Tis the season to....drink as much as possible before you pass out on the couch

We're all going to heaven, lads, waheeey. Source

Happy Christmas (or should I say Happy Yule?) to all and to all a Happy Christmas. Tis the eve of the New Year, hopefully one that will be filled with a lot more motivation (I got my PhD!), a lot more exercise, a lot more painting, a lot more reading, and a lot less drinking!

Since I have basically spent my Christmas forcing as much drink into myself as possible (and equally telling myself that I am never ever touching drink again, whilst simultaneously pouring myself another glass (sure one won't hurt!)), I think it is a good time to write a post on alcohol and its history in Anglo-Saxon England, and other areas of interest!

So, back in the good old days, there were a few main types of alcoholic beverages drank by the Anglo-Saxons - mead, ale, beer and wine (fortunately for them they never had to experience Tesco Value Vodka) - medu, ealu, beor and win. It is unknown still whether these drinks were pretty much the same as the equivalents of today, and some believe that what the Anglo-Saxons referred to as beor, was in fact cider.

Anglo-Saxon drinking horn

Like us today, the Anglo-Saxons were obviously fond of the few scoops, as evidence from words like gebeorscipe, meaning "drinking party", and the fact that they had what we call "mead-halls". Furthermore, vessels like drinking-horns are mentioned in Beowulf (the Danes drink mead) and fittings for drinking-horns were discovered at Sutton Hoo.

It seems that wine wasn't much of a drink for the masses (or well...it was, but not those masses). Before the ninth-or-so century (this differs with sources), it seems that the climate wasn't suitable for cultivating wine, and so, before this, wine was imported from warmer climates, and so, was only really used for religious purposes and by the few who could afford to pay for it. Even so, after the climate improved, wine was really only left for the upper classes of society, while the rest of the dregs got pissed on ale and beor.

What we mostly seem to think of when we think of alcohol in these times is mead. In Norse Mythology, it's the drink that seems to be what you will be drinking for the rest of your life once you reach Valhalla, and os the source of Odin's strength as he suckled it froma goat as an infant. This however, is actually a foreign drink, the term medu coming from Proto-Indo-European médu, and similar drinks from the same (or earlier) period can be found all over the world, from the Slavic (med or miod), Baltic (midus) Sanskrit (madhu), and appears with different names all over the world, including Africa and Northern China (where the first possible traces of the making of mead are found). So, it's not an exclusively Anglo-Saxon or even Norse or Germanic, or even Western European, drink! 

I enjoy some mead in the coolest pub in Stockholm

That is all for now. Hope you have a great New Year!

Beowulf: An Unexpected Journey

Having went to see The Hobbit: The Desolation of Smaug the other night, and only recently returning from the country of Tolkien's birth, I guess it's only natural that this post should concern him and The Hobbit's links with Beowulf. I have previously mentioned some things in a previous post, but let's make another one, sure why not lads.

Despite some dodgy CGI at times (I really can't understand how they can create such an amazing dragon, yet at times the horses look like they are taken out of Zemickis's Beowulf (see what I did there!)), and despite the fact that it will never be as great as Lord of the Rings, the film was really good. Surprisingly, I even liked the introduction of Tauriel to try and somewhat lessen the sausage-fest that The Hobbit is. And Kili, the obligatory exceedingly attractive dwarf (Ireland, I'm proud of you!). I enjoyed that part too.

An illustration which would suit either Beowulf or The Hobbit.
It's actually from a Beowulf book by Anke Eissmann

