I live in a mythic world – and I have special mentions!

 

That’s right – I don’t just have a top ten mythology books, I have a whole host of special mentions. My usual rule is twenty special mentions for each top ten, where the subject matter is prolific enough, as it is here – which I suppose would usually make each top ten a top thirty if you want to look at it that way. My special mentions are also where I can have some fun with the subject category and splash out with some wilder entries.

 

 

 

 

(1) TAROT – RIDER-WAITE & CROWLEY THOTH

 

The Tarot earns the top special mention in my Top 10 Mythology Books for the decks of cards, particularly the two iconic and definitive modern decks – special that is, because they are not books as such but decks of cards.

Of course, there are a plethora of modern Tarot decks, most of which originate from those two definitive modern decks (named for their creators) which were themselves substantial reconstructions from earlier tarot decks, pumping up their esoteric mystique – the Rider-Waite deck and the Crowley-Thoth deck, my Old Testament and New Testament of Tarot respectively. (And like Martin Prince in The Simpsons dismissively handwaving away Ray Bradbury from his ABC of science fiction with “I’m aware of his work”, I’m aware of the third most common modern Tarot deck – the Marseilles Tarot).

Interestingly, both these two definitive decks were by female artists, Pamela Colman Smith for the Rider-Waite deck and Lady Frieda Harris. My personal preference is for the artwork and themes of the Crowley-Thoth deck (even if Crowley himself was one generally weird dude and sick puppy), albeit still shaped by the influence of the Rider-Waite Tarot deck.

 

RATING: 5 STARS*****
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(2) FOLKLORE INDEX

 

Well, Folklore Indices to be precise – two of them, usually used in tandem, the Thompson Motif-Index of Folklore, and the Aarne-Thompson-Uther Index of folklore tale types.

Both are regarded as standard tools of folklore studies – and are endlessly fascinating to browse even for those outside folklore studies with a general interest in mythology or culture.

As its title indicates, the Thompson Motif-Index was compiled by American folklorist Stith Thompson (at the substantial length of 6 volumes) as a catalogue or index of motifs – the granular elements of folklore or folktales.

As Thompson himself defined it, “a motif is the smallest element in a tale having a power to persist in tradition. In order to have this power it must have something unusual and striking about it”.

Although in compiling the index, Thompson used a broader-brush approach to motifs as anything that goes to make up a traditional narrative.

Obviously a full summary even of the categories of the Thompson Index would be too exhaustive, let alone the thousands of motifs themselves, but the categories are organized by broader themes denoted by letters from A (Mythological Motifs) to Z (Miscellaneous Groups of Motifs).

This includes animals, taboos, magic, the dead (including ghosts and vampires), marvels, ogres (and monstrous figures in general), tests, deceptions, reversals of fortune, ordaining the future, chance and fate, society, rewards and punishment, captives and fugitives, unnatural cruelty, sex, the nature of life, religion, traits of character and humor.

And as its title indicates, the Aarne-Thompson-Uther Index (ATU or AT Index) also involved Thompson – but as originally compiled by Finnish folklorist Antti Aarne and as further expanded and revised by German folklorist Hans-Jorg Uther, classifying tales by their type.

As defined by Thompson, “a type is a traditional tale that has an independent existence. It may be told as a complete narrative and does not depend for its meaning on any other tale. It may indeed happen to be told with another tale, but the fact that it may be told alone attests its independence. It may consist of only one motif or of many”.

The Index divides tales into sections with an AT number for each entry, which also have their own broad title and including closely related folk tales – for example, 545B “The Cat as Helper” includes folk tales with other animal helpers. Similar types are grouped together – “tale types 400–424 all feature brides or wives as the primary protagonist”.

To illustrate further, 510A is their Cinderella entry (including other versions and similar variations), itself a subcategory of 510 Persecuted Heroine, and noting other entries with which it is commonly combined.

 

RATING: 5 STARS*****
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(3) THOMAS BULFINCH –

BULFINCH’S MYTHOLOGY (1867)

 

I believe in all the gods –
especially the goddesses.

We’re going old school for this one, as in nineteenth century old school – named for its American author Thomas Bulfinch and published as a collection of three volumes after his death in 1867. Yet Bulfinch’s Mythology still remains a classic reference (and handily in the public domain) – as indeed it was for me as my introduction as a child to the world of classical mythology. Well, technically that was the first volume – the Age of Fable – which also featured a briefer recitation of Nordic mythology, admittedly a close second to my love for classical mythology. (The second volume – The Age of Chivalry – featured Arthurian legend, while the third volume The Legends of Charlemagne is pretty much what it says on the tin).

Looking back to it now, it’s somewhat dated and has its flaws as a reference – particularly as his obituary noted, it was “expurgated of all that would be offensive”. Or in other words, half the fun of classical mythology or all the sex and violence. (Indeed, his Wikipedia entry includes an uncited reference that Bulfinch was an anti-homosexuality activist in his final years. If true, that would have made for some awkwardness when compiling classical mythology – those gods tended to swing all ways). Which is somewhat disappointing, because having learnt that Bulfinch was a merchant banker, I fondly imagined him as staid banker by day and Bacchanalian by night, similar to the hedonistic heathen imagined by Chesterton in The Song of the Strange Ascetic.

However, it remains one of the most accessible single-volume references to classical mythology for the general reader – as Bulfinch wrote in his preface:

“Our work is not for the learned, nor for the theologian, nor for the philosopher, but for the reader of English literature, of either sex, who wishes to comprehend the allusions so frequently made by public speakers, lecturers, essayists, and poets, and those which occur in polite conversation.”

Anyway, its impact as an introduction to classical mythology remains profound – if, deep within my psyche, there is any mythology that tempts me to actual religion, it’s classical mythology.

Yes – it’s the nymphs.

 

RATING: 4 STARS****
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(4) BREWER’S DICTIONARY OF PHRASE & FABLE (1870)

 

Another nineteenth century old school entry, indeed only a few years after Bulfinch’s Mythology and ranking with it as classic reference.

I’m somewhat disappointed that the Brewer of the title is not a reference to brewers of alcohol, somewhat similar to the Guiness Book of Records originating from pub arguments, but from Reverend Ebenezer Cobham Brewer.

However, like Roget’s Thesaurus, the reference book has moved on from him – including into the public domain in its 1895 edition – but continues to be published in new editions, effectively retaining Brewer as a brand name.

It contains “definitions and explanations of many famous phrases, allusions, and figures, whether historical or mythical…The ‘phrase’ part of the title refers mainly to the explanation of various idioms and proverbs, while the “fable” part might more accurately be labelled “folklore” and ranges from classical mythology to relatively recent literature”.

