Mythology Research: A Case Study, Part One

As a writer, my genre of choice is hard sci-fi, and this involves a lot of research. Since I don’t have a science background (or, let’s be honest, any kind of aptitude for it at all), I sometimes feel like a fish out of water. I love that feeling. So when a fellow writer and close friend approached me a few years ago with an idea for a series of books that would delve deep into dozens of cultural and religious mythologies, I seized the opportunity.

But I had my work cut out for me, because this was an area I didn’t know much about. In other words, business as usual. Because it’s so important to write what you know, I therefore needed to acquire a lot of new knowledge. Fortunately, I absolutely adore doing research. There’s nothing quite so satisfying and exciting for me as Wiki-surfing late into the early morning hours, clicking from one link to another and amassing all manner of random trivia. Targeting that effort is a bit more work, but worthwhile in the end.

First of all, I hope I won’t offend anyone when I refer to “religious mythologies.” It would be quite impossible to write about the subject of mythology research as it pertains to my writing without broaching the subject. As a religious person myself, I don’t mean to imply that these various “mythologies” don’t also bear resemblance to truth. I use the term only to refer to systems of belief-and in the case of this particular novel I was authoring, all systems of believe. Or at least as many as possible.

My scope was necessarily broad, but I was especially concerned with the intersection of three sets of religious mythologies-Christianity, Judaism (including Kabbalah), and Paganism. I dig into a lot of others also, but for me these are the big three. And admittedly, Paganism is probably too broad to justifiably squeeze into a single term, but for the purposes of brevity, I’ll leave it at that. My goal was to dive into these mythological and look for ways to unify them.

My starting point was an ancient Hebrew text called the Sefer Yetzirah. Could it possibly have a more spine-tingling name? Sefer Yetzirah. To my ear, it sounds deliciously mysterious. Its direct English translation is “Book of Formation (Creation),” from which I derived the title for the first novel in the series. As legend has it, this short text (it’s only about four thousand words, total) was penned by Abraham, the Patriarch. The story goes something like this: Abraham sat down one day for a tête-a-tête with the Almighty, and on that day God explained to him how the world was created. This wasn’t a retread of the creation account in Genesis which so many of us learned in Sunday School; this was the nuts and bolts version, what some people refer to as “creation science.” We’re talking specific methodology, a step-by-step “Creation for Dummies” how-to guide. Except, of course, there’s a catch. There always is. Even translated into English, the whole thing is basically incomprehensible. It’s a fun read, with lots of symbology and numerology on display, but no one can claim to grasp it. Here’s a sample:

In two and thirty most occult and wonderful paths of wisdom
did JAH the Lord of Hosts engrave his name…
He created this universe by the three Sepharim, Number, Writing, and Speech.
Ten are the numbers, as are the Sephiroth, and twenty-two the letters,
these are the Foundation of all things. Of these letters,
three are mothers, seven are double, and twelve are simple.

It goes on in that vein. This is research at its most fun, surely.

So basically, I had to do a lot of reading, some of it difficult, and a lot of digging. Another text I spent much time investigating was the Book of Enoch, considered apocryphal by most modern-day Christians but a really gripping read nonetheless. In it, a number of interested mythological concepts collide-angels, demons, giants, monster, and yes, even aliens, if you turn the page and squint at it a little bit. I looked into the rest of the Apocrypha, and looked for connections between my Big Three and some of our world’s most famous myths, most notably from the Greeks and Romans, who gave us so much to work with. Not to mention Egypt! The Native populations in North and South America are also especially myth-rich, though they are often neglected for some peculiar reason; in particular, I’ve become very interested in the early Inca civilization.

There’s more. Much more than I have room here to go into… and even if I did, it would likely stretch your patience to the breaking point.

In tomorrow’s follow-up post, I’m going to spend some time to talk more about my research methodology. Be sure to stop on by!

The Legend of Great Love: A Look at the Great Romances We Remember and Why They Work

heart 1With this title in mind, I began researching the topic looking for trends as well as doing a little soul-searching since I am a romantic at heart and write romance. I freely admit I am in love with love. In book, movie, poem or song, old or new, happy or tragic, requited or not.  I love love.  And this topic could not have been more timely on a personal level.

