Empty Theatre
Ludwig and Sisi are cousins living in the late 19th century, both born to the Bavarian royal House of Wittelsbach, although Sisi comes from a junior branch. This Ludwig is known primarily for building Neuschwanstein Castle. Sisi, more formally known as Empress Elisabeth, was arguably the Princess Diana of her era; indeed, after reading about Sisi’s life, the comparison seems very apt.
Ludwig views the crown as a job he doesn’t want and avoids as much as he can (while feeling entitled to the privileges), struggles with homosexual desires as he pursues Richard Wagner, and builds castles. Sisi becomes the wife of the Habsburg emperor almost by accident, but her alienation from her family and role makes her unable to be at home anywhere. The two protagonists are thoroughgoing narcissists, making it difficult to sustain any sympathy for them despite the tragedies that befall them. Few of the ancillary characters evoke much sympathy either.
On the other hand, each character has moments of grace. Ludwig resists buying into Wagner’s notion of a master race; Sisi visits orphanages and asylums with genuine concern for the inmates. Each affects the histories of their respective kingdoms. Ludwig’s inattention makes him a target for Bismarck’s unification; Sisi’s interest in Hungary promotes the interest of that part of the Habsburg Empire.
Jac Jemc approaches the story of the cousins in a staccato and anecdotal style in the present tense. The narration is curiously remote from the characters. As a result, the story doesn’t become a cohesive narrative, although it is obviously well researched, and the content is often absorbing. King Ludwig and Empress Sisi are fascinating, and their lives merit the attention Jemc has lavished on them. Though they are largely unsympathetic, the novel provides an interesting study of the consequences of hereditary monarchies.