 

RATING: 4 STARS****
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(5) SIR JAMES GEORGE FRAZER –

THE GOLDEN BOUGH (1890)

 

“Who are these coming to the sacrifice?” –
John Keats, Ode on a Grecian Urn

Behold the monomyth of the sacrificial sacred king.

That is – the monomyth of a recurring or universal mythic archetype, as used by Joseph Campbell for his archetypal hero’s journey. But it doesn’t get much more monomythic that one of the original monomyths – Sir James George Frazer’s The Golden Bough.

The Golden Bough proposed the monomyth or recurring mythic archetype of sacrificial sacred kings – or their surrogates once the kings wised up to it – as incarnations of gods or solar deities whose death and resurrection in turn represented fertility. And believe me, Frazer saw these sacred kings or fertility cults everywhere – including Jesus and Christianity, controversially at the time – such that he filled several volumes up with them, although more people (including me) tend to read his abridged single volume.

Now I think that Frazer was always entertaining and occasionally illuminating in The Golden Bough – his discussion of the principles of sympathetic magic, a term coined by himself, seems particularly definitive – but in terms of factual or historical accuracy…not so much as he’s much more mixed at best in this respect. As the old adage goes, when all you have is a hammer, everything begins to look like a nail – and when all you have is a theory of sacred kings, then by god or goddess, everything begins to look like a sacred king, even if you have to hammer everything into shape for it. After all, we all have to make sacrifices…

While Frazer is or was mostly dismissed as a footnote in academic study, The Golden Bough has been highly influential in literary culture, because whether or not it is true, his mythic archetype of the doomed hero or sacrificial sacred king has the elements of a ripping yarn.

Just for starters, there’s his influence on T. S. Eliot, who openly acknowledged the influence of Frazer on The Waste Land, although with the characteristic pessimism of that poem, proposed the cycle might be broken, leaving only violence and death without rebirth – and in which the dying god is just another buried corpse, perhaps even prompting to mind a Nietzschean murder victim or contemporary zombie apocalypse, rising writhing from their own resurrection – “That corpse you planted last year in your garden, has it begun to sprout?”

Or there’s his influence on Campbell’s own monomyth. Or on Sigmund Freud, lending itself to the segue of his influence on Camille Paglia, who described her primary influence as a fusion of Frazer and Freud (although doubling the inaccuracy of the former with that of the latter).

 

RATING: 4 STARS****
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(6) ROBERT GRAVES –

THE WHITE GODDESS / THE GREEK MYTHS (1948 / 1955)

 

Graves saw Frazer’s sacred king and raised it with a queen, his titular White Goddess. For Graves, the monomyth was his theme, or rather the great mythic and poetic Theme:

“The Theme, briefly, is the antique story, which falls into thirteen chapters and an epilogue, of the birth, life, death and resurrection of the God of the Waxing Year; the central chapters concern the God’s losing battle with the God of the Waning Year for love of the capricious and all-powerful Threefold Goddess, their mother, bride and layer-out. The poet identifies himself with the God of the Waxing Year and his Muse with the Goddess; the rival is his blood-brother, his other self, his weird.”

However, The White Goddess is not as accessible in its prose as Frazer’s The Golden Bough and is essentially a compilation of poetic musings, which has its shining moments but can often become turgid or bogged down in Graves’ esoteric discussion of the Irish tree alphabet or the poems of Taliesin. And like The Golden Bough, it’s best read as poetry than for factual or historical accuracy.

And he was an apostle of the White Goddess again in his study of Greek mythology. However, it remains my favorite single volume study of Greek mythology.

Essentially it comes in two parts.

The first part is a conventional compendium of Greek mythology – literary retellings of the various myths from their sources – and it is this part that is the basis for the book as my favorite single volume study of Greek mythology, albeit somewhat dense in its prose style.

The second part – his interpretative notes or commentary – is where things get more wild, albeit all in good poetic fun. This is where Graves ‘decodes’ or reconstructs Greek mythology to his monomyth of the Goddess or prehistoric matriarchal religion – “Graves interpreted Bronze Age Greece as changing from a matriarchal society…to a patriarchal one under continual pressure from victorious Greek-speaking tribes. In the second stage local kings came to each settlement as foreign princes, reigned by marrying the hereditary queen, who represented the Triple Goddess, and were ritually slain by the next king after a limited period, originally six months. Kings managed to evade the sacrifice for longer and longer periods, often by sacrificing substitutes, and eventually converted the queen, priestess of the Goddess, into a subservient and chaste wife, and in the final stage had legitimate sons to reign after them”.

So there you go. Of course, the historical accuracy of Graves’ interpretation or commentary has been almost universally contested or considered to be idiosyncratic – “the interpretive notes are of value only as a guide to the author’s personal mythology”. His characteristic rejoinder was to plead poetic privilege, essentially rebuking his critics or classical scholars “You’re not poets!”. And it’s hard to argue with poetry.

 

RATING: 4 STARS****
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(7) JOSEPH CAMPBELL –
THE HERO WITH A THOUSAND FACES (1949)

 

Behold the monomyth!

Joseph Campbell, arguably the leading scholar of mythology, developed the monomyth or Hero’s Journey as the archetypal heroic narrative in which the protagonist hero sets out, has transformative adventures and returns home. And it has been a favorite of comparative mythology and literary or writing studies ever since, particularly after George Lucas identified it as a major influence on his original Star Wars trilogy.

Campbell identified it as the monomyth because he saw it to be at least a recurring mythic structure to heroes, if not universal. Of course, it helps to be a monomyth if you pitch it in broad terms that apply to almost any story – the hero (ad)ventures into the mythic world – the supernatural or mysterious realm – and brings something back, not least himself in transformed form.

As per Campbell – “A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.”

Or even more broadly, a hero goes on an adventure, is victorious in a decisive crisis and comes home changed or transformed – which is almost any story.

It also helps to structure it in the basic modern dramatic format of three acts – which Campbell styled as departure, initiation (often featuring death and rebirth or resurrection) and return.

And it helps even more to combine this broad structure at the same time with a number of specific variations from virtually every story – which Campbell styled as stages – which themselves have an almost infinite number of permutations.

Even so, you can’t deny the poetic resonance of Campbell’s stages as he styled or titled them – from the Call to Adventure (often accompanied by a Refusal of the Call) that starts it all, through the Belly of the Whale and the Road of Trials as well as my personal favorite The Meeting with the Goddess, to the triumphant return as the Master of Two Worlds and the Freedom to Live.