The most obvious link between The Hobbit and Beowulf is of course the dragon! In a way the dragon scenes are climaxes of both stories (although The Hobbit ends with a huge battle, it's fair to say that the dragon is the big thing in the story). Most notable, I think is the fact that the dragon is woken by the theft of a cup, by Bilbo in The Hobbit, and by some other eejit in Beowulf. As well as this, both dragons' lairs are entered by a secret passage: in Beowulf "there was a hidden passage, unknown to men" (Heaney's translation), whilst in The Hobbit, the dwarves (I guess you could extend this entrance as being "unknown to men" also, seen as dwarves technically aren't men) enter by the secret passage, revealed only at a certain time - the last light of Durin's Day. After the theft of treasure from both dragons' barrows, they both go absolutely ape and enact revenge on the surrounding land - from this, we can deduce that dragons have the emotional capacity of a 5 year old child. As in Beowulf, it is not the protagonist that kills the dragon in The Hobbit, but a relatively minor (but very honourable) character - Bard. Both dragons end up in a pretty similar grave also - "they pitched the dragon over the cliff-top, let tide's flow and backwash take the treasure-minder" (Beowulf), and for Smaug; "he would never again return to his golden bed, but was stretched cold as stone, twisted upon the floor of the shallows". Sleep with the fishies.  

Another thing, which I was thinking of, is The Hobbit's influence on Beowulf adaptations - it is possible that the dragon from John Gardner's Grendel was made with considerable influence from Smaug, who unlike the Beowulf dragon, actually speaks, and appears to be able to hold a pretty decent conversation!

Grendel, by John Howe

Although a bit sketchy, there has been some comparisons between Grendel and Gollum. Although Gollum has a shit ton more brains and charisma than Grendel does, it is interesting to note some similarities. In Beowulf it is said that Grendel is a "grim demon", dwelling "among the banished monsters", a descendent of Cain (from Cain also sprang ogres (orcs?), giants (perhaps our friend, the cave-troll, from the Mines of Moria?), and elves...although it's pretty clear that Tolkien's elves aren't seen as Cain's clan - nobody as pretty as Legolas could be!). It is clear from both stories that both Grendel and Gollum are outcasts, both live in caves and both are pretty ugly. The point about Cain is also very interesting, because, as we learn in Lord of the Rings, Gollum, back when he was still known as Sméagol, killed Déagol (his relative) in order to take the ring. And while we know Gollum was once, many many years beforehand, a hobbit of sorts, there is also perhaps a human link for Grendel in his connection with Cain. 

Numerous other links exists between both stories

• Beorn as a reworking of Beowulf himself. Perhaps? Perhaps. Both are proud and strong. And as seems to be happening all the time in Beowulf (isn't it a surprise he had time to do all his killing!), Beorn's home is full of feasting and story-telling. Futhermore, the name Beorn can have two different meanings - "man" or "warrior" from the Old English beorn, or "bear" from the Old Norse björn. On the other hand "Beowulf", means "bee-wolf", which is a kenning for "bear"! 

Beorn, by John Howe

• As in Beowulf with Hrunting, the swords in The Hobbit are given names, like Sting, Glamdring, and Orcrist, depending on their history. 
• As mentioned in this blog, a parallel can be seen when the dwarves are awaiting Bilbo's escape from the goblins' cave, and Beowulf's thanes awaiting his return from Grendel's Mother's mere.
• Beowulf has 14 companions (so 15 in all). In The Hobbit, there are 13 dwarves, Bilbo Baggins making the 14th member. And Gandalf can be considered a 15th. 

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Medusssaaa

Seen as it's almost Halloween, I'm gonna write a post on the figure I'm dressing up as (and putting an embarrassing amount of effort into)! So everybody knows about Medusa...well...you should know anyway. The snake-headed hag who can turn you to stone with one glance (maybe this is where my aversion to looking people in the eye originates). As a Grendel's Mother fan, it's probably unsurprising that I have quite an interest and soft-spot for Medusa too. It wasn't until recently though, that I started looking into her myth a bit further, and I realised it's a lot more complex than I had originally thought. Which means this post is not going to show every version. Partly because that would make this even more boring than it already is, and partly because I'm lazy.

So, despite general conceptions, Medusa did not actually originate in Greece, but rather was imported from other cultures, most likely from the Amazons in Libya and other North African countries, where she was the destroyer aspect, Anath (Athene) of the Great Triple Goddess

The Greek take on Medusa is sometimes associated with the vanquishing of the goddess religions for those associated with male Gods (namely Zeus and Jupiter), sometimes associated with Apollo's killing of Python, the son of Gaia the Earth Goddess. Consequently, former peaceful goddesses were turned into monstrous figures, and replaced by the warrior type gods of Olympus.This is just a theory of course!