Over the weekend I had a discussion with my sweetheart about the word “love’ and while I don’t want to bore you with my life, I do want to explain the filter through which I am currently perceiving this word.  We love our pets, our cars, our friends, and the steak we had for lunch. How can one word cover so many things and hold its meaning? And how does that impact Great Love? The higher love of John Donne’s A Valediction Forbidding Mourning? The enduring love of Shakespeare’s Sonnets? Great Love covers more than common feelings and an over-used word.

When I am told that what someone feels for me is so much more meaningful than what the common word “love’ can possibly convey, I feel Greatly Loved in the capital G, capital L, Great Love kind of way.  That one incredible human being refuses to tell me he loves me because it does disservice to the depth of his emotions regarding me, well… I can tell you I have never been told anything so romantic or heartfelt no matter how contradictory it may sound.

Yet with all the grand  ideas of love and the ideal of Great Love, there is a trend I’m seeing in some of the great legends that bothers  me. I am practical, intelligent and have a firm belief that stupidity is its own reward. So, as I looked at lists of the “great’ romances (a couple sites I perused – Best, 10 Greatest, Top 20, Top 100) I became a little frustrated with how much rampant stupidity was involved.  Perhaps a harsh term, but we’re going to run with it for now. Before you get your big girl or boy panties in a twist, let me say I love most of these stories – rampantly stupid or not. It was just a trend I saw. I will explain. Stay with me.

First, why do these stories endure? I think it’s because they  lead us to a belief in something greater than ourselves. Something selfless and more meaningful than our happiness, than physically being together, than even life itself occasionally.  Something transcendental and eternal. So, while I love (there’s that word again) these stories, I would like to add a counter-balance thought to some of them.

heart 1We’ll alternate between the happy endings and the not-so-happy endings.

♥ Odysseus and Penelope – Time and patience pay off.  Yay. Great Love has no limits. Storms and travels and suitors abound, but Great Love stays the course.

Romeo and Juliet – Happy for the willingness to overcome all obstacles including family and friends’ disapproval to be together. Sad about poor communication.  Warning: Lots of bad communicating ahead and usually in the ones ending tragically. Maybe a lesson to be learned? Communication = Good.

♥ Jane Eyre and Rochester – Disparities in social standing, marital status, money and family situations cannot conquer Great Love. Neither can physical impediments. With time and clarity on what’s important, Great Love will triumph and our lovers will live happily ever after. I love that.

Antony and Cleopatra  – Stormy relations involving love, power and politics.  Something’s got to give and can you really separate them? I don’t know.

♥ Marie and Pierre Curie – Smarts and dedication combined with Great Love can lead to scientific break-throughs and a life well-lived in honor of the Great Love you shared.  Death of one does not have to mean an end to that Great Love.

Lancelot and Guinevere – Again, we have power and politics involved (always messy), and although they didn’t live together at the end, they both lived. As romantic as death seems in the abstract, in reality, I don’t think it’s much of a solution.  And really, relationships founded on cheating on current spouses rarely end well. There’s a lot of this too.

♥ Queen Victoria and Prince Albert – Another Great Love that brought forth greatness in both people when together and the survivor when one died. Sure, Victoria grieved all the rest of her very long life for Albert, but she was a great monarch and paid tribute to her Great Love by continuing on in his memory.

Tristan and Isolde – Kings of any type get the short end of the Great Love stick as their wives keep falling for other guys. I’m gonna say that the risk of jeopardizing a solid relationship as Queen is a pretty big sacrifice to make in the name of love, not to mention it usually also runs the chance of being killed or stuck in a nunnery, you know… for cheating on the king. For the guys too – you risk your life when you fall for the King’s woman. Sacrifice + Risk = Great Love. I guess.