Of course, the monomyth has its critics – from those who criticize that its very generality (or vagueness) detracts from its validity or usefulness, to those who criticize its male frame of reference (with some offering up the heroine’s journey as an alternative) or its inherently aristocratic (or autocratic) elitism.

Yet, who can deny the emotional resonance of the hero’s journey – and who hasn’t yearned for their own call to adventure?

 

RATING: 4 STARS****
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(8) MIRCEA ELIADE –

THE SACRED & THE PROFANE / SHAMANISM (1957 / 1964)

 

“The nostalgia for Paradise…the desire to find oneself always and without effort in the center of the world, at the heart of reality”.

 

Behold the monomyth!

Campbell’s term of monomyth may be somewhat unfair for Eliade, since he established multiple paradigms in mythology or religion “that persist to this day” – hierophany, sacred space and time, the nostalgia for Paradise, the axis mundi or Center of the World, all myths as creation or origin myths, the eternal return, the terror of history, the coincidence of opposites, deus otiosus, and homo religiosus.

On the other hand, all of his paradigms might be considered permutations of his core concept of hierophany, the manifestation – or intrusion – of the sacred in the world, including but not limited to the earlier concept of theophany or manifestation of a god. In turn, it is hierophany that creates sacred space and time, or rather, divides the human experience of reality into sacred and profane space and time.

And the rest of his paradigms really flow from that. The mythic or religious connotes the nostalgia for Paradise or desire to return to sacred space or time, which is also the axis mundi or center of the world.

“Myth, then, is always an account of creation” – the primordial time “when the Sacred first appeared, establishing the world’s structure”. By enacting myths and rituals, one doesn’t simply commemorate them but participates in them – one “detaches himself from profane time and magically re-enters the Great Time, the sacred time”, or the eternal return.

On the other hand, “yearning to remain in the mythical age causes a terror of history” – the desire “to escape the linear succession of events” – “Eliade suggests that the abandonment of mythical thought and the full acceptance of linear, historical time, with its terror, is one of the reasons for modern man’s anxieties”.

As for the coincidence of opposites, “Eliade claims that many myths, rituals, and mystical experiences involve a “coincidence of opposites” or “twofold revelation” – “they express on the one hand the diametrical opposition of two divine figures sprung from one and the same principle and destined, in many versions, to be reconciled…the very nature of the divinity, which shows itself, by turns or even simultaneously, benevolent and terrible, creative and destructive, solar and serpentine, and so on”.

Deus otiosus – the inactive (or leisurely) god – is perhaps my favorite paradigm by Eliade. Contrary to those who proposed that religions evolve from polytheism to monotheism, Eliade argued that supreme heavenly beings were less common in advanced cultures.

“Eliade speculates that the discovery of agriculture brought a host of fertility gods and goddesses into the forefront, causing the celestial Supreme Being to fade away and eventually vanish from many ancient religions. Even in primitive hunter-gatherer societies, the High God is a vague, distant figure, dwelling high above the world. Often he has no cult and receives prayer only as a last resort, when all else has failed. Eliade calls the distant High God a deus otiosus (idle god)”.

His book on shamanism, Shamanism: Archaic Techniques of Ecstasy, is the second of his landmark duo of books after The Sacred and the Profane. It applied his ongoing ideas to shamanism, whicn in turn he saw as the ongoing death and resurrection of shamanic figures.

 

RATING: 4 STARS****

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(9) WALTER BURKERT –
GREEK RELIGION (1985)

 

If Nietzsche’s The Birth of Tragedy and Robert Graves’ The Greek Myths are my Old Testament of classical mythology, Burkert’s Greek Religion is my New Testament. Alternatively, the three are my holy trinity of classical mythology (which I suppose would make Nietzsche the Father, Graves the Son and Burkert the Holy Spirit of classical mythology).

No, seriously. For me, Nietzsche and Graves are poles at the other end of a thematic spectrum from Burkert – which I suppose would make all three the points of a thematic triangle. Whatever.

The line from Nietzsche to Burkert is perhaps more obvious – both came from a long tradition of German classicists or classical philologists, indeed its most prominent figures in the English-speaking world (or at least authors of its most prominent books), but in some ways diametrically opposed from each other.

Nietzsche essentially extrapolated a recurring dichotomy of the Apollonian and the Dionysian from classical mythology, above all in its literary manifestation in Greek tragedy, hence his title The Birth of Tragedy. He wrote as an eccentric poet-philosopher, or as he himself described it, a ‘rhapsodizer’ (prompting thoughts of Nietzsche as rhap-artist), not unlike his own prophetic ‘madman’ and apostle of the death of God before his time – “I have come too early…my time is not yet”.

Graves strikes me as similar to Nietzsche – probably someone somewhere has studied or written of the influence of Nietzsche on Graves, if any, but I don’t know anything about that subject – writing as a fellow rhapsodizer or poet, but as an apostle of the Goddess rather than of the death of God, extrapolating his monomyth of the Goddess or prehistoric matriarchal religion from classical mythology.

Of course, the historical accuracy of either has been almost universally contested or considered to be idiosyncratic – “of value only as a guide to the author’s personal mythology”. But who cares? They’re fun! And it’s hard to argue with poetry.

Burkert’s The Greek Religion on the other hand, originally published in his native German in 1977 and translated into English in 1985, has been widely accepted as a standard work in the field. And unlike Nietzsche or Graves, Burkert pretty much extrapolates nothing, robustly sticking to the facts of his literary or archaeological sources.

Burkert presents classical polytheism as inherently chaotic in nature, but at the heart of classical religion was sacrificial ritual – “The term gods…remains fluid, whereas sacrifice is a fact”.

His section headings say it all about his comprehensive survey of Greek religion – Prehistory and the Minoan-Mycenaean Age; Ritual and Sanctuary; The Gods (the Olympian dirty dozen and the balance of the pantheon); The Dead, Heroes and Chthonic Gods; Polis and Polytheism; Mysteries and Asceticism; and Philosophical Religion.

“He describes the various rituals of sacrifice and libation and explains Greek beliefs about purification. He investigates the inspiration behind the great temples at Olympia, Delphi, Delos, and the Acropolis―discussing the priesthood, sanctuary, and oracles. Considerable attention is given to the individual gods, the position of the heroes, and beliefs about the afterlife. The different festivals are used to illuminate the place of religion in the society of the city-state. The mystery cults, at Eleusis and among the followers of Bacchus and Orpheus, are also set in that context. The book concludes with an assessment of the great classical philosophers’ attitudes to religion”.

