Cute Little Castle Home in Denmark

Earlier this summer, there was a fascinating “castle” for sale in Gistrup, Denmark, on the outskirts of Aalborg in the north of the country, complete with a moat, a tiny but atmospheric courtyard, and landscaped grounds. The 2-story house of about 180 m2 / approx. 1,900 sq. ft has been lovingly developed over 20 years by the current seller.

Thorkild Kristensen Borgen i Gistrup1
Thorkild Kristensen Borgen i Gistrup2

The seller describes wanting to create a place where imagination was allowed to live, and hopes that the next owner will want to continue that fairy tale.

Thorkild Kristensen Borgen i Gistrup3
Thorkild Kristensen Borgen i Gistrup4

The modern amenities include professional construction and engineering, insulation, electricity, and plumbing, plus a garage.

Thorkild Kristensen Borgen i Gistrup5
Thorkild Kristensen Borgen i Gistrup6

What an amazing project! The staircase alone is staggering—the balusters and carved panels cannot have been easy to source. For me, the kitchen (see more pics at the two sources listed below) is too modest and should be redone, but to each their own. There seem to be no areas in need of mowing, but weeding might take a fair bit of energy and time. And it looks like quite a few spaces and functions have been made to fit on the property, mostly keeping with the theme (the garage is probably an exception; can’t quite tell, though). All in all, kudos!

Found via Home Tours & Other Stuff on Tumblr.

Images by Zigna via Thorkild Kristensen

Quotes: Sitting Here with One’s Knitting

There are a lot of ways of expressing the importance of taking time to reflect, of not getting caught up in the passions and fancies of the moment, but it’s put in a wonderfully homely way by Miss Marple.

This quote comes from a story in which characters are telling one another about mysterious events they have witnessed in their lives. Joyce Lemprière, an artist, has just recounted an experience when she was painting in a moody Cornish village. The locals had filled her head with tales about phantom bloodstains appearing on the steps of an inn as a premonition of doom. She then saw a couple return from swimming and hang their swimsuits to dry on the balcony, one of which seemed to be dripping blood right onto the fateful spot.

Miss Marple gently punctures the spooky atmosphere with her astute observation that the swimsuit must, in fact, have gotten very bloody to be dripping like that, a clue that the couple in question had committed a murder that they were concealing with a quick change of clothing.

“Of course it is different for me. I mean, we, being women, appreciate the point about clothes. I don’t think it is a fair problem to put to a man. It must have meant a lot of rapid changing. What a wicked woman! And a still more wicked man.”

Joyce stared at her.

“Aunt Jane,” she said. “Miss Marple, I mean, I believe—I do really believe you know the truth.”

“Well, dear,” said Miss Marple, “it is much easier for me sitting here quietly than it was for you—and being an artist you are so susceptible to atmosphere, aren’t you? Sitting here with one’s knitting, one just sees the facts. Bloodstains dropped on the pavement from the bathing dress hanging above, and being a red bathing dress, of course, the criminals themselves did not realize it was bloodstained. Poor thing, poor young thing!”

– “The Bloodstained Pavement,” by Agatha Christie

It can be easy to let our imaginations run away with us when we are primed to expect the eerie or grotesque. It’s good to be reminded to step back and just look at the facts (with or without knitting).

Christie, Agatha. “The Bloodstained Pavement,” in Miss Marple: The Complete Short Stories. William Morrow, 2022, p. 58.

New Trailers for the New Sense and Sensibility

The new Sense and Sensibility adaptation directed by Georgia Oakley has gotten two proper trailers:

SENSE AND SENSIBILITY – Official Trailer [HD] – Only In Theaters October 16 by Focus Features on YouTube

SENSE AND SENSIBILITY – Official Trailer 2 [HD] – Only In Theaters October 16 by Focus Features on YouTube

Oof. I had such high hopes, but: OOF.

My problem in one word: hairpins.

(Hair. Pins. Argh!!! I don’t think of myself as a Regency purist, but OMG, the hair!)

