Sincerity is a Goddess

Chapter 2

ACKNOWLEDGMENTS

It is almost impossible to thank all of the people who have had a positive impact on the creation of Sincerity is a Goddess. Though I may forget to acknowledge some, I will do my utmost to mention as many as I can remember from over the years.

Sincerity is a GoddessFirstly, after the gods who inspired my creativity, I should acknowledge the shade of the English translator, lexicographer, and antiquarian, Henry Thomas Riley whose translation of Plautus’ Menaechmi (c. 1878) I have made use of. Wherever he is in the Afterlife, I’m sure he’s surrounded by ancient texts!

MenaechmiAmong the living, I would like to acknowledge the work of Professor Mary Beard in the Classics Department at the University of Cambridge. Many people will be familiar with Professor Beard from her myriad books and documentaries about ancient Rome. In particular, I wanted to mention her book Laughter in Ancient Rome: On Joking, Tickling and Cracking Up which has helped me to gain some much needed insight into the world of Roman humour which, it has to be said, can be very different from our own ideas of what is funny. Thank you for the fascinating book, Professor Beard!

Laughter in Ancient Rome: On Joking, Tickling and Cracking UpI would also like to thank Professor Edith Hall, in the Department of Classics and Ancient History at Durham University, for all the work she has done on ancient drama. I am very grateful to her for her kindness in sharing her works on ancient theatre with me during the research phase of this novel, specifically her books Greek and Roman Actors, and New Directions in Ancient Pantomime. Much gratitude to her for making her books freely accessible (www.edithhall.co.uk/books). Those of you who are interested in ancient Greek and Roman theatre and drama should check out her website.

Greek and Roman ActorsNew Directions in Ancient PantomimeAs ever, thank you to my fellow historians and Romanophiles in various f*******: groups who have provided some helpful direction along the way. I would like to acknowledge the group Classics International in particular for the professionalism of its members, for all the inspiration that it provides, and the kind and enriching atmosphere it maintains.

It is no secret that artists, writers included, need support from different sources, and so I would like to thank all my wonderful Eagles and Dragons Publishing patrons who support the work I do and the books I try to get out into the world. As always, I am extremely grateful for your support, and I appreciate you all. Special thanks to my patrons at the time of publication: John DeTore, Dig it With Raven, Edwin K. Gwaltney, Greg Hancock, Kathleen Larson, Bonnie Miller, and Tchavdar Tchouchev.

I would be remiss if I did not thank, as ever, my wonderful editors J.M. Dagger and, of course, A. Diassiti at Beautiful Ink Editing who always works hard to make every novel of mine that much better. I can’t imagine launching a book without her!

To my good friend, David Hogan, a wonderful actor, director and producer at the Victoria Playhouse in Petrolia, Ontario, I want to give special thanks. Over the years, David has shared his enthusiasm for theatre and given me many a sneak-peek behind-the-scenes of that world in all its glory. His enthusiasm and always-optimistic attitude have long been an inspiration, so much so that much of it has, no doubt, infused the character of Felix Modestus in this story.

If I am not a stranger to the world of theatre and the arts, it is in large part due to my mother, Jeanette Dagger. As a theatre scholar, actress, singer, dialect coach, director, and producer, she made sure that I was constantly exposed to all aspects of the arts as a child. She introduced me to the theatre at a very young age and brought me to performances in different cities over the years. I was very fortunate to be exposed to so much live performance growing up. She also introduced me to the varied cast of characters that were her students and colleagues who would, inevitably, be invited to holiday dinners where impromptu performances always took place. It was sometimes terrifying for the young introvert that I was, but it seems that I was merely assimilating all of the stimuli which informed the writing of this book years later. Her input into this book during the editorial process was also extremely helpful.

As ever, I have to thank my daughters, Alexandra and Athena, for putting up with me, my mad writing habits, and the numerous history lessons I tend to give at the dinner table. This time, I also want to thank them for giving me some much-needed input when it came to the jokes I was trying to pull off as part of this process, in fiction and in life. Thank you, girls, for helping me to avoid a plethora of ‘Dad jokes’!

Lastly, I want to thank my wife, Angelina, to whom this book is dedicated. She has always been there for me when at my best, and worst, and no matter what, she has been ready with words of encouragement or chastisement, depending on what was required to put me back on track. Most of all, her love and friendship are unwavering. She is my inspiration in all things, and as much as to any god or goddess, I am grateful to her.

Adam Alexander Haviaras

Stratford, Ontario

September 2022