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Stealing Athena

Stealing Athena

3.6 19
by Karen Essex

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Stealing Athena is the story of two women, separated by centuries but united by their association with some of the world's greatest and most controversial works of art. Aspasia, a philosopher and courtesan to visionary politician Pericles during Athens's Golden Age, defies societal restrictions to become fiercely influential in Athens' power circle. Mary, the


Stealing Athena is the story of two women, separated by centuries but united by their association with some of the world's greatest and most controversial works of art. Aspasia, a philosopher and courtesan to visionary politician Pericles during Athens's Golden Age, defies societal restrictions to become fiercely influential in Athens' power circle. Mary, the Countess of Elgin and a beautiful Scottish heiress, charms the fearsome men of the Ottoman Empire to make possible her husband's costly acquisitions, all the while brazenly defying the social conventions of her time. Both women prevail yet pay a heavy price for their rebellion. A tale of romance, intrigue, greed, and glory, Stealing Athena interweaves the lives of two of history's most beguiling heroines.

From the Trade Paperback edition.

Editorial Reviews

Publishers Weekly

Lord Elgin may be famous for bringing the Parthenon's sculptural masterpieces to England during the Napoleonic wars, but for Essex (Leonardo's Swans ), it's Lady Elgin who pays for it, in fortune and in reputation. More about money than sex, and more about art than either, Essex's latest alternates the story of Scottish heiress Mary Hamilton Nisbet Bruce, countess of Elgin, with that of Aspasia, courtesan lover of the great Pericles and the inspiration for the Parthenon's Athena. Essex begins with 21-year-old Mary, newly wed and pregnant, en route to Constantinople with her diplomat husband. She soon discovers his obsession with dismantling the Ottoman-controlled Parthenon and his plan to reconstruct it in his Greek revival home. Over years, Mary endures his neglect and gives him five children before turning to fellow Scot Robert Ferguson, a powerful Englishman who stands by her during a racy divorce trial. That trial, in which English society spurns Mary, is mirrored by Aspasia's run-in with an Athenian court for sexual impropriety. Both of their stories are overshadowed by the marbles themselves; their creation, recovery, transport and restoration provide the most vivid passages of the novel. Essex shines light on the women who inspired and protected some of the greatest art ever created, and the men who exploited them. (June)

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Kirkus Reviews
In her fourth historical novel, Essex (Leonardo's Swans, 2006, etc.) alternates the stories of two influential women, a Greek courtesan and a Scottish heiress, who each played a crucial role in the history of artifacts from Athens's Golden Age. In 1799, wealthy Mary Nisbet and her new husband, the dashing but penniless earl of Elgin, journey to Constantinople, capital of the Ottoman Empire. Posted there as British ambassador, Elgin has an all-consuming ambition to secure the priceless marble sculptures adorning the Acropolis in Ottoman-ruled Athens before they are dismantled to make bricks or pulverized to extract lead for Turkish bullets. Strapped from keeping Napoleon at bay, the British government won't finance Elgin's ambassadorial or archeological endeavors, so the fiscal burden falls on Mary. A parallel tale set during the 30-year truce that preceded the Peloponnesian War follows Aspasia, the philosopher-courtesan beloved of Athens's de facto dictator, Pericles, and an outspoken critic of the oppression of women in a city-state supposedly founded by the goddess Athena. Ponderous sections devoted to the logistics of creating and removing the marbles slow down what is otherwise a briskly entertaining narrative. Educated and spirited, Mary is an exemplary wife who endangers her delicate health with multiple pregnancies, underwrites Elgin's profligate spending and charms the Turks into sanctioning his looting of the Parthenon and other Greek monuments. Aspasia reluctantly permits Pheidias, sculptor of the marbles, to model his colossus of Athena after her. No good deed goes unpunished, Mary and Aspasia learn, for women who forget their place. After Mary is finally estranged by Elgin'sselfishness and financial demands, English law allows him to trash her reputation in divorce court and take her children. Aspasia is publicly tried on trumped-up charges of blasphemy and licentiousness. Both triumph-though Mary pays a heavy price-thanks to their own grit as well as the help of powerful male defenders. A lively expose of double standards in two societies that prided themselves on democratic ideals and respect for women. Agent: Amy Williams/McCormick & Williams Literary Agency
From the Publisher
“Historical fiction at its finest."
St. Petersburg Times

