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Lecture 8: “the walking dead in a horror film”*

                        English 165EW
                         Winter 2013

                        4 February 2013

     “[…] every word is at home,
     Taking its place to support the others,
     The word neither diffident nor ostentatious,
     An easy commerce of the old and the new,
     The common word exact without vulgarity,
     The formal word precise but not pedantic,
     The complete consort dancing together […]”
        — T.S. Eliot, Little Gidding, lines 217-223 (sec. V)
                                                          * McCarthy 55
The Völuspá
●   “Völuspá” means “song of the Völva [seeress].”
●   This is the first and best-known poem of the
    Poetic Edda, one of the primary collections of
    Norse and Germanic mythology and heroic
    legend.
    ●   The Poetic Edda is difficult to date with any
        certainty.
    ●   The oldest known written copy is the 13th-century
        Codex Regius, but the poems were part of an oral
        minstrel tradition long before that.
Odin Consults the Völva




                 Lorenz Frølich, 1895
A few words on Norse cosmology




   The Ash Yggdrasil (1886), by   The Norns Urðr, Verðandi, and
              Friederich Heine    Skuld Beneath the World Tree
                                  Yggdrasil (1882), by Ludwig Burger.
Ragnarök in Norse mythology ...
●   literally means “Twilight [or ‘Fate’] of the Gods”;
    you may know this phrase better from its more
    modern German equivalent, Götterdämmerung.
●   is a predicted future series of events that was
    generally understood by the practitioners of
    the religion to be literally true.
●   may have been influenced, in the forms in which
    the story comes down to us, by medieval
    Christian beliefs about the Last Judgment.
●   may perhaps be best understood as the final
    stage in a cyclical series of events.
Sequence of (Major) Events
●   Garmr, the bloodhound guarding the gates of Hel, breaks
    free. The god Loki also breaks free.
●   Yggdrasil shudders; the World Serpent, Jörmungandr, lets
    go of his own tail.
●   A great battle occurs between the gods (the Æsir, and
    perhaps the Vanir) and the giants (the Jötunn). A number
    of major deities are killed, including Odin, Thor, Freya,
    and Loki. Great fires destroy the earth.
●   The sun turns black, and the world is submerged in water.
●   The world re-emerges, new and fertile. A number of
    deities who had been killed return from Hel. Earth is
    repopulated by two surviving humans, Líf and Lífþrasir.
Brother shall strike brother and both fall,
Sisters’ sons slay each other,
Evil be on earth, an Age of Whoredom,
Of sharp sword-play and shields’ clashing,
A Wind-Age, a Wolf-Age, till the world ruins:
No man to another shall mercy show.
The waters are troubled, the waves surge up:
Announcing now the knell of Fate,
Heimdal winds his horn aloft,
On Hel’s Road all men tremble.
Yggdrasil trembles, the towering Ash
Groans in woe; the Wolf is loose:
Odin speaks with the Head of Mimir
Before he is swallowed by Surt’s kin. (stanzas 39-41)
A further woe falls upon Hlín [Frigg/Freya]
As Odin comes forth to fight the Wolf [Fenrir];
The killer of Beli [i.e., Frey] battles with Surt:
Now shall fall Frigg’s beloved [i.e., Odin].
Now valiant comes Valfather’s [i.e., Odin’s] Son,
Vidar, to vie with Valdyr in battle,
Plunges his sword into the Son of Hvedrung [i.e.
  Fenrir, son of Loki],
Avenging his father with a fell thrust.
                                     (stanzas 46-47)
A new earth
Earth sinks to the sea, the Sun turns black,
Cast down from Heaven are the hot stars,
Fumes reek, into flames burst,
The sky itself is scorched with fire.
I see Earth rising a second time,
Out of the foam, fair and green;
Down from the fells, fish to capture,
Wings the eagle; waters flow.
[…]
Unsown acres shall harvests bear,
Evil be abolished, Baldur return
And Hropt’s Hall with Hoddur rebuild,
Wise Gods. Well, would you know more?
                                        (stanzas 50-51, 54)
“It is increasingly difficult …
“… to comprehend the world in which we live
and of which we are a part. To confront this
idea is to confront an absolute limit to
adequately understand the world at all.”
(Thacker 1)
“thinking enigmatically confronts the horizon of
its own possibility – the thought of the
unthinkable that philosophy cannot pronounce
but via a non-philosophical language.” (2)
Apocalyptic thought
“When the world as such cataclysmically manifests
itself in the form of a disaster, how do we interpret or
give meaning to the world? […] In modernity, the
response is primarily existential – a questioning of the
role of human individuals and human groups in light of
modern science, high technology, industrial and post-
industrial capitalism, and world wars.” (3)
“tragically, we are most reminded of the world-in-itself
when the world-in-itself is manifest in the form of natural
disasters.” (5)
“we have even imagined what would happen to the
world if we as human beings were to become extinct.”
(5)
“the world can mean many things” (2)
●   “the world-for-us” (or “the World”) is the world as we
    experience it, the world as a phenomenological construct
    with which we interact. (4)
●   “the world-in-itself” (or “the Earth”) is the world that
    “‘bites back,’ resists, or ignores our attempts to mold it
    into the world-for-us.” This is the world as an object of
    scientific study; it is also an imaginary construct that
    “constitutes a horizon for thought, always receding just
    beyond the bounds of intelligibility.” (4-5)
●   “the world-without-us” (or “the Planet”) is an
    unknowable (“spectral and speculative”) construct in
    which we attempt to subtract human meaning and activity
    from “the Earth.” (5-6)
Main take-away points
●   Our primary engagements with “the world” are
    infused with human values and human
    constructions based on human activities.
●   “[T]he world-without-us is not to be found in a
    ‘great beyond’ that is exterior to the World […] or
    the Earth […]; rather, it is in the very fissures,
    lapses, or lacunae in the World and the Earth.” (7-
    8)
●   “I would propose […] that horror be understood
    about the the limits of the human as it confronts a
    world that is not just a World, and not just the
    Earth, but also a Planet (the world-without-us).” (8)
Life on The Road
“[C]ontrast our situation. The Earth is intact,
unscarred, still fruitful. It can provide us with
food and raw materials. We have repositories of
knowledge that can teach us to do anything that
has been done before.” (Michael Beadsley on
Wyndham 96; ch. 7)


