Writing the Return – The Warrior’s Homecoming

I’m nearing the end of the first draft of Eagles and Dragons, Book III – Warriors of Epona.

This has been a very different book to write. The characters are farther along their path, and there are many new ones that have come onto the scene.

I’ve also left the marble of Rome, and the sands of North Africa behind for the fog-choked hills of Caledonia.

War has come.

My protagonist has fought a long hard campaign with his men, the most bloody and savage of his career. He’s been on campaign incessantly for about a year without the comforts of civilization or of Mediterranean warmth.

He faces an enemy that will not come out into the open most of the time, and supposed allies that he really cannot trust.

For him, life has been a constant cycle of fighting for survival. He has led his warriors, and killed for Rome, all for the purposes of advancing the Empire’s plans for conquest.

Modern Conflict

Indeed, one of the themes running through all books is that of the powerful few sending many to die on the battlefields of the Empire. The soldiers are at the whim of those roaming and ruling the corridors of power.

Sound familiar? My, how history does repeat itself.

Always at the back of my protagonist’s mind is the family that he misses. But if he thinks on them too much, if he loses his focus at any time, his enemies will tear him apart.

The warrior’s life has never been an easy one, especially when you have something to lose.

I find myself in an interesting position now, as I write the last few chapters of Warriors of Epona.

Homecoming Parade in the UK

It’s time, in a sense, for my protagonist to ‘come home’.

But how is that even possible after the life he has led? Can he really ‘come home’?

How have warriors, men and women, dealt with the aftermath of war?

In his book The Warrior Ethos, Steven Pressfield asks a pertinent question:

“All of us know brothers and sisters who have fought with incredible courage on the battlefield, only to fall apart when they came home. Why? Is it easier to be a soldier than to be a civilian?”

In one way, perhaps life at war is more straightforward. Every day, every moment perhaps, your thoughts, your purpose, are focussed on the objective – take that position, hold that region, protect your brothers and sisters in arms, stay alive. In some cases, it’s kill or be killed.

Modern Conflict in Afghanistan

We’re back to primal instincts here.

Today, we have any number of soldier’s aid societies and government programs and guides that are intended to help veterans of wars reintegrate into society.

These groups do good work that is much-needed, but is it enough? How can non-combatants in civilian society understand the physical and emotional trauma that is experienced by warriors after the battle?

In the ancient and medieval worlds, there were no societies or organizations whose purpose was to help returning warriors reintegrate.

Spartan Warriors
Art by Peter Connolly

Granted, in warrior societies such as Sparta and Rome, the majority of warriors probably enjoyed the fighting.

Sparta, I should point out, is a unique example. All Spartan men were warriors. That was their purpose.

But in the Roman Empire, returning warriors would have had to reintegrate in a way similar to today, rather than ancient Sparta. Later Roman society valued not just fighting prowess, but also political acuity, the arts, rhetoric, skill at a trade, generally being a good citizen in society.

In some ways, the Roman Empire combined the best of both Spartan and Athenian societies.

Modern Warriors

However, going back to peace time in a civilian society after the straightforward survival life of a prolonged campaign on the battlefield would have been tough.

We read about legionaries coming back to Rome and getting into all sorts of trouble, their days and nights taken up with gambling, brawling, and whoring.

It’s no wonder that generals and emperors created coloniae of retired soldiers on the fringes of the Empire. In these places, veterans would not be able to cause trouble in Rome, but they would also be given the opportunity to have some land and make a life for themselves.

Family Reunion

In Warriors of Epona, my protagonist will soon be reunited with his family. He’ll be facing peace time.

How will he deal with this? How will his family deal with him?

War changes a person, whether it is in the past or the present day. It’s an experience unlike any other and I salute anyone who faces the conflict that comes with stepping from the world of war into the world of peace.

In the Roman Empire, they were two very different battlefields, as they are, I suspect, today.

How will my own character deal with the transition?

Only the next couple of chapters will be able to tell me.

Thank you for reading. 

Today, there are numerous organizations whose sole purpose is to help veterans, young and old, to make the transition from war zone to home front.

If you know someone returning from one of the many conflicts going on the world, here are a few resources:

US Department of Veterans’ Affairs guide to reintegration: http://www.ptsd.va.gov/public/reintegration/guide-pdf/smguide.pdf

Iraq and Afghanistan Veterans of America: http://iava.org/

Soldiers’ Angels: https://soldiersangels.org/

List of other Military and Veteran resources: http://www.military.com/spouse/military-life/military-resources/military-and-veteran-associations.html

Mosaic Masterpieces - Treasures of Roman North Africa

Triton in his Sea Chariot

For a writer of historical fiction, and for an historian, the museum is the place to go for research.

Not only can you learn a lot about people and places, you can also come face to face with the possessions of the people and places about which you are writing. You can interact with the items that decorated and served long-ago worlds – Egypt, Babylon, Greece, Carthage and Rome etc. etc.

In a museum, culture is frozen in time as a sort of gift to future generations, a window to peer through and better understand those who went before us.

