#pretty sure this is a rough translation of a bible quote

[mountainsinaboat]

[elk-ambrose-scott-writing]

Top Five Favourite Classic Books

Genre: Adventure

Author: Jack London

When it was published: 1906

Plot in 20 words or less: Spicy good doggo lives rough life, wolves eat everything, and eventually someone manages to pet doggo.

“Normal For The Times” Factor: Racism, in text and in Jack London’s personal views (see the link at the bottom for the full post and explanation of what those messed up views are)

Why it’s awesome: 

White Fang is one of the first classic books I sought out and read as a younger adult. 

While the graphic animal death isn’t for everyone, I really enjoyed seeing everything from White Fang’s point of view, and I found him to be an interesting character to see the world of the Yukon through.

I was drawn in by the horror elements to the introduction, and the more realistic view of nature that other animal POV books I’d read (much love to the Warrior Cats series but they aren’t realistic AT ALL) didn’t have. It felt, to me, like an animal book written for those who wanted to learn about animals. 

It was paced well, it was written well, and I really, really enjoyed the ending. 

Genre: Tragedy

Author: F. Scott Fitzgerald

When it was published: 1925

Plot in 20 words or less: Friendly chap meets his cousin’s ex and dude’s got mad money and great people skills, both lead to his downfall

“Normal For The Times” Factor: Character expresses challenged racism, negative stereotypes about Jewish people (proof in full post)

Why it’s awesome: 

The Great Gatsby feels like a fly stuck in amber; it cannot exist outside of the time period it’s in, and it’s one of the most fascinating times in history. 

I was hooked from the first sentence.

I connected with Nick, though the character I was drawn to the most was, of course, Jay Gatsby. I adored him. I didn’t see what he saw in Daisy and I kind of wanted her to quietly leave the novel and never return, but I also see that Gatsby and Daisy were both flawed people. 

It’s a well-written book with excellent characters, and it is a slice of history that deserves it’s timelessness.

Genre: Comedy, tragedy, mostly a social commentary

Author: Miguel de Cervantes

When it was published: 1605 (for the first part)

Plot in 20 words or less: A man from La Mancha has a midlife crisis and decides reality is overrated and becomes a “knight”

“Normal For The Times” Factor: Written in old Spanish, and translated from old Spanish, so some of the phrases are a bit dated. Pretty sure de Cervantes was not a racist or sexist dude, but he’s also been dead for like 300 years. 

Why it’s awesome: 

Don Quioxote is the second most translated book ever, after the freaking Bible, so you know it’s gotta be good. 

It’s like the JoJo’s Bizarre Adventure of literature; once you read it, you see tributes and references to it EVERYWHERE. 

While it is a tragedy and a portrayal of Spanish society at the time, it’s also freaking hilarious, which makes the tragedy hit all the harder.

I don’t know if I agree with scholars who say it’s the greatest work of literature, but it’s definitely one of the best. 

If you haven’t read it I’d recommend trying it, but make sure you get a good translation because the book is originally in Spanish. If you don’t want to read this long book, see if you can find a recording of “The Man of La Mancha”, the musical play I mentioned. It’s also excellent!

Genre: Horror, Science Fiction (The first of it’s kind, the OG scifi novel)

Author: Mary Shelley

When it was published: 1818

Plot in 20 words or less: Man creates monster, decides to be a deadbeat parent, comes to regret it

“Normal For The Times” Factor: None, except for the way the novel is written which is different from how we use language now. Mary Shelley was fucking badass and had awesome parents.  

Why it’s awesome: 

Even before I’d read the book, I knew the basic gist of the story, and I knew some of the famous lines from the 1930’s motion picture.

When I read the book I fell in love. It’s much different from the movie, which I don’t understand, and so far there hasn’t been many mainstream movies that capture the greatness of this work. 

Pop culture leaves a lot to be desired, including perpetuating the idea that the Creature is called Frankenstein. Ugh. 

I could go on and on, but I will sum it up with this quote from Tumblr: knowledge is knowing that Frankenstein is not the monster. Wisdom is knowing that Frankenstein is the monster.

Back to the great book. And it is great. Not only is it the first science fiction novel, it is also an examination of science, of society, and of the consequences of abuses of both.

It is a classic because the themes of alienation and of science without morality is still so relevant today. Mary Shelley’s Frankenstein is an example of all the best parts of sci-fi, and if you haven’t read it, do so. Then join me in ranting about how the movies got most of it wrong.

Genre: Science Fiction

Author: H. G. Wells

When it was published: 1898

Plot in 20 words or less: The Martians are coming, it’s definitely a metaphor for something, cough on aliens to save the world

“Normal For The Times” Factor: H. G. Wells was an anti-Semitic eugenicist, so there’s that 

Why it’s awesome: 

This book is the quintessential science fiction novel, as famous as Mary Shelley’s Frankenstein. 

It’s narrated by a nameless man living in London, and the whole book details the arrival of Martians, his perilous escape from them, and the world under the Martians and their eventual defeat via germs.

I personally found the narrative very tense, despite the old-timey language, and I enjoyed the suspense I was in despite knowing how the whole thing ended. 

This one, like Frankenstein, doesn’t have a movie adaptation exactly like the book, as it keeps getting updated for the era the movie is in. Unlike Frankenstein, that doesn’t take away from the book. While the book is tense and well-written, the main character is just kind of there. 