"A great adventure story. . . . Essex delves deeply into the lives and times of her characters in settings as diverse as ancient Greece and 18th-century Constantinople, France and Great Britain, and her women characters are spirited and memorable.”
The Times-Picayune

"Stealing Athena expounds on the weight of the past, the power of art, and the strength of women who exercised free will even when they had the fewest rights…. Uniquely relevant."
Los Angeles Times

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Knopf Doubleday Publishing Group
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Random House
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Read an Excerpt

Aboard the Phaeton, 1799

Mary hit the floor of the ship's squalid cabin with a dull thud, jolting her awake and sending a pain so sharp up her spine that Zeus might as well have hurtled a thunderbolt into her backside. She tried to breathe, but the fetid odors—dank wood; stale, trapped air; foul clothing; and the urine and excrement of humans and animals—were unbearable partners with the sickness that went along with the early stages of pregnancy. The stench she'd briefly escaped during her nap came rushing back in to claim space in her nostrils, and she gagged. Her head spun like scum swirling under a bridge, but that was nothing compared to the sick feeling in her stomach. On this voyage, sleep--when one could come by it through a good dose of laudanum mixed with iron salts, all dissolved with strong liquor in a syrupy elixir—was her only respite from the miseries of sea travel.

She reached up for the glass in which the good doctor had mixed the medicine, drained it, then stuck her tongue in deep enough that her face formed a suction as she licked up the last of the -metallic—tasting liquid.

Her illness had been so relentless that Dr. MacLean—sober when on call during the day--had insisted that the captain dock at ports along the way to Constantinople. But the few times they had gone ashore, Mary had to walk through the cities with -ammonia—soaked rags covering her nose and mouth, her only protection from the plague that raged through Europe's ports. The disease had been carried into the towns, the radical doctors of the day now professed (and Dr. MacLean concurred), on little rat feet. Apparently, as human passengers disembarked, so did the rodents, whose fur housed the fleas that transmitted the pestilence. These risky shore excursions were not even worth the temporary relief from the discomforts of the ship. The flea-and-lice-infested inns, replete with greasy, rancid food and the most inhospitable hosts, in which Mary and her party slept made conditions on board seem almost luxurious. Mary told herself daily (hourly, truth be known) that retaining her good cheer despite the horrible conditions boded well for her ability to meet the challenges she would undoubtedly face as a diplomat's wife in the strange and exotic land of the Turks.

These inconveniences were a small price to pay for the glorious life that awaited her. She was married to Thomas Bruce, Lord Elgin, the handsomest aristocrat ever to emerge from Scotland, who at the early age of two and thirty had been appointed Ambassador Extraordinary and Minister Plenipotentiary of His Britannic Majesty to the Sublime Porte of Selim III, Sultan of Turkey. At this crucial juncture of history, when England's alliance with the Ottomans against Napoleon and the French was in its infancy, her Elgin had been charged with nurturing the delicate relationship with the Sultan. Elgin's mission was to reassure the Sultan that the alliance with England would hasten Napoleon's defeat in the Ottoman territories, particularly Egypt. Everyone knew that Napoleon had invaded Egypt to gain a stronghold from which to take India away from the English. And that, His Majesty King George III had told Elgin, simply would not do.

Oh yes, Mary reiterated to herself for the hundredth time, it was the king himself who had suggested to Elgin that he apply for the ambassadorship to Constantinople. Which was why Mary now found herself—pregnant, dizzy, and nauseous—lying on the hard floor of the malodorous compartment of the Phaeton. She was there by the express and direct wish of the king. Surely the rewards would be worth the temporary agony.

