WEBVTT - O Death, Part 4: Santa Muerte and...

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey you welcome to Stuff to Blow your Mind. My

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<v Speaker 2>name is Robert Lamb.

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<v Speaker 3>And I am Joe McCormick.

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<v Speaker 4>And we're back with the fourth and final I think

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<v Speaker 4>is it the final for now?

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<v Speaker 2>Par I mean, death is always final business. But I

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<v Speaker 2>don't know. We're gonna We're gonna see we have a

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<v Speaker 2>we have a fair amount of notes here, and it

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<v Speaker 2>kind of comes down to if we will get done

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<v Speaker 2>with them. In a way, it's kind of like the

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<v Speaker 2>the log. Once the log is burned to completion, then

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<v Speaker 2>it's over. But maybe we won't burn all of the log.

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<v Speaker 3>Ellieger there.

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<v Speaker 4>Yeah, but I was gonna say this is the fourth

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<v Speaker 4>and potentially final part in our series on personifications of death,

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<v Speaker 4>when death becomes not not a process or an abstract concept,

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<v Speaker 4>but a person or an embodied character. Probably won't do

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<v Speaker 4>a full recap of what we covered in the last

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<v Speaker 4>episodes because it's been a lot of ground at this point.

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<v Speaker 4>If you are new to this series, you probably want

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<v Speaker 4>to go back and listen to the earlier episodes first.

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<v Speaker 2>Yeah, because we break down some basic categorizations and concepts

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<v Speaker 2>that we then returned back to again and again as

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<v Speaker 2>we break down other examples and so forth.

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<v Speaker 4>So I flagged this when we left off at the

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<v Speaker 4>end of the last episode, but today I wanted to

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<v Speaker 4>come back and talk about a specific example of a

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<v Speaker 4>death personification that I found really interesting as I was

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<v Speaker 4>reading a paper about this character. Specifically, this is a

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<v Speaker 4>feminine death personification that is actually, according to some scholars,

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<v Speaker 4>the matron deity of one of the fastest growing new

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<v Speaker 4>religious movements in the Americas, and this figure is known

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<v Speaker 4>as Santemirte, which means Saint Death or Holy death in Spanish. Rob,

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<v Speaker 4>I've got some imagery for you to look at in

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<v Speaker 4>the outline. Here, would you say, in common appearance, a

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<v Speaker 4>fairly typical in some ways grim repress, a female grim reaper,

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<v Speaker 4>kind of a skeletal figure, clothed and enrobed in a way,

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<v Speaker 4>with a garment covering the head, kind of a veil

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<v Speaker 4>or a hood. In one representation we have here, she's

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<v Speaker 4>drawn with a halo around her head or at least

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<v Speaker 4>kind of an aura around the crown coming down.

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<v Speaker 3>To the base of the head.

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<v Speaker 4>And then in another representation she's actually quite colorful. You know,

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<v Speaker 4>she's decked out with a sort of rainbow back drop,

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<v Speaker 4>with a scythe and with some interesting objects in her hands.

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<v Speaker 2>Yeah. Yeah, that second image, you know, not surprising. I

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<v Speaker 2>think most of us familiar with the various colorful depictions

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<v Speaker 2>of death iconography in Mexican culture. But yeah, just a

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<v Speaker 2>quick glance at this character, you know what she's all about.

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<v Speaker 2>She's clearly some sort of an embodiment of death, and

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<v Speaker 2>there's a yeah, a sense of the weighing of the scales.

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<v Speaker 2>And you know, I don't know if we really mentioned

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<v Speaker 2>this or not, but the human skull in and of itself,

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<v Speaker 2>you know, is a very evocative image for a number

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<v Speaker 2>of reasons. You know, it's what's inside our head, that's

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<v Speaker 2>what we look like with no skin on our head.

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<v Speaker 2>But also it always appears to be grinning, you know,

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<v Speaker 2>it is. There is a it's easy to read the

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<v Speaker 2>skull as smiling, as if again there's a secret joke.

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<v Speaker 2>And we've already described what it means when death jokes.

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<v Speaker 4>Grinning or grimacing, I guess, but a certain gritted teeth expression, yeah,

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<v Speaker 4>either going through something difficult or trying to hold the

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<v Speaker 4>chuckle in. But yeah, so my main source on Santa

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<v Speaker 4>Morte Here is going to be a twenty twenty one

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<v Speaker 4>paper published in the journal Religions called syncredit Santamerte, Holy

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<v Speaker 4>Death and Religious Bricklage by a pair of scholars named

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<v Speaker 4>Kate Kingsbury and Our Andrew Chestnut. Kate Kingsbury is an

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<v Speaker 4>anthropologist affiliated with the University of British Columbia, and Our

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<v Speaker 4>Andrew Chestnut is a professor of Latin American history at

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<v Speaker 4>Virginia Commonwealth University, and at the time this paper was published,

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<v Speaker 4>the authors together explained they had fifteen years of cumulative

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<v Speaker 4>experience studying Santa Marte across different parts of the Americas.