 

RATING: 4 STARS****
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(10) MARINA WARNER –

NO GO THE BOGEYMAN: SCARING, LULLING & MAKING MOCK (1998)

 

Marina Warner – or Dame Marina Warner to give her title as well – is an English mythographer, typically writing about mythology, folklore or fairytales.

Typically her focus is on female figures – literally in her book Monuments & Maidens: The Allegory of the Female Form. Indeed, she started with the ultimate female figure of Catholic veneration, the Virgin Mary (well, after a book on the Empress Dowager or Dragon Empress of the Qing Empire, Tz’u-his), which she followed with a book on Joan of Arc.

Perhaps her leading book on female figures of folklore and fairytales was the evocatively titled From the Beast to the Blonde: On Fairy Tales and Their Tellers).

In a sense, this book is the companion to that one and something of an exception to the rule of her usual female lens, focusing as it does on the figures of male terror in folklore, fairytales, and fiction – “ogres and giants, bogeymen and bugaboos” (which sadly omits my personal favorite terms of bugbear and bete noire).

Although of course Dame Warner has been prolific enough I could compile a top ten books just of those written by her. She also gets bonus points being identified as the “lady writer” of the Dire Straits song of that name – as the writer the singer sees on television “talking about the Virgin Mary” and who reminds him of his former lover.

 

RATING: 4 STARS****

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(11) H.A. GUERBER –

MYTHS OF GREECE & ROME / MYTHS OF THE NORSEMEN (1908-1909)

 

“Hélène Adeline Guerber…also known as H.A. Guerber, was an American writer of books, most of which were lively retellings of myths, legends, folklore, plays, epic poetry, operas and history.”

There are scant details about H.A. Guerber herself, apart from being an American teacher and writer – even though her books, mostly retellings of myths or legends such as The Myths of Greece and Rome, remain in print as classics. Of course, her occupation as teacher would account for her books being accessible to children, as they were for me.

Her Myths of the Norsemen is one of my favorite books for Norse mythology – and a vintage one at that. It owes its status as my favorite to being one of two books I first read to learn about the Norse myths as a child – the other being Bulfinch’s Mythology, but to be honest this did it better, not least because of its exclusive focus and the art plates throughout the book. It still boggles my mind that they had this vintage book in my school library – although one advantage of its vintage publication is that it is freely available online.

The full title of this book is Myths of the Norsemen from the Eddas and Sagas – and Guerber shows her own poetic sense in the book:

“Northern mythology is grand and tragical. Its principal theme is the perpetual struggle of the beneficent forces of Nature against the injurious, and hence it is not graceful and idyllic in character, like the religion of the sunny South, where the people could bask in perpetual sunshine, and the fruits of the earth grew ready to their hand.

 

RATING: 4 STARS****

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(12) JONATHAN KIRSCH –

THE HARLOT BY THE SIDE OF THE ROAD / A HISTORY OF THE END OF THE WORLD (1998 / 2006)

 

Jonathan Kirsch is the author of some of my favorite studies of the Bible. Not of the whole Bible, mind you – for one thing, he tends towards a Jewish focus on the Old Testament (with one notable exception), and for another, he has a particular focus on points of interest there as well.

The Harlot by the Side of the Road was his first such book and its subtitle says it all – Forbidden Tales of the Bible. As does the usual expression of shock he quotes in his introduction – do you mean THAT’S in the Bible?!

“The stories you are about to read are some of the most violent and sexually explicit in all of Western literature. They are tales of human passion in all of its infinite variety: adultery, seduction, incest, rape, mutilation, assassination, torture, sacrifice, and murder”

We’re talking Lot and his daughters in Genesis, then echoed by the Levite and his concubine in Judges, only worse. Much like Abraham preparing to sacrifice his son Isaac in Genesis is echoed, only worse, as Jephthah actually sacrificing his daughter in Judges. Which pretty much sums up those two bloody books of the Bible, which would do Quentin Tarantino or Game of Thrones proud.

Indeed, most of the book is from either Genesis or Judges. There is a couple of exceptions, including the one where God tries to kill Moses, until Moses’ quick-thinking wife Zipporah does a spontaneous circumcision of their infant son and smears Moses’ forehead with the bloody foreskin. Which is just odd, akin to of those weird variants of vampire that can be held at bay by some bizarre obsessive-compulsive ritual.

Which perhaps brings us to his book on Moses, although I just don’t find Moses as intriguing a character as the subject of his similar book on King David. After all, Exodus and its related books might easily have been summed up with the subtitle Are We There Yet?

I do like how he compares God and Moses to a constantly bickering old married couple. I mean, I’m only paraphrasing slightly with this exchange:

GOD: “I have had it with these Israelites! I’ll kill all of them and start over with you and your descendants!”
MOSES: “And what would the Egyptians say? That you saved the Israelites from slavery only to kill them in the desert?”
GOD: “Hmmm. Okay – I’ll just kill some of them.”

I’ve always imagined one Israelite turning to another as the God in a box starts yelling again from the Ark of the Covenant – “I preferred the calf”.

As I said, I prefer King David to Moses, because despite the former’s many flaws – and David could be a monumental ass at times – he’s just such a charming rogue, so much so that even God was charmed by him as God’s golden boy. Or at least, he charmed the original author of the Bible – I particularly like the theory Kirsch references that the nucleus of the Bible started as a court biography of David, to which preceding events were added almost as a legendary Hebrew Dreamtime.

However, my absolute favorite Kirsch book remains his study of the Book of Apocalypse or Revelations, not coincidentally my absolute favorite book of the Bible, in A History of the End of the World (and that one notable exception to his focus on the Old Testament I noted at the outset).

Again, the subtitle of the book sums it up – How the Most Controversial Book in the Bible Changed the Course of Civilization. Or for that matter, the scholarly quip he quotes in his introduction – “Revelations either finds a man mad, or leaves him so”.

 

RATING: 4 STARS****
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(13) BETTANY HUGHES –

HELEN OF TROY / VENUS & APHRODITE (2005 / 2019)

 

A thematic duo of books for my top two favorite female figures from mythology – Aphrodite Venus and Helen of Troy (which I understand to be adapted from or for TV series written and presented by Hughes).

And for those who think it a cheat to include two books within the one entry, I’d rank her Helen of Troy over her Aphrodite & Venus (despite ranking Aphrodite over Helen for my top female figure from mythology). Firstly because it was, well, first of the two (including in my reading order of them) and secondly because it seemed to me the more developed in depth. Don’t get me wrong – her Aphrodite book is an interesting presentation of the goddess in her many aspects, written in Hughes’ characteristic engaging style, but I just would have preferred it to be a little longer to consider its subject a little deeper.

