Cuneiform is a fascinating and slightly mysterious writing style found in many archaeological sites of ancient Mesopotamia, including the modern countries of Egypt, Iraq, Syria, Israel and parts of Turkey, Iran, Saudi Arabia. Cuneiform was a geometric writing style inscribed on very small clay tablets. The Epic of Gilgamesh is a classic text inscribed on cuneiform tablets detailing the mythological exploits of the first historical Sumerian king, Gilgamesh of Uruk. I researched The Epic of Gilgamesh and cuneiform tablets for one of my short stories.
You can read more about cuneiform below:
The writing system is 6,000 years old, but its influence is still felt today
I have been working hard writing a large scene over several chapters in my novel-in-progress, Ragnarok Dreaming. The scene is based on a significant section in Norse mythology recorded in The Prose Edda, called the Skaldskaparmal, where Loki is portrayed for the first time as a more malicious being. The Skaldskaparmal describes Loki’s deliberate deception of the most innocent among the gods, Idunn who is also the guardian of immortality for the Aesir. In return for his own life, Loki promises Idunn to the mightiest of the frost giants, Thrazi. When Loki deceives Idunn into following him beyond the protective lands of the Aesir, she is kidnapped by Thrazi and held as his prisoner. Although Loki’s guilt is evident, his concern grows as the Aesir begin to age rapidly without Idunn tending the tree that provides the apples and their immortality. Odin has Loki beaten for his betrayal which has the desired effect to spur Loki’s conscience. He finally agrees to helps rescue Idunn from Thrazi‘s wintry mountain fortress. In truth, the Aesir are too weakened and aged to assault the mountain fortress, Thyrheim. Loki rescues Idunn and lures Thrazi back toward Asgard where Odin and Thor have built a bonfire. In the form of a hawk, Loki easily evades Thrazi’s eagle-form but Thrazi is caught by the flames and destroyed.Loki retains some of his humanity in the Skaldskaparmal but from now on, his considerations of the Aesir are complicated, alternating more swiftly from bitter dislike to a sense of familial belonging. Loki is neither Aesir nor truly of the jotnar but is caught somewhere in-between.
In my work-in-progress, Ragnarok Dreaming, I explore Loki’s conflict where he belongs to neither the giants nor the gods; a conscious and unconscious character motivation.