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<v Speaker 4>So these are authors who have written a lot on

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<v Speaker 4>the Santa Marte figure and phenomenon. So, first of all,

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<v Speaker 4>who is Santa Marte. She is a Latin American folk

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<v Speaker 4>saint with devotees concentrated especially in Mexico, but in other

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<v Speaker 4>countries of North, Central and South America as well. So

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<v Speaker 4>a folk saint is a person or figure who many people,

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<v Speaker 4>especially within a Catholic influenced culture, consider holy, but who

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<v Speaker 4>has not been officially canonized.

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<v Speaker 3>By the authorities of the Catholic Church.

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<v Speaker 4>So Rob, you and I have actually talked about some

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<v Speaker 4>non official saints fairly recently. I think we talked about

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<v Speaker 4>Saint Swithin in English traditions.

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<v Speaker 2>That's right. Yeah, and I believe they've been one or

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<v Speaker 2>two others. Yeah. I guess the thing about a folk

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<v Speaker 2>saint is it enough people make a case for it, bam,

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<v Speaker 2>folk saint. Like if enough people were saying Coffin Joe

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<v Speaker 2>is a saint, then we have to acknowledge the idea,

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<v Speaker 2>even if it is not approved by the Catholic Church.

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<v Speaker 3>Yeah.

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<v Speaker 4>So, folk sainthood is recognized by the people, usually the

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<v Speaker 4>working classes, through a kind of emergent up from the

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<v Speaker 4>ground process. Folk saints can be either originally real people

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<v Speaker 4>who actually existed, or they can be legendary or mythical figures.

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<v Speaker 4>The people who believe in folk saints usually believe them

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<v Speaker 4>to be not only examples of holina, yes, but sources

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<v Speaker 4>of power, figures that possess supernatural powers and the ability

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<v Speaker 4>to provide blessings. And so despite not being formally recognized

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<v Speaker 4>by the Church and often being explicitly condemned by the Church,

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<v Speaker 4>the authors say that these folk saints are usually seen

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<v Speaker 4>as more relatable and with a greater ability to provide

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<v Speaker 4>healing and aid and comfort, especially to the people of

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<v Speaker 4>Latin American cultures, which the authors argue is in part

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<v Speaker 4>because the origins of these folk saints are typically closer

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<v Speaker 4>to the people in terms of time and space and

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<v Speaker 4>life experience than the origins of the canonized saints. Many

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<v Speaker 4>people in Latin American cultures, also, the authors say, prefer

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<v Speaker 4>folk saints to canonized saints, specifically because they exist outside

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<v Speaker 4>the sanction of the official church, and therefore their relationship,

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<v Speaker 4>you know, the people's relationship to the saint is kind

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<v Speaker 4>of freer. It is not mediated by the costs of

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<v Speaker 4>associating or going through the church, and it's not mediated

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<v Speaker 4>by the authority of a priest. So, for example, there's

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<v Speaker 4>no priest that can tell you what is and is

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<v Speaker 4>not an appropriate way to talk to or relate to

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<v Speaker 4>a folk saint like there would be in you know,

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<v Speaker 4>for official Catholic saints within the church.

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<v Speaker 2>So in a way it's closer to the heart and

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<v Speaker 2>unperturbed by the intellects of others.

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<v Speaker 3>Yeah, that's right.

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<v Speaker 4>So, for example, there's nobody telling you what it's appropriate

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<v Speaker 4>to ask for or how you need to ask that

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<v Speaker 4>you're doing it wrong. Yeah, I mean you could say

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<v Speaker 4>that the official church, and you know, I'm not trying

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<v Speaker 4>to make a judgment here, this is just this is

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<v Speaker 4>a common perception the official church is laiden with moral judgment.

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<v Speaker 4>Like what if I need a blessing, if I need

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<v Speaker 4>supernatural help with something, but from the church active what

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<v Speaker 4>if I am not asking for an appropriate goal, or

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<v Speaker 4>what if the church judges me to be in a

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<v Speaker 4>state of sin and you know, I show up saying

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<v Speaker 4>I need help with a problem, but from the church's

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<v Speaker 4>point of view, my problem is that I need to

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<v Speaker 4>repent and confess my sins before I come asking for help.

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<v Speaker 4>And so you know, there's just kind of you're at

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<v Speaker 4>an impasse there about like goals and priorities with the church,

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<v Speaker 4>but with a folk saint, you're not going to be

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<v Speaker 4>dealing with a hierarchy like that.

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<v Speaker 3>The relation to the.