The whole book is used to illustrate why colonialism is really bad to England, which I personally enjoy because it’s hilarious how they didn’t get it, though Wells seemed to not really understand himself the depth of the way England tried to wipe out entire cultures. It was more than just diseases. CBC (Canadian Broadcasting Corporation for the uninitiated) recently started broadcasting the Australian adaptation of this story, and I’m looking forward to watching it. he novel isn’t for everyone, but it was a good introduction to scifi for tiny Elka, and is a good example of the genre.

Full Post Here: https://wordpress.com/post/elkascott.wordpress.com/1498

[hextiger]

More Research Excerpts

This time it's Der Alptraum in Beziehung zu gewissen Formen mittelalterlichen Aberglaubens. (English: The Nightmare in Relation to Certain Forms of Medieval Superstition).

You can find the PDF here via Project Gutenberg, but it's in German.

For context though: this appeared in 1902 in a magazine published by Sigmund Freud. That fact is very much apparent throughout.

Introduction

"My focus is not on the historical side but the deepest psychological meaning" phrases that clue you in that there's a lot of nonsense coming

Nowadays the word "Weib" really just reads as "woman (derogatory)"

Dream and Belief

"the breath soul and the shadow soul" I'm sorry what. What! Shadow soul?????

"Freud's discovery of psychoanalysis" I don't know that I'd call it a discovery rather than "wholesale invention" or maybe "ass-pull" but sure

You can at times REALLY tell this is influenced by Freud. Example: "The more people have a certain type of dream the more likely it is that its' subliminal content is of a sexual nature" good (?) news for all the people who dream about their teeth falling out

Something something dreaming of your dead mother or father something something oedipus complex repressed in childhood

You can really tell this was written in the early 20th century. Take me back to the 18th/19th century weirdness please

"In a court in 1516 the jury of Trojes admonished the caterpillars who had devastated some distracts on punishment of curse and excommunication to leave within a certain number of days" I have SO MANY questions

The source for the above is "Cesaresco. Essays in the Study of Folk-Songs, P. 183" which I now have to read

Nightmares

"It is generally known that nightmares have a greater influence on the fantasy of waking life than any other dream" my dude you JUST went on for a whole chapter abt sex dreams so like are you sure

"I have added that the repression of female masochistic sexual urges is more suited to the creation of the typical nightmare than that of the male one, a view that Adler agrees with" I just wanna read abt weird hairy creatures sitting on people's chests, not this nonsense

Ok HERE'S something interesting. Dude's talking about how nightmares express deeply repressed wishes like yes. This I can vibe with

"Digestive problems do not explain the appearance of beautiful women from keyholes" sure but if that were a thing I'd sure as hell take the digestive problems

Incubus and Incubation

"In the middle ages the belief was generally that there were evil spirits whose sole function was to have [...] intercourse with sleeping people" HE JUST SAYS THIS. WITHOUT A SOURCE

"A favorite form that incubi took was that of clergy. Hieronmyus reports the story of a young lady who called for help against an incubus which her friends found under their beds in the form of the bishop Sylvanus. The reputation of the bishop would have suffered if he had been unable to convince them that the incubus had taken his form"

People at the time reacted by saying "Oh an excellent example for the wizardry of Sylvanus" so I don't think this bishop was believed

Anyway I WISH that had been an incubus but it really sounds like it was just a creepy old dude

Sir why do you keep randomly throwing untranslated French quotes in this German text

Oh hey another mention of people who were supposedly children of incubi. This time it's Alexander the Great, Caesar, Martin Luther, Plato, all of the Huns and everyone who lived on Cyprus

You're right, it would be unnecessary to linger on how snakes are phallic symbols thank you for not doing that

"The belief that the soul leaves the sleeper in the form of a snake which escapes through the mouth" UM HOLD ON

I checked the source and yeah, that sure is a thing

This one's from Thorpe. Northern Mythology, 1851, Vol I. P. 289f https://archive.org/details/northernmytholog01thoruoft/page/n309/mode/2up

The Vampire

"The wish for reunion, which has its origin in the living person, is here partially projected on the dead" FINALLY some good content

"Widows can get pregnant by their vampiric husbands visiting" uhuh sure

"After the transformation into a vampire is complete it can be discovered by finding the unburied body with red cheeks, tightskin, full blood vessels, warm blood, grown hair and nails and open left eye"

May have found another source on alps here. Features slut-shaming of sphinxes as far as I can tell

"The Wallachian myth wherein dead redheaded men appear in the form of frogs, bugs etc. and drink the blood of pretty girls"

So depending on which church you were a part of before committing heresy you'd either become a werewolf (roman-catholic) or a vampire (greek)

"Like the vampire the Alp can be the soul of a dead person and suck the blood of sleeping people" whhhhhhhhhhhhhhhhhy do I only read this now

The Werwolf

Apollo's apparently associated with wolves, which I did not know

Oh yeah I forgot about the part of werewolf lore that's like "Yeah they turn their human skin inside-out cause the other side is a wolf pelt"

If you're born on christmas day you're apparently destined to become a werewolf as punishment for your parent daring to deliver on the same day as Mary

"The seventh son is destined to become a werewolf, the seventh daughter a mare" mmmmmmmmm there's Something here I may be able to use

Quick gallows, wow what's that? Oh. Oh it's a gallows where the person has their hands bound behind their back, is pulled up by their bound hands on a pulley and then dropped from great height??????? That's uh. That doesn't sound like a good experience

Armenian werewolves are women who sinned and were thus punished by having to live for seven years as a werewolf.

