Forwarded from Hyperborean Radio (The Final Episodes) (T.L.K.)
Why Hyperborean?
Why did we pick Hyperborean as our title and our general name for our people when there are many options? Well...
White: "What about the Northern Chinese, What about this person who looks white but is 1/4 Nigerian huh!? Huh!?" Also naming your people after a color is kind of sad. The term also is used for Arabs on the US Census.
European: What is European? This has been said for centuries using Jewish migrants, non-native immigrants, and plenty of others. It also excludes the Diaspora and our tribes still outside of Europe.
Westerner: We are not a direction, and this inevitably splits our people into threes.
Aryan: While the meaning of a mythical noble tribe is appreciated, this title can literally be purchased in South Asia, and is what Iran is named after, safe to say not our first pick. Also a Non-Starter for most.
So why Hyperborean? Because it literally means the people of the North, a mythic Idyllic way of our people, and our people have used it for ourselves before.
Why did we pick Hyperborean as our title and our general name for our people when there are many options? Well...
White: "What about the Northern Chinese, What about this person who looks white but is 1/4 Nigerian huh!? Huh!?" Also naming your people after a color is kind of sad. The term also is used for Arabs on the US Census.
European: What is European? This has been said for centuries using Jewish migrants, non-native immigrants, and plenty of others. It also excludes the Diaspora and our tribes still outside of Europe.
Westerner: We are not a direction, and this inevitably splits our people into threes.
Aryan: While the meaning of a mythical noble tribe is appreciated, this title can literally be purchased in South Asia, and is what Iran is named after, safe to say not our first pick. Also a Non-Starter for most.
So why Hyperborean? Because it literally means the people of the North, a mythic Idyllic way of our people, and our people have used it for ourselves before.
Tigh Nam Bodach at the head of Glen Cailliche ‘the crooked Glen of the stones’.
Each year, in one of the Scotland’s most remote areas, a family of stones are brought out of the house in the spring and returned to the house for the winter.
The tradition stretches back thousands of years and the site is believed to be the only surviving shrine to the Celtic goddess Cailleach.
One day, I hope to visit, as I have an affinity for Beira (Cailleach), the queen of winter.
Each year, in one of the Scotland’s most remote areas, a family of stones are brought out of the house in the spring and returned to the house for the winter.
The tradition stretches back thousands of years and the site is believed to be the only surviving shrine to the Celtic goddess Cailleach.
One day, I hope to visit, as I have an affinity for Beira (Cailleach), the queen of winter.
Louhi pursues Väinämöinen's boat and the Sampo by Nikolai Kochergin (1900’s)
"Louhi, mistress of Northland runs on foot in the water went to raise the craft to lift up the ship; but the boat will not come up nor will the craft budge: all its ribs had snapped all its rowlocks splintered too. She thinks, considers and she put this into words: ‘What is the best plan? What is to be done?’ Now she changed her shape dared to become someone else. She took up five scythes six hoes past their prime: she fashioned them into claws fitted them to be her feet; the shattered part of the craft she put under her; the sides she slapped into wings the rudder to be her tail; put a hundred men under a wing a thousand at her tail tip— the hundred swordsmen the thousand fellows who shot. And she spread her wings to fly as an eagle lifted off and she flaps along heading for Väinämöinen: one wing flicked the clouds and one swerved off the water."
Lönnrot, Elias; Keith Bosley. The Kalevala
"Louhi, mistress of Northland runs on foot in the water went to raise the craft to lift up the ship; but the boat will not come up nor will the craft budge: all its ribs had snapped all its rowlocks splintered too. She thinks, considers and she put this into words: ‘What is the best plan? What is to be done?’ Now she changed her shape dared to become someone else. She took up five scythes six hoes past their prime: she fashioned them into claws fitted them to be her feet; the shattered part of the craft she put under her; the sides she slapped into wings the rudder to be her tail; put a hundred men under a wing a thousand at her tail tip— the hundred swordsmen the thousand fellows who shot. And she spread her wings to fly as an eagle lifted off and she flaps along heading for Väinämöinen: one wing flicked the clouds and one swerved off the water."
Lönnrot, Elias; Keith Bosley. The Kalevala
Forwarded from Art of Neale Rundgren
I'm pleased to announce the completion of the front cover of Wylder Times - our newest publication. This is the third iteration which turned out to be successful. Jack o' lantern is the centrepiece of the illustration. Bear in mind, the Wylder Times title on the cover is just the trademark, not the official arrangement of the front cover. Anyway, back to painting. I'm hoping to finish one more commission, as well as another art piece for the publication sometime this week.
Depiction of an angel attempting to prevent Father Time from unrolling the scroll on which the destiny of mankind is recorded.
“Would but some wingéd Angel ere too late
Arrest the yet unfolded Roll of Fate,
And make the stern Recorder otherwise
Enregister, or quite obliterate!
Ah, Love! could you and I with Him conspire
To grasp this sorry Scheme of Things entire,
Would not we shatter it to bits--and then
Re-mould it nearer to the Heart's Desire!”
The roll of Fate
Walter Crane, 1882
“Would but some wingéd Angel ere too late
Arrest the yet unfolded Roll of Fate,
And make the stern Recorder otherwise
Enregister, or quite obliterate!
Ah, Love! could you and I with Him conspire
To grasp this sorry Scheme of Things entire,
Would not we shatter it to bits--and then
Re-mould it nearer to the Heart's Desire!”
The roll of Fate
Walter Crane, 1882
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