This doesn’t look like Jane Austen at all. It looks sloppy. Slovenly. Slatternly, especially Marianne! The Dashwoods are gentry, but they’ve been made so dishevelled (especially Marianne!!!) one wonders whether they own combs or are reduced to wearing other people’s castoffs. (The 2008 miniseries was bad enough, disregarding the story and, instead of a house in cottage style, stuffing the Dashwood ladies into a ridiculously humble cabin in Devonshire.)

Other than that: on one hand, the colors and sets are so very drab; some scenes are so dark it’s impossible to see what’s going on. Almost everything is incredibly beige, be it clothing or building. Even the supposedly fashionable and dashing Willoughby looks like an unkempt, uncouth farmer. Yuck. Fortunately I have seen some other pics that aren’t quite so dismal or devoid of color; we’ll have to see what the whole is like, though.

On the other, the character work might be better than the visuals. This Marianne seems true to form, i.e., intent on abandoning Elinor to follow the social norms and polite manners (and herself making an escape every single time to do very little except amuse herself). Also John and Fanny Dashwood seem bang on, repulsive and odious in their avarice. We saw Miss Steele(s) not at all, and barely a glimpse of Colonel Brandon (played by Herbert Nordrum, who interests me by virtue of being a Norwegian); sadly, he basically looks like a highwayman. Perhaps the full story will be better; after all, trailers always lie.

Clearly, though, there’s a trend in recent years to make period pics look more lived-in and less polished. Why does that mean using mud for dye and things of feeble quality is beyond me, though. (Actually I do know: it’s what most modern audiences feel is historically accurate. I do not agree or approve.) The only exception I’ll make is seeing more scenes in (supposed) candlelight; that’s nice. (But it’s exactly because candlelight is so weak that period textile colors were much brighter than we’re used to thinking on the basis of museum artifacts. There should be more color, not less! Gah! Anyway.)

The second trailer seems to focus more on Elinor and Marianne. But it’s actually Mrs Jennings (played by the awesome Fiona Shaw) who steals the show: she looks like an absolute hoot! I’m so looking forward to seeing her! The very end of trailer two also has a great, tiny character moment where two dogs are enjoying the breeze at a carriage window.

Oakley’s S&S opened in the UK on September 25, 2026. According to IMDB, the US release will be on October 16, but here in Finland we’ll have to wait till October 30.

On the Use and Misuse of Primary Sources

Sometimes you come across someone making interesting claims about history, and it’s hard to tell whether you should take them seriously or not. If you’re not an expert in the field, how do you know whether to believe what you’re reading? There’s no perfect answer, and basic critical thinking will take you a long way, but here area few tips that can help set you on the right path.

Since I’m a historian of the ancient Mediterranean, my advice is particularly focused on the use of ancient texts when making claims about ancient history, but many of the fundamental principles outlined here are applicable to historical claims in any time period.

One important thing to look at is how people use primary sources, that is: documents and other texts written in the time period of the events or people in question. Here are some questions you can ask about the use of primary sources to help evaluate historical claims.

Do they engage with primary sources at all?

This is a basic one. All historical argument is based on evidence drawn from primary sources. If someone’s making claims without any primary sources to back them up, that’s reason to be suspicious.

A lack of primary sources does not necessarily mean that a historical claim is unfounded. People, especially non-historians, may cite secondary sources and modern research, but you should be able to trace the claim back through those sources and find the primary source evidence that it is based on. Some scholarship, if it is more historiographical and theoretically based, may not engage with primary sources directly, but then it will not be making claims about specific events, places, or people in history.

Do they cite their sources?

This is another basic one. In casual conversation, you don’t need to back up every assertion with footnotes and bibliography, but if someone wants their claims about history to be taken seriously, they should tell you what evidence those claims are based on. In particular, they should be able to point you to a source that you can look up for yourself to verify that it actually says what they claim it says.

Different kinds of sources have different standards for citation. With ancient texts, there are established ways of referencing specific passages. Shorter works are divided into sections or lines; longer works are divided into books, which are further subdivided into sections or lines. We never cite ancient sources by page number, since page numbers vary between different editions and translations. If someone is citing an ancient source by reference to the page numbers of a modern edition, that’s a warning sign that they may not be knowledgeable enough about the topic to interpret an ancient source with appropriate attention to its context, influences, and biases.

