Talking about Robert Eggers’ “The Northman”

In the spring of 2018, M. and I were preparing for a week in Salem, Mass., so we watched several movies about Salem, witch trials, etc. One of them was The Witch, directed by Robert Eggers.

At the time, I had more to say about Three Sovereigns for Sarah, but I will admit that visually and experientially, The Witch stayed with me longer.

Now Eggers is back with a new “Viking blockbuster,” The Northman, and people are talking about it.

At Amor et Mortem, Anna Uroševic starts her review,

You know that a newly released film has made quite an impact on you when, hours after you’ve left the theater, you obsessively muse upon its indelible imagery and the effect of the moviegoing experience is all you seem capable of discussing with family and friends. In fact, you’re filled with missionary-level zeal in urging people you care about to go see the film as a matter of vital importance. . . .

The plot of The Northman is very straightforward, as no-nonsense as a spear hurtling towards your face (and we see plenty of those in this film): loosely based on the tale of Amleth as recorded in the 12th-century Gesta Danorum by Saxo Grammaticus, it’s a revenge narrative of a young Scandinavian prince looking to kill his uncle, the man responsible for the treacherous act of fratricide/regicide by killing the prince’s father, the rightful king.

Pagan historian Tom Rowsell was dubious at first after movies, TV series, and games created what he calls “a wave of Viking invasions of popular media, many of which, including History Channel’s Vikings series and the Assassins creed Valhalla video game, copy the ‘biker Viking aesthetic.'”

But his blog post “The Northman: Pagan Themes Explained” sings The Northman’s praises after studying its Pagan elements, even while still faulting its color scheme:

I consider this to be the best Viking film ever made and I expect it will be remembered as such for some time. But while I had hoped this would mark the long awaited end of the biker Viking-age aesthetic which has so permeated popular culture over the last decade, its tawdry mark can still be detected. Not so much in the costumes, but more in regards to the colour palette and score – the former consists of the rather familiar Hollywood medieval drabness with which historical dramas consistently deny the era’s vibrance. The score, while competently composed by Robin Carolan and Sebastian Gainsborough, and effective in keeping the adrenaline pumping while the blood flows across the screen, will date the film since it owes much to the recently invented percussion driven fusion of neo-folk, world-music and martial-industrial that has become the stereotypical “le Viking music” of our time. Widely perceived as authentic because it uses medieval instruments, the combination of far flung elements such as didgeridoos, Siberian drums and Mongolian throat singing would have been as unfamiliar to Vikings as it was to anyone before the likes of Hagalaz Runedance and Wardruna invented it some 20 years ago.

These are, however, minor quibbles with an expertly crafted film which is well cast, with actors pulling off some phenomenal performances (Nicole Kidman deserves particular praise for her role as the detestable Queen Gudrún). Eggers is certainly among the greatest filmmakers of his generation and regardless of how well The Northman performs at the box office . . .  it will be remembered as a cult classic of cinema history.

At the British newspaper The Guardian

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, TV-film critic Steve Rose’s whiskers are quivering over the possibility that The Wrong People might like the The Northman too much — but then here is someone who thinks that Jane Austen’s novels credibly could be used as  vehicles of far-right propaganda. The costuming of the leading characteer, Skarsgård, reminds Rose uncomfortably of Jake Angeli, the “QAnon shaman,” who had his fifteen minutes of fame on Jan. 6, 2021. Like we should ban wolf pelts forever. But he admits that The Northman is a “piece of rousing, skilfully made entertainment,” even while spending 90 percent of his review on Those People and what they might be thinking.

As another blogger wrote, it  “takes Heathen cosmology and religion seriously [which] is just a breath of fresh air.”

A Very Good History of the Vikings

It’s an academic truism that historians and archaeologists do not play well together. Historians like texts. Archaeologists like artifacts. Each profession favors its own methodology.

