Finished Reading: Cat Kinsella (Book 1) – Sweet Little Lies by Caz Frear

Sweet Little LiesSweet Little Lies by Caz Frear
My rating: 3 of 5 stars

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Marvel meets Mesopotamia: how modern comics preserve ancient myths

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Gilgamesh (right) in his first appearance as an Avenger in the Marvel comic Avengers Vol 1 300.
Marvel Database

Louise Pryke, Macquarie University

Ancient Mesopotamia, the region roughly encompassing modern-day Iraq, Kuwait and parts of Syria, Iran and Turkey, gave us what we could consider some of the earliest known literary “superheroes”.

One was the hero Lugalbanda, whose kindness to animals resulted in the gift of super speed, perhaps making him the literary great-grandparent of the comic hero The Flash.

But unlike the classical heroes (Theseus, Herakles, and Egyptian deities such as Horus), which have continued to be important cultural symbols in modern pop culture, Mesopotamian deities have largely fallen into obscurity.

An exception to this is the representation of Mesopotamian culture in science fiction, fantasy, and especially comics. Marvel and DC comics have added Mesopotamian deities, such as Inanna, goddess of love, Netherworld deities Nergal and Ereshkigal, and Gilgamesh, the heroic king of the city of Uruk.

Gilgamesh the Avenger

The Marvel comic book hero of Gilgamesh was created by Jack Kirby, although the character has been employed by numerous authors, notably Roy Thomas. Gilgamesh the superhero is a member of the Avengers, Marvel comics’ fictional team of superheroes now the subject of a major movie franchise, including Captain America, Thor, and the Hulk. His character has a close connection with Captain America, who assists Gilgamesh in numerous battles.

Read more:
Guide to the classics: the Epic of Gilgamesh

Gilgamesh and Captain America are both characters who stand apart from their own time and culture. For Captain America, this is the United States during the 1940s, and for Gilgamesh, ancient Mesopotamia. A core aspect of their personal narratives is their struggle to navigate the modern world while still engaging with traditions from the past.

In the 1992 comic Captain America Annual #11, Cap is transported to ancient Mesopotamia.
Marvel Database

Gilgamesh’s first appearance as an Avenger was in 1989 in the comic series Avengers 1, issue #300, Inferno Squared. In the comic, Gilgamesh is known, rather aptly, as the “Forgotten One”. The “forgetting” of Gilgamesh the hero is also referenced in his first appearance in Marvel comics in 1976, where the character Sprite remarks that the hero “lives like an ancient myth, no longer remembered”.

In Avengers #304, …Yearning to Breathe Free!, Gilgamesh travels to Ellis Island with Captain America and Thor. The setting of Ellis Island allows for the heroes’ thoughtful consideration of their shared past as immigrants. Like Gilgamesh, Thor is also from foreign lands, in this case the Norse kingdom of Asgard.

In the 1992 comic Captain America Annual #11, the battle against the villainous Kang sends Captain America time-travelling back to Uruk in 2700 BCE. Captain America realises that the his royal companion is Gilgamesh, and accompanies the king on adventures from the legendary Epic of Gilgamesh.

Conan the Barbarian, featuring the goddess Inanna.
Marvel Database

In the original legend, Gilgamesh finds the key to eternal youth, a heartbeat plant, and then promptly loses it to a snake. In the comic adaptation, the snake is an angry sea serpent, who Captain America must fight to save Gilgamesh. The Mesopotamian hero’s famous fixation on acquiring immortality is reflected in his Marvel counterpart’s choice to leave Captain America fighting the serpent in order to collect the heartbeat plant. This leads Cap to observe his ancient friend has “a few millennia” of catching up to do on the concept of team-work!

Gilgamesh is not the only hero to feature. Marvel’s 1974 comic, Conan the Barbarian #40, The Fiend from the Forgotten City, features the Mesopotamian goddess of love, Inanna. In the comic, the barbarian hero is assisted by the goddess while fighting against looters in an ancient “forgotten city.” Marvel’s Inanna holds similar powers to her mythical counterpart, including the ability to heal. It is interesting to note the prominence of the theme of “forgetting” in comic books involving Mesopotamian myths, perhaps alluding to the present day obscurity of ancient Mesopotamian culture.

