Instead, in his novel Harris chose to narrow his exploration of Pompeian antiquity to showing the Roman engineering marvel of construction and maintenance of aqueducts, against the raw dramatic background of the eruption, not coincidentally a fine occasion for an exciting literary and television romp. Harris wisely bypassed the complexity of the site, with its seven centuries or so of existence, its confusing mixture of cultural sources and languages (Oscan, Greek, Etruscan, Samnite, Roman and Hellenised Roman), and above all the totality of a city entirely sealed as if in amber. For all intents and purposes, therefore, Robert Harris’s Pompeii is Pompeii for the public worldwide, and what he has seen in Pompeii, or thought he has seen, is what the world will see. Anderson is making Harris’s own screenplay of the novel into a $130 million TV series for release in 2012. Its enormous popular success brings further rewards, for director Paul W. With scientific aid and comfort from two of the world’s foremost British Pompeianists, archaeologist Andrew Wallace-Hadrill and classicist Mary Beard, both of Cambridge, Harris wrote the novel Pompeii, published by Random House in 2003. In this multitude of ghost raconteurs novelist Robert Harris stands tall.
Pompeii is the quintessential ghost story, frequently told by archaeological and literary scribes working together in symbiosis, not always for the good.
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