György Spiró - Captivity

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Captivity: краткое содержание, описание и аннотация

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The epic bestseller and winner of the prestigious Aegon Literary Award in Hungary, Captivity is an enthralling and illuminating historical saga set in the time of Jesus about a Roman Jew on a quest to the Holy Land.
A literary sensation in Hungary, György Spiró’s Captivity is both a highly sophisticated historical novel and a gripping page-turner. Set in the tumultuous first century A.D., between the year of Christ’s death and the outbreak of the Jewish War, Captivity recounts the adventures of the feeble-bodied, bookish Uri, a young Roman Jew.
Frustrated with his hapless son, Uri’s father sends the young man to the Holy Land to regain the family’s prestige. In Jerusalem, Uri is imprisoned by Herod and meets two thieves and (perhaps) Jesus before their crucifixion. Later, in cosmopolitan Alexandria, he undergoes a scholarly and sexual awakening — but must also escape a pogrom. Returning to Rome at last, he finds an entirely unexpected inheritance.
Equal parts Homeric epic, brilliantly researched Jewish history, and picaresque adventure, Captivity is a dramatic tale of family, fate, and fortitude. In its weak-yet-valiant hero, fans will be reminded of Robert Graves’ classics of Ancient Rome, I, Claudius and Claudius the God.
"With the novel Captivity, Spiró proved that he is well-versed in both historical and human knowledge. It appears that in our times, it is playfulness that is expected of literary works, rather than the portrayal of realistic questions and conflicts. As if the two, playfulness and seriousness were inconsistent with each other! On the contrary (at least for me) playfulness begins with seriousness. Literature is a serious game. So is Spiró’s novel.?"
— Imre Kertész, Nobel Prize — winning author of Fatelessness
"Like the authors of so many great novels, György Spiró sends his hero, Uri, out into the wide world. Uri is a Roman Jew born into a poor family, and the wide world is an overripe civilization — the Roman Empire. Captivity can be read as an adventure novel, a Bildungsroman, a richly detailed portrait of an era, and a historico-philosophical parable. The long series of adventures — in which it is only a tiny episode that Uri is imprisoned together with Jesus and the two thieves — at once suggest the vanity of human endeavors and a passion for life. A masterpiece."
— László Márton
“[Captivity is] an important work by yet another representative of Hungarian letters who has all the chances to become a household name among the readers of literature in translation, just like Nadas, Esterhazy and Krasznahorkai.… Meticulously researched.… The novel has been a tremendous success in Hungary, having gone through more than a dozen editions. The critics lauded its page-turning quality along with the wealth of ideas and the ambitious recreation of historical detail.”
— The Untranslated
“A novel of education and a novel of adventure that brings to life ancient Rome, Alexandria and Jerusalem with a vividness of detail that is stunning. Spiró’s prose is crisp and colloquial, the kind of prose that aims for precision rather than literary thrills. A serious and sophisticated novel that is also engrossing and highly readable is a rare thing. Captivity is such a novel.”
— Ivan Sanders, Columbia University
“György Spiró aspired at nothing less than (…) present a theory in novelistic form about the interweavedness of religion and politics, lay bare the inner workings of power and give an insight into the art of survival….This book is an incredible page turner, it reads easily and avidly like the greatest bestsellers while also going as deep as the greatest thinkers of European philosophy.”
— Aegon Literary Award 2006 jury recommendation
“What this sensational novel outlines is the demonic nature of History. Ethically as well as historically, this an especially grand-scale parable. Captivity gets its feet under any literary table you care to mention."
— István Margócsy, Élet és Irodalom
“This book is a major landmark for the year.”
— Pál Závada, Népszabadság
“It would not be surprising if literary historians were soon calling him the re-assessor and regenerator of the post-modern novel.”
— Gergely Mézes, Magyar Hírlap
“Impossibly engrossing from the very first page….Building on a huge volume of reference material, the novel rings true from both a historical and a literary point of view.”
— Magda Ferch, Magyar Nemzet

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The building looked drab on the outside, but on the inside it came out so well that Honoratus exclaimed that most senators would envy it.

“Let them!” whispered the alabarch darkly, and with his next breath ordered statues to be added to the atrium.

Honoratus’s men procured some lovely statues: it was all the rage to acquire any Greek statue that could be moved. One of their finds, this one produced in Rome by a Greek master sculptor, was a superb bust of Germanicus as a handsome young man (after all he was only thirty-two when Tiberius had him murdered). Uri noticed that it bore essentially the same features of Caligula on coins, which was no surprise as sons often tend to resemble their fathers. For that one statue the alabarch paid more than he had for the whole house, including its fixtures. Uri had again gotten used to measuring everything around him in talents rather than sesterces, and it was also rare that a mention of dinars crossed their lips; probably the alabarch’s group had little sense of their value, in much the same way he had been in Judaea regarding the value of prutahs.

Awestruck by the sight of the sculpture, Honoratus asked the alabarch whether he would be taking it back with him to Alexandria. The alabarch pondered before saying that if the mission succeeded, then he would donate it to the local Jewish community. There was no end to the gratitude expressed by Honoratus, a sure sign that he had been hoping he could have it.

But it was far from clear what mission the delegation was serving: Who had authorized them, and to what end. No one asked, and Uri refrained from doing so as well.