“Mostly he worried about their shoes. That and
food. Always food.” (McCarthy 17)
Some notes on the world
“the days more gray each one than what had
gone before. Like the onset of some cold
glaucoma dimming away the world.” (3)
“Then they set out along the blacktop in the
gunmetal light, shuffling through the ash, each
the other’s world entire.” (6)
“He thought if he lived long enough the world at
last would all be lost. Like the dying world the
newly blind inhabit, all of it slowly fading from
memory.” (18)
The vanished world
“Then he picked up the phone and dialed the
number of his father’s house in that long ago.
The boy watched him. What are you doing? he
said.” (7)
“They trucked on along the blacktop. Tall
clapboard houses. Machinerolled metal roofs. A
log barn in a field with an advertisement in
faded ten-foot letters across the roofslope. See
Rock City.” (21)
     Dont you want to see where I used to live?
     No. (25)
The new world
“A blackness to hurt your ears with listening. Often
he had to get up. No sound but the wind in the bare
and blackened trees. He rose and stood tottering in
that cold autistic dark.” (15)
“In those first years the roads were peopled with
refugees shrouded up in their clothing. […]
Creedless shells of men tottering down the
causeways like migrants in a feverland. The frailty of
everything revealed at last.” (28)
“The mummied dead everywhere. The flesh cloven
along the bones, the ligaments dried to tug and taut
as wires. Shriveled and drawn like latterday
bogfolk.” (24)
Grauballe Man (Jutland, Denmark)




                      Photo by Sven Rosborn
Social order
“So be it. Evoke the forms. Where you’ve nothing
else construct ceremonies out of the air and breathe
upon them.” (74)
“My brother at last. The reptilian calculations in
those cold and shifting eyes. The gray and rotting
teeth. Claggy with human flesh. Who has made of
the world a lie every word.” (75)


Suggestion: as you read onwards, focus on the
construction of a shared narrative understanding of
“the world” by the boy and the man.
Media credits
●   Slide 3: Odin and the Völva, engraving by Lorenz Frølich (1895),
    is out of copyright. Source:
    http://en.wikipedia.org/wiki/File:Odin_og_V%C3%B6lven_by_Fr
    %C3%B8lich.jpg
●   Slide 4: The Ash Yggdrasil, engraving by Friedrich W. Heine
    (1886), is out of copyright. Source:
    http://en.wikipedia.org/wiki/File:The_Ash_Yggdrasil_by_Friedrich
    _Wilhelm_Heine.jpg
●   Slide 4: The Norns Urd, Werdanda, Skuld, under the World-Ash
    Yggdrasil, engraving by Ludwig Burger (1886), is out of
    copyright. Source:
    http://en.wikipedia.org/wiki/File:Die_Nornen_Urd,_Werdanda,_Sk
    uld,_unter_der_Welteiche_Yggdrasil_by_Ludwig_Burger.jpg
●   Slide 18: The photo of Grauballe Man, by Sven Rosborn, has
    been released into the public domain. Source:
    http://commons.wikimedia.org/wiki/File:Grauballemannen1.jpg

