Archive for the ‘Vikings’ Category


Selling my wares at the Grand Theatre in Tracy. Alas, it was kind of a slow day for all of us…

[update–I’ve added three new images to my Redbubble store–listed at the end of this post]  Hey folks, sorry this is coming so late (November was a crazy month, both for macro and micro reasons…). If you are still looking for gifts and think something Viking/Valkyrie/Tomte-themed would be just the thing, then look no further! Everything from art prints to posters to greeting cards to throw pillows to phone covers can be bought from my Redbubble print-on-demand store! If you order from Redbubble, use the code joy-vikingsbooksetc for 20% off (good until midnight tonight–the 12th–but I believe there are other sales going on this month).

Or you can also check out my DeviantArt gallery, which has a few selections not on my Redbubble page (though not everything on DA is available to buy, alas–and be warned that ordering from DA involves becoming a member and paying through their points system). To be honest, it might be too late to have anything shipped in time through DA, but you can check out the shipping options if you want. For Redbubble, if you want something by Christmas, I would choose their fastest delivery option (overnight, I think?), whatever initial delivery estimate they give, because you have to add manufacturing time to delivery time, and when I ordered a bunch of stock to table at an arts and crafts show the other week I had two products arrive days after I needed them. :/

And a last note before I give you a sampling of products below, I am planning on setting up an etsy shop to sell traditional media originals and some of the linocut prints I’ve started doing, but I’m afraid that’s going to have to wait a bit longer. 😦


Still the best of my clothing illustrations I think… And still hoping to continue this line with more Valkyrie illustrations.

On to my Redbubble store. No new pictures, I’m afraid (though I may try to convert some of my penbrush sketches later today), but lots of new products. Art prints, photographic prints, greeting cards, clothing (you’ll have to see all the options on the website) and stickers are the main thing here, and I believe will be manufactured and delivered the fastest. Other stuff that I think looks pretty cool: throw pillows (you know you want a Valkyrie throw pillow), journals (both hardcover and spiral–I’ve seen the latter, and I think the Valkyria: Mist one looks great), mugs (though greater variety there on my DeviantArt shop), cases/skins for phones, tablets, laptops (not all brands tho…), bags/pouches of various sorts (I ordered tote bags, but haven’t had a chance to see them yet), and other stuff which I haven’t had much time to think over (not all images work very well on all products…) but which you are welcome to check out (in fact, please do think over whether a product looks good to you–it could be one or two products were created automatically before I had a chance to decide whether they worked or not. Been a while since I’ve caught an example of that though…).

And in conclusion, here are a few of my personal faves (or if not my faves, at least more seasonally appropriate selections…).




mist__valkyrja_by_callego-d6t5yyfAnd note that my Valkyria:Mist picture is (since it was uploaded before Redbubble had updated some things) listed separately for different products: Shirts and sweaters, phone cases (i-phone and galaxy), i-pad cases/skins, and everything else (prints/posters, cards, leggings, skirts, mugs, etc).

If you see something in my store that you think others would be into, please share links! While I appreciate family and friends buying my work, I’d like to move beyond them accounting for about 1/2 of all my sales… 😛

EDIT: New pics up on Redbubble! I’ve been meaning to digitally clean up some of my pen brush sketches, but since that is more time consuming than one would think (it took most of a day to do the Mist picture shown above–that’s not counting the original sketch), I chose two that seemed to work pretty well (though I mostly recommend them as cards/prints–if you want them as one of the other products, please consider the preview of the product first, as there may be some artifacts from image borders, etc). And last but not least, I’m putting up prints of my “Two by Moonlight” on bristol–I’ll eventually be putting the original of that up for sale on etsy, but it will also be available as a print.


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Gosh, it’s been way way too long since I’ve actually written about Norse mythology here, hasn’t it? Well, why not take on one of my favorites: Óðinn’s acquisition of the Mead of Poetry. Loosely based on a version of a talk I prepared but never gave relating to my recent research on the figure of the home and interior in the sagas (I’ve spoken twice, not including academic conferences, on the subject since, but this portion got edited out both times). Watch out, this turned into a super long post.


The abduction, as I illustrated it for the contest at the Norse Mythology blog.

