Posts Tagged ‘sweden’


I love this book. In graduate school I learned that it can be dangerous to write about books I love, because it is difficult to convey those emotions in an academic analysis. The emotion gets in the way of the analysis, just as I lose my good judgment when I feel an emotional connection to the decision to be made. This explains why I’ve asked for a transfer closer to home, even though I’m in a good job and a decent social situation. I have an emotional connection with that landscape, and I’m not sure I’ll ever be content apart from it. My company’s closest location is five hundred miles off, but that’s a lot closer than the thousand miles away I am now.

This book seems to have been conceived as one of a series where our leading authors write about the myths that have shaped their lives and writing. I’m not sure if that series ever took off because I always see this one standing alone or with Byatt’s other work, and since she deals so much with fairy tales and myths anyway, it doesn’t feel out of place in her oeuvre. So yes, as the title implies, this is a book about Norse mythology. But it is also a story about Byatt’s encounter with Norse mythology when she was a girl, The Thin Child in Wartime. The Norse myths make more sense to her than the Christian ones, so while she doesn’t believe in them as a religion, they more adequately express her developing worldview.

The thin child thought that these stories – the sweet, cotton-wool meek and mild one, the barbaric sacrificial gloating one, were both human make-ups, like the life of the giants in the Riesengebirge. Neither aspect made her want to write, or fed her imagination. They numbed it. She tried to think she might be wicked for thinking these things. She might be like Ignorance, in Pilgrim’s Progress, who fell into the pit at the gate of heaven. She tried to feel wicked.

But her mind veered away, to where it was alive.

So while the stories take place in Midgard or Asgard, they also always have reference to living in the evacuated-to English countryside during World War II.

Odin was the god of the Wild Hunt. Or of the Raging Host. They rode out through the skies, horses and hounds, hunters and spectral armed men. They never tired and never halted; the horns howled on the wind, the hooves beat, they swirled in dangerous wheeling flocks like monstrous starlings. Odin’s horse, Sleipnir, had eight legs: his gallop was thundering. At night, in her blacked-out bedroom, the thin child heard sounds in the sky, a distant whine, a churning of propellers, thunder hanging overhead and then going past. She had seen and heard the crash and conflagration when the airfield near her grandparents’ home was bombed. She had cowered in an understairs cupboard as men were taught to cower, flat on the ground, when the Hunt passed by. Odin was the god of death and battle. Not much traffic came through the edges of the small town in which the thin child lived. Most of what there was was referred to as ‘Convoys’, a word that the thin child thought was synonymous with processions of khaki vehicles, juddering and grinding. Some had young men sitting in the back of trucks, smiling out at the waving children, shaking with the rattling motions. They came and they went. No one was told where. They were ‘our boys’. The child thought of her father, burning in the air above North Africa. She did not know where North Africa was. She imagined him with his flaming hair in a flaming black plane, in the racket of propellers. Airmen were the Wild Hunt. They were dangerous. If any hunter dismounted, he crumbled to dust, the child read. It was a good story, a story with meaning, fear and danger were in it, and things out of control.

In the daytime, the bright fields. In the night, doom droning in the sky.

I did not grow up during World War II. My parents weren’t born until afterward. My childhood war was very different. By the 1980s, American society had grown comfortable with the Cold War. The enemy was always there, there was the constant threat of invasion and nuclear holocaust, but this very constancy had inured us to it. The threat of mutually assured destruction kept us pretty much safe. Then, when I was a thin child of nine, the Berlin Wall came down, and a couple of years later the Soviet Union fell apart. There was a sense of relief, but I had never experienced the absence of loved ones as Byatt did, nor was I ever evacuated.

The real war for me was strictly domestic. My father was undiagnosed bipolar; most men self-medicate with alcohol or drugs, but since my father’s religion forbade those, he calmed himself down by hitting his children. I was too young and small to be a target, but I have four older siblings who caught rather a lot of it. I don’t remember much from the early years, but my sister assures me that I had every reason to be perpetually afraid. And I was. Not just of my father, though; I was afraid of everyone. Life is unpredictable, and as a kid that meant that I never knew when someone was going to go from happy to violently angry in less time than it takes to read this sentence. I think this is the key to understanding why I freak out in crowds; that’s a lot of people to keep from punching me in the face. You’re asking, why would anyone punch me in the face to start with? Because life is unpredictable, and my childhood trained me to know that every person is a potential threat. Especially family members who are supposed to love and care for me. These days I have friends that I trust, but they are people who seldom make sudden moves and do not raise their voices when they get heated in a conversation.