Braaaaains

And so, Medusa was turned into a monster! However, even the Ancient Greek myth is not known by many people, and in fact there seems to be a few variations of the myth.

The most popular myth of Medusa tells of a girl who was renowned for her beauty, wanted by every man around, and the subject of many bitching sessions by those who were jealous of her. Medusa, however, being a priestess of Athena/Minerva, could not get married, and was expected to stay chaste for her life. Unfortunately, this did not stop Poseidon, God of the Sea, who raped Medusa in the temple of Athena. If this wasn't bad enough, the fact that Medusa was taken advantage of in a place of worship, made Athena a very unhappy bunny. Athena was so angry that she turned Medusa's hair to serpents, and made her face so hideous that anybody unlucky enough to look at it would be turned into their very own Greek statue. Which, in my opinion, kind of makes Athena (and of course Poseidon) out to be the bad guy? No? 

Thomas More's translation from Ovid's Metamorphoses:

Beyond all others she  

was famed for beauty, and the envious hope  

of many suitors. Words would fail to tell  

the glory of her hair, most wonderful  

of all her charms--A friend declared to me  

he saw its lovely splendour. Fame declares  

the Sovereign of the Sea attained her love  

in chaste Minerva's temple. While enraged  

she turned her head away and held her shield  

before her eyes. To punish that great crime  

Minerva changed the Gorgon's splendid hair  

to serpents horrible. And now to strike  

her foes with fear, she wears upon her breast  

those awful vipers--creatures of her rage. 

Other versions of the Medusa myth do exist - some say Medusa was born a gorgon, some say she wasn't raped, but took Poseidon willingly, others say Athena was just jealous of Medusa's beauty.

In the vast majority of retellings, Medusa is beheaded by Perseus, because her eyes still have the power to turn people (or krakens, as Sam Worthington and Harry Hamlin kindly show us in both versions of Clash of the Titans) to stone. As the story goes, Perseus used a mirrored shield to see Medusa without looking her in the eyes, clever fella that he was, and managed to chop her head off. As well as having a headful of snakes, it turned out that Medusa had a wombful of pretty unique children too - Pegasus, the winged horse, and Chrysaor, a sword-wielding giant. As ya do. And these children supposedly sprung from her blood-spurting neck. I'm not sure how exactly that would look, but according to Edward Burne Jones, it looked something like this:

According to Ovid, Persues then flew around a bit with his handy new sandals from Hermes, where he turned quite a number of individuals to stone, including the Titan Atlas, Cetus (who was about to Andromeda alive), and Phineus, whom Andromeda was promised to before Perseus flew in on his golden winged sandals (or on Pegasus in more western takes on the myth) and impressed the hell out of her. Last, but not least, Perseus flew to Seriphos where he rescued his mother from her forced marriage to King Polydectes (sounds like some sort of pterodactyl), who had sent Perseus for Medusa's head in the first place.

Also, while Medusa was dead, she still managed to spawn some more offspring, namely Amphisbaena, a serpent with a head on both ends, as her blood dripped onto the Libyan desert (where her myth originated, and in a way ended)! How nice.

An Amphisbaena in the Aberdeen Bestiary

Perseus by Aubrey Beardsley

A Realistic Beowulf

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On the whole, Beowulf isn't exactly a very realistic story....There's (apparent) sea monsters, a dragon, monsters (that depends on your stance on Grendel and his mommy), and various displays of superhuman strength and endurance. So, it's pretty interesting to find a retelling of Beowulf's adventures that are realistic (to an extent!).


Michael Crichton is known for his rational approach to fantastical stories, most notably in his 1990 novel that was made into the best film ever, Jurassic Park, where Richard Attenborough fills in the incomplete dinosaur DNA with amphibian DNA (unfortunately/fortunately this won't actually work).

Before Crichton was escalating the hopes of dinosaur fanatics, he was exploring Beowulf and coming up with ways in which it could really be explained...well...probably not really, as despite the ideas in his book being rational, they are still rather far-fetched. 