But there are execeptions. An archaeologist friend wrote to me last year recommending Neil Price’s Children of Ash and Elm: A History of the Vikings. Price, who teaches at Uppsala University in Sweden, blends the strands masterfully, along with some climatology, religious studies, and geography.

Why did the “Viking Age,” roughly the 8th through 11th centuries happen as it did? I have seen some people blame population growth – Scandinavia had excess people, and they had to go somewhere.

Wrong. The volcanic “Finbul Winter” — I wrote about it here — cut the Scandinavian population in half in the 530s. It was a terrible time for the Norse, the End of Civilization as They Knew It. An Iron Age version of Mad Max. Whatever the earlier cultures had been — and they included Bronze Age boat trips to Western Europe — this was literally the post-apocalypic version.

The ones who survived probably did so by forming warbands for mutual defense. There is no way that by the mid-700s there were too many people for the land.

So what grew up next were many small chieftaindoms. Pirate kings, you might say. And there was also a shortage of marriagable women, something like we see in China today after decades of the One-Child Policy and selective abortion in favor of boys.

The Big Men could have more than one wife; the poor boys were out of luck. So what is a poor boy to do? Join the jarl’s raiding crew and if lucky come back with lots of loot to impress the girl next door — and meantime, bring back a sex slave too. (So what if she only speaks Old Irish; she is not there for her conversational skills.)

Coupled with [conflict between petty kingdoms] were social pressures—the effects of polygyny creating an underclass of young men disenfranchised by the laws of inheritance and with minimal marriage prospects. A summer or two of maritime violence offered the potential for life-altering change in many directions. Lastly, there was the traditional Scandinavian worldview itself, and its weaponised expression in an assault on the Christian cultures that really were bent on its destruction (274–75).

Although it was left out of the History Channel Vikings series, the slave trade was big for them in both Western and Eastern Europe. So was fighting as mercenaries.

But there is more to Price’s big book that that. With chapters like “The Performance of Power,” “Meeting the Others,” and “Dealing with the Dead,” readers get more than raiders, kings, long ships and mead halls.

It was through the medium of sorcery, not cult, the most of the conversations with the powers were conducted. . . . At its simplest, sorcery was a means, or a method, a set of mechanisms by which people tried to influence or compel the Others to do their biding. In the Viking Age, this was a field of behaviour that lay within the real of ordinary communities rather than any kind of priestly or royal officialdom (221).

There are fascinating calculations, such as it would have taken three to four person-years to prepare the woolen yard and weave the main sail for one Vikig ship. “We might realistically speak of a year’s constant work for about thirty people to fully equip a ship and crew (387).” (Slaves probably did a lot of it, Price suggests.)  Or the wool of two million sheep annually for the sailcloth of the warships, cargo vessels, and fishing boats of Norway and Denmark.

A coin of the Viking-founded city of Kyiv (urkraine.ua).

He gives the East equal space with Western Europe (and North America) and the Mediterranean. I started this book in late February and, trying to take my mind off the news, flipped it open only to read, “According to the Primary Chronicle [Kyiv] was founded by one Oleg (Helgi), a Scandinavian relative of Rurik, who expanded the Rus’ territories along the [Dniepr] river and needed a more southerly base (426).”

That trident (tryzub) insignia you see on Ukrainian aircraft, etc. comes from the Rurik dynasty. In other words, it’s Viking.

The Viking Age, Price writes, “was a time of horrifying violence and equally awful structures of institutionalised, patriarchal oppression. . . . also a period of social innovation, a vivid and multi-cultural time, with considerable tolerance of radical ideas and foreign fairths.”

Their most respected values were ot only those forged in war but also — stated outright in poetry — a depth of wisdom, generosity, and flection. Above all, a subtlety, a certain play of mind, combined with a resilient refusal to give up.

There are worse ways to be remembered (504).

No Amanita – Some Berserkers Were Even Christian

With the assistance of Roderick Dale, “doctor of berserkers,” YouTube military historian Lindybeige offers an entertaining and enlightening video on the literary legend of the Norse berserker.