“As soon as men began to write, they made Helen of Troy their subject; for nearly three thousand years she has been both the embodiment of absolute female beauty and a reminder of the terrible power that beauty can wield”. And that’s literally as soon as men began to write, as she was enshrined within the Iliad, Homer’s epic poem that is the foundation of Western literary culture.

The subtitle of the book sums up her aspects in myth and history – goddess, princess, whore. I was aware of her divine mythic aspect from other sources – including one referenced in this book that saw Helen as a semi-divine figure in a blissful life, ironically with Achilles, but aptly enough coupling the world’s most beautiful women with its greatest warrior. And of course her divine origin as a daughter of Zeus in the form of a swan with Leda, with Helen hatched from an egg.

However, I was intrigued by Helen of Sparta, “the focus of a cult which conflated Helen the heroine with a pre-Greek fertility goddess”. For that matter, I often tend to overlook that Helen was from Sparta (SPARTA!) – and Hughes is evocative in fleshing her out as a Spartan princess or Mycenaean aristocrat, as well as fleshing out Paris as delegate from Troy as Hittite satellite, doing the Bronze Age equivalent of sliding into her dms.

It reminded me of other reading – that while we moderns tend to query a casus belli as retrieving a stolen wife, substituting other theories for the Trojan War, when one looks at ancient or tribal war, that wars fought over women or a woman may not be so strange after all.

And that of course brings me to that other aspect of Helen – “the home-wrecker of the Iliad” and “bitch-whore of Greek tragedy”. It’s an aspect that evokes the original sin of Eve on a geopolitical scale, “held responsible for both the Trojan War and enduring enmity between East and West”. There’s even an apple in Helen’s myth!

As for Aphrodite & Venus, it’s summed up by its subtitle – history of a goddess. And what a goddess! It starts – aptly enough – with her mythic birth (or one of its versions at least), reminding us of something that Botticelli’s famous birth of Venus often charms us to forget, that Aphrodite wasn’t just born from the bubbles of sea foam, but the bloody foam formed by or around the severed genitals of a deposed divine ruler.

It evokes images of the Anatolian goddess Cybele imported into Greece and Rome, some of whose frenzied male devotees were reputed to have castrated themselves at the height of her ecstatic festivals – which I suspect at least of few them regretted in the distinctly, ah, un-ecstatic light of the next day.

I don’t know of any association or connection between Aphrodite and Cybele – the Greeks associated Cybele with mother goddess Rhea – but Aphrodite was certainly associated with ancient near Eastern goddesses of love and war like Ishtar, aptly enough for Aphrodite’s’ blood-foamed birth. Hughes explores this association, seemingly conflated with her origin in Cyprus, as demonstrative of a divine figure far more complex in all her aspects than the mere classical pinup or party girl to which she is often reduced.

One such aspect is as goddess of the Roman Empire itself – evoked in Hughes’ chapter Venus and Empire – as Romans traced their empire to legendary Trojan founder, Aeneas. Aeneas – leader of exiles from the Trojan War, heir to the Trojan royal lineage of Priam, Paris and Hector, and above all, son of Aphrodite. The Romans also looked more favorably on her consorting with the god of war, as while the Greek god of war represented the brutish violence of war (with Athena representing the art of war), the Romans saw their counterpart Mars as representing more martial virtue and honor.

 

RATING: 4 STARS****
B-TIER (HIGH TIER)

 

 

 

(14) PAUL ROBICHAUD –

PAN: THE GREAT GOD’S MODERN RETURN (2021)

 

Io Pan! Io Pan Pan!

Pan, the original horny god with the groin of a goat or as Bill Hicks styled him, randy Pan the Goat Boy. God of nature, mountains, shepherds and sexuality – also the source of our word panic, for the divine mad fear he could inspire in people, including as savior of Athens, the invading Persian army at Marathon.

As a Capricorn goat boy myself, I’ve long been a Pan fan. And so too is Paul Robichaud, a devotee of Pan. Well perhaps not the Capricorn part, but he has written a whole book as a paean to Pan.

Ironically, the only classical Greek god reported as dead – in a historical legend by Plutarch, with a sailor during the reign of Tiberius reporting a divine proclamation from an island that “the great god Pan is dead” – but reports of his death, to paraphrase Mark Twain, were greatly exaggerated. Pan was the one god that endured more than all the others, even to the extent of embodying in horned and hooved form all classical paganism as a whole in modern romanticism and neo-paganism. Perhaps aptly enough, given the pun on Pan – as the word for “all” in Greek also being Pan.

Robichaud comes from a background as an English professor – it shows in his fluent prose style, but also a focus on literature as he explores how Pan has been imagined in mythology, art, literature, music, spirituality, and popular culture through the centuries. The chapter titles best demonstrate this odyssey of Pan from mythic Pan – through medieval and early modern Pan, Pan’s romantic rebirth, Pan in the twentieth century (and his Edwardian height of popularity) and Pan’s occult power – to contemporary Pan.

All the usual suspects are here as cultural or literary devotees of Pan, but most notably those from Edwardian children’s literature of all places – prompting Bill Hick’s joke about his Goat Boy being available for children’s parties (“Mommy, I want Goat Boy to come play at our house”). Kenneth Grahame’s Piper at the Gates of Dawn. Peter Pan’s namesake, as well as much of his persona – with the Lost Boys as his satyrs.

Sadly, no C.S. Lewis’ Narnia, despite its deliciously Dionysian portrayal, maenads and all. Pan did often pal around with Dionysus after all, but generally not so much the other gods – not to mention all those fauns in Narnia. Wait a minute…Mr Tumnus is Pan! Spread the word.

Of course, there are bound to be omissions – Bill Hicks’ Goat Boy for one, Rhys Darby’s fleeting Pan-like figure in Flight of The Conchords’ Prince of Parties song for another. There’s just too much Pan – or is that too many Pans? – out there.

Also sadly, Rochibaud does suggest one of my favorite historical legends of how Christianity embodied Pan as its devil – as being just that, a legend dating back only to the nineteenth century (following the hypothesis of Ronald Hutton to that effect).

I still prefer the legend. In one of my story ideas, a somewhat lost and forlorn Satan muses to the protagonist (with whom he has occasional chats) of his origin from Pan (as one of his multiple-choice origin stories). The protagonist calls him out on his conflicting origin stories, to which Satan replies “Do I contradict myself? Very well, I contradict myself. I am legion, I contain multitudes”. But then he becomes sadly wistful “I would give anything just to dance in the moonlight again, when I was not evil but only wild and free”.