There's also a creature that's somewhat between werewolf and vampire which, apparently sucks blood from the soles of the feet of people walking by

Very rough translation but "One has to burn the werewolf because otherwise he will rise from his grave a few days later. In ravenous hunger he will eat the flesh from his own hands and feet and when he has nothing else on his body to consume he will burrow out from his grave at midnight, fall into the herds and steal the animals or even go into houses, lay down by the sleeping and suck their blood from them" this is good, actually

I cannot stress enough how openly freudian this thing is

Werewolves can apparently also leave behind their bodies and wander about at night

Devilworship

"Belief in devils can be traced back to an oedipus complex" ok. sure

Apparently the devil used to be a close parallel to jesus. The whole deal: twelve apostles, went to hell and was reborn, hot bod

The devil had his own bible which was written down in Bohemia and is now in a library in Stockholm k so who's down for a trip to Stockholm after [waves hands] all this is done

"One of the later bynames of the devil was Grendel (english Grant)"

The devil is canonically bisexual and bigender

He can only impregnate folks if he previously acts as a succubus

....Merlin was a son of the devil? He was born because the devil was imitating God? His purpose was to defeat Jesus? Is this what Fate Grand Order is about

"if a woman sleeps alone the devil sleeps with her" well good for her

The devil has a second face on his butt that looks like a beautiful woman's face. He sits the wrong way around in chairs. His genitals are on his back

The Witch Epidemic

Witches like to eat babies, especially unbaptized ones

Witches apparently sometimes turned men into horses to ride to sabbath??? rad

Or they rode the devil himself in form of a horse or goat. sure

Why would witches have stigmata. I want to know, but not enough to check the source that's cited for this

The roman-catholic church is at fault for witchcraft

Apparently 40 year old witches turn into Drude which are also similar to alps

In Conclusion

This entire thing was a trip but I cannot recommend reading it or a translation. It's far too Freudian for my tastes. At least there's a little bit here that I can use for A Pale Imitation and its potential sequels.

[ayakashiramblings]

ABC NSFW Headcanons: Aoi

In celebration of Aoi being released, here we are, coming for him! … Wait… no…   Also, I am going to age him up to 18 years old because again, that’s the legal age in Japan. Finally, ignore the ‘Location’ part. 

A - ‘Aftercare’ (What they’re like after sex)

Boys, meet your king and take some notes from the student, y’all. 

Wipes you down and helps you shower, keeps you hydrated and even wraps you up in a burrito of blankets. 

He does ask ‘How was it?’ because I have a feeling you are his first so he isn’t experienced but would let you set the pace.

B - ‘Body’ (Body Part of Yours he Loves)

Aoi is the kind to worship you.

But let’s be honest. You’re his first woman. 

He will HAVE to go for the boobs. 

It doesn’t help they are the only things stopping him from being completely consumed in your heart.

Tease him with them and he will lose it.

C - ‘Cum’ (How does his cum taste like/look like)

He is not even 20 yet but the poor boy is overworked. 

So when he gets a release, it will be in HUGE amounts, albeit not in a complete one-shot and in gradual intervals. 

The good news is that he probably cooks for himself so knows to eat his veggies. 

Moreover, he doesn’t consume alcohol which would have affected the taste/amount of the semen. 

He did indicate a slight interest in Ramune bottles though so I don’t think it’s going to be THE perfect taste. 

Definitely in the top 2 though; slightly sweet with a tangy after-taste.

D - ‘Dirty Secret’ (DUH)

Has always wanted to paint… on your body.

It could be of anything, some sensuous flower, fierce animal or your favourite quote from a good book, he just wants to mark you in every way possible.

So why not his own art?

E - ‘Experience’ (Does he know what he is doing?)

One word. 

Student. 

He’s probably blushing like mad even after trying to discreetly read the books he loaned from Ginnojo… 

Which lead to an awkward study-buddy kind of thing as they debated between themselves on how certain positions were even possible.

Both failed the theoretical but at least Aoi will get practical points later...

F - ‘Favorite Position’ (Again, duh)

He wouldn’t know much in the beginning but after a bit of experimentation, he settles for...

Coital Alignment Technique. 

That technically was only defined in 1988 BUT that is not the point.

The giver lies above the receiver, moving up until his erection is pointing “down,” the dorsal side of the penis pressing against the clitoris as he penetrates.

Essentially, it’s like the Missionary but adjusted so not only can he bring you closer to a good orgasm, he gets to see each and every one of your expressions and be exposed to the pulse near your collar bones.

G - ‘Goofy’ (Serious or humorous?)

I know some might think he is all for serious lovemaking due to his stringent nature but I disagree. 

He and MC seem more in-tune with each other than the rest of the team, and he is more empathetic and considers her needs and likes, without basing it on societal values or whatever norms.

If there is a funny moment or this is part of cheering MC up, he is more than willing to pull out a joke. 