I’ve been to a lot of museums in my travels, large and small, great and not-so-great. But there was

Hall of the old Bardo Museum

always something to be learned, something to take away with me that I could use in my writing.

This post, I wanted to touch on a particularly wonderful museum that I visited in Tunisia – The Bardo Museum in Tunis.

When I went to Tunisia to do research for Children of Apollo and Killing the Hydra, visiting Punic and Roman sites on the fringes of the Sahara was one of the biggest thrills of my travels.

When our 4x4 left the desert behind, I was disappointed to be back in the city. Tunis held none of the allure of the southern desert or the fertile green hills of central Tunisia. There were no ruined temples or amphitheatres, no mosaics or ancient streets as open to the sky, unsuffocated by modernity.

Ulysses on his Voyage

We pulled up outside a rather unassuming building and were told this was the ‘famous’ Bardo Museum. I probably rolled my eyes, remembered swaying palms and Saharan sand beneath my feet. I dreaded the dark building before me after so much perceived freedom.

I was so wrong. When we entered the Bardo, my eyes fell upon some of the most magnificent artistic creations I have ever seen.

The walls and floors were absolutely covered with myriad mosaics of such colour, such intricacy – I thought the images would jump right out at me.

And they were tucked away in this little museum that, up until that point, I had never heard mentioned

The 'Days' of the Week

by anyone at university or elsewhere.

I decided this week to look back over some of the photos I took at the museum and enjoyed revisiting those moments when I locked eyes with a tesseraed Triton or the striking statue of a Roman woman.

When I looked at the website for the Bardo Museum, I found that they have moved to a completely new, more spacious building. Here is the link where you can also take a virtual tour of the new Bardo.

The new museum is stunning but for me the mosaics still take centre stage.

A Hunting Scene (left) and
the Nine Muses (right)

What is amazing about these creations is that they were what decorated the homes of the people who inhabited the period about which I was writing.

The visual that these mosaics provided for me and my written world was priceless.

Suddenly, my characters’ homes no longer contained shabby dirt or terra cotta floors, or even plain marble. Triclinii, peristylii and atrii came to life with the mythological and natural scenes that decorated Roman homes.

But these mosaics at the Bardo, and elsewhere, do not only depict the religious or fanciful aspects of belief.

A Gladiator and a Lion in the Arena

More importantly to our knowledge, they depict the everyday activities of people ages ago. We see people hunting, fishing, tilling and bringing in the harvest. We see images of the food they ate, the sports they watched and the heroes they worshiped.

These mosaics tell us so much about a world that would otherwise be lost to us. Thanks to these masterpieces, we know more about the buildings they decorated and the importance placed upon particular rooms within private homes, public and religious spaces.

Champion Chariot Horses

When I stepped out of the Bardo Museum into the setting sunlight on a Tunis street, I felt as though I had been a guest at sumptuous banquet in someone’s home, far off on the edge of the Empire. This was not some flee-infested frontier region. No.

The Roman provinces of Africa Proconsularis and Numidia yielded not only the oil, grain and garum upon which the Empire depended, but also artistic treasures that have left a mark on time.

At the Bardo Museum, you can walk among these treasured mosaics with many silent, sentinel statues as your fellow guests.

If you ever get the chance to visit this place, do so. You will not regret it, and the memory of what you see will linger with you for years to come. 

Gallery Statue

Floor to Ceiling Displays

The Poet Virgil

Picture Postcard #8 - Punic Ghosts

I have travelled over sea and sand to this ancient place.

My footsteps upon this cursed ground, these sad streets, are heavy,

For I walk in ancient Carthage.

Not the brilliant white ruins of antiquity for this place.

No.

Here, every street and stone, root and rock, weep for the past.

I am choked as I walk, heavy of heart for all the whispers about me.

From the salt-sown earth about the Bursa Hill,

The men, women and children of Carthage scream, and wail, and cry.

For all time.

 “Carthago delenda est” said the Roman.

And so it came to pass.

As I walk the streets, burned by the flames of ages past,

An incessant whispering of ghosts in my ears,

The bloody words resonate with the tramp of legionary hobnails.

“Carthago delenda est” – Carthage must be destroyed.

I walk among Roman ruins as well, for time has no favourites.

Build upon the ruins of the fallen they might,

But Rome too is dust in Carthage.

The walls and pillars of the Caesars crumble and decay, the mosaics fade.

Punic and Roman voices are caged together here…forever.

As the wind whips dust among the ruins,

And the sea laps the shore,

I weep for the forgotten people of this place,

Of Carthage.

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If you interested in Carthage, there is a great trilogy by author Ross Leckie that is worth checking out. 

Recently, I also enjoyed watching the documentary Carthage - The Roman Holocaust. I'm not sure about some of the theories in this documentary but it does make a good case and takes the viewer to some spectacular locales. Well worth an hour and a half of your time. I was inspired to look through some of my old photos of Tunisia after watching this documentary and was thus inspired write this picture postcard.

Thanks for reading!