greek tragedy it is retelling. There is no great character exposition just the tragic inevitability of the plot pulling us along. like a riptide.

It begins with Clytemnestra who murders her husband Agamemnon, because he is willing to sacrifice their daughter, Iphigenia to the gods for a favourable wind for his war (having tricked her into believing that there was to be a marriage)

Their son Orestes is kidnapped but escapes with the ailing Mithros and Leander to form the second section of the plot. Meanwhile Clytemnestra has taken up with the evil Aegisthus watched by the observant but largely silent Electra.

The plot then takes these threads and unwinds them to the ensuing tragedies.

The sections narrated by the women are narrated in the first person. However the sections narrated by Orestes are in the third person. I wonder why Toibin did this? Is it because women are often lacking a voice, especially in the time in which the action takes place ?

Toibin at times explores the differing attitudes to the gods and the concept of free will v. Destiny/Fate.

"' ...the gods have nothing to do with us , Leander shouted. Nothing! We will get nothing more from them. Their time is over"

Another theme he explore is the nature of memory "which connects and withdraws". It is memory which we have as individuals which is an undercurrent to the larger sweep of history.

I was thinking about this book in the context of other myths, legends and tragedies. It seems to keep the bleakness of the original Greek tragedies (eh Sophocles) without putting a modern "spin" on it like Winterton's "Weight" or Attwood's The Penelopiad. It doesn't go down the character route like Miller's The Song of Achilles.

I am glad it keeps the original character of the Greek tragedies. I have found some of Toibin's previous books rather turgid but sped through this one.

I absolutely love Colm Tóibín's writing and this had a very similar feel to The Testament of Mary which is my favorite. It's a really interesting take on The House of Atreus tragedy and an enjoyable read. The characters feel completely real in your mind but you can't help but feeling disappointed in them all. by the end. But I guess that's tragedy for you...

It’s not often I finish a book and immediately go back to the beginning and start again. Tóibín is a master of his craft. His lyrical prose – quiet and steady – leads us through his interpretation of the tragedy of Clytemnestra, Agamemnon, Iphigenia, Electra and Orestes. He shows us how one act leads to another and another until everyone is steeped in blood. In Clytemnestra’s suddenly godless world she is free to act without constraint or guidance and can use the excuse of personal tragedy as the trigger for acts of greed and aggrandisation.

The story is well-enough known through Aeschylus’s Oresteia and other accounts, though Tóibín’s version differs in various ways and, of course, goes deeper. Agamemnon sacrifices his daughter Iphigenia to the gods for success in battle. Clytemnestra takes revenge by killing him in his bath. She takes up with Aegisthus, a captive from an earlier battle – a relationship she quickly loses control over – and things go from bad to worse. Aegisthus has his own ambitions. I found myself initially siding with Clytemnestra and never completely abandoned her despite her mistakes and viciousness. She presents ultimately a sorry figure.

Electra, very much her father’s daughter, is angry and suspicious. Orestes has been sent away as a boy by Aegisthus with, probably, his mother’s collusion, so he will not witness the killing of his father. He has been imprisoned and mistreated, eventually escaping with his friend, and later lover, Leander, with whom lives for years away from home. When he returns and discovers the truth, Electra convinces him to help her murder their mother and Aegisthus.

Switching between the points of view of Clytemnestra, Orestes and Electra, the novel takes us deep into the minds of the protagonists. Clytemnestra is fiery and driven by vengeance and hurt. Her language is bloody and graphic. She is a woman of passion and determination.

Orestes begins as a young boy, excited by playing with swords and mimicking his father, but quickly growing up during his captivity. He is confused, kept in the dark, afraid but brave for Leander’s sake. Leander is the leader here, the one with greater clarity. I would have liked a little more detail of timescale during this part as Orestes seems to suddenly be a man when he has so recently been a little boy.

Electra lives in shadows, watches and waits and plans her own revenge. She is something of an enigma, seeming to care little about Iphigenia’s sacrifice, and with her loyalty all to her father.

The characters in this version of the tale do not act in accordance with the whims of the gods, they are responsible for their own actions. Even Agamemnon, who appeases the gods of war by sacrificing Iphigenia, does so more because his men insist upon it rather than according to his own beliefs.

This is a fascinating account of how a family falls apart and of how power corrupts. Tóibín remains at the top of his game in this move away from his recent books set in Ireland.

Retelling a Greek myth about Iphigenia's murder by her father, Agamemnon, and her mother's revenge alongside her lover Aegisthus is an ambitious project and Toibin manages it terrifically well. A new twist on sympathy for Clytemnestra, the grieving mother, horrified that her father would kill her to carry on with a war their men are all devoted to - lost in the middle are her other children, Orestes and Elektra - intricate politicking, and then a period of kidnap and survival and everyone turns against each other - the messagebeing that the gods don't care so no reason to appease them or pray to them - we are left to fend for ourselves. I absolutely could not put this story down - getting inside everyone's heads and appreciating why they do what they do is utterly engaging - i kept trying to remember the story from the ancient plays I'd read. Wholly successful for me ..