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Lecture 08 - “the walking dead in a horror film”

  • 1. Lecture 8: “the walking dead in a horror film”* English 165EW Winter 2013 4 February 2013 “[…] every word is at home, Taking its place to support the others, The word neither diffident nor ostentatious, An easy commerce of the old and the new, The common word exact without vulgarity, The formal word precise but not pedantic, The complete consort dancing together […]” — T.S. Eliot, Little Gidding, lines 217-223 (sec. V) * McCarthy 55
  • 2. The Völuspá ● “Völuspá” means “song of the Völva [seeress].” ● This is the first and best-known poem of the Poetic Edda, one of the primary collections of Norse and Germanic mythology and heroic legend. ● The Poetic Edda is difficult to date with any certainty. ● The oldest known written copy is the 13th-century Codex Regius, but the poems were part of an oral minstrel tradition long before that.
  • 3. Odin Consults the Völva Lorenz Frølich, 1895
  • 4. A few words on Norse cosmology The Ash Yggdrasil (1886), by The Norns Urðr, Verðandi, and Friederich Heine Skuld Beneath the World Tree Yggdrasil (1882), by Ludwig Burger.
  • 5. Ragnarök in Norse mythology ... ● literally means “Twilight [or ‘Fate’] of the Gods”; you may know this phrase better from its more modern German equivalent, Götterdämmerung. ● is a predicted future series of events that was generally understood by the practitioners of the religion to be literally true. ● may have been influenced, in the forms in which the story comes down to us, by medieval Christian beliefs about the Last Judgment. ● may perhaps be best understood as the final stage in a cyclical series of events.
  • 6. Sequence of (Major) Events ● Garmr, the bloodhound guarding the gates of Hel, breaks free. The god Loki also breaks free. ● Yggdrasil shudders; the World Serpent, Jörmungandr, lets go of his own tail. ● A great battle occurs between the gods (the Æsir, and perhaps the Vanir) and the giants (the Jötunn). A number of major deities are killed, including Odin, Thor, Freya, and Loki. Great fires destroy the earth. ● The sun turns black, and the world is submerged in water. ● The world re-emerges, new and fertile. A number of deities who had been killed return from Hel. Earth is repopulated by two surviving humans, Líf and Lífþrasir.
  • 7. Brother shall strike brother and both fall, Sisters’ sons slay each other, Evil be on earth, an Age of Whoredom, Of sharp sword-play and shields’ clashing, A Wind-Age, a Wolf-Age, till the world ruins: No man to another shall mercy show. The waters are troubled, the waves surge up: Announcing now the knell of Fate, Heimdal winds his horn aloft, On Hel’s Road all men tremble. Yggdrasil trembles, the towering Ash Groans in woe; the Wolf is loose: Odin speaks with the Head of Mimir Before he is swallowed by Surt’s kin. (stanzas 39-41)
  • 8. A further woe falls upon Hlín [Frigg/Freya] As Odin comes forth to fight the Wolf [Fenrir]; The killer of Beli [i.e., Frey] battles with Surt: Now shall fall Frigg’s beloved [i.e., Odin]. Now valiant comes Valfather’s [i.e., Odin’s] Son, Vidar, to vie with Valdyr in battle, Plunges his sword into the Son of Hvedrung [i.e. Fenrir, son of Loki], Avenging his father with a fell thrust. (stanzas 46-47)
  • 9. A new earth Earth sinks to the sea, the Sun turns black, Cast down from Heaven are the hot stars, Fumes reek, into flames burst, The sky itself is scorched with fire. I see Earth rising a second time, Out of the foam, fair and green; Down from the fells, fish to capture, Wings the eagle; waters flow. […] Unsown acres shall harvests bear, Evil be abolished, Baldur return And Hropt’s Hall with Hoddur rebuild, Wise Gods. Well, would you know more? (stanzas 50-51, 54)
  • 10. “It is increasingly difficult … “… to comprehend the world in which we live and of which we are a part. To confront this idea is to confront an absolute limit to adequately understand the world at all.” (Thacker 1) “thinking enigmatically confronts the horizon of its own possibility – the thought of the unthinkable that philosophy cannot pronounce but via a non-philosophical language.” (2)
  • 11. Apocalyptic thought “When the world as such cataclysmically manifests itself in the form of a disaster, how do we interpret or give meaning to the world? […] In modernity, the response is primarily existential – a questioning of the role of human individuals and human groups in light of modern science, high technology, industrial and post- industrial capitalism, and world wars.” (3) “tragically, we are most reminded of the world-in-itself when the world-in-itself is manifest in the form of natural disasters.” (5) “we have even imagined what would happen to the world if we as human beings were to become extinct.” (5)