From Dale’s blog post,

It is interesting to note how even those who accept the idea of berserksgangr as performance will often say something along the lines of “Ah yes, but when does performing madness spill over into becoming mad?” When I argue that berserksgangr was a performance with social and cultural meaning that is lost to us, it immediately becomes performing madness in people’s minds, even though that is not what I have proposed. The battle-mad berserker of popular culture is one of several realities that berserkir have. It just isn’t a medieval or Viking Age reality. However, the popular view of berserkir as mad warriors is so strongly ingrained in the language we use to describe the historical realities too that it is hugely difficult to imagine anything different.

“Wælcyrge or Witchcraft: Identifying Heathendom in late Anglo-Danish England”

Just one of many presentations from the just-finished online conference  Performing Magic in the pre-Modern North.

Here, Ross Downing deals with such issues as whether witchcraft and Heathenry were defined differently in the time of King Alfred the Great in the late 9th century, including details as the execution of condemned witches as well as animals accused of being witches’ familiars (although that was not the Anglo-Saxon term), including ethnic and gender issues in witchcraft accusations.

These all look fascinating, and I will have to watch three a week to finish by Candlemas. Read more about the conference, which focused on Scandinavian but here includes Anglo-Saxon and Danish-ruled England.

There is an enormous amount of material here, and it is all free at this time.

This Ain’t Your Film Set-CGI Viking Ship

The Sea Stallion rowed in calm water (Thilde Kold Holdt).

The best description I have ever read of sailing a long ship. I love it when people reconstitute old tech that still works — like the traditional Polynesian canoe that sailed from Tahiti to Hawaii and back in the 1970s, all without a compass, radio, or modern maps.

This is Danish writer Thilde Kold Holdt’s description of rejoining her “crew” for the first trip of the season aboard a traditional long ship, the Sea Stallion: “We’re 65 people on a ship no larger than a bus.”

Old habits must be remembered:

With the sail up, and not currently on duty, I’m no longer tied to my rowing seat, so I crash atop the oars, forgetting, as I do every year, not to lean against the thick shrouds, those enormous tarred ropes which hold up the mast. My long braid gets stuck to the tar and I have to wrench it off. I’m pretty sure this is why Vikings braided their beards.

The video included might remind you of the History Channel Vikings series, but this is not a CGI ship or a movie set, but the real deal, creaking and leaking and going forth.

Who Benefited from the Vinland Map?

Part of the Vinland Map, supposedly from the mid-1400s, before Columbus (Wikimedia Commons).

The Vinland Map has been controversial since the 1960s when it popped into public view. Did it really record a Norse partial-mapping of North America? Its modern history is viewed as scandalous. Most scholars who examined it leaned toward its being a forgery.

But from when? And for whose benefit?

A team at Yale University places it in the 1920s:

Acquired by Yale in the mid-1960s, the purported 15th-century map depicts a pre-Columbian “Vinlanda Insula,” a section of North America’s coastline southwest of Greenland. While earlier studies had detected evidence of modern inks at various points on the map, the new Yale analysis examined the entire document’s elemental composition using state-of-the-art tools and techniques that were previously unavailable.

The analysis revealed that a titanium compound used in inks first produced in the 1920s pervades the map’s lines and text.

It looks like another case of a forger using paper — or in this case, parchment — from the appropriate historical era but not taking the time to re-create the inks of the time. The ink, the Yale researchers say, is 20th-century.

In a follow-up article Smithsonian sees the map as playing a part in American struggles over identity, although leaving open the question of when it was actually forged. After the 1920s is the nearest that can be said.

In the modern era, the European discovery of North America became a proxy for conflicts between American Protestants and Catholics, as well as northern Europeans who claimed the pagan Vikings as their ancestors and southern Europeans who touted links to Columbus and the monarchs of Spain. Feted on the front page of the New York Times, the map’s discovery appeared to solidify the idea of a pre-Columbian Norse arrival in the American mindset.

As it turns out, the map was indeed too good to be true.

