The Tower of Nero

“Outside, the illuminated billboards of New Jersey zipped by: ads for auto dealerships where you could buy an impractical race car; injury lawyers you could employ to blame the other drivers once you crashed that race car; casinos where you could gamble away the money you won from the injury lawsuits. The great circle of life.”

Author Rick Riordan intersperses his fantasy narrative with real social commentary, often delivered with dark humor. Here, Apollo uses irony to describe a particular cycle of consumerism and marketing. The race car, the unethical lawyers, and the casinos are all symbols of excess and a lack of morality. With such values informing life, life becomes a parody of itself.

“It was a bit jarring to hear a Gaulish warrior talking about radar and cameras.”

Juxtaposition is a prominent literary device in the novel, with Riordan often contrasting the ancient and the modern, the sacred and the irreverent. Apollo notes that the universe he inhabits is inherently funny, with centuries-old Gaulish warriors talking about modern-day surveillance technology. Unlike the Harry Potter books, in which the worlds of magic and non-magic are discrete, in the Percy Jackson universe, the worlds are blended. Magical and supernatural folk are immersed in contemporary customs and knowledge.

“What was it about kindness? […] I had learnt to stand up under horrendous verbal abuse and constant life-threatening violence, but the smallest act of generosity could ninja-kick me right in the heart and break me into a blubbering mess of emotions.”

Apollo’s complex response to Sally and Paul’s warmth shows his growing humanity, as well as his experience as a survivor of emotional abuse. Apollo has been mistreated by his father, Zeus, for centuries, so he expects people’s meanness. Kindness disarms Apollo because he’s not used to it.

“There was that word again: human, which not long ago I would have considered a terrible insult. Now, every time I heard it, I thought of Jason Grace’s admonition: Remember what it’s like to be human.”

This quote illustrates the important theme of Humanity Versus Divinity. Apollo no longer thinks being a mortal is a punishment, a view Sally and Jason endorse. As Sally praises Apollo for becoming more human, Apollo recalls what Jason had said to him in Book 3 of the series. Jason wanted Apollo to remember the good parts about being human—such as being brave despite knowing one’s mortality. Gods can never be as brave, Apollo knows, which is why he intends to never forget Jason’s words.

“As the god of poetry, I understood revisions. Facing monsters and imperial mercenaries was much easier.”

Apollo understands why Sally Jackson needs time to revise her novel. Apollo’s funny comment is a tongue-in-cheek metatextual reference to author Riordan himself. Riordan knows how tough revising one’s writing can be, especially when an editor sets one a deadline.

“Nero Claudius Caesar Augustus Germanicus

Requests the pleasure of your company

At the burning of

The Greater New York Metropolitan Area.”

In a characteristic grandiloquent gesture, Nero sends Apollo an “invite” to the burning of New York. The invitation is worded with dry humor, as if the burning of New York is a fireworks display to joyously witness, and indicates Nero’s sadistic nature. Nero derives joy and laughter from the pain of others.

“I apologize

To my arrow, and undies,

And, well, everything.”

Like all of Apollo’s haiku, this particular three-line poem is a funny and irreverent take on the events that will unfold in the corresponding chapter. Apollo apologizes to his arrow and undies because the Arrow of Dodona forces Apollo to see that his actions may have hurt the magical artifact. Apollo realizes that he may have callously hurt the feelings of objects he ignored or considered inanimate.

“Apollo’s flesh and blood should soon be mine.

Alone, he must descend into the dark,

The sibyl never again to see his sign,

Lest grappling with me till his final spark

The god dissolves, leaving not a mark.”

The couplet at the end of this section of poem indicates that the prophecy is concluded: A terza rima tends to end on a rhyming set of lines. The prophecy seems dire and foreshadows that Apollo will have to undergo a grave Sacrifice and Transformation. However, if one pays close attention, they will notice that the prophecy never refers to Apollo’s death. Delivered from Python via Rachel, the prophecy only foretells a shattering transmutation and change.

“Mortals and gods had one thing in common: we were notoriously nostalgic for ‘the good old days’ […] As an immortal, of course, I should have known that there never were any ‘good old days.’ The problems humans face never really change, because mortals bring their own baggage with them. The same is true of gods.”

