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36 of 38 people found the following review helpful:
4.0 out of 5 stars
The haunting of Alexander's heirs, October 5, 2000
Someone described "Funeral Games" to me as "a ghost story", which is the best way I can think of to summarize this story. It is the most affecting, haunting tale I've ever read. Alexander the Great has died; from the moment of his death, the cohesive force that was the Macedonian army is no more, and his generals, wife, and enemies fight for prominence--as well as a young woman unmentioned in Renault's previous novels.Once again, Renault brings us deep into that time, so deep we can almost see each character before us; her writing is clear, yet layered in its concise, descriptory power. There are no wasted words, anywhere. The dialogue is direct and to the point; this tale is a much faster "read" than "Fire From Heaven" or "The Persian Boy", but the adventures turn grim as the desire to take up Alexander's mantle overcomes nearly everyone he knew, favored, or despised. Although luxuriously buried in the tomb of his beloved Hephaistion, Alexander is an unquiet spirit all through the book. As Perdikkas, Philip Arrhidaios, Demetrius the One-Eyed, Ptolemy, Seleukos, and Kassandros vie for control of Macedonia and the remains of Alexander's empire--and of his legend--a granddaughter of Philip, Eurydike, steps forward to make her own claim for the throne. Too, Roxane and Olympias take their places, one as mother of the dead king, the other as mother to his only living son. Both women have blood on their hands; both women--in fact, nearly all the contestants--meet their end. The only one left standing by the end of the story is the only man who leaves what was Alexander's alone: his half-brother Ptolemy, who takes up the throne at Egypt and pays honor to Alexander there. There is a brief mention of Bagoas, and his mourning is displayed with a gentle elegance, but neither of Alexander's wives are portrayed favorably. Renault seems to have had a dislike of women in general, particularly ambitious ones. Stateira, Alexander's Persian wife, is shown as a naive victim of Roxane's vindictive jealousy, and Roxane herself is so unpleasant that her fate evokes little besides a sense of justice done at last. Eurydike, the young challenger, is almost patronized by the author. Olympias, who was shown in "Fire From Heaven" as a smothering, damaging mother, is shown behaving in much the same way in "Funeral Games", but her reaction to Alexander's death--and her own--is moving. Some battle scenes are alluded to; Renault does not linger on gore and violence, probably because she knew that do so would be excessive, as deaths occur in every chapter. This succession war is so bloody that it should come as no surprise that no one of Alexander's family or inner circle holds on to the Macedonian empire. The betrayals and murders are numerous. It is almost as if a curse claims each and every man (and woman) who attempts to follow Alexander to the throne. Perhaps so? It's hard not to wonder when the bodies start piling up, with the survivors being those who chose (for whatever reason) to stay out of the fight. Finish the book, and the ghost remains with you for days. Mary Renault was a conjurer without peer.
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14 of 14 people found the following review helpful:
4.0 out of 5 stars
A dark retelling of the struggle for Alexander's legacy, June 4, 1999
Mary Renault unquestionably presented an idealized version of Alexander the Great in the first two novels of her "Alexander trilogy," Fire from Heaven and The Persian Boy (which are essential to read before attempting Funeral Games). Although her scholarly research was extensive and thorough, most classical historians acknowledge a much more complex and flawed Alexander than the worship-inspiring icon she presents. It is a measure of her skill as a writer, however, that she can inspire similar devotion to her interpretation of Alexander in us, the readers, and that we subsequently share the despair and disillusionment of Alexander's contemporaries upon his death and the disintegration of his empire in Funeral Games. As a result, Funeral Games is indeed a bleak and sometimes chilling read as we experience the intrigue, plotting, bungling and brutal power grabs by Alexander's former officers, friends, relatives and enemies. The entire narrative is permeated with a sense of bitter regret, a longing for a period of time now forever lost, as Renault's characters romanticize their recent past and take turns lamenting "If Alexander were here..." even as they dismantle his grand achievement. Bagoas, the fictionalized narrator of The Persian Boy, makes a welcome reappearance, though as a third-person, secondary character. Serving almost as Mary Renault's alter ego, he crystallizes the pain and heartbreak and hopelessness she wants us to feel at the prospect of a world without Alexander. Ultimately, however, he overcomes grief and recovers a life's mission in watching over the memory of his lost King - standing in contrast to the doomed and misguided elites of Funeral Games who destroy each other in their attempts to seize Alexander's legacy. A worthwhile read, but again, only if you've read the earlier two books first.
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13 of 13 people found the following review helpful:
5.0 out of 5 stars
BOOM! There goes the world!, February 28, 2000
I found this book in my school library first ("Persian Boy" and "Fire From Heaven" apparently not being there.) While Alexander is dead by chapter 1, and I've never read the books in which he is portrayed alive, I was amazed by Mary Renault's skill in preserving his spirit throughout the novel, so that in a sense Alexander really is a character, though he was already comatose from the start.Also, the high stakes and level of the manipulation by the people reaching for the throne was so much more detailed and elaborate than can be matched in the fantasy genre I usually prefer. Fact is stranger than fiction. It stood out to me that while virtually all the characters hated each other, they were all portrayed very well and I felt I understood their emotions, motivations, and their nuances. Thankfully, the author kept from the very tempting habit of villainizing one or another. The body count was high, but each character had a moving, highly-individiualized death without splurging into Fiction Plot Device Kill-offy Mode that many authors tend to march into. (You know, falling to your knees and screaming, "NOOOO! " or "YOU KILLED MY BROTHER! " and that sort of stuff.) Overall, an excellent read, even for your non-obsessed casual reader.
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