Read more:
Friday essay: the legend of Ishtar, first goddess of love and war

Myth literacy

A possible image of Gilgamesh from 700BC in Iraq.

It’s tempting to think that Captain America’s 1992 journey back to Ancient Mesopotamia was a comment on the political context at the time, particularly the Gulf War. But Roy Thomas, creator of this comic, told me via email his portrayal of Gilgamesh reflected his interest in the legend from his university days, and teaching students ancient myths at a high school.

Thomas’ belief in the benefits of learning myths is well founded. Story-telling has been recognised since ancient times as a powerful tool for imparting wisdom. Myths teach empathy and the ability to consider problems from different perspectives.

The combination of social and analytical skills developed through engaging with mythology can provide the foundation for a life-long love of learning. A recent study has shown that packaging stories in comics makes them more memorable, a finding with particular significance for preserving Mesopotamia’s cultural heritage.

The myth literacy of science fiction and fantasy audiences allows for the representation in these works of more obscure ancient figures. Marvel comics see virtually the entire pantheons of Greece, Rome, and Asgard represented. But beyond these more familiar ancient worlds, Marvel has also featured deities of the Mayan, Hawaiian, Celtic religions, and Australian Aboriginal divinities, and many others.

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The Conversation

The use of Mesopotamian myth in comic books shows the continued capacity of ancient legends to find new audiences and modern relevance. In the comic multiverse, an appreciation of storytelling bridges a cultural gap of 4,000 years, making old stories new again, and hopefully preserving them for the future.

Louise Pryke, Lecturer, Languages and Literature of Ancient Israel, Macquarie University

This article was originally published on The Conversation. Read the original article.

How to Upload PDFs to the Kindle Store

The link below is to an article that takes a look at how to upload PDFs to the Kindle Book Store.

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Is Listening to Audiobooks Reading?

The link below is to another article that looks at the current question ‘is listening to audiobooks reading?’

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You may call me a BAME author, but this misleading term hides more than it reveals

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4Max via Shutterstock

Sheena Kalayil, University of Manchester

Apparently, I am BAME. This places me as a contender for The Guardian’s BAME awards or the Jhalak prize, both aimed at BAME writers like myself. Ah, BAME – this acronym, which means black, asian and minority ethnic, joins many other appellations offered over the decades (not all of them very nice), painstakingly attempts to address the complexities of a multicultural society. But isn’t it, despite its best intentions, rather limiting?

As a child in Zambia, I was a mwenye, if the speaker wished to be disparaging (it’s an unflattering term that I won’t translate). In most contexts my family was “Indian”, while we regarded ourselves as Keralites (being Indian was secondary). Back in Kerala, if denoted by religion, we were proud to be “Syrian Christians”, members of a Catholic congregation pre-dating the arrival of Islam in India, formed by the disciple Doubting Thomas. Of course this meant we were a cut above those “Latin Christians” who had converted centuries after to curry favour with their Portuguese colonisers.

Later, as a teenager in a new Zimbabwe, I was once again “Indian” and, in a Harare which had been segregated under the Rhodesians, my family should thus have lived in the suburb of Belvedere, which was the Indian zone, rather than as we did on the edge of the “coloured” (mixed-race) Braeside. I resisted these tortuous preoccupations with skin tones and bloodlines – and by my late teens, inspired by the rising tide which was turning against apartheid in South Africa, I was resolutely, in my eyes, “black”.

But when I arrived in the UK, I was suddenly “Asian” – defined by a great continent, of which my home state in India was a mere slender slip of a thing. I was properly foreign, with a student visa stamped in my Indian passport, but my proficiency in English led many to believe I was “British Asian”, alongside an assumption that I was second-generation British, well versed in both Withnail and I and the career of reggae DJ Apache Indian, and full of fond memories of that incredible summer of 1976. I have done my homework since, as you can see.