As Apollo rues the past right before negotiating with the trogs, he also realizes that the past is neither perfect nor recoverable. Nostalgia is a nice feeling but cannot substitute reality. The only way forward is to try to make things better in the present. Yearning for a mythical, golden past can be dangerous since it makes one lose sight of present issues. Later in the novel, Nero will talk of restoring the glory of his rule. Nero’s approach shows chasing the past often means repeating the mistakes of the past.

“If our hosts had any inkling that I was recycling the melody from Hall and Oates’s ‘Kiss on My List,’ they gave no indication. (What can I tell you? Under pressure, I sometimes default to Hall and Oates.)”

Apollo is singing of his trials to the trogs to move them to help him and his friends. It is a serious situation, but Apollo describes it with levity, making a humorous pop-culture reference. Hall & Oates refers to a pop-rock band popular in the 1970s and 1980s. Enormously popular in their heyday, the band is sometimes criticized for their rock being “too soft,” or bordering on pop music. Apollo’s narration frequently alludes to popular culture, especially from the music scene, which is fitting, given Apollo’s affinity for melodies.

“But that is not why you should help us […] Not just because it is good for trogs, but because we must all help one another. That is the only way to be civilized.”

Apollo’s appeal to the trogs for help highlights key textual concerns about seeing the world through the perspective of others and the value of cooperation and teamwork. If people only focus on their kind, the world can neither be saved nor remain civilized. The only way to be civilized is for people to think about the good of others: other species, other nationalities, and other groups.

“But if a hero isn’t ready to lose everything for a greater cause, is that person really a hero?”

When Lu asks Apollo to immerse himself in a dream deliberately for guidance, Apollo finds himself with the demigod Jason Grace in his dream-vision. Jason was killed by the Triumvirate in the third novel of the series, but here, Jason tells Apollo he does not regret his death. Because Jason went into a fight ready to risk his life, he is a hero. Jason is at peace because he feels he did the right thing. Jason’s comment helps ease Apollo’s guilt over his death and also foreshadows Apollo’s ultimate fight with Python. Only when Apollo is ready to lose even the immortality he covets for the benefit of others will he become a true hero.

“How many times had I said those words? Kill this fool.

We gods bandied about statements like that all the time, but we never gave thought to the cost. Like actual fools may die. And in this situation, that fool was me.”

This quote illustrates the text’s central theme of Humanity Versus Divinity. As Apollo grows more human, he begins to see his decisions as a god with fresh eyes. It is easy for gods to carelessly order deaths, but humans suffer death. Apollo’s complex response to the Germani’s injunction that he be killed foreshadows that when he returns to his divinity, Apollo will not be the same indifferent god as before.

“What you don’t seem to realize, Apollo, is that you can’t destroy bank accounts with a bow and arrows. All my assets, all the power I’ve built up for centuries—it’s all safe.”

Nero’s statement to Apollo is a comment on the relationship between illicit wealth and evil. It also reflects the way power, wealth, and evil form a nexus that is particularly hard to destroy. Apollo’s arrows can take down Nero’s tower, but not his wealth or power.

“‘But you, Apollo, you’ve been on earth barely six months. How many lives have you wrecked in that time? How many have died trying to defend you? That poor griffin, Heloise. The dryad, Money Maker. Crest the pandos. And, of course, Jason Grace.’

‘Don’t you dare,’ I snarled.”

One of the key motifs of the novel is emotional abuse, and Nero’s statement is an example of how abusers gaslight or manipulate others. Nero zeroes in on Apollo’s weakness—his growing human remorse—and exploits it to make Apollo doubt himself. Nero twists facts here because Apollo did not kill any of the characters Nero mentions. Swapping lies for truths is a classic technique of emotional abuse.

“‘The Beast is dead.’ Meg tapped the side of her head. ‘I killed it. Surrender, Nero. My friends will let you live in a nice prison somewhere. It’s more than you deserve.’”