Firstly let me state that I am not familiar with the Greek Myth that Colm Tóibín is retelling here, and I consider this an advantage as it allows me to see the work in its own right, without comparing it to what has gone before.
As always Tóibín is masterful in his use of prose, the writing, particularly in the parts of the book written from Clytemnestra's perspective.
The book tells the tale of a wife forced to see her husband condemn their daughter to death, as an offering to the Gods ahead of battle, and the intense hatred and desire for vengeance that results almost leaps off the pages. Part of the story is also told by Orestes , their young son who witnessed this sacrifice and is later kidnapped, before running away and hiding in exile for several years. I have to admit that this section of the book was probably the least interesting, but it was good to see a different aspect to the story. The other narrator is Electra, the middle child, left behind , who feels betrayed by her father's actions and her mother's bloodthirsty response and focuses these feelings into a betrayal and vengeance of her own, using her brother Orestes along the way. Less forthright than Clytemnestra, she still made an interesting narrator as her actions were not as predictable.
Full of drama and intrigue, I really enjoyed this book which I read courtesy of Netgalley, and I would recommend it equally to fans of Colm Tóibín and those with an interest in Greek tragedy.

COLM TÓIBÍN HOUSE OF NAMES
APRIL 22, 2017
Throw out what you thought you knew of the House of Agamemnon & start here. Has Colm Tóibín been reading George R.R. Martin or sat in front of Game of Thrones? That seems as stronHOUSE OF NAMESg an influence as the Ancient Greek sources. House of Names is a tale of a king and army in thrall to Gods, bitter revenge in the throne room, young pretenders thrust into cruel exile. The language is wilfully simple … run it through some program and it might reveal this to be a young adult novel. And indeed, for a mighty portion of the book, it is.

Clytemenestra’s is the opening voice. Her daughter Iphigenia is pledged as sacrifice to the Gods so they will send winds to speed Agamemnon’s troops on their way. Why should a mother believe in Gods who would condemn her to such sorrow? She vows to be her own authority henceforth, with revenge and power as her driving forces.

Her other daughter Electra will join in on the revenge route. Both women get first person narratives of their own. Orestes has to make do with a third person narrative from his point of view. That’s symptomatic of his whole Orestes_&_Pyladesexistence – Clytemenestra ships this son into exile for his ‘safety’ – but the gayness he barely acknowledges to himself sees him surrender any voice within his household. His love for young Leander (an apparently fictional creation that links to the takes of Orestes and Pylades from the myth) is fostered in rural exile and finds silent expression in the night. How old is this Orestes? He is playing at swords with soldiers as a child when his father was alive, and five years later returns as a man. Sex, both hetero and gay, is a force in the book but one that is not comprehended and so not detailed. This is the YA aspect of the book – Orestes’ is a gay teenage love story set inside one of the most fearsome family adventures from classical literature. I found it a strong and ultimately touching read.

The story of the fall of the house of Agamemnon that begins with the sacrifice of his daughter Iphigenia, is an old one given a new interpretation in the House of Names. The lineage of this story allows for a dramatic turn of phrase that brings blood, despair and suspicion into the language of the characters Tóibín chooses to tell the story. This makes the novel pleasingly operatic.

Clytemnestra is full of vengeful anger. She sees the world as a place deserted by the gods whose care for the affairs of men has waned, and whose influence therefore is fading too. To pray for guidance is useless; to fear acting without the favour of the gods is pathetic: the gods do not care.

The other voices, those of Electra and Orestes move within this new world very differently.

Tóibín has chosen to let the women speak for themselves, boldly proclaiming their stories in the first person. Orestes speaks in the third person, at a significant distance that suggests the way in which his story is subject to the actions of others.

While Electra takes on her mother’s world, regretting the loss of the old, but moving with agency into the new, Orestes seems to be the only human acting with a conscience rather than for personal gain. This makes him dangerous in a different way.

Clytemnestra is a monster for acting without the guidance of the gods. Orestes is equally monstrous for committing matricide, even though he acted according to others’ wishes.

The movements of old myths force certain human battles into the forefront. House of Names is all about human lineage. When characters arrive in their homes, or the homes of their relatives, they call out their own name as a way of forcing recognition. The name holds greater authority than the person proclaiming it. Hidden within these structures are questions about our human identity. Do we come from the gods? Is our life subject to their whims, to external laws, rules, morality? Are women always harbingers of evil (for Eve moves within the folds of Clytemnestra’s musings, carelessly bringing human knowledge against the gods)? Can we trust those of our own blood? Can we ever escape blood shed at our hands?

Caught in the middle of this questioning, this shift in outlook, is Orestes whose story is the most changed by Tóibín’s retelling. Orestes is the man caught in a sea of human history, forced to the head of the tide by external forces, wanting to act for the best but always cast adrift again, an observer whose only acts force him further from society. All he wants is to live at peace with those he loves. Best placed to rule for the people because he cares for them and not just himself, he is ignored despite his heritage, and not only because of his matricide but because he doesn’t have the politician’s art. The novel ends with him hoping he can regain the friendship of Leander and we hope alongside him.

If Clytemnestra’s godless world belongs to the politician, what room is there for friendship? What becomes of human morality? Tóibín’s retelling of this myth privileges the human experience over that of the gods and puts the story into a labyrinth of conflicting human interests that uses religion for its own means. In this way House of Names is a bleak modern retelling that ends with a faint hope for a future in which blood doesn’t rule your destiny. It is a thoroughly engaging read.