In 1976 Crichton released Eaters of the Dead: The Manuscript of Ibn Fadlan, Relating His Experiences with the Northmen in A.D. 922 (later made into The 13th Warrior, starring Puss in Boots). Crichton constructs the novel so that it imitates a real historical document, professing to be the chronicled expedition of Ibn Fadlan, who was an actual 10th Century Arabic explorer, known for his descriptions of the Volga Vikings. 

Parts of Ibn Fadlan's actual chronicles are present in the first few chapters of Eaters of the Dead, and in general it stays pretty close to his manuscript (or so I have read! I do not profess to know much about Ibn Fadlan's actual antics) up until chapter 4, where the story gradually turns into a retelling of Beowulf, and where Fadlan, who is originally sent to the king of the Volga Bulgars, is persuaded into joining a mad (aren't they always) group of Northmen, led by Buliwyf (an obvious play on Beowulf). Their quest is to destroy a "dread and nameless terror, which all the people are powerless to oppose". This terror, turns out to be a cannibalistic tribe known as the Wendol. 

Wendol, is surely both a reference to Grendel and to the Vandals, an early East Germanic tribe - nicely done, Michael, nicely done. The Wendol are described in Ibn as being "manlike in every respect, but not as any man upon the face of the earth". They are "short...broad and squat, and hairy on all parts of their bodies save their palms, the soles of their feet, and their faces" They had large prominent jaws, with large heads. Now, at the end of Cricthon's book, there is a fake appendix, fake footnotes, and fake sources, all to add to the idea of this being an actual real account (but a fictional real account...). So, at the end of the novel, these fake researchers are trying to explain Ibn Fadlan's accounts. So, we are given a realistic explanation for the Wendol. The Appendix describes them as being "suggestive of Neanderthal anatomy", which although should have vanished 30-40,000 years prior to Ibn Fadlan's accounts, were still in existence. In another one of these fake reports, "Goodrich", a "paleontologist" describes Ibn Fadlan's tendency to overstate facts and differences, suggesting that the Wendol may just have been uncivilized Homo Sapiens, whose cultural differences were interpreted as physical differences. Well...that was confusing!

An image from the beautifully illustrated version of the novel

The next "monster" we come across is the "Korgon", or the dragon, later revealed to be Wendol carrying flames on horseback. Here, we are also told of a figure on horseback who had the head of a bear - perhaps a suggestion that the Wendol were berserkr (translated as "bearskin"), a type of Norse Warrior known for their war frenzy, their animal-skin attire and their general tomfoolery. Of course, it must be noted that our trust in Ibn Fadlan's accounts and descriptions is to be taken with a pinch of salt, as earlier in the novel, he describes "sea monsters" (a nice reference to those that Beowulf fights) that pass their boat, "spitting a fountain, and raising a giant tail split in two". Of course, we say "Duhhh, it's a whale, idiot!", but we must remember, this is an account of an Arab explorer, set in the 10th century, and although it's unlikely that they hadn't heard of whales, it is a nice touch to make us wary of Ibn's accounts. 

One of the Wendol, in The 13th Warrior

And now we come to my favourite bit....the bit where we talk about Grendel's Mother (AWWWW YEAAAH)! For the majority of the novel her existence is only hinted upon. One scene shows the discovery of a stone figure resembling a woman's torso - "there was no head, no arms, and no legs; only the torso with a great swollen belly and, above that, two pendulous swollen breasts", a "crude and ugly" figure which causes the Norsemen to physically puke violently (Breasts? Bleurggh!). Of course, this is an obvious reference to both the Venus of Hohle Fels and the Willendorf Venus, which are both associated with prehistoric times, and are therefore hinting at the humane although primitive nature of the Wendol. 

Venus of Hohle Fels and the Willendorf Venus

The figure in The 13th Warrior

When we do get to finally meet the Mother of the Wendol Ibn Fadlan assumes she is female "but if she was female, [he] saw no sign, for she was old to the point of being sexless". She is described as being surrounded by snakes (perhaps a reference to Medusa, a figure often associated with Grendel's Mother and dangerous women in general). Unlike in the original poem she does not appear to have abnormal strength, and instead uses a poisoned pin on Buliwyf. 

