writing

Fantasy Religions: Interacting With the Divine

Erik1 Comment

151130sacrificeIn the previous installment in the fantasy religions series, we looked at how people following traditional religious customs often perceive the divine around them in physical, tangible forms. Today we turn to the question: how do you interact with such divine forces?

There’s an old joke that says a young man went to his priest one day and declared: “I’m an atheist! I don’t believe in god!” And the priest replied: “Do you think He cares?”

It’s a good joke, but in the doctrines of Christianity, as in the other modern monotheisms, Judaism and Islam, belief matters a great deal. Believing in a god and a certain set of ideas about that god and humanity’s relationship to him/her/it is what defines membership in the religions we are most familiar with in the modern west. Not that everyone is in lockstep about their beliefs: modern religions can have enormous debates about what to believe, but belief is still at the center.

In most traditional religions, belief is a non-issue. As we saw before, peoples following traditional religions see the divine presence in the physical world in a literal, not metaphysical way. To an ancient Gaul, Belenus was not just the god of the sun, the sun itself was Belenus. To say to an ancient Gaul: “I don’t believe in Belenus” would be like saying: “I don’t believe in the sun.” Their response would probably not be: “Do you think he cares?” but: “Well, what do you think is shining on you, idiot?” There were no professions of belief in traditional religions, no creeds or catechisms, no inquisitions or doctrinal schisms.

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Serpent Mound

Erik

Serpent Mound, located in Ohio in the United States, is an enormous earthwork built on a grassy plateau above Ohio Brush Creek. It is one of many large earthworks in North America, but it is unusual in representing an image when seen from above. This image has been interpreted as a snake swallowing an egg.

151123Serpent
Serpent Mound, photograph by Eric Ewing via Wikimedia

The date of construction is uncertain, but recent research suggests that Serpent Mound was created in the last few centuries CE when the river valleys west of the central Appalachian Mountains were occupied by a people known to modern archaeologists as the Adena culture. We have no way of knowing what they called themselves. The Adena were a sophisticated culture at the center of a trade network stretching north beyond the Great Lakes south to the Gulf of Mexico. One of the distinctive features of their culture was the construction of large earthworks, many of which served funerary purposes, but may also have marked ceremonial centers or areas for gathering and trade.

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Travel: Some Basics

Erik

151116caravanWhether it’s carrying the One Ring to Mount Doom or sailing the Azure Sea, travel is an important part of a lot of fantasy stories and games. For those of us more accustomed to traveling by car, train, bus, and plane than by foot, horse, oxcart, or galleon, this poses a lot of practical problems. How far can your characters travel in a day? How long will it take them to get from point A to point B? And what do they need in order to make the journey successfully?

This is the introduction to a History for Writers series that looks at the evidence of history to help provide practical answers to your questions about travel in the pre-modern world. We’ll look at a few basic issues today. In future installments we’ll examine specific modes of travel, terrains, and problems.

Note that what we’re discussing here is based on real-world history, so it applies only to the extent that your world resembles historical conditions. If your characters travel by foot, horse, and sail, much of the information here will be directly applicable. If they have teleportation and magic carpets, adjust accordingly.

Here are a few basic issues that apply to just about any kind of travel in a pre-industrial world:

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Dynastic Race Theory and Why Revision Is Essential

Erik5 Comments

151109steleThe words revision and revisionism, when it comes to history, have a bad smell. They are lobbed as insults against people who propose new ways of understanding things that already have a conventional explanation. “We had it right the first time, stop monkeying with it” is the implied retort. Revision, however, is essential to the study of history. No matter how well we think we understand something, our grasp of history is always partial and conditional. New evidence, new ideas, and new questions applied to the known sources frequently yield new results and we often discover that our conventional explanations, while not wrong, are incomplete. And sometimes they are just wrong.

Here’s an example. As the European study of ancient Egyptian history developed in the 1800s, European colonialism was also spreading across Africa. For scholars who supported the imperialist agenda, or at least accepted its intellectual framework (and there were those who didn’t, but they were a minority), ancient Egypt presented a problem. Imperialist thinking declared that Africans were incapable of reaching a high level of culture without the help of superior white men, and therefore European colonization of Africa was not just a profitable venture but a moral imperative. Yet there could be no denying that ancient Egypt had been a high culture. How could both things be true?

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Superfluous Ghosts

Erik

It is odd to find oneself arguing that a ghost story would be better without the ghosts, but that’s how I felt coming away from Crimson Peak.

Crimson Peak, as others have noted, is a Gothic romance. Ghosts are de rigeur for the genre. They give form to emotional traumas and compel the hero or heroine to uncover the horrible secrets behind them. The ghosts of Crimson Peak fulfill this role and prod the film’s heroine to expose the dark past in the house. Eventually. She takes an awful lot of prodding. In the meantime, the ghosts just take up screen time being ghostly and doing ghost stuff, none of it terribly interesting.

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“The ghosts are a metaphor,” we are told early in the film, except they aren’t. A metaphor is when one thing stands for or represents another, but there is nothing metaphorical about the ghosts of Crimson Peak. The ghost of the old woman in the bathtub with a meat cleaver in her head does not represent the lingering traumas of the past or the madness of the characters. It represents the fact that an old woman was killed in that bathtub with a meat cleaver to the head. The crumbling, bleeding house is a metaphor for the unraveling of the family that dwells there, but the ghosts are the most literal ghosts you have ever met.

