Surely the Greek myth of warrior-king Agamemnon and his downfall must be the story of the most dysfunctional family in history. In his most recent novel “House of Names” Tóibín reenacts this dramatic tragedy, but doesn’t focus on the perspective of the great conqueror of Troy who horrifically sacrifices his daughter Iphigenia to the gods in order to ensure his victory. Instead he flips between the accounts of Agamemnon’s scheming wife Clytemnestra, imperious daughter Electra and young son Orestes. Moving between their points of view he shows how their downfall is fuelled by their various ambitions and craven need for revenge. If you’re not familiar with the details of this myth I’d advise you not to search for their stories online prior to reading this novel (as I unfortunately did) or you’ll ruin the blood-soaked plot. However, the power of Tóibín’s invention isn’t in plotting out this ancient story (whose details he seems to mostly stay faithful to) but in how he vividly imagines the points of view of these more marginalized figures of the myth and letting their voices color the well-worn tale.
It’s somewhat funny looking back to my last review of a Tóibín novel when I read “Nora Webster” a few years ago. In the first line I comment that “his stories seldom involve high drama.” It’s like the author took that challenge and recreated a story with nothing but wickedly sensational drama! Tóibín’s great talent has traditionally been in writing domestic dramas where nothing much happens but we feel the angst of the characters’ life decisions so intensely that their stories become utterly profound. However, in recent years, he’s changed his tactic by harkening back to classic tales to expand our understanding of these old stories and imbue them with a modern sensibility. This is what he did by taking on the daring and weighty task of writing “The Testament of Mary.” Strangely, this brief novel where the mother of Jesus gets to have her say had little impact on me - although I absolutely loved the staged monologue starring Fiona Shaw holding a live vulture! However, I was enthralled reading “House of Names” for both it’s fiery action and sensitive take on a family ripped apart amidst their power struggle.
Agamemnon mostly comes across as a blandly driven man who “was an image of pure will.” The real conflict exists with his wife and children who are understandably overwrought by emotions because of the heinous actions of their family members. It’s interesting how the stories of Clytemnestra and Electra turn to meditations on faith. They separately struggle with their belief in the gods and how the gods’ actions play upon human emotions. Clytemnestra considers how “they distracted us with mock conflicts, with the shout of life, they distracted us also with images of harmony, beauty, love… And when it ended, they shrugged. They no longer cared.” Whereas Electra thinks “Perhaps the gods keep the memory of death locked up in their store, jealously guarded. Instead, the gods release feelings that were once pure or sweet. Feelings that mattered once. They allow love to matter since love can do no harm to the dead.” Tóibín intensely portrays their struggle between being servants to the will of the gods and exerting their own willpower in changing the course of fate. The narrative also charts what seems to be a societal shift from a polytheistic civilization to one which is more atheistic – as well as a change from feudalism to one which isn’t so domineering towards serfs and slaves.