Unlike many other adaptations, the Wendol here are not shown with any sympathy. The Wendol's Mother shows no anger over the death of her numerous kin, and it is implied that it is her who has been instigating these attacks on King Rothgar's people. The matriarchal society is seen as threatening and vomit-inducing, compared to the Scandinavians patriarchal society in which the women are seen as caretakers and consorts. Some Kristevan themes can be seen throughout the novel: Through the worship of the female mother, the Wendol are left barbaric and uncivilized, while the Northmen, who have pushed the maternal away have evolved into more refined civilians. Julia Kristeva suggests that in order to acquire language and align itself with the symbolic system, the subject must push the mother and the maternal body away. Similar themes can be seen in John Gadner's Grendel, where Grendel only finds language through pushing away from his mother and her primitive state.


Hopefully that wasn't so confusing! Goodbye, I am off to watch Channing Tatum.

What do Praying Mantises and Angelina Jolie have in common?

I think it's about time we sit down and talk about the elephant in the room - the elephant in question being Angelina Jolie. Anyone who has read Beowulf (or those who sat in lectures pretending to have read it - I'll admit, I was one of them. And now look at me!), and who was expecting the sea-hag-witch-of-the-sea-demon (I was also once one of these people), was probably thinking "Really? Did these assholes even read the godamn poem?"...It would have been a lot more fitting if Angelina Jolie and Brendan Gleeson's roles were switched, right?

Well, as it turned out, I was wrong. Well...sort of anyway. Angelina Jolie is actually a lot more suited to play Grendel's Mother than any CGI monsters! However, it must be stated that this Grendel's Mother also raises other issues, which we will get to.

Before we continue with Angelina Jolie, I think it's good to look at one of the most cringy adaptations of Beowulf ever made. You may know it from the techno soundtrack, Beowulf's peroxide locks (it was the 90's, and Beowulf wasn't getting left behind with the fashion!), the extremely high rate of back flips, and its impressively low 3.8 IMDb rating.

I'm bringing up this embarrassment of a film because of its very own Grendel's Mother...Layla Roberts. Who knows what Graham Baker was thinking when he decided "Yes, a playboy bunny, that is exactly who I need to play Grendel's Mother! And you know, hey, seen as she is involved in that whole industry, we may as well add in some soft porn scenes!". They even crimped her hair, to make sure that in years to come we could look at this film and shout "the nineties!". And yet, this film seemed to be a huge influence on Zemickis's 2007 version - with regards to nudity and storyline. Danél Griffin thought that many scenes in the film seemed "so absurd and outlandish that we wonder if the writers, Mark Leahy and David Chappe, have even read the poem." I'm with you there, man.

Hrothgar, you dog!

Despite all the negativity directed at this film, this, along with Zemickis's version, gives Grendel's Mother a much larger role - she gets a god amount of screen time and she can speak! She doesn't appear to us as an irrational beast, like in Grendel, Grendel, Grendel or Outlander, or in Beowulf and Grendel (to a slightly lesser extent) - she appears as intellectually powerful, even if it is in a manipulative manner. A big thing for me was that she appeared to us in a human form (me being with the "Grendel's Mother is a Human too" campaign), but alas, this is too good to be true, and she is revealed to be a giant praying mantis (in Baker's) and that Alien-esque style creature in Zemickis's.

