this is what it feels like everyday all the time

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@the-outer-darkness
this is what it feels like everyday all the time
nolan’s odyssey is such a textbook study on the idiocy and dangers of presentism. yes of course penelope is a modern day feminist who wants to rule ithaca by herself. they make telemachus say that GREECE IS THE GREATEST CIVILIZATION IN THE WORLD as if the entire point of the massing of achaeans at troy for one unified cause isn’t spectacular precisely because THERE IS NO CONCEPT OF A UNIFIED GREECE NATIONS DO NOT EXISTTTTTT YETTTTT. literally 101 on historical writing is making sure that you’re avoiding strict periodization because the people living in a “period” will not identify themselves that way. ever. five million cheeky nods to “the sea peoples” but we’re being cute and coy and calling them “the people from the sea.” the obsession with xenia but refusal to call it xenia yes let’s say “zeus’s law” a hundred times and reduce it to the literal expectation that any stranger could be a god in disguise. how was penelope just hanging out in the main hall of the palace with her husband’s dinner guests while they were playing with weapons with her HAIR COMPLETELY DOWN no veil no nothing just chilling casually. comical. stoppppp making movies that engage in historical viewpoints if you’re going to slather a modernized coat of paint over the top. “the past is a foreign country, they do things differently there.” or fucking whatever.
Ian Sanders :: Image: Odysseus and Polyphemus by Arnold Böcklin, 1896
* * * *
A message to Christopher Nolan about his film treatment of The Odyssey: "Dear Christopher Nolan, My name is Herod Priovolos and I want to tell you what "The Odyssey" truly means to me and to generations of Greeks who grew up with Homer’s story. Homer did not sing of Odysseus simply to entertain us with ships, storms, gods and monsters. He told the story because he understood what war, time, distance and loss can do to the human soul. Odysseus leaves Ithaca as a king, a husband and a father. He returns twenty years later alone, exhausted and disguised as a beggar, carrying the memory of every companion who never made it home. The monsters are not merely creatures created for spectacle. The Cyclops is power without justice. The Sirens are the beautiful voices that tempt a person to abandon their purpose. Circe represents the danger of losing our humanity. Calypso offers Odysseus immortality, but even eternal life becomes a prison when the price is forgetting his wife, his son, his homeland and his own identity. And Ithaca is not merely an island. Ithaca is the place that remembers you when the world no longer recognizes your face. It is the home that remains alive inside you after everything else has been taken away. It is Penelope growing older while she waits. It is Telemachus becoming a man without his father. It is Argos surviving long enough to recognize his master one final time. Odysseus is not great simply because he defeats monsters. He is great because he is proud, frightened, wounded, clever, imperfect and deeply human. He loses his companions, his youth, his name and twenty years of his life, yet he refuses to forget who he is. When he finally returns, Penelope does not recognize him through strength, glory or appearance. She tests him. Odysseus proves his identity by remembering the bed they built together around the roots of a living olive tree. That is the heart of The Odyssey. Not the battles. Not the ships. Not the monsters. Two people standing before each other after twenty years, asking whether love, memory and identity can survive everything time has done to them. That is why this poem has survived for almost 3,000 years. Every human being is trying to return to something: a home, a person, a lost part of themselves, or the life they had before the world changed them. So use Homer’s seas, gods, heroes and monsters. But please understand what you are touching. The Odyssey was never truly about how far a man could travel. It was about how much the world could take from him before he stopped being himself, and whether, after losing almost everything, he could still find his way home.”
[thanks Ian Sanders]
𝔤𝔬𝔦𝔫𝔤 𝔥𝔬𝔪𝔢
While I don't really like Agamemnon's armor, I do get what the purpose of that design was and I think it achieved that and I like what it was doing. Agamemnon isn't a character in this. He's a force. He's this faceless spectre representing the war in Odysseus's memory. I don't think the design works but the idea of it being big and extravagant and dark and completely obscuring his face, I think THAT works.
how i felt at the odyssey knowing i read the iliad (once in ap lit almost ten years ago and i barely remember anything)
the odyssey (2026)
Summer Wagner, 2025
Comet of 1680. One card in a deck of 52 featuring celestial imagery. The four seasons correspond to suits in a regular deck with the yellow cards denoting Fall. Published by F.G. Moon, 1829.
David Rumsey Map Collection
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