Mary was leaning over on her elbow so that she could massage the pain shooting through her backside, when she heard Masterman approach. It could only be Masterman, her lady's maid, for the footsteps were not heavy like Mary's husband's or those of any of the members of his staff or of the ship's crew. Mary stared up at the horrid green curtain—her only means of privacy these many weeks—waiting for her maid to push it aside. "If it isn't the color of vomit!" Mary had exclaimed the first time she saw the curtain, for she had just performed that very act, riding out the first of many vio-lent storms she was to face at sea. Now, the putrid green thing was swept aside, and Masterman peeked in, her eyes quickly moving from the empty cot to Mary struggling on the floor.

"I was thrown quite out of my cot," Mary said, answering the older woman's unspoken question. "Is there a storm?"

"The captain is taking advantage of a brisk gale to give chase. The earl wishes you to remain below."

"Give chase?" Mary bolted upright, shaking off the dizziness. "To French gunboats?"

"It appears thus," Masterman said dryly, standing aside and making way for her mistress. Masterman had been with her since Mary's girlhood and had long ceased to argue for practical measures. Why shouldn't the young, newly married, pregnant countess put herself and her fetus—firstborn heir to all manner of money, land, and titles—at risk of being struck by one of Napoleon's cannons? To mention the obvious would do no good. Masterman picked up Mary's robe and followed the younger woman out of the hole. When Mary recovered from her moment of excitement, she was sure to notice that she was wearing only a nightgown.

On deck, Mary felt none of the queasiness that had troubled her every moment during the voyage. It was as if the sea air, cooler than it had been for days as it moved across her face, blew away all her ailments—the asthmatic choking disease that she shared with her husband (which was how they knew that they were inalienably meant for each other); the morning sickness, which despite its moniker knew no time of day in her body; the unrelieved seasickness; and, most incurable of all, the loneliness she'd felt for her home and for her parents since the day she told them goodbye.

But all that be dashed at the moment as she balanced herself against a taut rope, making her way along the undulating deck as the Phaeton raced through choppy waters. She tried to ignore that the wind was hardening her nipples into uncomfortable little cones. She looked down to see them making a tent in the linen sheath and realized that she was rushing toward her husband and the ship's crew in a state of undress. She turned around to ask Masterman to fetch an appropriate garment when she saw the woman, not two paces behind, holding her dressing gown at the ready. Slipping into it, Mary turned toward the helm and nearly collided with two sailors, their arms full of shot brought from below, who were rushing toward the cannons.

On deck, the crew manned ten of the frigate's thirty–eight guns. Mary could see the American vessel that sailed with them for protection taking the lead. Nothing annoyed Captain Morris more than the fact that the American ship was faster than the Phaeton, but Mary was grateful that the swifter vessel could buffer their ship against the early rounds of fire.

They'd been fired upon before. Napoleon's gunboats dogged any English vessel on the Mediterranean, civilian or otherwise. Some weeks ago, off the sunburnt coast of Africa, a gunboat had taken them by surprise, its cannon fire rocking the sea. Mary had begged to stay on deck to observe, but Elgin virtually carried her below and held her on the cot while the explosions created chaos in the waters around them. The Phaeton was not hit directly, but Mary could feel the impact as the shot exploded just yards away, tilting the boat so far to one side that she ended up on the floor on top of her husband. Shaken, the two turned away from each other and regurgitated their barely digested lunches.

This time, she would not miss the action. She had just written to her mother that though the voyage was spent in sickness and fear, she was developing quite a new and wonderful character, a mature one that would serve her well in her future as ambassadress and beyond. She was unafraid; the excitement completely obfuscated the queasiness and dizziness, she could not help but notice. She was determined to witness firsthand whatever exchange of fire was about to happen. The sky was gray and foreboding, but the fresh air cleared her lungs, and she ran up behind her husband, threw her arms around him, and hugged him. He turned abruptly.