 

RATING: 4 STARS****
B-TIER (HIGH TIER)

 

 

 

(15) FRANCIS YOUNG –
TWILIGHT OF THE GODLINGS (2023)

 

Small god-shaped holes – or everything you know about fairies is wrong.

Well, perhaps not quite everything, but at least the belief that Britain’s fairies and supernatural beings are the direct preservations or survivals of pagan gods.

But they are small god-shaped holes – filling the niche through many cultures, particularly European folklore or mythology, for ‘godlings’ or what Francis Young dubs small gods (borrowing from Terry Pratchett), although I’d have been tempted to go with hemi-demi-gods.

Essentially those supernatural beings ranking beneath the top-tier gods or major cult figures, somewhere between the human and divine – such as fauns and nymphs in Roman culture, not coincidentally one of the influences Young traces for fairies.

Young argues that earlier folkloric beings (albeit probably only as far back as those Roman godlings) were reinvented within Christianity to fill the niche – or the small god-shaped holes of culture.

 

RATING: 4 STARS****
B-TIER (HIGH TIER)

 

 

 

 

(16) PRINCIPIA DISCORDIA (1963)

 

Or how I found Goddess and what I did to Her when I Found Her.

No really, that’s the subtitle of the book. The Goddess in question is the playful goddess of chaos in classical mythology, Eris or Discordia, but as the object of the Discordian “religion”, which is either a joke disguised as a religion or a religion disguised as a joke.

The Principia Discordia is the central Discordian “religious” text – and much briefer than other such texts. Written by the pseudonymous Malaclypse the Younger and Lord Omar Khayyam Ravenhurst, it is full of contradictions and humor:

“Is Eris true?”
“Everything is true.”
“Even false things?”
“Even false things are true.”
“How can that be?”
“I don’t know man, I didn’t do it.”

At the same time, as noted in its Wikipedia entry, it contains several passages which propose that there is serious intent behind the work, for example a message scrawled on page 00075: “If you think the PRINCIPIA is just a ha-ha, then go read it again.” Also, it is is quoted extensively in and shares many themes with the satirical science fiction book The Illuminatus! Trilogy by Robert Shea and Robert Anton Wilson, one of my top ten SF books.

“Notable symbols in the book include the Apple of Discord, the pentagon, and the “Sacred Chao”, which resembles the Taijitu of Taoism, but the two principles depicted are “Hodge” and “Podge” rather than yin and yang, and they are represented by the apple and the pentagon, and not by dots. Saints identified include Emperor Norton, Yossarian, Don Quixote, and Bokonon. The Principia also introduces the mysterious word “fnord”, later popularized in The Illuminatus! Trilogy”.

“I can see the fnords!”

I particularly enjoy how it deems every single man, woman and child on Earth as “a genuine and authorized pope of Discordia” – even including an official pope card that may be reproduced and distributed to anyone and everyone. Or that it has five classes of saint as exemplars and models of perfection – with the lowest class of saint being for real people, deceased or otherwise, as the higher classes of saint are reserved for fictional beings, who by virtue of being fictional, are better able to reach the Discordian view of perfection. The canonization of Discordian saints was a profound influence upon myself to canonize my own saints of pagan Catholicism – and apostles of the Goddess.

 

RATING: 4 STARS*****
X-TIER (WILD TIER)

 

 

 

(17) THE BOOK OF THE SUBGENIUS (1983)

 

Eternal salvation or triple your money back!

Similar to Discordianism – with which it is often compared (and with which it arguably overlaps) – the Church of the SubGenius is either a joke disguised as a religion or a religion disguised as a joke, although in my opinion it doesn’t lend itself as much to the latter as Discordianism.

“The Church of the SubGenius is a parody religion described by some of its own members as an ‘insane bogus UFO mind-control cult’…elements of self-help groups, UFO cults, Scientology, apocalyptic Christianity, and utterly shameless money-grubbing antics”.

It purportedly originates from its revered prophet, J.R. Bob Dobbs, usually known simply as “Bob”. (When printing “Bob”‘s name, the “Bob” must always be surrounded by “quotes”). “Bob” is the prophet (as well as avatar and embodiment) of Slack, the cosmic spiritual quality as ineffable as the Tao for which the Church and all its members strive – and to which the Con or Conspiracy is opposed. Which conspiracy? Why, all of them of course – as the Conspiracy represents them all.

The ultimate goal of all SubGeniuses (SubGenii?) is to survive until X-Day, when godlike aliens “will arrive and Rupture all the dues-paying SubGenii to a never-ending tour” (pleasure tour?) “of the universe, while converting Planet Earth into the intergalactic equivalent of a greasy-spoon truck-stop”. For those left behind (anyone who isn’t a paid-up SubGenii), it’s not going to be fun as “human pain is apparently a very high-priced drug among the various gods, demons, and alien beings of the complex and ever-growing SubGenius Pantheon”. X-Day is prophesied to occur on 5 July 1998, at 7 AM – “the fact that that date apparently passed without the arrival of the Alien Fleet has forced SubGenii to come up with a multitude of excuses”.

The Book of the Sub-Genius is of course its foundational text, although the New(er) Testament, Relevation X, comes close!

 

RATING: 4 STARS****

X-TIER (WILD TIER)

 

 

 

(18) WIL HUYGEN & RIEN POORTVLIET –

GNOMES (1977)

 

“Yeah, Rien Poortvliet just called. He wants you to pose for him…Oh come on, beloved illustrator of Gnomes? Jesus, read a coffee table book!”

Archer, “Sea Tunt: Part I”

 

It always surprises me that gnomes are of such recent vintage, compared to other legendary creatures – “A gnome is a mythological creature and diminutive spirit in Renaissance magic and alchemy, introduced by Paracelsus in the 16th century”.

He introduced them as earth elementals – to match sylphs as air elementals, undines as water elementals, and salamanders as fire elementals. Note to self – air and water are the s€xy ones.

Anyway, they were “widely adopted by authors, including those of modern fantasy literature” and “typically depicted as small humanoids who live underground”.

So what’s the difference from dwarves? The short answer is not much, at least in depiction (as opposed to origins in folklore), and any difference is really a matter of stylistic choice. Apparently kobolds or Germanic mine spirits also overlap with gnomes.

Although probably the most famous gnomes are garden gnomes – garden or lawn ornaments crafted as statues of gnomes, typically with beards and pointed conical caps (in the style of those old school dunce caps), that originated in the nineteenth century.

Essentially, Poortvliet’s illustrations of gnomes in this book, written by Wil Huygen, follows the visual depiction of gnomes in the style of diminutive garden gnomes. Ironically, it distinguishes gnomes as always bearded from dwarves as always beardless, which is the opposite of their most popular contemporary depiction as character races in Dungeons and Dragons – arguably following the books of Tolkien, except with gnomes as similar to hobbits or halflings (without the hairy feet).

