Art for art's sake, money for God's sake

In these days of mass copying of music, and probably of ebooks too in the future, all of which means artists work for nothing, I thought this epigram by a chap called Martial was somewhat apropos. He's from the Roman Empire, 80AD.

Martial was hugely popular in his own day, and very, very rude. (Those two points are probably closely connected). This is from Book 5, Number 16. He had this to say on the value of his popularity:


That I, who could write what is serious, prefer to write what is entertaining, you, friendly reader, are the cause, who read and hum my poems all over Rome; but you do not know what your love costs me.

For were I willing to appear for the Temple of the scythe-bearing Thunderer [i.e. join the treasury department], or to sell my words to anxious men accused [i.e. become a lawyer], then many a sailor whom I'd defended would send me jars of Spanish wine, and the lap of my toga would be stained with all sorts of coin.

But, as it is, my book is merely a guest and sharer of revels, and my page affords amusement for which I receive no pay. Not even the poets of old were content with empty praise; in those days the smallest present made to the Immortal Bard [Virgil, not Shakespeare!] was Alexis [a slave once given to Virgil].

"You write charmingly," you say, "and we will reward you with praises for ever."

Do you pretend not to understand my hints? You will, I suspect, make me a lawyer.


How very interesting that almost 2,000 years ago, people used intellectual property without paying for it, and then expected to make it up by saying nice things about the unpaid artist. Notice how he says things were better in the good old days!


This post was written while listening to Art For Art's Sake, by 10cc.

Wineries are like writers

If I've been silent for the last week, it's for a good reason: I've been drinking copious amounts of alcohol.

But it's all in a good way. Really truly! Nothing but the finest of fine red wine. My wife the Goddess of Punctuation and I were invited, along with 250 other lucky souls, to the 25th birthday of Charles Melton Wines, which is an ultra-high quality winery in the Barossa Valley in South Australia, an hour's drive north of Adelaide, which is a 2 hour flight from where we live in Sydney. So a fair way from home. In times BC (Before Children) we used to go winery visiting once or twice a year, but this trip was only the second time in 11 years that we had both been away from our girls. The girls were fine with it; I had separation anxiety.

Charles Melton is best known for the amazing wine called Nine Popes, which is made from predominantly Grenache grapes, with some Shiraz and Mourvedre thrown in.

The Barossa has a reputation for producing very high quality wine. Penfolds Grange, which is widely considered one of the best wines in the world, is made just up the road, and Nine Popes does for Grenache grapes what Grange does for Shiraz.

I won't bore you with piles of wine talk (I hope) but there were two highlights I must mention.

The first was an international tasting. Charlie brought in 12 wines from all over the world for a comparative tasting of four grape types made in totally different ways in different places. Slovakia, France, Italy and the US were on the list. I'll particularly mention the 2005 Seghesio Old Vine Zinfandel from California, the 2008 Christian Morery Vallions Chablis from France, and the 2008 Aston Hills Reserve Pinot from Australia. All amazing wines. And Charlie imported all these for us to taste at his own expense. Every drop of wine all we 250 guests drank over three days, both the imports and his own, plus some amazing food was given us by the winery as a massive thank you for our support over the years.

The second highlight was the vertical tasting of every vintage of every wine Charles Melton ever made. He had Nine Popes on the table from 1996 to 2008, and it was an amazing experience to taste one after the other. You could even taste the difference between the normal sized bottle and the magnum of exactly the same wine, and believe me, the difference was very clear. Same goes for his Shiraz wines and his Rosé.

The Melton Rosé by the way is named for his wife: Rose of Virginia. He also has a Shiraz called The Father In Law. There's no law says fine wine can't have a sense of humour.

Charlie talked about how he was running a small business, which he said to us in a huge shed surrounded by large vats of fermenting wine. If that's his definition of a small business, he should try writing.





Here's the Goddess of Punctuation. I think she might be checking one of the Grenache vines for missing semi-colons.


Now all this caused me to think a lot about how wineries are like writers. (Yes, drinking nothing but lots of fine wine for three days straight inspires thoughts like this.) But really, the similarities are there:



Tastes differ. In wine as in books. No one can satisfy every taste.

When people like you, they come back for more.

It doesn't take too many bad vintages (or books) to destroy your following and wipe you out.

I don't know about where you are, but here in Australia there are a zillion small wineries, all producing good stuff, and how's one winery to get noticed over another?
It's a craft and an art.

It makes people happy.


So what lessons can I learn as a writer from how Charles Melton made it as a vintner? I don't know what he thinks, but here's the way I see it:

Go for quality. The highest quality you can reach.

Quality + Hard Work + Outstanding Service = Vast Success

Be generous to your supporters. Charlie funded a party for 250 people with world class wines. He now has 250 rusted on customers who will love him forever. (But I thank God I'm not his accountant).