Sure, he might be dying from sheer mortification if you laugh too hard but your smile is enough for him to forget about it and laugh along and learn from it.

H- ‘Hair under THERE’ (Pubic Hair Treatment, does the carpet match the shades?)

He’s a clean-freak, he’s good with his hands, what do you mean he doesn’t manscape??? 

Pry this thought out of my cold, roaming hands. 

And yes, it’s the same shade, if not slightly lighter.

I- ‘Intimacy’ (How they are doing the moment, romantic aspects)

This one depends on several factors honestly. 

If he actually overcomes his fear of peering into people’s emotions, he might want to feel the warm embrace of your heart (with your consent, of course). 

He does get embarrassed and may cover up any cute gestures with abrasive words but nothing will stop him from letting you know how much he appreciates you... even if you may or may not need a Tsundere-translator in the midst of it all.

At least he nails the whole atmosphere, making it nice and soft just to be in each other’s embrace.

J- ‘Jack Off’ (Masturbation)

Before MC? Hell no. 

Dude only works himself up to a frenzy over dirty dishes and broken paintbrushes. 

Meeting MC? Starts aggressively chopping anything in sight and taking out his frustrations in the cooking.

He then realizes the ingredients are getting more pounding moments than he has and starts to relieve himself when he is absolutely sure no one is around to stumble into his room.

Poor boy doesn’t know where to start though and it is only when he imagines his hands being yours does he get anywhere.

K- ‘Kink’ (One or two of his kinks)

I think I have said this before but unwrapping you like a present is a gift in itself.

Ribbons, ribbons, oh so pretty...

Look me in the eye and tell me that tugging on his long, luscious locks doesn’t get him off.

Consent. No, but seriously, him being constantly reassured that you want this as much as he does just encourages him to explore more.

L- ‘Location’ (Favourite places to do the do)

On Oji’s bed so that the old man can’t sleep anymore on that mattress.

Ok, but really, he would love it in either of your bedrooms so that HE can take care of cleaning up the mess and no one else. 

Anywhere is fine, the wall, the bed, the floor. Just let him have access to some cleaning supplies.

M- Motivation (What turns them on, gets them going)

Anything about you being happy. 

Heck, you could be smiling over some random 2D dude getting his route released in a few hours in some manga and he would be hiding a raging boner.

Did I mention ribbons? If not, then ribbons.

N- ‘No.’ (Something they wouldn’t do, turn-offs)

Whatever it is, no foodplay. How dare you waste food made from ingredients Oji-san FINALLY remembered?!

No threesomes either because he is always worried you might get Kuya involved...

O- ‘Oral’ (Preference in giving or receiving, skill, etc)

He is a GREAT giver. 

Not only that, HE ACTUALLY KNOWS NOT TO JUST FLICK IT.

Ginnojo, does your bookshop have some hidden Sex Bible or something?

Firm, repetitive rolls before sucking on the engorged clit, all the while letting his one free hand grab onto some other erogenous zone of yours.

Initially, super reluctant to receive because “MC! It-it-it down there?!”

A bit self-conscious about the taste and if you can actually breathe. 

Until you start to let your tongue wander over the whole of his length.

Now, he likes to give and receive.

P- ‘Pace’ (Are they fast and rough? Slow and sensual?)

He’s going for a marathon session whenever possible. 

He loves lengthy lovemaking where all his senses are aroused. 

That means sexy music and lots of foreplay to get a stimulating hour (or two).

Q- ‘Quickie’ (Their opinions on quickies rather than proper sex, how often, etc.)

He would LOVE it ONLY if you made a feisty quickie at work. 

Rip off his clothes, and go at it as soon as he walks through the door. 

That I-need-you-now approach boosts his confidence and his lust.

R- ‘Risk’ (Are they game to experiment, do they take risks, etc.)

Honestly, only if you suggest it. 

And he has ensured that it will not jeopardize your safety. 

And that it is technically physically possible, he has all the equipment...

Essentially, as long as both of you are prepared, he is more than willing to.

S - ‘Stamina’ (How many rounds can they go for, how long do they last…)

The first few times is a soft ‘2’ because he doesn’t know his own reactions (yet). 

However, he quickly learns how to control yours and his release.

Suddenly, he wants to go at it like rabbits over long durations.

Seriously contemplates making a schedule.

T - ‘Toy’ (Do they own toys? Do they use them? On a partner or themselves?)

If you wanted to try one, he will... struggle to buy them. 

So he isn’t so keen on them.

Also because he prefers learning your body’s natural responses to his touches and not through some plastic equipment that is...

Wait, why is it rotating?

Is it another wand?

U - ‘Unfair’ (how much they like to tease)

In the initial stages? You are the Queen of teasing this poor fool.

But remember, he can get his revenge as a Seer. 

Basically, you are going to regret it MUCH, MUCH later.

... Provided he gets either drunk enough to say it or you two are like maybe, 1 month into the relationship.

V - ‘Volume’ (How loud they are, what sounds they make)

He is more into heavy panting, and airy, hot breaths.

Because he wants to focus on your moans and is a bit self-conscious. 

But occasionally, rough grunts overlap with your sounds, especially the closer the two of you become.

W - ‘Wildcard’ (Random Headcanon)

You and his first time will make him extremely worried about hurting you, even if you aren’t a virgin.