Do they use sources appropriate to their subject?

You should always use the right tool for the job and the right source for the claim. When someone is using a source that isn’t relevant to their argument, or isn’t using a source that is relevant, you should question whether they know what they’re talking about.

For example, our main primary source on the Peloponnesian war between Athens and Sparta is Thucydides’ History of the Peloponnesian War. Some other sources, like the comedies of Aristophanes, also provide relevant insights, but if someone is making a claim about the Peloponnesian war and doesn’t mention Thucydides, they should have a good reason why not.

Do they use non-literary sources?

The most accessible primary sources are literary sources composed with the intent of engaging readers, like the folk stories in Herodotus’ Histories or the palace gossip in Suetonius’ Lives of the Twelve Caesars. There are many other kinds of textual sources that are not literary, such as coin texts, building inscriptions, graffiti preserved in places like Pompeii, and dedicatory texts on religious offerings.

Specialized fields of study, such as epigraphy, papyrology, and numismatics, focus on finding, interpreting, and contextualizing such sources. Using such sources is often more difficult and requires more expertise and study than reading literary sources. Not every historical question has relevant non-literary sources to refer to, but if someone does reference non-literary sources in their arguments, that is a good sign that they have some real knowledge of the subject and have undertaken serious research.

Do they situate their sources in time, space, and social context?

All primary sources were produced by specific people in specific social and historical settings. We can use them most effectively as evidence for things that those people had good reason to know about. The farther the writer of a source is from the topic they wrote about, the less confidence we can have in what they tell us.

The Greek historian Herodotus and the Macedonian rhetorician Polyaenus give different accounts of how the Persian Empire conquered Egypt in 525 BCE. Herodotus traveled in Egypt less than a century after the Persian conquest and interviewed local priests about Egypt’s history. Polyaenus wrote in the second century CE, almost seven hundred years after the events, and, as far as we know, never traveled in Egypt or had any contact with Egyptians. These facts shape the weight that we should give to their different accounts, and anyone who does not acknowledge the difference is not practicing responsible scholarship.

Do they engage with the sources in their original language?

Many ancient texts are available today in good translations, and, simply for the sake of efficiency, most practicing historians will begin their research with modern translations. Serious historical scholarship must go beyond translations, however. The more that an argument relies on the meaning of particular words or on the details of what an ancient author did or did not say, the more crucial it is that we pay attention to the original words in the original language and linguistic context.

For instance, people sometimes make much of the fact that Herodotus describes the ancient Egyptians as “black-skinned.” This is a literal translation of the ancient Greek word Herodotus uses, melanchroies, but the Greek word has a different set of associations than the modern translation. To an ancient Greek, melanchroies meant ‘deeply suntanned.’ It had none of the racial implications that the English word Black has today, and historical arguments that depend on the modern translation risk misunderstanding what Herodotus was saying (and not saying).

Do they engage with sources that don’t support their argument?

Few things in history are simple. Almost any claim we can make about historical events, people, or societies is going to be contested, and there will be sources that both support and contradict it. People who want to put forth dubious claims tend to cherry-pick the sources that support (or can be made to sound like they support) those claims while ignoring the ones that don’t. How a historian deals with those contradictions is an important mark of good scholarship.

People sometimes make claims about the role of women in the Celtic-speaking societies of northwestern Europe on the basis of passing references in some ancient authors, but the writers who give us the fullest and most detailed accounts of societies in those regions—Polybius, Caesar, and Tacitus—do not describe societies in which gender relations were significantly different from those of the Mediterranean. There are sound reasons to critique those authors and question the accuracy of their ethnographic knowledge, but someone who doesn’t engage with those sources is not making a good historical case.

Do they critically examine the sources?

Just because someone wrote something down doesn’t make it true. Sometimes people don’t know what they’re talking about. Sometimes they lie. If a historian is relying on a primary source to support a particular claim, part of the argument they need to make is that the writer they’re citing actually knew what they were talking about and were telling the truth about what they knew.