My mother had a quick temper too, but she handled her anger by distancing herself from the situation – the situation usually being her children. I don’t remember being hugged or kissed when I was young. The first clear memory I have of getting that sort of affection from my mother is from after I was married and had graduated from college. I remember how awkward she was at it, like this was something she’d seen other people doing and had always wanted to try but was never sure where or how to begin. For most people, hugs are not that complicated.

Shortly before the Berlin Wall fell, my parents separated. I hear multiple stories about it, but the one I remember is coming home from church one Sunday to find him gone. When I was twenty-one I found his nearly-suicide leaving note in my mother’s things; I imagine she still has it. When it first happened, I recognized that my father’s absence represented a new stage of life for me, but I wasn’t shocked. Life is unpredictable, and my brother used to run away with some frequency, and so did the teenagers on all the family-oriented TV programs of the time, so that my dad ran away was no big surprise. It’s what I understood people to do. I suppose this should have made things easier, but I still had nearly a decade of living with an emotionally unavailable parent who projected her own anger onto me and made me doubt my ability to achieve anything I set my hand to, despite all the clear evidence that I’m intelligent and capable.

Like Byatt, I turned to stories. The Norse legends weren’t readily available in middle-of-nowhere North Carolina, so I read the Greek and Roman myths instead. The Egyptian ones didn’t make sense to me, but the Hellenic Pantheon absolutely did. Their characters are driven by human desires, only played out on a larger scale. Unlike the Hebrew God, you can escape them. You may have to be turned into a tree to do it, but you can get away. People can run, hide from, and even occasionally trick the gods. And life is always trembling on the cusp of transformation. In Greek myth, there is always a way out, and I suppose that’s what I needed then.

The thing that always impresses me about Norse myths is the suffix –heim, home. Everyone and everything has a home. Death, evil, frost giants, dark elves, they all have their proper place. There isn’t really an outer darkness where people are cast out for their crimes, as in Christianity. All places can be known, rendered familiar, by describing them as someone’s home. Despite the monsters, there’s nothing so frightening that it can’t be realized in the imagination. In Byatt’s telling, everything also has a name: she names plants and animals and sea creatures and everything that I couldn’t even think to put a name to. The Acknowledgements section shows that she had to do some research, she didn’t have all these names at her fingers’ ends, but I appreciate that. If you’re going to write about the creation and destruction of the world, give things the dignity of their names.

Byatt places at the center of the belief system Loki, the agent of chaos, the force for change. He drives everything, and the others – Thor, Odin, Freya, etc – are all along for the ride. He and his children explain the way the world works, and how the world will eventually end. Order and Chaos will cancel each other out in a furious battle, the likes of which the world will never have seen before.

Everything ends, and everyone dies. Beautiful Baldur may have been the first (and how gorgeous does he have to have been, if already-beautiful Scandinavian men call him more beautiful than they?), but all the gods die. Not the gradual fading into disbelief of the Greeks, but violent sudden death. And then, even war ends. Sorry to be so morbid, but I believe most of the problems of Western civilization come from our inability to face the reality of our own mortality. Even this book ends, far too soon. It is beautiful, and it shows our world to be beautiful and fragile. And temporary. Use your time here well – love often and completely, create beauty where you can, and read this book.

In the United States, our understanding of Scandinavian history is pretty wretched. There were Vikings, also known as Norsemen, but we don’t really understand who they were or where they came from (formerly peaceful traders until the Christians blackballed them for being pagan). This is really shameful, because since the Vikings colonized most of Europe, we’re probably all related to them, and because the greatest hero in English literature, Beowulf, was Swedish. That’s why it took him so long to get to Heorot from Geatland – Geatland is in Sweden.

