Persephone The Wanderer (II)

Thinking about how, to let the myth of Persephone fit the themes of the Metamorphoses, Ovid had to insert two rather unknown/unpopular side stories about  a river nymph turning into water/liquid in her own stream, and a nymph giving Demeter the news, and how this affects the myth

Like for one the Metamorphoses in essence is caught up with the gods’ violence against lesser beings, mostly nymphs, women and mortals in general, and deals with the utter helplessness and loss of control these beings experience when they are transformed, as punishment or to escape a worse fate or simply because their suffering becomes too great for any mortal to bear. And here’s Persephone, a goddess and a rather major one, who by all means experiences the same type and amount of suffering. Ovid literally calls her a goddess on par with the other gods, and reasons this is why the six-month rule comes about. Where do you take that myth? The outcome is set in stone, her cyclical seasons-bound fate is so integral to the ancient cosmos, and yet it falls flat in a story like the metamorphoses, where the Olympian gods are usually on the other side of the fence. But here we have these two nymphs, who both experienced the violence done to Persephone and either give it a voice or dissolve into nothing, have their body and being entirely taken away from them. 

So I really think Cyane and Arethusa are almost stand-ins for Persephone, where the the former gets the metamorphosis that symbolizes the pain and suffering that the abduction causes, as she literally dissolves into tears and cannot speak anymore when she manifests again, and Arethusa’s story of her own nearly successful abduction and subsequent exile/displacement give us Persephone’s side of the story, but in a less repetitive way than in the Homeric hymn. 

But our notebooks give us away, for however dutifully we record what we see around us, the common denominator of all we see is always, transparently, shamelessly, the implacable “I.” We are not talking here about the kind of notebook that is patently for public consumption, a structural conceit for binding together a series of graceful pensées; we are talking about something private, about bits of the mind’s string too short to use, an indiscriminate and erratic assemblage with meaning only for its maker. And sometimes even the maker has difficulty with the meaning.

Joan Didion, from On Keeping A Notebook in: Slouching Towards Bethlehem

sorry i didn't respond i had a katabasis

merricat by angie hoffmeister / merricat by william teason

Palestine as Archive, 2014 / Sherene Seikaly x

kadamba style architecture

Sleeping Bacchant by Károly Lotz (19th Century)

The Colour of Pomegranates, 1969

“The manifold self-contradictions in Greek ideas and phrasing about death are not errors. They are styles of imagining the unimaginable, and are responsive both to personal needs and to old conventions. The same conflicts surge up in many cultures. They are necessary ambiguities in a realm of thinking where thinking cannot really be done, and where there is no experience.”

— Emily Vermeule, “Immortals are Mortal, Mortals Immortal,” Aspects of Death in Early Greek Art and Poetry

I’ve been listening to “Blood Moon” by Saint Sister a lot this season and it inspired this piece of a spooky Minoan Artemis dancing in the woods.