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Imagine that the old lies are true – that the world is flat, that the bounds of creation are marked by mountains, that with enough light and pure air you truly can see to the end of eternity. Imagine that you are sitting at the exact center of that world; imagine that, for a moment, the universe spins around neither the sun nor the earth, but instead only around you. Imagine that, and you may have a sense of how it felt for me one Saturday afternoon at a place in southern Iceland called Oddi.
There was very little on the property itself. The farmers lived in a white house beside the graveyard. There were a handful of landmarks – a silver compass that gave names to the mountains, a statue of Sæmund the Wise, a folk hero who once lived at Oddi – but beyond that, there was very little to indicate that this farm had been one of the most important sites in Iceland’s history, home to some of the country’s most famous sons. The others on our bus tour had gone to look at Oddi’s church, a white building with a red roof, like seemingly every other little church in Iceland. It was ninety years old, and, we were told, quite beautiful inside, an example of a lovely rustic style of Icelandic church. But I did not want to look at it. Perhaps if I had the freedom to pick how long I could stay at a given place, I would have toured it, but we could have been ordered to get back on the bus at any moment. My time was too precious to waste inside a church.
Instead I sat on a hill with two other apostates, Danni and Robbi – these were the names our Icelandic instructor had given to them. (They knew me as Eiki.) They were both still in college, the same age as the students I taught in my daily life. I doubt we would have been friends in other circumstances, but we had been living together for five weeks, struggling with a language that nobody in America seemed to know existed, much less spoke. At that moment, at least, they were the best friends I had in the world.
Danni had lain down in the unkempt grass with the hood of his purple jacket drawn up around his head, leaving Robbi and I alone. Robbi had black hair, parted on the right, plastic gauge earrings, and a thick beard that he kept better groomed than I have ever managed. That day he wore a lopapeysa, a special kind of Icelandic sweater. It was the sort of thing other students planned to bring home to their mothers, but Robbi wore his without irony. We sat in the grass together, looking out over the farm; miles and miles of grass surrounded us, an eternity of green interrupted only by the occasional farmhouse or barn. In all directions we saw mountains, or hills that might have been mountains; they looked like walls built to protect a sanctuary. Rocks to ring the world.
The ring of the world – Heimskringla – is the name scholars gave to a collection of sagas about the kings of Norway written in the 13th century. The manuscript itself bears no name; Heimskringla comes from the first words written in the oldest surviving copy, Kringla heimsins, “the Earth’s circle.” The manuscript itself also bears no author, like most Old Norse texts, but it has been attributed for most of its history to the writer Snorri Sturluson, who also wrote the Prose Edda and, perhaps, Egil’s Saga, one of the greatest Icelander sagas. Snorri spent his childhood here at Oddi; he might have sat in the very same spot as me, eight hundred years before. Even though I know that the title of his masterpiece is an accident of history – the manuscript that begins with kringla heimsins was incomplete, and those were not, in fact, the first words of the book as a whole – my mind cannot help but draw associations between the ring of earth named in the book and the ring of earth that surrounds the place Snorri spent his boyhood. It is an accident of history, unless one believes that there are no such things as accidents; and I find myself wondering, sometimes.
I have a difficult relationship with Snorri; every Heathen does, I suspect. The first thing the Edda tells us – Heimskringla, too – is that the old gods were not true gods, but only the kings of ignorant men. From the first, Snorri disavows the idea that there might be truth in the myths he tells; from the first, he invents, he adds, he almost certainly subtracts, in order to present a version of the past in accordance with his own needs. He wrote the Edda for poets, not for devotees; because Old Norse poetry relied so much on kennings, which were unintelligible without the old mythology, an ignorance of myth meant an ignorance of art. He did not write the Edda in an attempt to revitalize belief in Odin or Freyja – he wrote it because he decided contemporary poets had forgotten how to make a good poem.
I am only in Iceland – only a Heathen at all – because eight hundred years ago, Snorri Sturluson decided that all the poets he knew sucked. No Edda, no Ásatrú. Another accident of history, or not, depending on one’s relationship to destiny.
I couldn’t help myself; as much as I wanted to empty my mind of everything but the gorgeous landscape, I kept drifting back to these academic ruminations. I wanted to be happy with the sentimental notion of a young Snorri sitting in the same spot where I sat; instead, I found myself thinking about the manuscript history of Heimskringla, trying to remember an article that traced it back to the first source to claim that Snorri had written it all.
I complained of this to Robbi. I had never found a more perfect stretch of earth than Oddi, and yet any time I tried to surrender myself to the dirt and the sky, I found myself worrying instead about Snorri Sturluson and the precarious nature of my religion. Some pilgrimage.
Robbi shrugged. “What was it St. Paul said?” He scratched his face and looked off into the distance. “‘I’d rather be in the mountains thinking about God than be in church thinking about the mountains?'”
Did Paul actually write that? I don’t know. I am a little afraid to find out. I didn’t come all the way to Iceland just to start agreeing with saints.