The Roman historian Tacitus famously wrote that the Germanic peoples of Rome’s northern border were of pure stock, having never mixed their bloodlines with any other people. This claim has been uncritically and enthusiastically embraced by modern nationalists and racists of various stripes, but a critical reader needs to ask: how would Tacitus, a Roman aristocrat who didn’t speak any Germanic languages and probably never even visited the northern frontier, actually know anything about the long-term genetic history of the peoples he was writing about? What other ideological or literary agendas might Tacitus’ claims about the people of the empire’s northern frontier be serving–either for Tacitus himself or for whoever he relied on for his information?

As I said above, there is no perfect technique for separating good historical scholarship from bad, but these questions are a useful place to start, and applying them thoughtfully to both online discussions and claims you may come across in your research will help you find better historical arguments and avoid worse ones.

Truly Old Buildings at Göbekli Tepe and Karahan Tepe

Among the world’s oldest buildings are the circular and rectangular structures at Neolithic sites known as the Taş Tepeler culture in Upper Mesopotamia or south-eastern Anatolia (modern-day Turkey).

Turkiye Today Tas Tepeler Map Sm

The earliest Taş Tepeler sites were established by hunter-gatherers some 11,000 years ago (10th-9th millennium BCE)—about 6,000 years before Newgrange and Stonehenge. The two best known are Göbekli Tepe and Karahan Tepe. Apart from similar buildings, both these sites also contain the same kind of carvings and statuary of varying sizes depicting both animals and humans, and distinctive T-shaped pillars with shared symbolism.

The Göbekli Tepe site consists of a Neolithic mound (or a tell) with domestic structures and other small buildings, quarries, and stone-cut cisterns.

DAI Gobekli Tepe Aerial Sm
Unsplash Frank Samol Gobekli Tepe Sm

The distinctive feature of the circular buildings at Göbekli Tepe are T-shaped pillars in limestone, some of which are up to 5.5 meters tall. Many are decorated with carved depictions or reliefs of humans, items of clothing (e.g. belts and loincloths), as well as wild animals. Four circular buildings have been unearthed so far, but we know from geophysical surveys (with various ground-based physical sensing techniques) that more structures still lie buried all over the tell.

DAI Gobekli Tepe Pillar 43 Sm

It was thought that the site was probably used only in connection with special social events and rituals, but the discovery of domestic buildings and rainwater harvesting systems has caused a revision of the hypothesis. It has now become increasingly clear that people were actually living at Göbekli Tepe and the other Taş Tepeler sites.

The second widely known site, Karahan Tepe, lies roughly 50 km east of Göbekli Tepe; the two are often considered “sister sites”, although some aspects of Göbekli date to slightly earlier. In addition, unlike the on-ground builds at Göbekli Tepe, at Karahan Tepe chambers were carved into the bedrock.

Evidence of domestic (and not just ritual) life at Karahan includes stone troughs, groundstones, mortars, pestles, and handstones. But one of the most striking elements at Karahan is the repetition of human faces, including a face carved from the rock wall of the so-called Pillar Room.

Wikimedia Karahan Tepe Human Face Sm

Another famous find at Karahan Tepe is the 2.3-meter-tall statue of a seated man also known as the Ribbed Man. It was carved around 9400 BCE with a defined eyes and nose, a bald head, carefully incised ribs and spine, and hands brought to the front to hold his phallus.

Wikimedia Karahan Tepe Man Sm

A website developed by the Karahan Tepe Research & Archive Project collects visuals and facts of the site, with information also on Göbekli. A timeline at tastepeler.net shows the development of the various sites in relation to other early sites and cultural phenomena.

Both Karahan Tepe and Göbekli Tepe indicate the existence of origanized societies capable of carrying out complex, material- and labor-intensive projects, with their own symbolic worlds and beliefs, before the adoption of farming or pottery. Very deservedly, Göbekli Tepe became a UNESCO World Heritage Site in 2018.

Unfathomably ancient, aren’t they!

Images: map of Taş Tepeler sites via Türkiye Today. Via UNESCO: aerial view of the Göbekli Tepe site and closeup of pillar 43 in Building D by DAI, Göbekli Tepe Project. Building by Frank Samol via Unsplash. Karahan Tepe human face by Frantisek Trampota via Wikimedia (CC SA 4.0). Karahan Tepe man by Marco Restano via Wikimedia (CC BY-SA 4.0).