I don't think it's any mistake that Layla Roberts turns into a praying mantis - the praying mantis, along with the black widow spider and the Venus fly-trap plant, and poison ivy etc etc etc, are often associated with the 'seductress' woman, and sometimes with women more generally. Anita Sarkeesian argues that these insects and plants have become "the inspiration for a whole trope of sexy female characters", seemingly stemming from a misconception about female praying mantises biting their male counterparts heads off - as it turned out, this was indeed a misconception, yet unfortunately the myth lived on in the belief that sexually powerful women are dangerous. Sarkeesian calls this trope the:

evil demon seductress... a supernatural creature usually a demon, robot, alien, vampire most often disguised as a sexy human female. She uses her sexuality and sexual wiles to manipulate, seduce, and kill, and often eat, poor hapless men, by luring them into her evil web ("Tropes vs. Women #4)

Layla Roberts really pulling off a praying mantis

In both films, Grendel's Mother fits this description. She seduced Hrothgar, most likely for producing a son who will later attack Heorot and be the rightful king. In the 2007 version, this is taken a step further, and Angelina and Ray Winstone give birth to a beautiful baby dragon. So, despite the good news that Grendel's Mother gets more airtime, the films have the extra issue of demonising women. These films portray women as manipulative and controlling, using sex to fulfill ulterior motives. The use of Layla Roberts or Angelina Jolie only adds to the sexism - as Sarkeesian states, "when an evil demon seductress is on screen, men get ot objectify her while having these sexist preconceived notions that women are in fact manipulative and deceitful", and as Bill Schipper tells it, "nothing terrifies a male audience more than a physically and sexually powerful woman"

David Marshall states that Beowulf (2007) attempts to criticise the masculine power system and its inability to control desire. Both Hrothgar and Beowulf cannot resist Angelina Jolie's golden breasts. Furthermore, Heorot appears to us as some sort of Anglo-Saxon frat-boy party house, where Hrothgar (Anthony Hopkins) encourages "fornication" and praises Unferth (John Malkovich) as "violator of virgins". All the men appear to act on physical whims, whereas the women of the film, like Grendel's Mother and Wealhtheow act on reason. Unfortunately, the film kind of fails in this criticism when they decided to turn Grendel's Mother into a digitally enhanced, naked, golden Angelina Jolie, whose body "caters to the same hyper-sexualised function of masculine desire that drives Beowulf in Zemickis's film" (Marshall). In the end, the only character who gains our respect is Wealhtheow, who also preserves her chastity, whilst Grendel's Mother's powerful sexuality is made unnatural and monstrous. 

In the writing of this post I also found out that someone on Youtube has a pet praying mantis named Angelina Jolie. I wonder if they realise the depth of that choice.

Freaky Freydís

It is generally assumed that all Viking raiders and warriors were men (lazy archaeology?), but that's not actually the case - quite a large percentage (up to half in some cases) were actually women, Freydís Eiríksdóttir being one of the more notable (and absolutely mental) ones, as the following picture accurately conveys:

Here is a lovely wax figure of the woman herself in Reykjavik. Smashing stuff.

Daughter of Erik the Red, who was a (most likely) Norwegian fella who founded the first Norse settlement in Greenland (who the hell would want to live there is what I ask), Freydís is generally known to have been involved in the Norse exploration of North America around 1,000AD or so (quite a bit before 1492 I may add) along with her brother Leifr. 

Freydís appears in two sagas; the Saga of Erik the Red, and the Grœnlendinga Saga, both believed to be composed in the 13th century. Events from an expedition to Vinland (in North America) are described in the first of these sagas - during this visit to America, the Vikings traded with what they called the Skrælingjar, the peoples from around North America and Greenland. 

Vinland on the left. This map is reputedly pre-Colombian, although possibly a forge

    As the story goes, trading all went well until the Vikings ran out of everything except cow's milk. The Skrælingjar turned out to be lactose intolerant, of course, and thought they were being poisoned. This, along with a rather uneasy encounter with a bull ("what in god's name is that devil-beast?"), made, as one can imagine, things a bit tense, and the shit hit the fan.
    Freydís, who was heavily pregnant at this time, and therefore less agile than a hippo on stilts, found herself abandoned by her spineless crew, who were starting to set sail. Seeing them flee she shouted after them: "Why run you away from such worthless creatures, stout men that ye are [...] Let me but have a weapon, I think I could fight better than any of you." And so, she proceeded to find the sword of one of her dead companions, and when the Skrælingjar came upon her, she bared her breasts and beat the sword against them, letting out a battle-cry. Needless to say, they fled in terror, and so would you, had you encountered that wax figure above or this orangutan below:

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So, she sounds cool, right?! I'm sorry, but your dreams of a new idol are about to be smashed into tiny pieces. Read on.