♥ The Dashwood SistersSense and Sensability… Let’s start with Marianne and Willoughby  – stupid.  They may have been in love, but it was a wimpy love with no backbone.  All surface and no substance. Col. Brandon on the other hand, his love is substantial. It waits and is understanding of youth and immaturity.  Once Marianne pulls her head out of her ***, this is a Great Love. Elinor and Edward’s relationship certainly tests friendship and honor and generosity in the face of utter heartache. These two have a Great Love and a happy ending  they’ve earned the hard way.

Scarlett and Rhett – They were a hot mess. But they kept trying and maybe that’s the enduring quality here. Or maybe it’s that despite being a calculating, manipulative, shallow, difficult person, there is someone still willing to love you. No matter what. And if he leaves… well, he’s come back before and tomorrow is always another day. I’m not going to go into the whole Ashley/Melanie aspects. Triangles and trapezoids and daisy-chains of unreciprocated non-sense are not Great Love. I do think Ashley and Melanie had a Great Love that is more honest and worth noting than Scarlett and Rhett’s, but conflict is at the heart of story-telling, so…

♥ Rick and IlsaCasablanca. No, they didn’t end up together, but their sacrifice of Great Love was for the greater good and I can respect that.  Their acts of selflessness mean they can sleep at night knowing they did what was right and not convenient. Rarely is Great Love easy.

Pyramus and Thisbe – Wow for misperception and jumping to wrong conclusions a smidge too soon. This is one of those “stupidity is its own reward’ stories for me. I don’t see the romance in this one unless you want to say that life is meaningless without your Great Love.  Whatever.

♥ Nickie and TerryAn Affair to Remember. When all hope is gone, you discover you were wrong and love may not be waiting for you atop a building, but it is pretending nothing is wrong when it wants to run to you and can’t. If you don’t get it… watch the movie. I cry every time.

Cathy and Heathcliff – So, Scarlett and Rhett had nothing on Cathy and Heathcliff as hot messes went. They are both completely flawed and selfish. Neither gives two hoots about anyone but themselves and their Great Love. That could be the enduring trait – Great Love at all costs.  Including other partners, siblings, parents, children and let’s throw in some animals and servants for good measure. Why not? They completely destroyed themselves and everyone around them. And not that the other people are blameless, they didn’t have to stick around for it. Everybody involved seemed to think love was a weapon of mass destruction. For the record, I still love this one… just pointing out some alternate thoughts.

♥ Charlie and RoseThe African Queen. Great Love is not always handsome or beautiful. It is not always romantic in the traditional sense. Sometimes, it’s a lonely alcoholic running a crappy boat up and down a river building something with a high-handed sanctimonious spinster. Building something out of strength and respect and courage.  Hell yeah, sometimes Great Love endures because it fought to survive.

There are many reasons these stories endure, many reasons we want to cling to the idea of Great Love. Maybe I touched on some, maybe not. I’m open to discussion. Anyone got some other Great Love couples they want to mention and why? I’d love to hear about them.

Tools for Creating Your Own Mythology

In yesterday’s post we asked if it was possible to create mythology and why, as writers, we need to. In this post, I’ll talk about some of the tools I use to build mythology.

The truth is that our rational minds want to and need to rationalize what we cannot control. We need to make sense of the paradoxes and the unexplainable. It doesn’t need to be far out – it can be based on pagan principles (survivalist on Maslow’s hierarchy*), technological environment (Robert J Sawyer’s trilogy, Wake, Watch, and Wonder in which hte world wide web wakes up. Although doesn’t tackle the question of myth creation directly, it makes a good case for a developing a myth based in technology). In a world of proto-people, vampires, werewolves, zombies, revenants and the rest, how do your characters view their own origins and existence? How do the humans view them? Are these proto-people like mythological figures to the humans?

The starting point is to look at the geography, the world that your characters inhabit. Is it a harsh environment like the poseidonpolar ice cap, low gravity of mars, void like the moon, rich and abundant like Tolkein’s Middle Earth, or is it an urban setting on modern? Whether it’s an alien on/from another planet, ancient peoples, futuristic people on space ships, a post apocalyptic world (in Hunger Games they lived with the mythology, the “gods’ who determined whether they were chosen to die) you need to know your environment and then determine how your characters will respond to it.