As for the book itself, it “explains the life and habitat of gnomes in an in-universe fashion, much as a biology book would do, complete with illustrations and textbook notes” – often with astonishingly intricate fictional detail. The titular gnomes are also depicted as living harmoniously with animals and nature, evoking contemporary environmental themes.

 

RATING: 4 STARS****

X-TIER (WILD TIER)

 

 

(19) LEGENDARY CRYPTIDS

 

As “the biological equivalent of UFO sightings”, cryptids and cryptozoology are another modern mythology par excellence, hence my weird-tier special mention for the Legendary Cryptids X-Twitter account and Youtuber (because it is special mention for what is, after all, my top ten for mythology books).

Legendary Cryptids hasn’t published any books as far as I’m aware – but I anticipate would readily feature any books on cryptids or cryptozoology and has probably compiled enough material for a book.

My personal highlights are the cryptid maps he features for various countries and the ‘iceberg’ memes that in the style of such memes look at increasingly deep or esoteric cryptid lore the further you go below the surface.

 

RATING: 4 STARS****
X-TIER (WILD TIER)

 

 

 

(20) CATHERINE JOHNS –

S€X OR SYMBOL: ER0TIC IMAGES OF GREECE & ROME (2002)

 

It is one of my rules in my top tens to throw in a kinky entry amidst my wilder special mentions, usually as my final (twentieth) special mention, at least where the subject matter permits.

And here it certainly does – it is not surprising given how large sexuality looms in human biology that it similarly looms large in our mythology.

I remember in high school that it was a running gag among my friends of drawing d!cks in each other’s textbooks, kind of like the end credits of the 2007 film Superbad. Juvenile, yes I know, or rather adolescent.

The Greeks and Romans were a lot like that – they had art of d!cks everywhere. Well, erotic art in general, but mostly a lot of d!cks. And no, we’re not just talking the ubiquitous nudity of classical art – we’re talking hardcore d!cks, literally in the sense of what is termed ithyphallic.

So much so that when Victorians – the prissy British of the historical Victorian period that is, not the residents of the Australian state – collected classical art in galleries or museums, they found themselves inundated by d!cks, like my high school textbooks or those Superbad end credits, which they then hid in restricted sections or basements.

And these were mythic d!cks! No, seriously – “many had a religious and apotropaic function”. Apotropaic, as in good luck charms or warding off evil, because nothing does that like a d!ck, albeit often depicted with wings or feet. We’re talking things like herms, statues with male genitalia used as boundary or crossroad markers, often invoking the (phallic) god Hermes or Mercury.

And this book has the extensive images of Greek or Roman art to prove it. Like looking through my high school textbooks…

 

RATING: 4 STARS****

X-TIER (WILD TIER)

 

 

TOP TENS – MYTHOLOGY:

TOP 10 BOOKS (SPECIAL MENTION) – TIER LIST

 

S-TIER (GOD TIER)

 

(1) TAROT – RIDER-WAITE & CROWLEY-THOTH

(2) FOLKLORE INDEX

 

A-TIER (TOP TIER)

 

(3) THOMAS BULFINCH – BULFINCH’S MYTHOLOGY

(4) BREWER’S DICTIONARY OF PHRASE & FABLE

(5) SIR JAMES GEORGE FRAZER – THE GOLDEN BOUGH

(6) ROBERT GRAVES – THE WHITE GODDESS / THE GREEK MYTHS

(7) JOSEPH CAMPBELL – THE HERO WITH A THOUSAND FACES

(8) MIRCEA ELIADE – THE SACRED & THE PROFANE / SHAMANISM

(9) WALTER BURKERT – GREEK RELIGION

(10) MARINA WARNER – NO GO THE BOGEYMAN

 

B-TIER (HIGH TIER)

 

(11) H.A. GUERBER – MYTHS OF GREECE & ROME / MYTHS OF THE NORSEMEN

(12) JONATHAN KIRSCH – THE HARLOT BY THE SIDE OF THE ROAD / A HISTORY OF THE END OF THE WORLD

(13) BETTANY HUGHES – HELEN OF TROY / APHRODITE & VENUS

(14) PAUL ROBICHAUD – PAN: THE GREAT GOD’S MODERN RETURN

(15) FRANCIS YOUNG – TWILIGHT OF THE GODLINGS

 

X-TIER (WILD TIER)

 

(16) PRINCIPIA DISCORDIA

(17) BOOK OF THE SUB-GENIUS

(18) WIL HUYGEN & RIEN POORTVLIET – GNOMES

(19) LEGENDARY CRYPTIDS

 

(20) CATHERINE JOHNS – S€X OR SYMBOL: ER0TIC IMAGES OF GREECE & ROME

 

 

(20) CATHERINE JOHNS –

S€X OR SYMBOL: ER0TIC IMAGES OF GREECE & ROME (2002)

 

It is one of my rules in my top tens to throw in a kinky entry amidst my wilder special mentions, usually as my final (twentieth) special mention, at least where the subject matter permits.

And here it certainly does – it is not surprising given how large sexuality looms in human biology that it similarly looms large in our mythology.

I remember in high school that it was a running gag among my friends of drawing d!cks in each other’s textbooks, kind of like the end credits of the 2007 film Superbad. Juvenile, yes I know, or rather adolescent.

The Greeks and Romans were a lot like that – they had art of d!cks everywhere. Well, erotic art in general, but mostly a lot of d!cks. And no, we’re not just talking the ubiquitous nudity of classical art – we’re talking hardcore d!cks, literally in the sense of what is termed ithyphallic.

So much so that when Victorians – the prissy British of the historical Victorian period that is, not the residents of the Australian state – collected classical art in galleries or museums, they found themselves inundated by d!cks, like my high school textbooks or those Superbad end credits, which they then hid in restricted sections or basements.

And these were mythic d!cks! No, seriously – “many had a religious and apotropaic function”. Apotropaic, as in good luck charms or warding off evil, because nothing does that like a d!ck, albeit often depicted with wings or feet. We’re talking things like herms, statues with male genitalia used as boundary or crossroad markers, often invoking the (phallic) god Hermes or Mercury.

And this book has the extensive images of Greek or Roman art to prove it. Like looking through my high school textbooks…

 

RATING: 4 STARS****

X-TIER (WILD TIER)

 

 

(18) WIL HUYGEN & RIEN POORTVLIET –

GNOMES (1977)

 

“Yeah, Rien Poortvliet just called. He wants you to pose for him…Oh come on, beloved illustrator of Gnomes? Jesus, read a coffee table book!”