Have fun. At the final dinner, the staff got a standing ovation. They deserved every bit of it and more. The smiles never left their faces. They put up with us all. They did the near impossible and even looked happy doing it.

Hello my friend, you have won…

Every now and then, after being prodded by Anneke thirty or forty times, I produce something for the flash fiction site Rammenas.

Last week I sent in a piece called Hello my friend, you have won… which I won't reproduce here because it's on the link.

The story's fundamentally a single idea presented as a tiny scene with a bit of a twist. I didn't think this piece was anything particular, but it ended up listed on Be The Story as one among 7 favourites, so I have to assume it's better than I thought. Anyway, if you'd like to see something from me which has absolutely nothing to do with ancient history, then have a look!

Rammenas by the way is worth a read if you enjoy flash fiction. And if you like to write it I'm sure Anneke would enjoy hearing from you. Among the authors on Rammenas is our very own Scary Azeri, who is much better at flash fiction than yours truly.


Ghosts of Ancient Greece

The Greeks were one of the very few people throughout history to not have a strong belief in ghosts. In fact I'd be willing to bet there are more people in the western world per capita today who believe in ghosts, than there were in Athens in 460BC.

I put this down to the Greek belief that the world was fundamentally explainable by rational means. That very modern viewpoint was totally at odds with their own religion, and the deeper thinkers of the time were painfully aware of the paradox. Yet nevertheless, give a Classical Greek a problem, and he would instinctively look for a rational solution. This rather suits me as a mystery writer.

The unusual converse however, is that although people didn't believe the dead visited the living, they did believe the living could visit the dead. Greek mythology is full of people just popping down to Hades for a quick chat with the shade of someone long gone. Theseus, Heracles, Odysseus, Aeneas and Orpheus all take the plunge and return to tell the tale.

The important thing to a Greek was to make sure the spirits of the dead made it into Hades, after which they weren't coming back. This was largely arranged via the funeral ritual.

Here is Nicolaos, visiting the body of his first ever investigation:
I stepped forward to the body, as was required. An urn of ashes had been placed there. I dipped my hands in, raised them high above me, and poured a handful of ash over my head, felt the soft falling touch against my face, and the harsh burnt smell in my nose. Looking down I could see the pattern of black and white specks on the floor all about me, where every visitor before had done the same thing.
I cried and lamented for the shortest time I decently could, inspecting the body all the while. Ephialtes had been dressed in a white shroud. A honey cake rested by his right hand. A strip of linen had been tied around his chin to the top of his head, to keep his mouth shut, by which I knew the coin, an obol, had already been placed in his mouth.
Ephialtes would give the coin to Charon the Ferryman, who would carry him across the Acheron, the river of woe, on his way to Hades. He would cross the river Cocytus of lamentation, and the Phlegethon of fire, before coming to the river Lethe, where he would dip in his hand and drink of the waters, and so lose all memories of his earthly life, finally coming to the Styx, the river of hate, after which he would be in Hades, and remain there for all eternity.
You'll notice I managed to get in the basic geography of Hades, as it was generally agreed. This is pure exposition, so I was probably a bit naughty, but I thought it was kind of cool to sneak it in. Nico doesn't mention it here, but the body when it lay in state awaiting burial was always placed with its feet towards the door, which was to prevent the dead man's psyche from wandering off.

The psyche was the closest thing the Greeks had to a ghost. It was possible, if burial hadn't been performed properly, for the psyche to hang around. But this was extremely rare because the Greeks had enormous respect for the dead, even of their enemies. (Which is what made Achilles' mistreatment of Hector's body so very shocking.)

A lot of people think the coin placed in the mouth was to pay to get over the river Styx. Nope. Hades had many rivers, and the first of them was the Acheron. That's the one Charon the Ferryman carries you over. The Styx was the end of the line; when you crossed it, you'd reached Hades.

The coin placed in the mouth was an obol, not a drachma. Six obols make a single drachma, which was the average daily wage in Athens. So an obol represents about 2 hours of work and is probably what a for-real ferry crossing might have cost at the time. It also meant anyone could afford to get their loved ones to their eternal home.

There was no concept in Greek religion of being judged after death. Good or bad, you ended up at the same place.


Where I'm at with the series...

Two different people asked me today, so here's where I'm up to:

The Pericles Commission is on sale October 12 in the US. The busy elves at the printers are probably making copies even as you read this. Though I honestly don't know for sure. That's a job for the excellent people at St Martin's Press. My next involvement is when I turn up in the US for a book tour in last half of October. Which I'm very much looking forward to!

Book 2, title not yet decided, is with the editors. In the fullness of time I'll receive an editorial letter for book 2. The editorial letter is written by Editor Kathleen and is full of great suggestions for improving the book. It will release probably October next year. Some time between now and then we have to think of a title.

Book 3's title will be Sacred Games if I have anything to do with it. It's set at the Olympics of 460BC. Tonight I hit 70,000 words of first draft, and it's feeling strong. It will release probably October year after next.