So, what challenges will your protagonist face based on where she lives? How does her environment affect her and those around her? Most importantly, how does she make sense of what is happening around her? In my current work, a fantasy with historical overtures, the ancient civilization lives on a volcanic island. Rules, conduct, religious practices are all based on keeping the God of Thundering Mountain happy so he doesn’t erupt. When He rumbles, then the Magic Master is in trouble. Throw in the Earth Mother and her goddesses who have been upset since the God of Thundering Mountain arrived. Now the world is rife with possibilities. Of course, we don’t get to see the God and Goddesses interact, we know the tension exists between them through the interactions of the High Priestess who serves the goddesses and the Magic Master who serves the god. Throw in some commerce-based political drama, a murder and a foreign kidnapping and all actions in this new mythological background are bound to blow up – literally and figuratively … especially when we learn that the God wants to be incarnate so he can walk the world and rule it.

So you can see how this mythology developed from the environment. First, by determining the geography, the time period and the level of technology. Then there’s the interpretation of that world by its inhabitants which then determines how people act and react. But let’s talk about technology for a moment. In the time period I’m working in, 2000 BC on Crete, archaeologists discovered that the Minoans had developed some basic, actually very sophisticated, astronomy.

The cool thing is that the constellation we know as Orion’s Belt, was known to them as the Double Headed Axe. That’s all we know about it – not even why they saw it that way. Isn’t that the most exciting piece of information a writer can have? I mean, it’s the perfect symbol in the book! When it pops up, all sorts of things are going to happen! And, I’ve even mentioned that for one character, the double axe looks like it’s slung on a belt. That modern reference draws the astute reader further into the mythology because there is now a ring of truth, a familiarity to it. So even basic technology and information can tell us a lot about how people interpreted their world and how they would have reacted. Most importantly, it can help us create that mythology with a deeper meaning rooted in basic survival.

The thing to watch for is not to assume that the current value systems we hold, religious, political, economic and law enforcement systems we adhere to are the same for the characters in your book. If they are, that makes for safe, dull writing unless you’re writing a great emotional drama in that specific environment. The purpose of writing is to entertain, to challenge readers with new thoughts and perspectives. Readers want to understand and experience the world you are delivering. Even if it is set in modern day, they want to read about those who rightly or wrongly challenged the status quo, became the hero, went on an epic journey mentally and physically. And the easiest way, to my mind, is to do that by developing a new mythology for that makes it a fun and safe way to deal with paradoxes.

I’ll share one more tidbit with you. On Minoan Crete, they had tholos tombs where bodies were put to rot before the bones were placed in pithos jars. Cool, eh! So the basic questions are, why? What did this mean? How does it relate to their world view and what’s happening? My answer was that the Earth Mother, who helped give them life needed to feast on the flesh of her children to welcome them back into her womb and her world. The bones remained so people would remember their connection to their ancestors and the Earth Mother. What’s your interpretation? Go, delve into the world you’re creating. Look closely through the eyes of your characters and let them tell you how they see it. You never know what great mythology lies in that first inkling of an idea!

*for more information on Maslow’s check out my post: http://www.fictorians.com/2011/10/17/valuing-your-characters-or-maslow-for-writers/

***

Just a small reminder to not forget about Monique Bucheger’s Book Bomb today! You can now get 30 ebooks by participating, 19 free and 11 at $.99. Go to Moniquebucheger.blogspot.com for full details.

Creating Your Own Mythology

Creating your own mythology – how cool! And loads of fun! We write in an era where readers embrace modern and new myth. When Bram Stoker penned Dracula, he took an obscure legend, gave it its own rules and a new mythology was born. Today, we understand the social action and values for vampires, werewolves and zombies. This is newly created mythology has been embraced by generations of readers. In Tolkien’s books, the fantasy world received a new mythology Middle Earth and that lore, that mythology, is still embraced by people today.