Obviously thrilled by this exhilarating experience (who doesn't like to act out King Kong?), Freydís decided to make a deal with some poor Icelandic feckers, Helgi and Finnbogi, and returned to Vinland, after agreeing to split the goods half and half with the brothers. Being the snake in the grass that she was, Freydís snuck a few extra men onto her ship (she also convinced the two brothers to let her take the bigger of the ships). Due to differences of opinion, by the time they arrived in Vinland, two camps were set up. Later on, Freydís told her husband that the two lads had assaulted her, and ordered them and their crew killed. The orders were followed, but her men refused to kill the unarmed women - Freydís saw to them herself, chopping off the five of their heads, no bother at all to her. 

Not wanting to be seen as batshit crazy back home, she ordered silence on the matter for their return to Greenland. Her brother Leifr, obviously being a bit suspicious that the crew has magically shrunk by bloody half, resorted to torturing the truth out of some of the men. Being the just man that he was, he did....absolutely nothing, and Freydís got away with it all. I suffer more repercussions if I forget to hang the godanm washing out!

Leif Erikson, an all too forgiving brother

So, unfortunately, Freydis turned out to be a pretty horrible, greedy, merciless, thundering bitch, but either way, she is an interesting figure - a strong willed, courageous woman, but certainly not one to look up to or follow after - unless you fancy being secured in a psychiatric ward of a prison.

Grendel, Grendel, Grendel's Mother

This has to be one of the coolest book covers around

Another Grendel's Mother post, yaaaay! Today I'm going to write about John Gardner's novel Grendel, and the animated film adaptation, Grendel, Grendel, Grendel. That's a lot of 'Grendel's in one sentence.

Grendel was one of the first (and most popular) adaptations of Beowulf, being written in 1971, and is known for its sympathetic treatment of Grendel. The story is told from Grendel's point of view, with very little focus on Beowulf (he isn't ever named, and we only meet him at the very end). As Alexander Stitt's film narrates, "it is told "through twentieth century eyes, where one is more likely to see the humanity in a monster" - yeah, well, not for Grendel's Mother.

This retelling of the Beowulf story, features one of the most monstrous and animal-like Grendel's Mother around, and although the story is seen through Grendel's eyes, even less of his mother is seen than in the original poem. And although it is a different view of her, it's not necessarily anyway less monstrous than any translations of the poem. She is described as a "life-bloated, baffled, long-suffering hag", a "horrible, humpbacked, carp-toothed creature", with "strange eyes" and "bristly fur". Can you feel the love that he feels for his mum? She is obviously not human-like at all...well, I guess you could find some people who fit those descriptions, but anyway...

Even more notable than appearance, is Grendel and his Mother's intelligence - where Grendel is portrayed as intelligent, rational, and quite philosophical (along with the dragon), ad even has an upper class British accent in the film, while his mother has no voice at all - "she'd forgotten language long ago, or maybe had never known it" - she cannot even comprehend what Grendel says.

Despite all this, there is a small amount of sympathy for Grendel's Mother - perhaps she is not all that monstrous - "I was, in her eyes some meaning I could never know and might not care to know", "she would have given her life to end my suffering". And although we know how it pans out in the original poem, we can only presume that she avenges her son after the novel ends. This love for her son of course, isn't necessarily a human trait, but could rather be an animal's maternal instinct - I mean, shit, the Moorwen in Outlander was almost more human-like than this Grendel's Mother!

Brian Froud's depiction of Grendel

So, despite being a book that was great for Grendel, it's not exactly great for his mother. It is a good book however, and worth a read if you're into Beowulf. Sure fuckit, aren't we all. And this is where I realise I'm turning into one of those people...those people who write blogs on academic stuff. Goodbye childhood.


Grendel, Grendel, Grendel can be found here! It's worth watching especially for the part at the start.

And now I'm off to London. Goodbye, suckers!