The only purpose the ghosts serve in the narrative is to nudge our heroine Edith into uncovering the truth. They might as well just be standing in the hallway holding signs that say “PLOT-RELEVANT INFORMATION IN THIS CLOSET” or “ASK QUESTIONS ABOUT THIS BATHROOM.” They are narrative shortcuts that save the heroine the bother of actually having to do much thinking. The most interesting part of the story is when Edith finally does a little investigating, but the ghosts do most of the uncovering for her and rob the story of complexity. I would rather have watched Edith do the work of piecing together what was going on at Allerdale Hall without the ghosts standing around holding their “THIS WAY TO THE PLOT” signs.

“It’s not a ghost story,” we are also told early in the film. “It’s a story with ghosts.” I give the movie enormous credit for its gorgeous visual design and for showing how well a period piece can incorporate active and effective female characters. But maybe it should have been a story without ghosts.

Image: Crimson Peak, (c) Universal Pictures 2015 via imdb

In the Seen on Screen occasional feature, we discuss movies and television shows of interest.

Feasts and Fools

Erik1 Comment

151026jackHalloween will soon be upon us. The origins of this holiday are obscure. It is often connected with the Gaelic festival of Samhain, which marked the end of the harvest and the beginning of winter, but Halloween, at least as popularly celebrated today in the US and some other countries, has wider connections. It is an example of a type of holiday found in many cultures: the “feast of fools.”

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In a World Without Alfalfa…

Erik4 Comments

151019Shapur… Marcus Licinius Crassus would have been the first emperor of Rome instead of Julius Caesar.

Stick with me here.

Alfalfa is a plant in the pea family that resembles clover. It originally comes from south central Asia and was cultivated in the northern parts of the Iranian plateau as animal fodder. Compared with other fodder plants, alfalfa is very high in protein, so it is mostly fed to cattle. It can be given in small amounts to most horse breeds, but in large amounts it causes bloating as horses cannot use the excess protein.

The exception is Nisaean horses, a breed of horse that was developed in northern Persia and bred to feed on alfalfa. These horses were able to absorb the extra protein of alfalfa into their bones, giving them denser, stronger bones than other horses. These dense bones enabled the Nisaean horses to make sudden turns while galloping at high speed that would have broken other horses’ legs and to carry heavier weights than other horses of the ancient world could manage.

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Fantasy Religions: The Divine Presence

Erik1 Comment

151012DionysusDown the crimson marble steps of the temple of Zurukh, god of blood, came a bald priest in the red robes of the Order.

“Heathens!” he cried, pointing with his holy whip at Our Heroes. “Heretics! Blasphemers! You shall bow down and worship Zurukh or burn in the fires of the Scarlet Inquisition!”

“Silence!” answered Inessa, stepping forward from the party and raising aloft her crosier. “Repent of your wickedness! The power of Adnea, Lady of the Pure Light, compels you!”

Religions are tricky to write. If you’ve delved into much fantasy, you’ve probably seen a lot of faiths that seem oddly familiar. In fact, the religions of some fantasy worlds can be charitably described as “Catholicism with the serial numbers filed off.” Even given a profusion of gods with their own temples and cults and spheres of influence, fantasy religions tend to work more like the modern monotheisms than like the actual ancient “pagan” traditions they are outwardly imitating.

How can you make your fantasy religion feel more authentically ancient? There’s no rules to it, but in this and some future History for Writers posts, I’ll share some of what we know about historical beliefs from around the world that may help you imagine a religious worldview that feels less modern.

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Race: Fundamentals

Erik3 Comments

150914BuryThis is a very, very, very basic introduction to the question of race from a historical perspective. If you’ve studied any world history, human genetics, or even just had your eyes open in the past decade, there’s probably nothing here you don’t already know. Everything I have to say has been said before, so why say it again? I have two reasons.

First, there are some more obscure and complicated things I want to talk about concerning race and history and it would be useful to have some basic points covered for future reference.

Second, there are some people who don’t know the basics of race, even some very intelligent people (even some Supreme Court justices), so it can’t hurt to say these things again.

Race is like money.

No, really, hear me out on this.

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I Want an Iwan

Erik

Well, no I don’t actually want one. I don’t have room for one to begin with, and I don’t live in the right climate anyway. That doesn’t change the fact that iwans are cool. Literally.

An iwan is a large room with a vaulted ceiling that has walls on three sides and the fourth side open to the air. They were built in the heat of Mesopotamia to create large shady spaces that were still open to light and air. The earliest iwans are thought to have been constructed under the Parthian empire in the first or second centuries CE. One of the earliest examples to survive into modern times was at Ctesiphon on the Tigris River, built by the Sasanian empire in the sixth century CE. Unfortunately, the building fell into poor repair over time and was destroyed by wars in the twentieth century, but in these old photographs you can still see enormous vaulted space.

 

Photograph of a Sasanian iwan at Ctesiphon, photograph 1864, Wonders of the Past vol. 2
Sasanian iwan, from Wonders of the Past vol. 2 via Wikimedia (photograph 1864). Note the people standing on top of the roof vault for a sense of scale.
Photograph of the same iwan from half a century later showing ongoing decay, currently San Diego Air and Space Museum
Photograph of the same iwan from half a century later showing ongoing decay via Wikimedia (photograph currently San Diego Air and Space Museum)

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