There are those who argue that because myth is defined as being of the distant past, that it has its own cultural criteria Zeusand that it requires organic growth in a culture, that it can’t be instantly created. Humbug! Myth is a way for people to reconcile the paradoxes of life – the things that don’t make sense to us. How was life created? How do the gods and people interact? What are the rules for interaction? Apply it to everyday life and we can call it religion. Apply it to books and we call it world building.

And perhaps that is the difference – scholars will argue that because what writers create isn’t part of the everyday, ordinary belief systems for people, then it isn’t legitimate myth. But who draws that line? Who determines when an idea crosses that line? And does it matter? Is it any less compelling? I think not. We no longer believe in the Greek Pantheon of gods yet they’re as popular as ever in literature like in Rick Riordon’s Percy Jackson and the Olympian’s series. Do we have to believe in those specific gods for the mythology to be relevant, to explain creation, our relationship with the world, our struggle with life’s paradoxes and our need to have legitimate heroes to inspire us?  Not at all. When we delve into other people’s belief systems, we challenge and enrich our own. We discover new ways to escape and to solve problems.

Mythology creates rules. How do heroes, people and proto-people (vampires, werewolves and the like) behave? What kills them (silver bullets, kryptonite or a stake through the heart)? Who are the gods, and what are their rules? How did creation happen and what happens after death? Why are their problems? Can man solve them or is he powerless?

We’ve established that not only can we create new mythology we must do it to explain the rules of the new worlds we’ve created. And many myths born of ancient legends and modern science are being created and believed by people (no judgements here). This is the mythology of ancient aliens coming to earth for their own purposes and seeding mankind (biologically and technologically). It is all a way to rationalize, to understand our history, what makes us human and to explain the anomalies and paradoxes of who we are and where we’ve come from.

And where will the next new mythology arise? The future. Outer space, I think. With the newly emerged and proven theories of space and time and the universe expanding faster and faster (not more slowly as some would believe) to end up in a black hole that swallows it entirely – like how do we explain that? Mythology, that’s how. A futuristic mythology born of predicted apocalyptic events. How cool would that be?

In creating the mythology for my books, I look closely at the world I’ve built along with the premise of the story. Mythology is about explaining how things came to be. Why they are the way they are. Why people believe as they do. It’s answering these questions that makes a world unique and believable. In one series, I asked what makes this one item so valuable? Why is it such a threat? How did it get where it is? What happens now that it’s been loosed upon the world? What do people believe about the item and their power to change destiny?

In the historically-based fantasy series I’m currently working on, the creation and afterlife myths mythology are crucial to how this world acts. The problem is, there is very little information about societal beliefs for the time period I’ve chosen to write about and I’ve been scouring academic journals for months. And that, for a writer, is perfect! From minute tidbits of factual information on tools, trade and astronomy, I’ve got just enough information to ground the story in history yet enough leeway to create a whole new mythology as to why things were done the way they were. This has forced me to really see the world through my characters’ eyes and in doing so, their actions and reactions have a genuine truth. And in doing that, the story has become so real, so alive and so fascinating!

You can take more modern or current historical events such as the decay of an empire, an evil despot trying to conquer the world, invading armies, geological tragedies, interpersonal tragedies, whatever you wish – take these larger events and change the details of the experience. Create a new world, a new way of looking at things, a new mythology which your characters use to explain their circumstances, their world, why the scourge seeps through the country – use all that to create and influence your hero, your proto-humans and your society. Or, take one of the ten basic creation myths, put you own spin on it and ask yourself, how would this influence a given society? Again, Rick Riordon did this in his series when he brought the Greek gods to America. Neil Gammon has his own unique spin on mythological figures come to the Americas in American Gods.

So go for it! Create new worlds with ground breaking, mind bending mythologies. There’ll always be a flick of our modern realities and value systems in them, how can there not be? Besides, those bits of our world in them is what will make the issues, the dilemmas and the challenges ring true for the reader. Mix, mash and have fun with it.

In tomorrow’s post I’ll talk about how I create new mythology for my worlds.

Happy mythology building!