She loved looking at her husband. She had fallen in love with him the first time she saw him, what with his tall figure; his thick blond hair; his deep, intimidating brow; and his fine, aristocratic nose--not one of those thin little parcels that sat so unceremoniously upon the face, but a feature that bespoke of elegance and nobility. Not to mention his stately carriage that belied the more passionate elements of his character with which he'd been acquainting his young bride--his sexual appetites and expertise.

"What the devil, Mary? Get below before you're knocked into something."

"Not a chance, Your Lordship," she replied. She could tell by the look on his face that he loved, but wrestled with, the fact that his wife was the disobedient sort. She imagined that admiration and indignity were waging a battle behind those gorgeous blue eyes. She knew that he did not want to be seen by his staff, the crew, or the officers in their blue and white—all of whom were staring at the disheveled countess in her dressing gown—as a husband whose authority could be questioned. But he also adored having a wife who had courage.

The ship lunged forward, throwing her into his chest. "Oh, all right," he said. "But if fire is returned, you will go below. That is an order from your lord and commander."

"Yes, Your Lordship and Commandership," she said, with a touch of the saucy inflection she knew aroused him. "But if the gunboat is a danger, then why is it running from us and not attacking us as the last one did so unabashedly?"

"Because Captain Morris has taken this one by surprise and has gone on the offensive."

"But we are so far away!"

"That is the point of the American vessel, Mary. Protection. They will fire first, and take the first rounds. At least that is the present strategy."

"Are we to remain passive?"

"May I remind you that there are on board an ambassador on an urgent mission, his entire staff, and his beautiful wife, all of whom must be protected? May I remind you that you are a civilian? And a pregnant one? Will you please behave as the latter, and not as a boatswain or a gunnery officer?"

"What I should like to be at sea is my own master at arms, for then I would never confine myself below when there is action to be seen above."

Elgin shook his head, suppressing a smile before the ship lurched forward, sending the two of them into a pile of rope on the deck floor. Except for the guns, the ammunition, and basic supplies, the deck had been cleared in anticipation of attacks. Elgin grabbed the rope and held on to Mary so that she would not crash against the wet planks. He was opening his mouth to command her to return below, Mary was sure, when one of the officers lowered his lookstick.

"Messenger approaching the ship," the officer called out. Elgin rose, balancing himself with one hand on the rocking deck as he helped Mary to her feet. A gust of air hit her face as she stood, and she worked hard to regain steady breathing. If one of her choking fits took hold, Elgin would surely send her back to the miserable hole of a cabin, even if he had to carry her himself. For one brief moment she fantasized that that might not be so objectionable, given what usually happened whenever Elgin carried her into a bedroom, but she did not think that she could suppress her disgust at the cabin—or guarantee their privacy behind the flimsy curtain—long enough to make love. At any rate, Elgin's attention had already returned to the sea, where he directed Mary's gaze to a rower in a dinghy carrying what appeared to be an American officer toward them.

The crew waited impatiently as the officer made his way up the ladder and onto the boat; the men were certain that he carried with him orders for firing the guns. He conferred briefly with Captain Morris and his officers, and then approached Elgin. "Sorry for the alarm, Lord Elgin," he said. "The vessel we've been chasing is not a French gunboat at all but one belonging to the American navy. We shall have a peaceful afternoon after all." He bowed to Mary. "So sorry for the fright, Lady Elgin."

"Oh no, sir," Lord Elgin said. "No need to apologize to Lady Elgin. She adores a good round of cannon fire, do you not, my dear?"

"Yes, quite," Mary said. "I shall try to recover from the disappointment."

When the officer left them, Elgin turned to his wife. "Are you so disappointed to have averted danger? You did not like being fired upon the last time."

"That was the young Mary Nisbet," she said. "The one who grew up on solid and secure Scottish soil. Now that I am grown and a woman and a wife and the Countess of Elgin, I wished to try out my new bold character. I could face Napoleon himself if need be."