In our approach to this particular narrative, I think it is helpful to point out the obvious comparison to (and contrast with) the story of the abduction of Iðunn, which I have previously illustrated and discussed. Both stories, after all, involve a Viking raid of sorts, the penetration of a rival community to acquire or reacquire a resource, sexual access to a woman of the rival group, shapeshifting into eagle form (among others), and a dramatic chase scene through the air back to the home of the gods–and both show up in approximately the same section of Prose Edda. Both poems are also set in the so-called “mythic present”, as opposed to the “mythic past” (the prehistory, creation, and ordering of the world) and the “mythic future” (the fall of the gods, disintegration of the world, and the coming of a new world). The mythic present is primarily about the gods attempting to maintain the status quo, meaning, doing their best to assert and maintain their superiority over the giants. Margaret Clunies Ross (whose book Prolonged Echoes informs a lot of this post and my other posts) has called this situation “negative reciprocity”, in that, rather than a reciprocal relationship between gods and giants (ie, fair exchange of goods, marriage alliances, etc, or on the other hand hostilities, whether theft, sexual access to women, or killing, like in a feud or war), the situation is instead one-sided, with the gods, by and large in the mythic present, having their way with the giants while rebuffing the giants’ attempts in the other direction (for example, giants die right and left throughout the mythic present, but the gods are mostly untouched–until Baldr’s death). We might think of it as an attempt to project and enforce a vertical relationship, such as you would have in the hierarchical relationships within the space of the Icelandic farmstead (from the landed family down to the lowest slave), onto the level of horizontal relationships between different groups–but again (or even in parallel with this), it also works well enough to read these as, say, “viking raids”, or as a mythic prototype for the relationship to the Saami, from whom the Germanic Scandinavians extracted tribute–certainly the myths serve to set up a properly demonic straw-man, justifying the aggression of the POV of the mythology.


Thor’s mother is the giantess “Earth”. There are several giantesses in the matrilines of the gods, even going back to Odin (who essentially creates the world by murdering his maternal great-grandfather). We may take the entry of several giantesses into the community of the gods as either wives or mistresses as a reinforcement of negative reciprocity in the myths, which tends to involve denying the giants sexual access to goddesses while the gods have their way with the giantesses. More on that another time, probably… And incidentally, my comic here is not intended as an accurate portrayal of the giantess Earth–when giantesses play the role of object of desire in the myths, they tend to look the part as well.

From the perspective of the gods (and the aristocratic Icelanders whose interests they may be taken to represent in the Eddas) the proper direction for action is outward from Ásgarðr (“Asgard”, “farm/enclosure of the gods”) towards the land of the giants–as with what we call “acquisition narratives”, such as the origin of the mead of poetry, in which the gods go to the giants and come back with something that is, in the mythic ideology of medieval Iceland, associated with the gods as representatives of Culture, with humanity, etc. When the opposite is the case–the action is directed against the gods, with the giants threatening either their women or their stuff (or just their assumption of superiority, as I can think of at least two instances where giantesses attempt to insist on a more reciprocal standing–more on that another time)–it is a crisis, the natural order of things is inverted (represented in one myth by Þórr getting dressed up as a bride) and (again, in the myths of the mythic present) the myth ends with the restoration of the status quo. The abduction of Iðunn is this latter sort of myth, while the story of the Mead of Poetry is of the former type–one of the most prototypical of the acquisition narratives to my mind.

I would say “welcome to the militant world of Viking mythology”, but keep in mind that the versions of the myths that we have were written down by Christian Icelanders two hundred years after the conversion. In fact, a possible interpretation of the significance of the myths in an Iceland that was Christian but still managed conflicts via bloodfeud (as well as more mundane settlements) is that they functioned as fantasies in which one’s rivals could be completely dominated and demonized–more on that another time, probably, esp. given that the situation isn’t too different in so many of our own stories…

Throughout the myths we find a prominent anxiety over the vulnerable interior at two symbolically conflated levels–that of the community (the home of the gods is marked out by a great wall, whose origin story is itself pretty interesting) and that of the body. One could in fact read the arc of the mythology as a whole (as preserved in the medieval Eddas) in terms of the anxiety of the gods over the threat of penetration, bodily, sexually (generally manifested either as threats to the women of a community or as threats to the virility/masculinity of a man), strategically, etc (all the while, of course, they constantly penetrate away when it comes to the land of the giants). Relevant here are several seminal studies on insults and gender in Old Norse lit (not too far off from us when we flip the bird or say “screw you”, or less bowdlerized forms, but you could be outlawed for such things in Medieval Iceland), but I think I’ll have to save that for another time.


