I was in the third grade when I first read D’Aulaires’ Book of Norse Myths and already suffering the changes, the horns, wings, and tusks that grow on your imagination when you thrive on a steady diet of myths and fairy tales. I had read the predecessor, D’Aulaires’ Book of Greek Myths (1961), and I knew my Old Testament pretty well, from the Creation more or less down to Ruth. There were rape and murder in those other books, revenge, cannibalism, folly, madness, incest, and deceit. And I thought all that was great stuff. Joseph’s brothers, enslaving him to some Ishmaelites and then soaking his florid coat in animal blood to horrify their father. Orpheus’ head, torn off by a raving pack of women, continuing to sing as it floats down the Hebrus River to the sea: that was great stuff, too. (Maybe that says something about me, or about eight-year-old boys generally. I don’t really care either way.) Every splendor in those tales had its shadow; every blessing its curse. In those shadows and curses I first encountered the primal darkness of the world, in some of our earliest attempts to explain and understand it.
I was drawn to that darkness. I was repelled by it, too, but as the stories were presented I knew that I was supposed to be only repelled by the darkness and also, somehow, to blame myself for it. Doom and decay, crime and folly, sin and punishment, the imperative to work and sweat and struggle and suffer the Furies, these had entered the world with humankind: we brought them on ourselves. In the Bible it had all started out with a happy couple in the Garden of Eden; in the Greek myths, after a brief eon of divine patricide and child-devouring and a couple of wars in Heaven, there came a long and peaceful Golden Age. In both cases, we were meant to understand, the world had begun with light and been spoiled. Thousands of years of moralizers, preceptors, dramatists, hypocrites, and scolds had been at work on this material, with their dogma, and their hangups, and their refined sense of tragedy.
The original darkness was still there in the stories, and it was still very dark indeed. But it had been engineered, like a fetid swamp by the Army Corps, rationalized, bricked up, rechanneled, given a dazzling white coat of cement. It had been turned to the advantage of people trying to make a point to recalcitrant listeners. What remained was a darkness that, while you recognized it in your own heart, obliged you all the same to recognize its disadvantage, its impoliteness, its unacceptability, its being wrong, particularly for eight-year-old boys.
In the world of the Northmen, it was a different story.
As the d’Aulaires told it (in their book, originally titled Norse Gods and Giants), there was something in Scandinavian mythology that went beyond the straightforward appeal of violence, monstrosity, feats of arms, sibling rivalry …