Elgin's face suddenly turned serious. "Then I shall enlist you in helping me to face my staff. They are very unhappy with the conditions on the ship—as are we all—and each, in his own insinuating way, has begun to ask that certain luxuries be afforded him once we are ensconced at the Porte. I must sit them down and make it clear that except for the salaries negotiated before we set sail, they are entirely on their own."

As the winds began to pick up and the skies darkened in anticipation of a storm, Elgin called his staff to a meeting on the deck, announcing that he wished to elucidate certain facts about the terms of their employment. "It must be stated clearly. Each of you is responsible for his own expenses while in my employ," Elgin said. "Which are to be paid either from your salaries or from your private funds, whichever is more agreeable to you."

Mary looked at the men's faces; each man seemed to be fighting to repress his shock at this news.

"But Lord Elgin—" began Mr. Joseph Dacre Carlyle, an earnest man somewhere in his thirties or early forties, Mary guessed. Carlyle was an orientalist from Cambridge who spoke and read Arabic. Elgin had hired the scholar as a linguist and communicator, and as a decipherer of the rare and ancient texts Elgin hoped to collect while in the East. But Carlyle had made it known that his true purpose was to distribute Arabic versions of the Bible to convert the Muslim heathens to Christianity. His idealism would now be tested, Mary thought as she watched him absorb Elgin's news.

From the Hardcover edition.

Meet the Author

KAREN ESSEX is the author of Kleopatra, Pharaoh, and the international bestseller Leonardo’s Swans, which won Italy’s prestigious 2007 Premio Roma for foreign fiction. An award-winning journalist and a screenwriter, she lives in Los Angeles, California.

From the Trade Paperback edition.