Possibly Odin in eagle form, on Gotlandic picture stone Stora Hammars III. My own photo, so alas not adjusted to let the image show up more clearly…

The conflation of home/community and body with each other is not unique to the sagas and myths, of course, in particular in terms of the permeability of the body. It is an understandable and, I imagine, universal tendency to think of the home as what keeps the outside out and the inside in, and this concern over boundaries of course maps onto our concerns over our bodies as well, which we also think of in terms of inside/outside, and the integrity of which is often dependent on the integrity of our various shelters. This inside/outside symbolism is of course useful when constructing communal identity (“insiders” vs “outsiders”, to be “in” on something, etc), the perceived unity of the human body being rhetorically mobilized in the articulation of a cooperative unity of many bodies. We find this at play in the larger story of the mead of poetry.

The story begins with one version of the war between the Aesir and the Vanir (we might tentatively locate this at the end of the mythic past, but generally let’s think of the larger myth as representative of the mythic present). In their truce, they exchange hostages—not “hostages” like we are used to thinking, but representative members of one community go to live with the other community—since members of each community now live in the same spaces, they now constitute one community (at some level of signification anyway–arguably the Vanir members are still treated differently, as represented in the Eddas). In addition, and more pertinent to my point here, both sides spit in a big puddle. Wouldn’t it be great if we settled conflicts this way now…. The idea being, their bodily fluids—their insides—are now mixed, and so they are one. Óðinn doesn’t stop there, of course, and he turns this puddle of spit into a person, because mythology. The metaphor of shared bodies equating to communal unity is made concrete as the bodily fluids of both communities are now contained within one literal body.

The person created from the spit is called Kvasir. He turns out to be the wisest being in the world, and he goes around telling folks wise stuff. But then he runs into some dwarves who think he is a smartass, and they kill him (they excuse themselves, saying, essentially, that he choked on his own wisdom)—and of course, they take his blood and mix it with honey to make mead, an alcoholic beverage associated with the aristocratic male community in ancient Scandinavia, because mythology, again, though we will probably get tired of this explanation. These dwarves get into a feud with a giant, who takes the mead in compensation for their killing of his parents, and this giant, Suttungr, hides it in the middle of a mountain, guarded by his daughter Gunnlöð, because duh, that’s what you do when you have magical mead made from the blood of the wisest person in the universe, and before that from the spit of the gods (I know “Drunk History” is a thing–“Drunk Mythology” would be good, but you would have to do this myth in poetic form…).


The origin of the “rhymster’s share” (aka Odin loses his shit). Image from wikicommons.

So Óðinn finds out and he thinks “Well, that’s not a good way to use my spit, we don’t want the giants to have it”, so he disguises himself, which is typical enough for Óðinn, and goes to seduce Gunnlöð—also quite typical for Óðinn. Well, it’s kind of complicated getting there, as he has to trick Suttungr’s brother into helping him, but in the end he drills a hole into the mountain, turns into a snake, and penetrates the chamber where Gunnlöð is guarding the mead—and if that wasn’t Freudian enough for you all, then he sleeps with her for three nights. In return she lets him drink up all the mead, and he turns into an eagle and flies away, because (again) mythology. Well, Suttungr doesn’t like this, so he turns into an eagle as well and chases Óðinn back to Ásgarðr. When Óðinn gets there he pukes the mead into containers, making the mead of poetry, now refined a final time with this return to and from Óðinn’s gut, available for gods and humanity—so this is where poetic skill comes from. But Suttungr was so close behind him that Óðinn peed himself a bit, and that’s where bad pop songs come from. Read the story in full in Prose Edda (for which, as usual, I recommend Faulkes’ translation–I’m a fan of his edition of the book as well).

