Roman Blood

In the unseasonable heat of a spring morning in 80 B.C., Gordianus the Finder is summoned to the house of Cicero, a young advocate staking his reputation on a case involving the savage murder of the wealthy, sybaritic Sextus Roscius. Charged with the murder is Sextus's son, greed being the apparent motive. The punishment, rooted deep in Roman tradition, is horrific beyond imagining. The case becomes a political nightmare when Gordianus's investigation takes him through the city's raucous, pungent streets and deep into rural Umbria. Now, one man's fate may threaten the very leaders of Rome itself.

In Rome, in 80 B.C., Gordianus the Finder is hired by Cicero, a brilliant and ambitious young orator about to defend his first case, to investigate a wealthy farmer accused of the murder of his father, in a novel based on an actual case

“Fresh perspectives [on] the study of the Roman amphitheater . . . providing important insights into the psychological dimensions” of gladiatorial combat (Classical World). From the center of Imperial Rome to the farthest reaches of ancient Britain, Gaul, and Spain, amphitheaters marked the landscape of the Western Roman Empire. Built to bring Roman institutions and the spectacle of Roman power to conquered peoples, many still remain as witnesses to the extent and control of the empire. In this book, Alison Futrell explores the arena as a key social and political institution for binding Rome and its provinces. She begins with the origins of the gladiatorial contest and shows how it came to play an important role in restructuring Roman authority in the later Republic. She then traces the spread of amphitheaters across the Western Empire as a means of transmitting and maintaining Roman culture and control in the provinces. Futrell also examines the larger implications of the arena as a venue for the ritualized mass slaughter of human beings, showing how the gladiatorial competition took on both religious and political overtones. This wide-ranging study, which draws insights from archaeology and anthropology, as well as Classics, broadens our understanding of the gladiatorial show and its place within the highly politicized cult practice of the Roman Empire.

There is a disconect between rulers and those they govern. Their power, and the people they wield, guides the historical narrative, often distorting the truth. But sometimes, in rare moments of magnificence, by individual heroic, unselfish acts, all of their bluster and pretense is rendered insignificant. Mere window dressing for simple souls in need of comfort and reassurance. Easily swayed. For every great society, thousands will toil and suffer. Many will claim credit. Only one will have earned it. When magnificence was common. In 9AD, German barbarians will rise up in rebellion. Annihilate 3 of Rome's finest Legions, destroy a dozen forts, and drive the Romans from their land. United, they will stop Rome's northern expansion forever, and begin the destruction of Rome itself, saving Western civilization from an evil Empire. Erased from the record, is 52 days, that will change it all.

Roman Women in Shakespeare and His Contemporaries explores the crucial role of Roman female characters in the plays of Shakespeare and his contemporaries. While much has been written on male characters in the Roman plays as well as on non-Roman women in early modern English drama, very little attention has been paid to the issues of what makes Roman women ‘Roman’ and what their role in those plays is beyond their supposed function as supporting characters for the male protagonists. Through the exploration of a broad array of works produced by such diverse playwrights as Samuel Brandon, William Shakespeare, Matthew Gwynne, Ben Jonson, John Fletcher, Philip Massinger, Thomas May, and Nathaniel Richards under three such different monarchs as Elizabeth I, James I, and Charles I, Roman Women in Shakespeare and His Contemporaries contributes to a more precise assessment of the practices through which female identities were discussed in literature in the specific context of Roman drama and a more nuanced understanding of the ways in which accounts of Roman women were appropriated, manipulated and recreated in early modern England.

Spanning a thousand years, and following the shifting fortunes of two families though the ages, this is the epic saga of Rome, the city and its people. Weaving history, legend, and new archaeological discoveries into a spellbinding narrative, critically acclaimed novelist Steven Saylor gives new life to the drama of the city's first thousand years — from the founding of the city by the ill-fated twins Romulus and Remus, through Rome's astonishing ascent to become the capitol of the most powerful empire in history. Roma recounts the tragedy of the hero-traitor Coriolanus, the capture of the city by the Gauls, the invasion of Hannibal, the bitter political struggles of the patricians and plebeians, and the ultimate death of Rome's republic with the triumph, and assassination, of Julius Caesar. Witnessing this history, and sometimes playing key roles, are the descendents of two of Rome's first families, the Potitius and Pinarius clans: One is the confidant of Romulus. One is born a slave and tempts a Vestal virgin to break her vows. One becomes a mass murderer. And one becomes the heir of Julius Caesar. Linking the generations is a mysterious talisman as ancient as the city itself. Epic in every sense of the word, Roma is a panoramic historical saga and Saylor's finest achievement to date.

Theoderic and the Roman Imperial Restoration offers a new interpretation of the fall of Rome and the "barbarian" successor state known as Ostrogothic Italy. Relying primarily on Italian textual and material evidence, Jonathan J. Arnold demonstrates that the subjects of the Ostrogothic kingdom viewed it as a revived Roman Empire and its king, Theoderic, as its emperor. Most accounts of Roman history end with the fall of Rome in 476 or see the Ostrogothic kingdom as a barbarous imitator. This book, however, challenges such views, placing the Theoderican epoch firmly within the continuum of Roman history.