Archer, “Sea Tunt: Part I”

 

It always surprises me that gnomes are of such recent vintage, compared to other legendary creatures – “A gnome is a mythological creature and diminutive spirit in Renaissance magic and alchemy, introduced by Paracelsus in the 16th century”.

He introduced them as earth elementals – to match sylphs as air elementals, undines as water elementals, and salamanders as fire elementals. Note to self – air and water are the s€xy ones.

Anyway, they were “widely adopted by authors, including those of modern fantasy literature” and “typically depicted as small humanoids who live underground”.

So what’s the difference from dwarves? The short answer is not much, at least in depiction (as opposed to origins in folklore), and any difference is really a matter of stylistic choice. Apparently kobolds or Germanic mine spirits also overlap with gnomes.

Although probably the most famous gnomes are garden gnomes – garden or lawn ornaments crafted as statues of gnomes, typically with beards and pointed conical caps (in the style of those old school dunce caps), that originated in the nineteenth century.

Essentially, Poortvliet’s illustrations of gnomes in this book, written by Wil Huygen, follows the visual depiction of gnomes in the style of diminutive garden gnomes. Ironically, it distinguishes gnomes as always bearded from dwarves as always beardless, which is the opposite of their most popular contemporary depiction as character races in Dungeons and Dragons – arguably following the books of Tolkien, except with gnomes as similar to hobbits or halflings (without the hairy feet).

As for the book itself, it “explains the life and habitat of gnomes in an in-universe fashion, much as a biology book would do, complete with illustrations and textbook notes” – often with astonishingly intricate fictional detail. The titular gnomes are also depicted as living harmoniously with animals and nature, evoking contemporary environmental themes.

 

RATING: 4 STARS****

X-TIER (WILD TIER)

 

 

(17) BOOK OF THE SUBGENIUS (1983)

 

Eternal salvation or triple your money back!

Similar to Discordianism – with which it is often compared (and with which it arguably overlaps) – the Church of the SubGenius is either a joke disguised as a religion or a religion disguised as a joke, although in my opinion it doesn’t lend itself as much to the latter as Discordianism.

“The Church of the SubGenius is a parody religion described by some of its own members as an ‘insane bogus UFO mind-control cult’…elements of self-help groups, UFO cults, Scientology, apocalyptic Christianity, and utterly shameless money-grubbing antics”.

It purportedly originates from its revered prophet, J.R. Bob Dobbs, usually known simply as “Bob”. (When printing “Bob”‘s name, the “Bob” must always be surrounded by “quotes”). “Bob” is the prophet (as well as avatar and embodiment) of Slack, the cosmic spiritual quality as ineffable as the Tao for which the Church and all its members strive – and to which the Con or Conspiracy is opposed. Which conspiracy? Why, all of them of course – as the Conspiracy represents them all.

The ultimate goal of all SubGeniuses (SubGenii?) is to survive until X-Day, when godlike aliens “will arrive and Rupture all the dues-paying SubGenii to a never-ending tour” (pleasure tour?) “of the universe, while converting Planet Earth into the intergalactic equivalent of a greasy-spoon truck-stop”. For those left behind (anyone who isn’t a paid-up SubGenii), it’s not going to be fun as “human pain is apparently a very high-priced drug among the various gods, demons, and alien beings of the complex and ever-growing SubGenius Pantheon”. X-Day is prophesied to occur on 5 July 1998, at 7 AM – “the fact that that date apparently passed without the arrival of the Alien Fleet has forced SubGenii to come up with a multitude of excuses”.

The Book of the Sub-Genius is of course its foundational text, although the New(er) Testament, Relevation X, comes close!

 

RATING: 4 STARS****

X-TIER (WILD TIER)

 

 

 

(11) H.A. GUERBER –

MYTHS OF GREECE & ROME / MYTHS OF THE NORSEMEN (1908-1909)

 

“Hélène Adeline Guerber…also known as H.A. Guerber, was an American writer of books, most of which were lively retellings of myths, legends, folklore, plays, epic poetry, operas and history.”

There are scant details about H.A. Guerber herself, apart from being an American teacher and writer – even though her books, mostly retellings of myths or legends such as The Myths of Greece and Rome, remain in print as classics. Of course, her occupation as teacher would account for her books being accessible to children, as they were for me.

Her Myths of the Norsemen is one of my favorite books for Norse mythology – and a vintage one at that. It owes its status as my favorite to being one of two books I first read to learn about the Norse myths as a child – the other being Bulfinch’s Mythology, but to be honest this did it better, not least because of its exclusive focus and the art plates throughout the book. It still boggles my mind that they had this vintage book in my school library – although one advantage of its vintage publication is that it is freely available online.

The full title of this book is Myths of the Norsemen from the Eddas and Sagas – and Guerber shows her own poetic sense in the book:

“Northern mythology is grand and tragical. Its principal theme is the perpetual struggle of the beneficent forces of Nature against the injurious, and hence it is not graceful and idyllic in character, like the religion of the sunny South, where the people could bask in perpetual sunshine, and the fruits of the earth grew ready to their hand.

 

RATING: 4 STARS****

B-TIER (HIGH TIER)

 

 

(10) MARINA WARNER –

NO GO THE BOGEYMAN: SCARING, LULLING & MAKING MOCK (1998)

 

Marina Warner – or Dame Marina Warner to give her title as well – is an English mythographer, typically writing about mythology, folklore or fairytales.

Typically her focus is on female figures – literally in her book Monuments & Maidens: The Allegory of the Female Form. Indeed, she started with the ultimate female figure of Catholic veneration, the Virgin Mary (well, after a book on the Empress Dowager or Dragon Empress of the Qing Empire, Tz’u-his), which she followed with a book on Joan of Arc.

Perhaps her leading book on female figures of folklore and fairytales was the evocatively titled From the Beast to the Blonde: On Fairy Tales and Their Tellers).

In a sense, this book is the companion to that one and something of an exception to the rule of her usual female lens, focusing as it does on the figures of male terror in folklore, fairytales, and fiction – “ogres and giants, bogeymen and bugaboos” (which sadly omits my personal favorite terms of bugbear and bete noire).

Although of course Dame Warner has been prolific enough I could compile a top ten books just of those written by her. She also gets bonus points being identified as the “lady writer” of the Dire Straits song of that name – as the writer the singer sees on television “talking about the Virgin Mary” and who reminds him of his former lover.

 

RATING: 4 STARS****

A-TIER (TOP TIER)