Reconstructing the Sutton Hoo Ship

In the seventh century CE, an early medieval noble was buried in a remarkable tomb at Sutton Hoo in Suffolk, England. The body and its treasures were laid to rest inside an intact ship some 27 meters long. The rediscovery of that burial in 1939 was one of the great moments of British archaeology in the twentieth century. Now there is a project to build a replica of the Sutton Hoo ship using the tools and techniques that would have been available to seventh-century shipwrights.

The Sutton Hoo Ship Project has been ongoing for the past decade. Its goal is to document for future research the processes, tools, materials, and challenges of early medieval shipbuilding as accurately as they can be reconstructed today. When the ship is complete, it will be taken through sea trials, river maneuvers, and overland hauling to help us better understand the capabilities and limitations of early medieval ships.

The project is ongoing in Woodbridge, England, just across the River Deben from the Sutton Hoo burial site, and is supported by a volunteer organization, The Sutton Hoo Ship’s Company.

Image: Ship under construction, photograph by The Sutton Hoo Ship’s Company

Updated Competence Porn Viewing List

It’s over three years since I posted my Competence Porn Viewing List. Time for an update, I think. 🙂 I’ve both added and dropped a few items.

As I mentioned in my original post, there is quite a bit of variance in the use of the term competence porn. Here, as a refresher, is what I mean by it:

  • Typically has multiple competent, intelligent characters of different skills or areas of expertise working together, often towards a fairly big goal.
  • Involves complex problem-solving. Can but need not include a heist.
  • It helps if women are being awesome,
  • and/or, it helps if the characters are learning to work together.
  • It needs to be fun or rewarding on some level. (This is highly subjective. YMMV.)

I’ll first reveal my favorites and then give my reasoning why each of the works made it onto my listing.

In alphabetical order, here is my short viewing list:

  • The Avengers / Avengers Assemble
  • Black Panther
  • Charlie’s Angels (2019)
  • Elementary (2012-2019)
  • Jurassic World: Dominion
  • Leverage (2008-2012)
  • The Martian
  • Ocean’s Eight
  • Passengers
  • Rogue One
  • Wonder Woman

And a back-up list with works that fulfill some criteria, fail others, but that I nevertheless like enough:

  • Black Widow
  • Captain Marvel
  • Godzilla (2014, directed by Gareth Edwards)
  • Miss Marple (the series with Joan Hickson)
  • Murdoch Mysteries
  • Oppenheimer

The Avengers / Avengers Assemble

IMDB Avengers 2012 Poster

(According to IMDB, Marvel has started to call this movie Avengers Assemble. Right then.)

Too few women getting too little screen time, otherwise a fantastic learning-to-work-together story. It also helps that the threat is mostly external (i.e., no infighting).

Black Panther

IMDB Black Panther Trio

Like I said in our random thoughts post on Black Panther, it’s outright GLORIOUS to see that WOMEN ARE PEOPLE in their own right, with their own interior lives. And such a spread of different women, too, each doing their thing according to their interests and skills. So many intelligent people (on both sides of the law), with plenty of problems to solve.

Still remains the best, IMO, among the Marvel Cinematic Universe movies. RIP, Mr. Boseman.

Charlie’s Angels

IMDB Charlies Angels 2019 Poster

I find the protagonist Elena (played by Naomi Scott) very irritating; on the other hand, Jane and Sabina (Ella Balinska’s and Kristen Stewart’s characters) plus Boz and Bosley (Elizabeth Banks and Djimon Hounsou) are great. Stewart has a bad rep, I guess, and I guess primarily from the Twilight movies (the only things I have seen her in), but on the basis of her performance here I’d suggest she does have skills but was just badly directed in that series. Anyway, it’s a learning to work together story, which I like a lot, and all the women down to the side characters are awesome.

Elementary (2012-2019)

IMDB Elementary s2 e12 The Diabolical Kind

A modernized version of Sherlock Holmes set loose in New York City with a gender-flipper Watson. Both Jonny Lee Miller and Lucy Liu are fantastic as the detective duo, and the smart NYPD cast, Captain Gregson and Detective Bell (played by Aidan Quinn and Jon Michael Hill), also contribute their fair share. The Ms. Hudson and Moriarty versions were also interesting, but all in all there are too few women. (Still half of the population, hello?) Nevertheless, the astounding cases, quality acting, and scenes of real NYC in all its glitter and grime continue to keep my interest despite some less successful story lines.