Because one good/bad thing about his appearance is that sometimes girls randomly chat to ‘her’ about their lives… including very, very, very bad sex. 

Until you make him discover the joys of voyeur vision. 

Slowly undressing for him, and then starting to pleasure yourself. 

The sight had made him weak in the knees, and he had quickly joined in to learn the ropes.

Oh boy, he is a great student. :D

X - ‘X-ray’ (How is the package?)

Hidden in loose boxers (to hide any reaction to certain actions of yours)

I’m going to be honest, he is probably just average in terms of length. 

BUT GREAT GIRTH.

Even better that his glans is nearly the same size as his width. 

A bit curved towards the stomach, with some prominent veins.

Y - ‘Yearning’ (How high is his sex drive?’)

High. Super high.

This is going to be first and hopefully the only partner. 

He wants to ravish you at least 3 times a week.

A bit interesting it falls on Friday, Saturday and Sunday.

Z - ‘Zzzz…’ (How fast do they fall asleep?)

Initially, it takes him a good half-an-hour because he is so busy tending to you until you get him to relax with pillow talks.

Soon though, he likes to cuddle with you before hitting the hay.

[calloftheancestors]

(Lengthy but well worth the read. I agree wholeheartedly with the Heathen Ranter on this one. If you haven’t even bothered to read the Asatru Edda and just make assumptions according to someone else’s opinion, you are missing out on the opportunity to expand your mind. Heathenism is an ever evolving spiritual tradition. It is ironic that many voice dismay at this edition of the Edda, yet have no problem taking Heathenism and mixing its traditions and rituals with other pagan traditions (Wicca comes to mind). It smacks of hypocrisy. It takes a level of sophistication and spiritual maturity to open one’s mind to exploring all ways of thinking, especially those that have something of value to offer. Frankly, if you have not read the Asatru Edda, what say you? Sidenote: Please read entire post, before making informed responses. I am new to the Tumblr Heathen community, but not to Heathenism. I am in no way part of the Norroena Society. The Asatru Edda just happened to be on my long list of must reads. I am dismayed by the frivolous dismissal of such a work of scholarship. Unfortunately the only ones actually in serious discourse and dialog on the subject of Heathenism around here are the Neo-Nazis:( But there sure are nice pictures repeating themselves over and over again on my dash. Perhaps I am expecting too much.)

Review : The Asatru Edda Norroena Society,

The Asatru Edda : Sacred Lore of the North

, iUniverse, Bloomington, IN, 2009.

“This is a work of tremendous care, and labour of love. Its meticulous compilation of source-texts into a coherent epic form has been accomplished, for the most part, with grace and with dignity. There is a rhythm and a pulse to the work that slows down the mind and lends a meditative quality to the verses and rich language quoted and flowed in to the well-laid pathways and grooves. These pathways are evidently the result of many great summonings of rede.

There are positively beautiful moments, and interpretations. Take the stunning yet instantly evident interpretation that the Llosalfar are in fact that tribe of elves in Dagr's line who prepare and accompany the daily pageant of Sol across the skies. "At each horizon of Jormungrund there are horse-doors, which the Ljosalfar ride through on their journey to and from the sky. Near the eastern horse-door lies Dellingr's hall, in Alfheimr, where he gives aid to Natt and her kinsmen. Near the western horse-door is Billingr's domain, who does the same. Dellingr is the jarl of the Ljosalfar and lord of the dawn. Billingr rules over twilight." (p. 18) This explains Snorri's positioning of the Ljosalfar in the various heavens as Sol parades across the skies.

There are little gems like these sprinkled throughout the book, making it a treasure trove. It's important to emphasize that these interpretations are not the result of random "Unsubstantiated Personal Gnosis", as it is sometimes called in the heathen community, in which individuals, often without much grounding in the lore at all, and without making the effort to piece together what remains in fragmentary form, simply pull out of their hat the first thing that sounds good to them, and assert it as some kind of truth. The UPGs, as they are often abbreviated, ought not only be called "unsubstantiated", but more importantly, undigested. Intuition was very important to our ancestors, and developing personal feelings and theories about the lore was certainly seen as valuable. When the gap between one's personal feelings, and the larger community was bridged, however, one was expected to present fully digested information that related to the experiences of others in a way that enhanced them.

Here we may receive edification at the toolshed of some Havamalverses. Havamal 26 : Ósnotr maðr þykkisk allt vita, ef hann á sér í vá veru; hittki hann veit, hvat hann skal við kveða, ef hans freista firar, "The unsophisticated man thinks he knows everything, if he stays to himself in a corner [or, in his cabin ; vá can mean both] ; he knows not that which he shall answer, if he is tested by the folk." Freista, "tested", here means "examined", "scrutinized", and even (although not a technical legal term) "cross-examined". It means being subjected to critical thinking from multiple points of view. Anyone can think themselves smart when they stay at home. But do their thoughts stand up to scrutiny when they are in the company of the sophisticated?Havamal 30 : margr þá fróðr þykkisk, ef hann freginn er-at, "many seem wise, if they are not asked questions." It's the answering of questions over time that deepens our insights. Havamal 5 : at augabragði verðr sá er ekki kann ok með snotrum sitr, "he who has nothing to teach becomes a twinkle of the eyes when he sits amongst the sophisticated." Ekki kann may also be translated as "knows nothing", or "does not search or explore". The latter suggests that a person has taken the time to search something out and really investigate it. That, after all, is the basis for teaching something. Someone who has nothing substantial to offer, or whose speech remains puerile, undeveloped, undigested, and unsophisticated, is going to be taken as insignificant, because truly what they have to offer is simply a flash in the dark or a twinkle of the eyes. It has developed no depth, no root, and thus is taken as the passing fancy of a child, rather than something which ought to be taken seriously. The Norroena Society, under the tutelage of Mark Puryear, has something substantial and sophisticated to teach, and it is the result of careful investigations.