 

Pop Vikings, Modern Animism, and the Raven Flag

From Danish writer and animist Rune Engelbreth Larsen

The Viking Age seems to be undergoing a kind of global renaissance in various fields, spanning from popular culture to spirituality and even some misguided political trends. Often this “viking revival” manifests itself in ahistorical and superficial ways, but not always. Here I share a few thoughts on how some lesser known aspects are also slowly gaining ground and understanding: the animist perspective.

Vikings armed with “myth, music, and merchandise”!

Great Review for Calico’s “Being Viking”

I was happy to see Being Vking: Heathenism in Contemporary America get a good review in Reading Religion, which is the American Academy of Religion’s online book-review site.

Michael Strmiska (currently teaching in Latvia) writes,

Being Viking deserves great praise and wide readership as an extremely detailed and well-researched historical and ethnographical study of the American variant of the New Religious Movement (NRM) variously known as Heathenry, Heathenism, Asatru or Modern Norse (or Germanic) Paganism.

Calico ably addresses many dimensions of the American Heathen religion from the biographies and contributions of religious leaders such as Stephen McNallen, Valgard Murray, and Diana Paxson to such particular practices as the sumbel (a toasting ritual); the blot (an alternate form of the sumbel)), and seid/seit (an oracular rite). In addition, Calico examines the devotion to medieval Icelandic and Germanic literary and religious texts as key source materials, the dedication of many members to practicing premodern folk crafts from Norse and Germanic tradition, variant forms of organization that have developed over time, questions of the importance of ancestral identity in the self-definition of Heathenism, and the important and enduring debate between “universalist” and “folkish” forms of the religion over who should be allowed to participate in and affiliate themselves with the religion.

Being Viking

Being Viking deserves great praise and wide readership as an extremely detailed and well-researched historical and ethnographical study of the American variant of the New Religious Movement (NRM) variously known as Heathenry, Heathenism, Asatru or Modern Norse (or Germanic) Paganism.

Heathenism, to use Jefferson Calico’s preferred term for the modern Norse Pagan movement in America,  is a form of modern or contemporary Paganism that endeavors to create a workable contemporary version of pre-Christian Norse Paganism as was once practiced in Iceland, Scandinavia, and Germanic Europe. Being Viking is the product of many years of participant-observation fieldwork research that Calico has conducted among Heathens in the United States and informed by extensive reading in the literature of NRMs in general and Modern Norse Paganism in particular. He builds on the previous work of such scholars as Jeffrey Kaplan, Mattias Gardell, Jenny Blain, Jennifer Snook, and myself.

Calico ably addresses many dimensions of the American Heathen religion from the biographies and contributions of religious leaders such as Stephen McNallen, Valgard Murray, and Diana Paxson to such particular practices as the sumbel (a toasting ritual); the blot (an alternate form of the sumbel)), and seid/seit (an oracular rite). In addition, Calico examines the devotion to medieval Icelandic and Germanic literary and religious texts as key source materials, the dedication of many members to practicing premodern folk crafts from Norse and Germanic tradition, variant forms of organization that have developed over time, questions of the importance of ancestral identity in the self-definition of Heathenism, and the important and enduring debate between “universalist” and “folkish” forms of the religion over who should be allowed to participate in and affiliate themselves with the religion.

The universalist conception holds that Modern Norse Paganism should be open and embracing to any person anywhere regardless of ethnic or racial background who feels a sincere spiritual interest in Norse Pagan gods and traditions. The folkish perspective holds that membership in the religion should be mainly—or even exclusively—limited to people of European or Germanic descent. Calico also provides valuable discussion of the problematic “metagenetics” theory propounded by Stephen McNallen, a pseudo-scientific attempt to ground Heathen spirituality—and folkish exclusiveness—in European genetics.

