I was super excited to get this article published with @LAReviewofBooks written with @SarahEBond to launch our new #PastsImperfect initiative. The feedback has been great, and it hasn't all been positive
we've received a couple of questions/points that I'd like to mention because they point to some of the challenges of (1) taking academic discussions public and (2) dealing with dearly held topics
1. A few people complained the essay was superficial. They're not wrong! You can't cover nearly 3 generations of scholarship and hundreds of books in a short column
1a public scholarship like this offers an entry into a debate, outlines important themes, and makes an argument.
1b. Scholarly arguments should be invitations to discussions not final points. Final points are for tombstones.
1c. Our argument simplifies things.
Yes, see 1a. above.
2. Our article is more about the impact of Campbell's work and not his actual work. Well, this is true! Campbell is a metonym for what happens with his work.
But I am not keen on separting the two because I don't think authors are that important.
2a. Authors and their context are indelibly connected. Saying that Campbell didn't mean what other people did with his work is fine, but it ignores how much he profited from and championed what other people did with his work
3. Several people were like "you say X" but Campbell does in vol. 3 of his work. That's fine. But that's like saying that if I only dived deeper into their catalogue I would find out Maroon 5 aren't talentless schmucks.
Yes, the whole oeuvre matters, reception and use do too
4. Others were like, this is allegory, Campbell knew that because of Jung and Freud, etc.
Archetypal thinking IS the problem. Jungian approaches to myth are reductive, patriarchal, misognyistic, heteronormative, etc. etc.
4a. A longer version of the article talked about this: post-structuralist approaches to narrative show how limiting and damaging the entire archetypal approach is. It reduces difference and erases narratives
5. Various versions of my is universal, can't you see it.
There's an essentialism to the assertion that certain myths are universal that ignores the process of selection that mythographers and snakeoil salesmen like Campbell and Peterson have perpetrated
5a. If culture A is raised on stories XYZ and then members of Culture A look at Cultures 123 for examples of things they recognize they will find XYZ even if it isn't there. it is a type of confirmation bias
6. Several quailed at the equation of Campbell/Jungian dude-central selfishness with capitalism. I can't live another day watching mask protests and knowing about how social discourse works while listening to said nonsense
7. Some of our examples are wrong because the authors (e.g. Robert Jordan) were following the heroic pattern.
part of the damaging discourse about the monomyth is that it has been so successful as a narrative that it chokes out other possible tales and lives
To be clear, I have no problem with emails enumerating our wrongness, or tweets disagreeing. I say thanks for the former and sometimes even RT the latter.
I just wanted to say that @SarahEBond wrote the piece with wide eyes, taking some shortcuts to get to the main point
And I might wake up and change my mind tomorrow. Although, given the screaming fools protesting COVID safety precautions nationwide, it is unlikely.
And check out @postclassics thread by @theoctopiehole on Lizzo's and Cardi B's Rumor video. There's a lot more insight there than the comments on our article
3. The ancient audiences conceived of the heroic world as one big interconnected family, Dannaus, Aegyptus, Agenor etec knit Persians, Greeks, Egyptians, and Phoenicians into one family. Hektor and Memnon were cousins!
4. Skin color and other physical features in epic don't map onto modern concepts of race. These assumptions are truly anachronistic and have everything to do with our own preoccupations
One final thread on why the gender, race, appearance of actors in the #Odyssey shouldn’t matter, and, moreover, why appearances are more complicated in this epic than any other
Athena repeatedly makes him ugly and nobler again, so much so that there’s no sense of what he truly looks like: is he the pirate man in book 8, the withered beggar in book 16, the godlike man before Telemachus in book 16, or the cleaned up beau of Penelope in book 23?
Athena repeatedly makes him ugly and nobler again, so much so that there’s no sense of what he truly looks like: is he the pirate man in book 8, the withered beggar in book 16, the godlike man before Telemachus in book 16, or the cleaned up beau of Penelope in book 23?
sorry folks. Achilles and Odysseus are not role models, they are epic heroes. Each epic starts by specifying their destructiveness to their communities.
Iliad: Achilles's rage sends myriad Achaeans to their doom
Odyssey: Odysseus tried to bring his men home and failed
in fact, the entire heroic age--the events of the Theban and Trojan Wars--is aimed at ERADICATING THE RACE OF HEROES because they are too bellicose towards each other and irreverent towards the gods [see Hesiod's Works and Days and the fragmentary Cypria]
And this is not a modern reading. As early as the 6th century BCE, allegorical interpretations [i.e., those that assumed the epics contained secret or indirect meanings] were dominant alongside the understanding that the poems were complex and their protagonists flawed