  • 12. “the world can mean many things” (2) ● “the world-for-us” (or “the World”) is the world as we experience it, the world as a phenomenological construct with which we interact. (4) ● “the world-in-itself” (or “the Earth”) is the world that “‘bites back,’ resists, or ignores our attempts to mold it into the world-for-us.” This is the world as an object of scientific study; it is also an imaginary construct that “constitutes a horizon for thought, always receding just beyond the bounds of intelligibility.” (4-5) ● “the world-without-us” (or “the Planet”) is an unknowable (“spectral and speculative”) construct in which we attempt to subtract human meaning and activity from “the Earth.” (5-6)
  • 13. Main take-away points ● Our primary engagements with “the world” are infused with human values and human constructions based on human activities. ● “[T]he world-without-us is not to be found in a ‘great beyond’ that is exterior to the World […] or the Earth […]; rather, it is in the very fissures, lapses, or lacunae in the World and the Earth.” (7- 8) ● “I would propose […] that horror be understood about the the limits of the human as it confronts a world that is not just a World, and not just the Earth, but also a Planet (the world-without-us).” (8)
  • 14. Life on The Road “[C]ontrast our situation. The Earth is intact, unscarred, still fruitful. It can provide us with food and raw materials. We have repositories of knowledge that can teach us to do anything that has been done before.” (Michael Beadsley on Wyndham 96; ch. 7) “Mostly he worried about their shoes. That and food. Always food.” (McCarthy 17)
  • 15. Some notes on the world “the days more gray each one than what had gone before. Like the onset of some cold glaucoma dimming away the world.” (3) “Then they set out along the blacktop in the gunmetal light, shuffling through the ash, each the other’s world entire.” (6) “He thought if he lived long enough the world at last would all be lost. Like the dying world the newly blind inhabit, all of it slowly fading from memory.” (18)
  • 16. The vanished world “Then he picked up the phone and dialed the number of his father’s house in that long ago. The boy watched him. What are you doing? he said.” (7) “They trucked on along the blacktop. Tall clapboard houses. Machinerolled metal roofs. A log barn in a field with an advertisement in faded ten-foot letters across the roofslope. See Rock City.” (21) Dont you want to see where I used to live? No. (25)
  • 17. The new world “A blackness to hurt your ears with listening. Often he had to get up. No sound but the wind in the bare and blackened trees. He rose and stood tottering in that cold autistic dark.” (15) “In those first years the roads were peopled with refugees shrouded up in their clothing. […] Creedless shells of men tottering down the causeways like migrants in a feverland. The frailty of everything revealed at last.” (28) “The mummied dead everywhere. The flesh cloven along the bones, the ligaments dried to tug and taut as wires. Shriveled and drawn like latterday bogfolk.” (24)
  • 18. Grauballe Man (Jutland, Denmark) Photo by Sven Rosborn
  • 19. Social order “So be it. Evoke the forms. Where you’ve nothing else construct ceremonies out of the air and breathe upon them.” (74) “My brother at last. The reptilian calculations in those cold and shifting eyes. The gray and rotting teeth. Claggy with human flesh. Who has made of the world a lie every word.” (75) Suggestion: as you read onwards, focus on the construction of a shared narrative understanding of “the world” by the boy and the man.
  • 20. Media credits ● Slide 3: Odin and the Völva, engraving by Lorenz Frølich (1895), is out of copyright. Source: http://en.wikipedia.org/wiki/File:Odin_og_V%C3%B6lven_by_Fr %C3%B8lich.jpg ● Slide 4: The Ash Yggdrasil, engraving by Friedrich W. Heine (1886), is out of copyright. Source: http://en.wikipedia.org/wiki/File:The_Ash_Yggdrasil_by_Friedrich _Wilhelm_Heine.jpg ● Slide 4: The Norns Urd, Werdanda, Skuld, under the World-Ash Yggdrasil, engraving by Ludwig Burger (1886), is out of copyright. Source: http://en.wikipedia.org/wiki/File:Die_Nornen_Urd,_Werdanda,_Sk uld,_unter_der_Welteiche_Yggdrasil_by_Ludwig_Burger.jpg ● Slide 18: The photo of Grauballe Man, by Sven Rosborn, has been released into the public domain. Source: http://commons.wikimedia.org/wiki/File:Grauballemannen1.jpg