Calico juxtaposes the historical development of each topic while also providing colorful sketches of particular Heathens and their life-situations and religious practices. The author traces the lineages of different organizational structures that have undergirded the development of American Heathenism such as the Ring of Troth, more commonly and simply known as the Troth, and the Asatru Folk Alliance (AFA) pointing out their differing attitudes toward both religious practice and preferred practitioners, with the Troth being the more open and inclusive structure and the AFA the least, with a pronounced emphasis on ancestry and ethnicity that many observers have reckoned a thinly masked form of racism, or at the very least, very attractive to racists. Calico uses the metaphor of a river into which tributary streams feed and swirl as a means of explicating the different intellectual, cultural and social “streams” of influence that have fed into American Asatru, and this is an effective and intriguing manner of conceptualizing the internal diversity, dialogue, and conflict in the religion.

Read the whole thing.

Being Viking is part of Equinox Publishing’s Pagan-studies book series, of which I am the longest-surving editor, a tale of success, frustration, corporate marriage and corporate divorce, and who knows what will happen next?

Interview with an American Pagan Studies Scholar in Latvia

Long-time Pagan studies scholar Michael Strimska has been in Latvia the last few months on a Fulbright, teaching at Riga Stradiiš University. He edited the volume Modern Paganism in World Cultures: Comparative Perspectives  and guest-edited a recent  issue of The Pomegranate devoted to Paganism and politics.

The university has published an interview with him — here is a sample:

What would you say are the main differences between Swedish, or Nordic, and Latvian and Lithuanian paganism?

That’s interesting. The biggest differences are in the source materials they have to work with. In the Scandinavian countries, what they have left over from the old pagan days, from the original pagan times, is literature. They have a lot of texts that were primarily written down in Iceland (mainly by Christian monks, strangely enough). These texts give a lot of information about the gods and tell stories about people who practiced the religion, but they don’t have any music. Old styles of music were forbidden by the authorities, particularly by Christian authorities. In the Baltic case it’s almost the opposite. Here you don’t have so much rich mythological literature, or rather, you don’t have it put into a form that’s very attractive and accessible. The Scandinavian written materials are very attractive, enjoyable, accessible, and obviously have worldwide appeal. In the Baltic case, while there’s not that kind of rich literary foundation, what you have here is the music, the folk songs, and that tradition is obviously very, very strong and appealing here.

Read the whole interview here.

You can also visit the entry on Dievturi, the revived ( since 1925) Latvian old religion, at the World Religions and Spirituality database.

It is quite detailed, with a chronology, bios of important figures, and a bibliography. It ends on this note:

The contemporary neo-pagan movement in Latvia is characterized by conflicting aspects. On the one hand, in pagan activities, a desire is expressed to juxtapose oneself and one’s national views against globalization trends, which do not conform to the unhurried and contemplative lifestyle of traditional cultures. On the other hand, the latest trends reveal that in Latvia too, paganism is following a similar trajectory to Anglo-American paganism. Respectively, it is gaining New Age features: scientific terminology and a self-reflexive character is entering pagan discourse. In the near future, paganism in Latvia is dependent on its capacity to respond to the challenges of the era. However, looking further into the future, there is some doubt about the existence of “traditional” Dievturiba as something that is capable of survival. This is because Dievturi currently exist on the periphery of social life in Latvia and are providing vitally important answers only to members of the movement. They have never exceeded a thousand members, and there are currently only a few hundred.

From Viking Re-enactor to Practitioner

A still from the BBC video, linked below.

At the BBC, a short video with a man who started doing re-enactments and ended up adopting Norse religion.

Fighting with the Wuffa Viking and Saxon Re-enactment Society, he did not expect that his hobby of more than three years would help him find his own belief through Norse mythology.

“What it is about the Norse gods is they teach you to respect nature and the world and that’s how the world should be run, not like in the modern day,” said Mr Mehmed, who is also known as Magnus Shield-Breaker.

It is a different sort of re-enactment, but in America, Wicca is more or less the “house religion” of the Renaissance Faire circuit, or so says Rachel Lee Rubin in her history of Renn Faires, Well Met: Renaissance Faires and the American Counterculture.