This book takes place in Stockholm, mostly in 1791 and 1792. King Gustav is trying to save Louis XVI from the revolutionaries in France, but his troubled relationship with the nobles of his own country lead to his assassination. In part, this is a novel about the world ending; some people try to maintain things as they are, others try to shape the new world that’s coming. I don’t think the world will ever really end; people always keep on living, even if the political situation changes dramatically. At least, the world won’t end until the sun expands and swallows the inner planets on its way to exploding in a fiery death.

This is a novel of women’s power. The main characters focus on traditional expressions of women’s wisdom: herb lore for healing and poisoning, divination and the occult, and fashion accessories and the manipulation of powerful men. Johanna Grey is in Stockholm running from an unwanted marriage set up by her excessively Christian parents. She starts as a barmaid, but becomes companion and pharmacist to the most powerful woman in town. She focuses on inhalants that induce sleep, but she’s a good girl so she’s uncomfortable when her boss makes her work on poisons. Mrs Sparrow runs a gambling house where she sometimes reads tarot cards or sees prophetic visions for her clients, including King Gustav and his brother Duke Karl. More on her reading anon. The Uzanne is a widowed baroness who is captivated by fans. She has an enormous collection, and believes that they have magical properties. You can read into this as much or as little as you like. The fans are beautiful works of art, regardless, and they can be very useful props in flirtation and seduction. The Uzanne establishes a school for teaching the use of the fan, but it’s really a front for her indoctrination of the girls with her political views and training them to manipulate men, not only for love, but for politics as well.

First-person narrator Emil Larsson is one of the best players at Mrs Sparrow’s establishment. They become friends, and she finds him useful in dealing with unwanted guests. He’s no bouncer; it’s just that no one likes losing all the time, and there are some methods of making someone lose at cards that also involve making him lose face. One day she has a vision for him, so she does an octavo reading. This is an invention of the author; it uses a special deck instead of the standard tarot, and points to eight people in the Seeker’s life that will influence him for good or ill. This first part is kind of slow: she only draws one card a night for eight nights, and he spends all this time mooning about some girl who doesn’t really care about him and isn’t in his octavo anyway. As he cultivates his octavo, he gets drawn away from his personal search for love and into the complicated schemes either to protect the king or to kill him.

A few years ago I made a break with the Christian church I had been involved in my entire life, and in the time since then I’ve been working on reading tarot. These cards were originally used for a popular card game in the Renaissance, but in the eighteenth century people started using them for divination, and now the occult is an American thing, and people still sometimes play the game in Europe. I don’t really believe in divination, any more than I do in prayer, but I find it comforting in the same way. It’s a bit like having a conversation with my subconscious, the same as in dreams. I look at symbols and try to interpret them. If it’s something important, I’ll read cards over the same subject for a few days and look for patterns. I think that it’s my subconscious mind that determines the outcome of events in my life, managing how well I perform at different tasks and which opportunities I create, so getting some information from it is generally useful. Card reading is important in The Stockholm Octavo, but as with the fans, is there any prophetic magic in it or are events shaped by people’s response to its self-fulfilling prophecies? In my own life, I’ve decided that the distinction isn’t a useful one. It doesn’t matter whether an event is a random occurrence or part of a divine plan; what matters is what does happen, and how I’m going to respond to it.

This may seem an odd complaint to make, but for a novel about women and women’s power, it suffers from a bizarre lack of lesbians. There’s one very brief moment when one straight woman flirts with another for shock value, but there’s no romantic love between women. Even our marriage-resister is just waiting for the right man to come along. The only LGBT connection is a man who occasionally dresses in women’s clothing, with his wife’s approval.

The publisher made a comparison with The Night Circus, but no. Just, no. Steampunk magical circus or political intrigues during the Reign of Terror, for me there is no question. The Night Circus is about using magic to make people happy, and the struggle is between people who eventually love each other. The Stockholm Octavo is about using magic to make people powerful, and the struggle is between people who absolutely hate each other. A few of them die; by the end, there’s poison everywhere. Emil leaves the town that he loves to find a woman he loves, and the story ends with possibility instead of fulfillment.