On the other hand, he did ask Philo how the matter of his own debt was going to be cleared.

Philo was not pleased to be asked, because at that moment, reclining on one side at the leaf of the jacaranda-wood table in his second-floor suite, he happened to be writing about Flaccus, a work on the prefect’s deeds and misdeeds, to set these out before Caligula. Having been disturbed, he lost his train of thought and let it slip that the alabarch had reached an agreement with the Roman Jewish bankers exchanging his signature for their underwriting all costs incurred by the delegation while they were in Rome. A promissory note or bill of exchange had long been in use in this type of case, which stated that the Romans would be able to obtain an equivalent sum in cash on demand from the Jewish bankers in Alexandria with whom the alabarch held his own money, or else (and this was the more usual case) they would send a courier to Alexandria with word that they were willing to enter into this or that business transaction for such and such a sum at this or that much interest.

“For them it will be worth it,”said Philo darkly, and asked Uri to stick around before he went back to work, because at any time he might have a question that only someone who had lived through the Bane would be able to answer.

Uri dozed while Philo wrote, roused every now and then by the sound of a child’s crying, which could be heard above the ordinary noises of Far Side. Tears would come to his eyes, so much would he have preferred to be with his son, but that was not possible because he was being paid to stay away from him. He felt very strongly — indeed knew for sure — that his father had been reborn in his son, and he regretted every minute that he could not spend with him.

Uri read through those parts of Philo’s draft that had been completed, but he did not recognize what had actually happened.

In Philo’s outline he blamed Flaccus, with his rabid Judaeophobia, for everything; there was not a word about the Greek business interests who had really been behind the events. Uri did not say anything about that, but he did ask if any estimate had been made of the number of Jews who had been killed in Alexandria during the Bane, since he had seen no information on that.

“It’s possible to find out,” said Philo.

Uri waited for him to cough up a number, but nothing was forthcoming.

“So how many was it?”

“Not many,” Philo replied.

“How many?”

“Three thousand four hundred and fifty-two.”

Uri shuddered.

“That many?”

“Not enough to set down before the emperor,” said Philo dourly. “It’s little more than one percent of the whole Jewish population of Alexandria! The emperor will just laugh it off.”

“What, then, would be enough?”

Philo contemplated.

“Two-fifths, four-sevenths? One could get somewhere with that… As it is, we can only plead our case on the severity of the torments… The fact that old people were scourged as if they had been slaves… That Jewish women were made to eat pork… The stress needs to be placed on the quality…”

Uri then asked if Augustus’s stele for the Jews was still standing in front of the Sebasteion, to which Philo answered in the affirmative. Perhaps Flaccus had left it standing as a perverse joke, and now it was forbidden; since peace had arrived it was patrolled day and night by guards, and in the event any anti-Jewish obscenity was scrawled on it — which happened often — then it was quickly washed off.

“The sentries themselves do the daubing, so that they have something to do and the sentry duty isn’t called off,” Philo chortled. “That’s how they make their living — and not a bad one at that.”

“What happened to Flaccus?” Uri asked.

“He was exiled to Andros,” Philo replied. “I’ll include that in the book as well! The voyage, how he was taken to sea in the midst of storms, all the while tormented by his guilty conscience and solitude. And if he should die — that too! Sooner or later people like that are killed… My work will be like the choicest Greek tragedy! I’d never have believed the time would come when I would write a tragedy…”

Philo laughed:

“What do you think, my dear Gaius? Who was it who arraigned Flaccus before the Roman courts of law? You’ll never believe it: Isidoros and Lampo! Yes, Isidoros and Lampo, his former pals! They accused him of corruption, just imagine! A prefect accused of corruption! Surprise, surprise!”

Philo, who had no sense of humor, chuckled for a long time.

“And what happened to Pilate?” Uri asked.

“I imagine he was also exiled to somewhere.”

Uri shook his head. “A risky job it is, governing a country,” he commented.

Philo snorted:

“The only bad thing to be is a tyrannical prefect, because they will be punished by the Eternal One for sure,” he declared. “Emperors have been mistaken, repeatedly, in their appointments to the posts of prefects of Egypt and Judaea! They ought to appoint Jews: they would know how to serve an emperor faithfully, which would make the Jews themselves accept the emperor. That’s what we have to fight for!”

So that was why Marcus and Tija had come to Rome.

Uri figured it was not beyond the bounds of possibility that if Caligula forgave the alabarch, then Marcus would be made the prefect of Egypt and Tija the prefect of Judaea. Before that could happen, of course, he needed to arrange for them to be admitted into the Roman equestrian order. They met the wealth requirement, and the alabarch would no doubt arrange for the senators to be bribed.

Most likely that was the main reason for the whole family being there: if it had simply been a matter of representing the interest of the Jews of Alexandria, it would have been sufficient for the alabarch or Philo to come alone.

A year and a half ago the alabarch’s family had been left out of the list of richest families in the provinces on whom the equestrian order was bestowed, but they were here now, uninvited, and that’s what they were going to arrange. It might be that Marcus would become prefect of Judaea or Egypt, and Tija might become anything, but the family’s prestige in Alexandria — which had taken a tumble in the wake of the Bane — would be restored. The alabarch and his family were providing an escape route, onward and upward.

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