What differentiates lore from unsubstantiated, undigested personal gnosis, as these Havamal strophes illustrate, is gnoses that have passed from hand to hand over time, and become refined. They are like gems that have become polished in the tumblers of time. Lore is the result of the folk. It may be brought together by those with special skill and poetic talent, but it is not "made up" by untested, unreflective flashes of momentary insight. Many times the brilliance of a moment becomes a flash in the pan. What perseveres?

Puryear's structure is based upon a careful and lengthy study of Viktor Rydberg, one of Sweden's most talented poets, and a gifted folk-scholar who devoted over ten years of in-depth study scrutinizing every surviving remnant of lore. Beginning with no preconceived notions, over time, Rydberg began to sort certain patterns that began to emerge in his studies. He noticed a rough story arc in the Poetic Edda that was greatly enhanced when it was filled in with a careful study of the mythological elements to be found in Saxo's Gesta Danorum. It is commonly, and quite erroneously assumed that Rydberg simply equated separate divine persona according to his personal whimsy. On the contrary, his analysis was quite akin to the practice of modern scholars who study types in folk stories, and gather together variations. Rydberg's in-depth studies brought together variants of the same story that commented upon each other in mutual ways, and when enough elements converged to constitute structural and functional identity, then, and only then, did he recognize the different names in the variants as polynyms for the same figure. Polynymity is a recognized feature of mythic traditions that stem in part from poets' love of devising new praise-titles for their beloved deities and heroes, and in part from name-divergence in communities as they differentiate geographically over time.

Like an immense jigsaw puzzle, Rydberg began collecting together the pieces and variants that obviously fit together, until he had discerned a basic structure that tied the various story-arcs together. Because of the fragmentary nature of some of the sources, and the corruption inherent in some of the texts due to distortion under Christian recording, there were gaps in the assembled jigsaw puzzle. But even with gaps, so long as they are not too large, one may get the entire picture of a jigsaw puzzle, and sometimes, it is even easy to fill in the blanks based on inference, and connecting the dots from known Point A to known Point C. Rydberg was always very deliberate in annotating his inferences and speculations regarding hypothetical Points B, and differentiated them from that which had solid grounding in the sources.

In the process, Rydberg came to some conclusions that startled him, yet which became confirmed again and again upon further investigation. Some of these conclusions have continued to startle or baffle modern heathens who haven't taken the time to really investigate Rydberg. Rydberg took over ten years to do his investigations, and they do represent really solid research based on meticulous examination and synthesis of the original sources in the lore, but I'd estimate that in order to fully examine and confirm their validity, an open-minded but reasonably skeptical mind would have to take several years to closely study his investigations and confirm his sources, which is precisely what Carla O'Harris and myself have been doing, along with the folk-scholar and translator William Reaves, for many years now. I can report that although Rydberg is not correct 100% of the time (who is?), his hit-rate definitely ranks in the 90th percentile, which is pretty damn impressive.

Puryear has taken the time to both understand this epic structure Rydberg uncovered, and to meditate upon it, and then he has allowed the ancestral voices themselves to tell the saga, through often seamless compilation and dexterous, light-handed editing of the ancient sources, to create a whole that is impressive, and functions as a veritable tome. My only suggestion in this regard is that it ought be available in a regular sized format --- Bible-sized would be excellent, actually --- and in hardcover, leather-bound, rather than its paperback 8 by 11 format, because a work of this sort truly merits a form that is as lasting as its content. Even if that substantially increased the cost of the book, given its value, it would still be worth the extra cost.

Some minor critiques : Puryear occasionally flows in elements from the Oera Linda Book, a book he feels contains some genuine elements of lore amongst its obvious corruptions and modernisms. I am not so convinced. Oera Linda seems far more convincingly a nationalist forgery of the 19th century than it does any genuine compilation of lore, and the consensus of scholars agree on that. (Such consensus, in and of itself, says little, because knowledge is hardly a democracy, but it matches my intuition when I read this book.) It is not impossible that in this work of fiction, seemingly composed by one man, there might have been integrated some folk-elements, but that is far from conclusive. Nevertheless, whether fiction or no, there are some beautiful passages that Puryear quotes to benefit, and certainly no harm, as for the most part they in no way impede, and occasionally enhance, the more well-founded surrouding structure. Indeed some have a charm of their own. My only complaint here is their flimsy (in my honest opinion) grounding in anything approaching genuine lore. But Puryear is quite conscientious about footnoting precisely which elements come from Oera Linda (as indeed he sources all of the material), thus allowing the reader to decide which elements of charm and meditation to take as authentic. They do not make up a substantial part of the book, which sticks to the more commonly acknowledged sources of genuine lore.

