I rarely have the pleasure of being so caught up in a book, so entrapped by its characters, that I fail to notice the steadily increasing pile of laundry on the floor, or dust that is accumulating past an inch. But this book did, with its heady blend of Greek and Celtic mythology, its factual references to many customs of the 11th century BCE, and its sprinkling of fantasy - just enough to claim the world as the author's own.

The characters are refreshing. Brutus, a headstrong descendant of Aeneas (founder of Rome), Cornelia, a proud child princess who is only looking for affection, to the darkwitch Genvissa, descendant of Ariadne, the original Priestess of the Labyrinth. I alternated between wanting to smack all of them for misbehaving, and cry during their desperate struggle. Good and evil are often very hard to define here, and all of the characters have their moments, where it is clear that they are only trying to do what is best for their land and their people (though some more at the expense of others). But where Douglass shines at fleshing out her characters, be forewarned that she is also ruthless with them. By mid-book, I knew not to be too firmly attached to any of them. Yet the snippets of happiness thrown in, made me eagerly press on, hoping for that happy ending.

If you are familiar with the myth of Ariadne, Theseus and the minotaur of Crete, you will jump right into the story. Ariadne has already helped Theseus at the expense of her family. Now pregnant and jilted, the book opens with Theseus sailing away with his new lover, and Ariadne seeking revenge by making a pact with Asterion, the minotaur. But this story isn't about Ariadne. It is about the result of her pact, and successive generations of her bloodline and their struggles, as well as those around them, to keep their land from dying. It is also the story of Brutus, determined to found New Troy on the land of once peaceful Mag and Og's domain. It is about his struggle through the Mediterranean and across the waters, and affect everyone and everything he touches, and not necessarily in a good way.

Douglass has done her research well. She throws in details familiar to many ancient historians, from the topless Minoan young women where women rule as honored priestesses, to the matriarchal society of Albion where women ask the goddess for a child and are beholden to no man. Then there are their manly neighbors who ride naked into battle, painted black and blue and cause chaos and destruction in their wake, treating women no better than chattel.

It's clear the story isn't finished with this first installment, and there are three books to go. It's also a story that leaves the reader eagerly wanting to know what happens to the characters, and who will win in the end, and I look forward to the second installment. ( )

This book is too long and too messy, and for a fantasy book, none of the characters were interesting enough to put up with for that long.

A man and a woman, mythological and historical characters that you have probably heard of, but changed in this book, end up opponents down through the ages, a conflict that his its root in their original meeting.

The first part is not so bad, then, blah.

http://notfreesf.blogspot.com/2007/04... ( )

With Hades' Daughter, Douglass kicks off her 4-book series "The Troy Game," in which descendants of the ancient Trojans journey to a new, foreign land where, with the assistance of The Game, they begin to build Troia Nova. Along the way, they capture Cornelia, a Greek princess who is brutally forced into marriage with the Trojans' leader Brutus. Brutus ultimately plans to abandon Cornelia for Genvissa, the woman whose mystical powers will ensure that he and she will reign as king and queen.

Unfortunately, none of the main characters are particularly likeable, so I didn't find I had much emotional investment in their well-being. Also, "The Game," referred to many, many times, remains even at the end of the book a somewhat confusing and nebulous concept. I do like Sara Douglass, so I'll still finish the series. ( )

http://www.sfreader.com/read_review.a... ( )

The only problems I forsee with starting this book is that you have to have some knowledge of greek mythology. I know that when I first started this book a few years back I couldn't get into it, because I didn't understand what was being written about. But luckily for me I was able to take a class and we just so happened to cover the greeks. Dear gods, when I was actually able to get into the book a whole new world was opened it seemed. The plot is a twitsted work of great clif-hangers making the book impossiable to put down.

At first Cornelia's character annoied me, but then with the story's development I began to like her very much. Brutus was the almost bad-guy and I still very much abhore Genivissa. The other characters made for an enjoyable cast.

I think the one thing that rubbed me the wrong way was the constant jumps from the first to the third person. And it takes you a while to get used to jumping from the 'present' back to the story which is obviously the past.

But over all the story was very good and got me on to the second and the third (and waiting very patiently for the forth) books. ( )