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Stealing Athena 3.6 out of 5 based on 0 ratings. 19 reviews.
Guest More than 1 year ago
Stealing Athena is a wonderful historical novel about two relatively unknown women from completely separate time periods. Mary Nisbet and Aspasia of Miletus may have lived more than 2200 years apart, but Karen Essex¿s new book shows the similarities between them, both in their lives and in their personalities. A slightly larger portion of the book is from Mary¿s point of view, and we are first introduced to Aspasia when Mary begins reading Plutarch¿s Life of Pericles. Aspasia was the lover of Pericles, who commissioned the Parthenon Marbles. Mary¿s life became forever intertwined with the Elgin Marbles, as they are also known, when her husband, Lord Elgin, set out on his quest to `rescue¿ the marbles from Athens for the glory of Britain. Stealing Athena spans the entirety of Mary¿s marriage to Lord Elgin, including the years it took to obtain the Parthenon Marbles, and parts of Aspasia¿s life with Pericles. Essex¿s book gives very interesting insights in the women¿s relationships and how they assist their partners in their endeavors, despite the prejudices against women in both eras. We also are given a window into the cultures and beliefs of their society, which made it easy to understand what motivated them and their peers. Overall, it is a great book to read, for either the relationships and character dynamics, or for the historical settings and culture. I personally believe if you like historical fiction or character driven novels, you¿ll love this book.
LadyLucyLehn More than 1 year ago
I really enjoyed how the two different stories entertwined and complimented each other. The plot was intriguing and suspenseful, coming to a head at each womans trial. Both female characters were well rounded and easy to relate to. The author did an amazing job of painting the scenes. It was a wonderful lesson in the historical struggles women have faced with being thought of as lesser than men and what these two women contributed to history.
emmi331 More than 1 year ago
The famed Elgin marbles, which were transported from Greece to England over two hundred years ago, are the linchpin around which this novel turns. The lives of two female historical figures associated with these exquisite works of art have numerous parallels. Aspasia, beloved mistress of Perikles at the time of the building of the Parthenon, was intelligent, educated, and strong-willed. So was Mary, Lady Elgin, born over two thousand years later. Both women had to deal with a male-dominated society which felt they had far exceeded their "place" in it. Both defied convention, ending up in scandalous and humiliating court trials. And both women prevailed. Many of the men in the story do not fare well with the author, especially the vastly self-centered Lord Elgin, who traipses his pregnant wife through dangerous terrain again and again with little regard to her safety and comfort. And who has little sympathy as she struggles through one difficult and agonizing birth after another. A fine book - though I did not find it quite as engaging as Ms. Essex's Leonardo's Swans - and a beautifully researched one.
Guest More than 1 year ago
I was immediately captured by the beautiful cover art of Stealing Athena by Karen Essex, released by Random House. This story is told from the viewpoints of two women in two different periods of history whose lives are touched by the same priceless art. Lady Mary Elgin is a young, wealthy, pregnant twenty one year old who accompanies her husband on his mission as England's ambassador to Turkey in 1799. Lord Elgin has a burning desire to literally bring the beauty of Greek sculpture and architecture back to Britain. He sets his sights on the city of Athens, the Parthenon and the many sculptures dedicated to the goddess Athena. Mary is vibrant and outgoing. She uses her beguiling ways (and her money) to benefit and further her husband's cause. Aspasia is living in Athens at the height of the Golden Age - the time of the building of the Parthenon and many monuments and temples by Pheidias. She is the courtesan of Pericles -one of the leaders of the city of Athens. She is also a philosopher and although never fully accepted by the Athenians, she provides counsel to many of them. I don't usually read this time period, but I found myself entranced with the exquisite detail that Essex has infused her work with. I then skipped to the back of the book and discovered that Lady Elgin is not a fictional character and the deconstruction of the Parthenon by her husband really took place. Much of Mary's fictionalized life is based upon her actual journals. More chapters are devoted to Mary's life and this is the character I enjoyed the most. Her determination, will and drive are inspiring - even more so considering the time period she lived in . Although I enjoyed Aspasia's chapters as well, I found myself glossing over some of the detailed descriptions. There are many parallels between Aspasia and Mary's lives - the role of women in a male dominated society being one of the foremost. However the extraordinary way both use their strong personalities to deal with these constraints are similar as well. The men in the stories are portrayed well also. I really ended up despising Lord Elgin and his cavalier treatment of not just Mary but the Greek countrymen who did not want their heritage removed. Stealing Athena features a fascinating fictionalization of historical events. Fans of Emma Donoghue would enjoy Stealing Athena.
Anonymous More than 1 year ago
Where is everyone? Where's the new camp?
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TheViewFromHere More than 1 year ago
I have read quite a lot about the Elgin Marbles because they are stone masterpieces from the Classical Era of Greece, and Greece and Britain have been fighting over who rightfully owns them for decades. So I was looking forward to reading this book. Mary Elgin is an interesting character, but I didn't like Lord Elgin from the very start, making it hard for me to wade through a lot of detail about an unsympathetic character. There is also a second story, that of the Greek courtesan, Aspasia, but I ended up skipping over the chapters of her story so that I could stay focused on Mary's.
Arleghia More than 1 year ago
It comes back and forth between different eras. The description of the ancient Greek times and the creation of the Parthenon are simply incredible. I would tell more but then again, it will prevent any ready from discovering an astonishing story. For the lovers of historical fiction, this is it.
Dulcibelle More than 1 year ago
Stealing Athena has a beautiful cover, one of the nicest I've seen in a long while. Rich and opulent, just like the settings for this story. A novel based on true events, it reads like a romance. The tale is a romantic one, taking place as it does in Greece (both ancient and "modern" (19th century)) and Constantinople. The author's attention to detail is wonderful; she makes you see the fascinating places she describes. I really like that she included a section telling what happened to each of the major characters, including the Elgin Marbles.
Guest More than 1 year ago
''Stealing Athena'' has a beautiful cover, one of the nicest I've seen in a long while. Rich and opulent, just like the settings for this story. A novel based on true events, it reads like a romance. The tale is a romantic one, taking place as it does in Greece (both ancient and 'modern' (19th century)) and Constantinople. The author's attention to detail is wonderful she makes you see the fascinating places she describes. I really like that she included a section telling what happened to each of the major characters, including the Elgin Marbles.