Nevertheless, this is not contradictory to Puryear's stated aim. I quote from the enjoyable, rede-filled introduction : "The purpose of such a massive undertaking, which is the culmination of over ten years of work, and thirty years of combined research between several scholars, is not to develop a strict authority on what Asatru lore should and should not be. Although it was put together to be a sacred text, rather than just another "mythology" book, the sanctity of the work is in re-establishing holy storytelling traditions in the form of the Teutonic epic. Like a great puzzle, the fragments of lore have been pieced together, cleansed of Christian elements, and presented as a source for Asatruar to enjoy as part of our legacy. Before the age of Bibles and Korans, tales of the worlds' religions were shared over hearths or near children's beds. The lore was not a concrete rule of divine law that had to be maintained, word for word, at all costs. Rather, it was a vibrant, fluid development that constantly changed and evolved, while keeping in life with what had come before. Although the stories themselves are sacred, what's more important are the lessons one walks away with, the true inspirations of the Gods and Goddesses. The inspiration is the holy experience in reading or hearing the lore, and remains so to this day." (p. xiv)

Indeed, so long as the skeletal structure and sinews which are founded in studious linkage and investigation of the original sources are adhered to, there is no reason why minor flourishes cannot be taken from artful, modern sources that stay true to the internal spirit of the lore. Puryear here selects from Oera Linda ; there are passages from Tolkien, for example, especially in The Silmarillion, that are so true to the Northern spirit, and so stunningly beautiful and lyrical, that they might well be flowed in to passages where they fit. As Puryear points out, the lore did not have "to be maintained, word for word, at all costs". Whatever the retelling, what matters is the way it keeps the integrity of the tradition alive through the generations. And it is certain that once a substantial segment of heathenry has assimilated the structural integrity of this work, lore will be regenerated from the heart and the living, poetic imagination (odr) into a new renaissance of lore that will be as old and as new as that which springs from the Well of Wyrd itself.

Another minor critique is his inclusion, although to his credit, he brackets it off as a separate appendix, of a text called here The Hugrunar, but originally entitled The Meditative Paradigms of Seidr, a bizarre, modern prose-poem written in chunky and clunky pseudo-archaic, hardly grammatical speech. I will not say that there are not some interesting insights in the piece, although the strange grammar often makes me feel that I am following the insights of Yoda. What makes it particularly odd is its fusion (one might say "con-fusion") of separate genres and diction into one piece, at times having the voice of some cryptic, Havamal-mimicking speech, while at other times, taking on a fairly self-conscious (and to my ears, even awkward-sounding) modern voice of meditation. I am not entirely familiar with the provenance of this piece, but there are some stains in here that definitely enshrine racist thought, in ways that are both disturbing and eccentric. To wit : "Once we were all of flax and heather ; that was in grandmother's days. Then came from the east in father's time, making the half-dark. Now dark with flax and either with half-dark till neither wood duck nor goose remain." First of all, what the hell does that mean? Secondly, this contrast of hues opposed between the native and the foreign most certainly smacks of racism, and if there were any doubts, a few more quotes ought to dispel them : "Dark was the storm in the east. Dark were the riders ... Where now they trade and farm, are heads like hares, short, swart like elves -- beware. Look only to the light of us, the fair browed, whose brows do not meet ... Though some be comely too, the dark with dark belong as geese by feathers nest else all is confused." Right. Certainly one may always find mead amidst dregs and drivel, as Odin had to go down into the mountain amongst the monsters to retrieve, and Puryear does admit that "The origins of this writing as an authentic, ancient tradition are questionable at best", but if it is going to be "offered" as "a brilliant modern addition" to the lore, perhaps its most obnoxious elements might be bracketed or edited, because while remaining embarassing, if they weren't so laughable they would be downright shameful. My advice would be to eliminate this from the next edition of the book and make it available in its own book, perhaps as a critical edition with commentary, and leave it out of what remains genuine lore, even as an appendix. Such a worthy tome is undeserving of such unnecessary stains, and after the corruptions of lore bred by nationalist romanticism, especially in its more virulent racialist strains, it behooves every heathen to be on extra guard against any smuggling of a racism that never belonged to our ancestors into the lore. On this point, of respect and curiosity for the traditions of others, Puryear is quite clear and illuminating. From his introduction : "Our people were great explorers and adventurers who tread upon almost every land on earth. Their admiration and desire to learn of other cultures was a staple of their way of life, exemplified by certain rites of passage where youths would set off to see the world. Long before such tolerance and acceptance of others became a trend of modern society, Northern sailors traveled from one end of the globe to the other, without leaving any trace of imposition or disrespect towards those they encountered. Archaeological evidence shows them to have been peaceful traders among the nations they fared, though their fierce defense of their homelands was legendary." (p. xiii) Given that, let's keep a worthy, well-made tome of lore in keeping with that spirit, and not allow in modern prejudices that are quite unworthy of our Gods.

One of the beauties of the book is the way Puryear flows in elements from other Indo-European traditions, such as Avesta and Rig-Veda, when their forms are cognate and amplify our tradition in ways that do not amount to invention, but reinforcement and supplementation. This is selectively and sparsely done, only when necessary, but adds to the gravitas of the work, and is an important stimulus to that great project of reaching out to our Iranian and Hindic brothers-and-sisters-in-faith, with whom we share a common mother heritage. Puryear also tastefully sprinkles in insights from marchen and popular traditions where relevant, and not in a haphazard or structural way, but as icing on an already scrumptuously-baked cake.