Jurassic World: Dominion

IMDB Jurassic World Dominion Scareds

Finally a significant portion of women in a mixed cast! (And not everyone is glaringly white.) And everyone gets to be awesome—not to mention terrified of the dinos—regardless of what’s in their pants, as they should. So much working together. No heist, but escaping alive counts as problem-solving, too!

Leverage (2008-2012)

IMDB Leverage Group Shot

Yes, yes, yes—ticks all the boxes despite some unevenness in the writing. If only it didn’t have Nate nor the actor, Timothy Hutton; I’m so fed up with wallow-y man pain (and, whoo boy, does he wallow) with or without alcohol, but it’s infinitely worse with.

The three youngsters should’ve had a series of their own; THAT would’ve been great, and I would throw money at it!

The Martian

IMDB Martian Inside Mars Base

No heist, but: People working together? Check. Women being awesome? Check. Competent characters? A very big check. Extra bonus for wholesome spud nutrition. (The only minus comes from women amounting to about a third of the more significant roles. It’s better than 10 or 20 %, but come on.)

Ocean’s Eight

IMDB Oceans Eight Poster

Yes, yes, YES! (Despite Sandra Bullock, Anne Hathaway, and Helena Bonham Carter, who all are far from favorites of mine.) Cate Blanchett, Mindy Kaling, and Rihanna were fabulous. The heist is simply staggering, and it helps it’s also a learning to work together story in part.


Passengers

IMDB Passengers

I resisted seeing Passengers for a long time (and probably would never have seen it if I hadn’t received the disc from a relative’s estate), because the marketing materials at the time of its release made it sound digustingly creepy, coercive, and unsafe. Turns out, they really did lie through their teeth.

The main protagonist’s behavior is creepy at one point, that is true, but he owns up to his actions and doesn’t get to escape the consequences, which makes a difference. The actual characters are all competent and intelligent (while the AI-driven ones aren’t even supposed to). They certainly end up working together towards a big goal, learning as they go. Complex issues are indeed at play. Beautiful space imagery and other visuals. So, there are enough rewarding features to include Passengers on my list for now.

Rogue One

IMDB Rogue One Poster

Although in the beginning we only see a glimpse of Jyn Erso’s childhood and we hear little of how she lived afterwards, it’s clear that she can handle herself, backwards and blindfolded if needs be. I enjoy seeing just how the Rogue One group slowly comes together to run their desperate mission. It needs more women, though.

Rogue One is clearly the least fun of my six competence porn stories, which makes it really hard to put into words why it’s on my list. I just know that it is.

Wonder Woman

IMDB Wonder Woman Shot

There are some plotholes and/or weaknesses I’d rather do without, but the learning to work together aspect of the story nevertheless makes the movie work for me. And—need I say it?—SO many awesome women. I could spend more time seeing Amazon action on Themyscira!

Images via IMDB: The Avengers. Black Panther. Charlie’s Angels. Elementary (s. 2, ep. 12, “The Diabolical Kind”). Leverage. The Martian. Ocean’s Eight. Passengers. Rogue One. Wonder Woman.

A New Trailer for Avengers: Doomsday

A new trailer for Avengers: Doomsday is out:

Avengers: Doomsday | Official Trailer | In Theaters December 18 by Marvel Entertainment on YouTube

My internal dialogue following the trailer monologue went something like this:

  • “Something’s coming.”
  • Isn’t it always? *internal sigh*
  • “Something we may not be able to deter.”
  • Uh-huh… This isn’t new, either. Superhero stories like these are a dime a dozen.
  • “Before this day is done, we shall be faced with an unthinkable decision.”
  • Rrriiight. *yawn*

So, basically, Marvel lost my interest in under 30 seconds, which is a shame, since there were a number of quite nice character moments in the teaser trailers released early this year. Everything this trailer is doing points to a huge, enormous challenge that sounds so much like just about every other supe storyline culmination in existence. Ho-hum.

