Atticus of Rome

Children's Literature

Slave boy Atticus spies for his master, Lucius Opimius, who fears conspirators will assassinate his best friend, the emperor. Captured during a military raid, Atticus adjusts to his loss of freedom. Because Lucius benevolently protects him, Atticus' life is easier than most slaves who endure brutality and lack control over their destiny. The Greek astrologer Aristide, whom Lucius consults, offers Atticus advice regarding who to trust. Wanting to help Lucius, Atticus eavesdrops and observes people for signs of coups. This novel enables readers to explore vicariously the ancient world. The narrative introduces people representing various social classes and professions. Wealthy aristocrats are mostly depicted as narcissistic, greedy, and cruel. They misuse their power and indulge in excesses. Violence dominates Atticus' environment. Conspirators' bloodthirsty plotting and betrayals fester. Social history details are interesting, but the grotesque realism of some scenes, particularly gladiator battles and animal abuse, might be too much for squeamish readers. Intrigue heightens as Atticus realizes who the most dangerous people are. A historical note mentions Roman contributions present in modern society. The book lacks a bibliography. An explanation of the Latin derivation or historical inspiration for characters' names would have been useful. This novel could complement social studies. Pair it with Avi's Crispin: The Cross of Lead (2002) to compare the lives of serfs and slaves. Part of "The Life and Times" series. 2004, Scholastic, Ages 8 to 12.
—Elizabeth D. Schafer

School Library Journal

Gr 5-9-Historically unreliable, these two novels also fail to convey a real sense of living in the past. In Pandora, the author mentions the creation (inaccurately described) of an art object in a style more than 100 years out of date (Athenian black-figure vase painting ended ca. 510). Atticus, torn from his family at age 12, subsequently coddled by a toga-hating noble, never truly experiences slavery. Incredibly, Pandora, at 13, has never heard the myth of her namesake. The texture of daily life is absent, though Denenberg dutifully offers lists of foods or goods, or shoehorns in accounts of banquets, the baths, or a chariot race. Carelessness and inconsistency detract from the historical details that do appear, as shallow characters are propelled through preposterous events. Atticus, for instance, an unskilled rural child, is instantly singled out by his master, made a confidant and a detective, reunited with his gladiator-father, and given his freedom and all of his master's wealth. Pandora, who whines that she has to stay indoors all day, "walking around in her nightdress," nevertheless meets Socrates, attends a symposium, cuts off her hair, spends an unchaperoned night out, and finally runs away with a 17-year-old crush. Readers can never believe in either of the main, let alone secondary, character, and there is little evocation of historical events or politics. The language in both novels is trite, vague, and clich d. A few pages of Peter Connolly and Hazel Dodge's The Ancient City: Life in Classical Athens and Rome (Oxford, 1998)-or a half hour with the relevant "Eyewitness" books-will be vastly more inspiring and informative.-Patricia D. Lothrop, St. George's School, Newport, RI Copyright 2004 Reed Business Information.