Asatru Edda includes fifty pages of annotation, for those who wish to check the sources, and a very nicely-put together glossary of over seventy pages that illuminates the meaning of various Icelandic names, a necessity in getting at the meaning of various passages in the lore. This alone is a noteworthy addition to modern heathenry.

"...[T]he idea is to take the reader on a journey into the hearts of our forefathers to find greater wisdom and understanding in the lore and poetry they passed down to their descendants. We study diligently the heritage of our past and take what we will from it, learning the inspirations of the divine." (p. xv) Asatru Edda has succeeded, in my opinion, in these goals, and will become a tool of meditation, picked up again and again for further study and insight, by every heathen who takes the time to make it his or her own.”

[the-six-month-novel]

Story Seeds

Odds are you already have a pretty good idea of what your novel is about, but on the off chance you're still floundering, today we're going to look at idea generation and development.

Most people don't sit down at their keyboard with a fully formed novel in mind. They start with a loose idea. A scene. A setting. A rough plot. Maybe just a character. Wherever you're starting from, it's important to have an rough idea of what your story's about before we get started.

Finding a Seed

In order for a story to grow we must first plant a seed, but where does that seed come from? The answer is surprisingly simple: Everywhere.

JK Rowlings conceived Harry Potter while stuck on a train. Khaled Hosseini was struck with inspiration for The Kite Runner while watching television. A dinner debate with friends moved Margaret Atwood to write The Handmaid's Tale. Ideas are everywhere, and as writers our job is to be constantly on the lookout for them. That probably doesn't help you much if you're stuck, so here are some things you can do to help court inspiration.

1. Read, read, and read.

It's amazing how many ideas flow from other works. James Joyce's Ulysses was inspired by Homer's Odyssey. Herman Melville's Moby Dick clearly found inspiration in both The Bible and Shakespeare's MacBeth and King Lear. Aldous Huxley's Brave New World borrows themes and dialogue from The Tempest. Even if you're not looking to borrow themes/ideas, the simple act of reading can inspire you to write.

2. Mind mapping and other brainstorming techniques.

This is easier than it sounds. Mind mapping involves writing down an idea that interests you and the finding subtopics that branch from the original. Other brainstorming techniques work much the same. The point is to get all your ideas onto paper and then figure out which ones work.

3. Delight your senses.

This can mean whatever you want it to mean. Visit an art gallery. See a film. Spend an afternoon meandering through a garden. Attend the symphony. Dine at a favourite restaurant. Sometimes engaging our other senses can help inspire creativity.

4. Have a genre in mind and then fill in a gap.

Maybe you've decided you're writing Romance. Or Science Fiction. Maybe you read exclusively in the genre and know no one's written a sweeping epic where the heroine falls in love with an intelligent, silicon based life form found living beneath the ice on Europa. This works particularly well if you really want to read a sweeping epic where the heroine falls in love with an intelligent, silicon based life form found living beneath the ice on Europa.

5. Use a story idea generator.

You may scoff at this, but you'd be surprised at how easily you can take a generated idea and make it your own.

Whatever you decided to use, be sure to own it. If you're not passionate about your idea you're not going to see it to fruition. Write for yourself first and foremost. Remember, this is a first draft and first drafts are about pleasing ourselves. We'll worry about our audiences later.

Growing the Seed

Now that you have an idea, how do you turn that into a fully fledged novel?

Okay, that's a bit of a trick question, because we're going to spend the month of August doing exactly that, but in the meantime here are some ways you can flesh out your idea while you wait.

1. Keep an idea notebook.

One of the reasons I carry a notebook around with me everywhere is so that I can write down ideas as they come. Say I've figured out I'm going to write that sweeping epic, and the next day I'm waiting for change at the grocery store and I'm struck with the sudden inspiration that my heroine is a translator who specializes in decoding alien languages. Into the notebook it goes. I've now not only further developed my character, but have also come up with a plausible reason for her to have fallen in love with our Europa alien.

2. Start a pinterest board.

I admit, I don't use pinterest (I lack the attention span for it), but I know a lot of writers who do. Maybe instead you just want an image folder (software like Scrivener give you a cork board for pinning images). Maybe you've set up a side tumblr. Maybe you like to print out images and hang them around your workspace. Whatever you choose, collecting images/quotes/art that inspires you can be a great way to flesh out your idea.

3. Make a playlist.

If you're the type who likes to write to music, start thinking about a playlist now. Does your idea feel dark and brooding? Upbeat and funny? Ominous and scary? Whatever tone you're going for, I guarantee you can find music to fit.

4. Read, read, and read.

I know we've mentioned this above, but it begs repeating. Seeing how other authors have structured and grown their ideas is a great way to flesh out your own, but you don't have to stop at fiction. Say your story takes place in Ancient Egypt. This would be great time to start reading up on the era. You can even pick up a few books on writing (we'll do a recommendation post tomorrow). Books like 45 Master Characters not only help with character development, but also include story arcs suited to your character type.

Remember, you don't need a fully plotted novel to start this workshop. But you do need an idea, as well as a rough idea of where you want your story to go.