For me, the only delightful moments were the meeting of Thor and Steve Rogers (complete with Mjölnir zzzooping to Steve’s hand) and seeing a glimpse of Shang-Chi. I’ve been waiting for the Marvel Cinematic Universe to return to him like they intimated. (Then again, we’ve never seen Kang—understandable from a real-world perspective—or the Eternals again, either, even though for a while it seemed both would become a large-ish part of the MCU.)

I still can’t tell whether Doomsday is worth my while to see in the theater; hopefully there’s another, clearer trailer before the opening night.

At this writing, the UK and US release date for Avengers: Doomsday is December 18, 2026.

The Opening Lines of the Epic of Gilgamesh Performed in Sumerian

We have no direct evidence for how the epic of Gilgamesh was performed or what it sounded like to hear live, but this is a speculative reconstruction that helps open up our imagination. Canadian musician Peter Pringle performs on a reconstructed ancient lute called a gish-gu-di and sings the opening lines of the epic in the language of ancient Sumer.

The Epic Of Gilgamesh In Sumerian by Peter Pringle via YouTube

While this is an artistic reimagining, not a scholarly reconstruction (as Pringle himself has been clear about), it makes for a fascinating way of bringing the ancient text to life.

Quotes: History Was Full of People

My recent reading has serendipitously included a many empires, both fictional and factual.

“’Empires are not …‘ She trailed off before she said anything truly treasonous. Librarians of Alyssium were trained to be impartial, but how could anyone who studied history not have feelings about it? She’d never understood that. History was full of people, all of whom had lives and dreams that were affected by the dry laws and military actions that filled university textbooks. Emperor Mevorin liked to insist every action taken by the empire was for the good of its people, but far too many of its actions throughout history had been for the good of the empire, which was not—regardless of what the emperor espoused—the same thing. An empire, unchecked, was a selfish beast of insatiable hunger.” [original emphasis]

– Terlu Perna in The Enchanted Greenhouse by Sarah Beth Durst

Current Reading The Enchanted Greenhouse Sm

It’s not the empire aspect that grabbed me about this quote, however. History is indeed full of people, and I have a homebrew hypothesis why that fact is often forgotten.

We’re living through a phase when science and/or technology are seen as the most important lens(es) to view life through (unlike, say, during Renaissance or the Age of Enlightenment). Scientific research seeks to observe phenomena objectively, quantifying them, and removing as many hints of the personal as possible.

There was a time when there was discussion within history and other humanities about emulating that approach (e.g. cliometrics), but in the past 30 to 40 years or so, research focus in the social sciences has been shifting more towards the individual experience.

However, since the rest of society is still wearing pink science love goggles, this shift hasn’t broken through to mainstream discussions yet. Hence, the lay public—including the character in the above quotation—is under the false impression that historians do not regard history as concerning actual people.

Again, this is a personal crackpot theory of mine.

The book’s protagonist, Terlu, does also remind me of my high school teachers in a way. In my senior year, during the prep for our finals, teachers would spend some time in class iterating how important their subject is. It got almost comical one day when class after class literally every single one of them said a variation of “These things are so important” or whatever—each surely aware of the spread of subjects on offer at our school, and of our work load, not to mention the fact that even at high school level some of us students had already started on our paths towards specializing in our future fields.

In a way that was good, though—we clearly had motivated teachers who cared about their fields. Terlu in the quotation above also is clearly very passionate about her interests, to the extent of being blind to a host of other considerations in life, and it shows. She’s also young, and that also shows.

(There is a more curmudgeonly comment I’d like to make as well: “university textbooks” are the kindergarten version of academia. History at university level is a very different beast from the rote learning of names and dates that the lower levels of education pretend constitutes history. If Terlu imagines “university textbooks” or other basic treatises contain the whole of what historical research is, she’s a staggeringly more junior librarian than the novel purports and greener than a St. Patrick’s Day parade. *grumbling in librarian-married-to-a-historian*)

Durst, Sarah Beth. The Enchanted Greenhouse. London: Pan Macmillan, 2025, pp. 105-106.

Image by Eppu Jensen