Renault's skill is in immersing us in their world, drawing us into its strangeness, its violence and beauty . . . a literary conjuring trick . . . so convincing and passionately conjured
The Times
I love to find queer representation in historical fiction. This is a reframing of the later years of Alexander the Great's life, told from the perspective of his young, gelded lover, the servant Bagoas. Renault's eye for intimacy is amazing and it's really moving to see the warrior through his lover's adoring gaze. You'll be left wishing that someone worshipped you like that.
The Alexander Trilogy stands as one of the most important works of fiction in the 20th century . . . it represents the pinnacle of [Renault's] career . . . Renault's skill is in immersing us in their world, drawing us into its strangeness, its violence and beauty. It's a literary conjuring trick like all historical fiction - it can only ever be an approximation of the truth. But in Renault's hands, the trick is so convincing and passionately conjured. Nowhere is this more evident than in <i>The Persian Boy</i> . . . Bagoas is a brilliant narrator. Rendered unreliable by his passion, he is always believeable and sympathetic . . . His Persian background allows him to see the king and his Macedonians through the questioning eyes of an alien
- Antonia Senior, The Times
Mary Renault is a shining light to both historical novelists and their readers. She does not pretend the past is like the present, or that the people of ancient Greece were just like us. She shows us their strangeness; discerning, sure-footed, challenging our values, piquing our curiosity, she leads us through an alien landscape that moves and delights us
- Hilary Mantel,