Meg’s quiet, authoritative response to Nero’s manipulation shows her evolution as a character. Meg taps her head while saying “the Beast is dead” to signify that Nero’s emotional and mental control of her is ended. Saying “I killed it” constitutes a moment of triumph, the apex of Meg’s quest. She has physically and emotionally conquered Nero, her inner demon made real. The fact that Meg does not swear vengeance against Nero or speak violent words to him illustrates that she has not become a tyrant like him. Rather, she has become a true leader.

“‘Bow and quiver coming up,’ Nico said.

 And ukulele,’ Will added.

 Nico winced. ‘Do we really hate Python that much?’

 Will raised an eyebrow.”

As Apollo readies to descend alone into Python’s lair, his children and friends restock his supplies. The somber moment is broken by the humorous exchange between Nico and Will, Nico gently ribbing Apollo’s musical ability. The humor helps lighten the mood, equipping Apollo for what awaits him. Rick Riordan often juxtaposes dangerous situations with humor to make them more palatable for younger readers.

“And yet, along with humility, I’d learned something else: getting humiliated is only the beginning, not the end. Sometimes you need a second shot, and a third, and a fourth.”

As this statement shows, Apollo’s insights can often be wise and sincere. Apollo may have missed his first few shots against Python, but being mortal has taught him that humiliation in loss is a stepping stone to success. One cannot let humiliation define them; humiliation is a feeling that passes. Apollo moves past his humiliation and hits Python on his fourth shot.

“FARE THEE WELL, FRIEND, said the arrow. APOLLO WILL FALL, BUT APOLLO MUST RISE AGAIN.

With those last words, conveying all the power of his ancient grove, the arrow closed the reptile’s prophecy.”

This quote shows the distinctive speech of the arrow, delivered in a sort of Shakespearean or Elizabethan English. The arrow’s use of archaic English words such as “thee” often confounds Apollo, and Apollo also finds its prophecies hard to follow. As this moment of transformation shows, Apollo’s reading of the arrow may have been clouded by his bias. The arrow is not only self-aware but also brave, choosing to fulfill its quest by sacrificing its life. The arrow transforms Python’s gloomy prophecy, turning it into a prophecy of rebirth for Apollo. Apollo goes on to plunge the arrow in Python’s eye, which not only ends the arrow’s life but also finishes its quest.

“[Zeus had] chosen to dress traditionally today in a flowing white chiton, which was not a good look for him given the way he liked to manspread.”

The humorous bit in this quote is the juxtaposition of an immortal god in a chiton with the contemporary coinage “manspreading,” the practice where men in public spaces tend to sit in a way that encroaches on the spaces of others. Since this usually involves sitting wide-legged, Zeus in a chiton would end up showing more than his family would prefer. The subtext to the humor is Zeus’s problematic personality: His penchant for drama at the expense of others and his habit of robbing others of their space.

“But you must understand […] only you could have overthrown Python. Only you could have freed the Oracles. And you did it, as I expected. The suffering, the pain along the way…regrettable, but necessary. You have done me proud.”

Zeus’s statement to Apollo reveals the arch-god’s manipulative and selfish nature. Instead of seeking Apollo’s forgiveness for punishing him, Zeus makes Apollo’s suffering seem a part of his divine plan. As Apollo notes, even while praising Apollo for completing his quest, Zeus keeps the focus on himself, lauding Apollo for making him proud. Unlike before, Apollo is now able to see through Zeus’s tactics.

“I also hadn’t put a stop to my automatic deliveries from the Amazons, so the portico was piled high with shipping boxes filled with toothpaste, laundry detergent, guitar strings, reams of blank tablature, and coconut-scented suntan lotion.”

This quote illustrates Riordan’s use of humor and the creative way he adapts contemporary reality to the novel’s fantastical setting. Apollo receives deliveries, not from the online marketplace Amazon, but from “the Amazons,” and his essentials include reams of blank tablature and suntan lotion. Being the sun-god, Apollo does get too close to the sun, and thus needs plenty of SPF protection.

“No story ever ends, does it? It just leads into others.”

Will and Nico’s next quest may lead them to Tartarus, but Apollo’s part in their story is done. Will’s gentle observation highlights the interconnected nature of stories and foreshadows Riordan’s standalone book, The Sun and the Star (2022), which heavily features Nico and Will.