I returned to Africa as a young woman, and when living and working in Mozambique, I was a monye – another disparaging term, not dissimilar to mwenye, but this sobriquet was seasoned with the erroneous assumptions of being Muslim and wealthy. Then, on to the tiny island of Bioko, part of Equatorial Guinea, where I was memorably known as la chica blanca – the white girl. Oh yes, and in Spain some years later, I was declared a hindou, the religious divisions that beset my homeland refreshingly ignored. Reader, an identity crisis in the making.

The journey so far

But, actually not. For, observers often overlook the id and the ego: your own innate understanding of yourself. Are we swayed so much by what others call us? Probably not. Despite my nomadic childhood, my peripatetic young adulthood, my membership of a wider diaspora, angst over love affairs and migrations and appearance and employment, if I’m honest, I’ve always known myself: as impulsive, restless, often inept, but well-intentioned. Despite all the assumptions made in the geographical/religious/social “names” I have been given, these qualities best define who I am.

Author’s latest work: a modern romance novel.

The journey I have taken to arrive at the roles I currently have – wife, mother, writer, teacher – baffles many people. My first novel (roundly rejected, then published independently) juxtaposes a young woman’s passionate love affair in Mozambique with her arranged marriage in the US. My second, published as my debut by Polygon, follows a widower’s return to India after 30 years in London. My most recent, The Inheritance, features an affair between a young student and an older lecturer, the latter born in Zimbabwe-then-Rhodesia.

As a writer, if I tap into my experiences of geographical dislocations and multilingual communities, the literary industry and reviewers often locate the story as one of identity crises, of a quest to belong, in which I give “a compelling insight into what it means to be rootless, with characters torn between the culture of their parents and that of the society in which they grew up”. All true. But not the whole story and not a unique story by any means – instead, one that is shared by millions over a shifting, transient world, including readers of fiction. To a lot of us, the mobility and code-switching and reinvention are rather normal. What informs my sense of self? Whom I love, my children, the opinions and advice of the people who are important in my life.

BAME at a glance

It feels churlish to question BAME. But, if identifying a misrepresented or under-represented minority, then why not just “minority”? The writer and historian Paul Gilroy, in his book There Ain’t no Black in the Union Jack, has already queried the “imploded, narcissistic obsession with the minutiae of ethnicity”. Why the splintering and separation? Does the “B” in BAME reference the Windrush generation or the recently arrived Somali, or neither, or both?

A ‘bittersweet, uplifting tone’.

Are we in danger of engendering a hierarchy by stealth, so some minorities are considered more “minority” than others? As a “British Asian” (holding a British passport now, I have become one) I cannot claim to have the same experiences and reception as a Briton with Nigerian origins. But I might well share some of her experiences if she is a woman (like me), if she is a writer (like me), or if she is as scared of her teenage daughter as I am.

And if we take the “A” – what constitutes a (British) Asian? Not all of us emanate from the Punjab or Gujarat or Bangladesh, or made a prolonged stopover in East Africa. Not all of our parents arrived in the UK in the 1960s or 1970s. Not all of live in a large, dense community, or speak its language – or even wish to. Not all of us dance bhangra or admire Bollywood. Our families may not all have served in or near the Raj and we may not have a strong memory of or feelings about partition.

Disappointed? You might well be, so embedded are the discourses surrounding British Asians. A discourse which can blind an “A” in BAME to the heterogeneity and diversity within – and which is perpetuated sometimes by these individuals themselves. I once watched on television a very well-known British Asian comic whose punchline centred on the unlikelihood of finding an Indian at a Catholic school. The laughter from the audience only served to show how they little knew of the millions of Indians who are Catholic. But, more depressingly – neither it seemed, buying into the discourse, did the comic.

To note, the aforementioned Jhalak prize, is the Hindi-Urdu word for “glance”. Considering it is open to all BAME writers, the Bs and the MEs alongside the As, perhaps this is not the most inclusive title?

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The Conversation

Perhaps rather than trying to solve issues about diversity by making diversity more explicit and more fractured at the expense of cohesion, we should simply acknowledge that it is, frankly, impossible to categorise a creature as self-reflective and self-concerned as a human being.

Sheena Kalayil, Senior Language Tutor, University Language Centre, University of Manchester

This article was originally published on The Conversation. Read the original article.