The anxiety over penetration (again, of various sorts, both metaphorical and less so) in the state of negative reciprocity that I discussed above is hopefully illustrated well enough between the “Mead” and “Abduction” myths (oh, and please don’t assume the “screw you” ideology noted in passing here is all there is to say about gender in the sagas–it’s true that we tend to consider the sagas written by aristocratic men for aristocratic men, but there is a lot more to women in medieval Iceland beyond saga anxiety over their potential for penetration…). Beyond that, there is a lot more to reading this myth in terms of an implicit symbolic conflation of body, hall, and community. The mead of poetry is an origin myth for a specific type of poetry, Skaldic poetry. The form of skaldic is interesting in itself, but that’s a bit of a complex topic to get into here. In practice, skaldic was a commodity of the aristocratic male (again, this is the general, but not universal, picture we get through the sagas). Poems were composed in honor of chieftains, kings, wealthy men, and the prototypical performance would involve poetry performed in honor of the patron in his hall, with all the other retainers there as well. The communal identity of this boys-club of warriors is both symbolically and concretely reinforced by the fact that they are all together in this hall, “their” hall, that they are drinking alcoholic beverages together, a standard warrior-band practice marked by aristocratic exclusivity (a potential reason for the difficulty of the form), and the fact that they are all participants in this oral poetic performance—in fact, ears are referred as mouths in one kenning, showing us that the appropriateness of the conflation of mead and poetry was not lost on them. They all take in the poetic mead together, symbolizing their communal identity, just like the Aesir and the Vanir become one by sharing their own bodily fluids–we emphasize our communal sense of belonging by symbolically constructing shared bodily insides (think of the blood-brother ceremony, for example, which actually shows up in the sagas as well). OK, OK, kinda gross, but you know, at least I’m not telling you the story of Loki and the goat…

This was a bit of a rambly and long commentary on this myth (sorry), but if you made it this far I hope you will check it out yourself–it is early in the Skáldskaparmál section of Prose Edda. We should note that it is contested how much of this myth actually goes back to the Viking age–I expect that at best Snorri (author of Prose Edda, fyi) misunderstood a bit here or there (as has been suggested for the containers involved), while at worst he invented things wholesale based off of obscure references to the poetic mead in early skaldic poetry. That said, that there was some idea of a mead of poetry that came from Óðinn is indeed clear from some of this earliest poetry, as even then the skalds would articulate their own poetic act as a sort of regurgitation of Óðinn’s gift, so I feel like it is fair enough to apply my interpretation from the previous paragraph to the Viking age court. And while we are certainly interested (from an academic perspective) in sorting out how much is “heathen” and how much is Christian reception of the myth, we should also remember that Viking age religion did not involve the sort of aggressive orthodoxy you find in, for example, Christianity–myths were certainly expressions of religious faith, but there was no fixed text to refer back to, and variance would have been the rule, even, potentially, from fjord to fjord and farm to farm.

And last but not least, for a bonus visualization of the myth check out Drachenseele’s illustration here, done for me as my reward for getting second in an art contest on deviantart! 😀

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On my way to raid a small coastal village (2005 or 2006, can't remember).

On my way to raid a small coastal village (2006 or 2007, can’t remember).

Job announcement for a position as a real-life Viking sea captain in Norway! Yikes. I really wish they’d offered a grad seminar on sailing at UCB. Oh well. I did get to row in a… well, not really a Viking ship, but a 19th century Norwegian fishing boat that was clinker-built in the manner of the Viking ships. A bunch of us aspiring (or already established) Old Norse philologists, paleographers, and general trouble makers took a field trip to the Viking Ship museum in Roskilde and got to go out (they didn’t let us in the actual Viking reproductions though…).

My oldest niece drew this for me while I was in Iceland. She was 10 at the time, but 6 years later she maybe doesn't want to remember this, haha...

My oldest niece drew this for me while I was in Iceland. She was 10 at the time, but 6 years later she maybe doesn’t want to remember this, haha…

I didn’t think I did too bad, but I definitely saw a few of us academic types rowing counter to each other while chatting and completely ignoring what our wild and wooly and increasingly frustrated Norwegian sea caption was trying to tell us. No one got knocked overboard by the boom (or whatever it’s called), but there were some close calls. Lesson to be learned: being a Viking scholar does not make one a Viking.

Vikings rawrViking ships were great technological innovations of course, and maybe one of these days I will have a chance to talk more about them–the cliff’s notes version: the clinker construction (overlapping strakes along the whole length of the ship) allowed the ship to flex and survive rough seas (so it could go in deep water–great range, in other words), the shallow draft allowed it to go in shallow water (including up creeks–so very far inland), and the adoption of the sail just prior to the Viking age (if I am remembering correctly) meant less rowing, hurray!

And remember that according to one current theory, the term Viking itself comes from the rowing shifts on a voyage abroad!

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