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<v Speaker 4>Supernatural being is more on your own terms. So yeah,

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<v Speaker 4>So folk saints are often seen as in some ways better,

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<v Speaker 4>more miraculous, or more helpful than Catholic saints for these

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<v Speaker 4>multiple reasons, maybe cultural affinity. Their origins are closer in

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<v Speaker 4>cultural proximity and thus they're more relatable, and for reasons

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<v Speaker 4>of freedom. There's less restriction or instruction on how you're

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<v Speaker 4>supposed to relate to the saint. There's no implicit or

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<v Speaker 4>explicit judgment.

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<v Speaker 3>Folk saints, the.

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<v Speaker 4>Authors say, often have a tragic death story, beginning as

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<v Speaker 4>real people who perished by violence or sometimes under the

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<v Speaker 4>oppression of authorities, or maybe in extreme poverty. They cite

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<v Speaker 4>the work of an anthropologist named Flores Matos, who calls

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<v Speaker 4>these figures the miraculous dead, and so they give one

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<v Speaker 4>example of another type of folk saint or miraculous dead

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<v Speaker 4>figure known of in Mexico, who is named Juan Saltados

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<v Speaker 4>and Wan Soldados is based on a soldier in Tijuana

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<v Speaker 4>who was said to have been framed for a horrible

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<v Speaker 4>crime and executed by firing squad in the nineteen thirties.

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<v Speaker 4>And then the story goes that after his death, his

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<v Speaker 4>ghost began to cry out from his grave to proclaim

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<v Speaker 4>his innocence, and the spirit of Juan Soldados started granting

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<v Speaker 4>people miracles, giving people miracles if they came to his

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<v Speaker 4>gravestone to ask for help, and a bunch of figures

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<v Speaker 4>like this exist with the understanding that it is so

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<v Speaker 4>thing about their tragic death and thus their relationship to

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<v Speaker 4>death that helps give them power to perform miracles. The

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<v Speaker 4>followers of Santa Morte often believe her to be the

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<v Speaker 4>most effective of these folk saints or miraculous dead, perhaps

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<v Speaker 4>because she's not just one of the miraculous dead, but

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<v Speaker 4>is the embodiment of death itself.

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<v Speaker 2>So for listeners out there, go ahead, describe what does

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<v Speaker 2>she look like? How do we know her when we

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<v Speaker 2>see her?

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<v Speaker 4>So we sort of alluded to this earlier, But she

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<v Speaker 4>takes the form of a female grim reaper or a

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<v Speaker 4>grim repress, said often to be based on a classic

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<v Speaker 4>Iberian grim repress figure called Laparca. So she's a grim

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<v Speaker 4>repress with a skeletal body and a skull face, usually

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<v Speaker 4>dressed in a long gown and a mantle meaning like

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<v Speaker 4>a cloak or a cape, often with a hood, and

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<v Speaker 4>the authors highlight that she has several characteristic items in

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<v Speaker 4>her hands in her left hand, usually a scythe. And

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<v Speaker 4>there's one note in the later in the paper where

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<v Speaker 4>the authors mention a common saying that wives whose husbands

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<v Speaker 4>had gone out roaming would would come back, would come

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<v Speaker 4>and ask Santa Marte to use her size to bring

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<v Speaker 4>errant husbands back. Home, so you can think of it

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<v Speaker 4>in that sense. It sounds almost not like a like

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<v Speaker 4>a blade or weapon, but like a shepherd's crook, you know,

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<v Speaker 4>pull them back. But I think it also has the

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<v Speaker 4>more common, you know, reaping imagery that we that we

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<v Speaker 4>just get from your classic Grim Reaper. And then so

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<v Speaker 4>that's her left hand. In her right hand she sometimes

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<v Speaker 4>has a globe like a representation of the planet Earth

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<v Speaker 4>or the scales of justice. She also has an animal companion,

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<v Speaker 4>which is an owl, and this could be for a

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<v Speaker 4>number of reasons. There are traditional associations between owls and

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<v Speaker 4>death in and some meso American religions. And then also

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<v Speaker 4>there is the association of the owl with wisdom in

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<v Speaker 4>a lot of traditions. And then to read here, I'm

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<v Speaker 4>going to read directly from Chestnut and Kingsbury about how

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<v Speaker 4>her name is put together. So they write quote in English,

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<v Speaker 4>she is called Saint Death or Holy Death. The name

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<v Speaker 4>Santa Muerte explicates her identity. In Spanish, Muerte means death.

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<v Speaker 4>Santa translates both as holy and as saint. But Santa,

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<v Speaker 4>it should be noted, is the female word for saint

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<v Speaker 4>in Spanish, and the saint is perceived by her followers

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<v Speaker 4>as of the female gender. She is a quote liminal, fierce,

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<v Speaker 4>feminine persona and is seen as an quote all powerful

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<v Speaker 4>and protecting mother who can solve all problems, who has

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<v Speaker 4>the power to.

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<v Speaker 3>Give and take away.

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<v Speaker 4>So this comes a bit back to when you were

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<v Speaker 4>talking about gender in the last episode, Rob. It seems

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<v Speaker 4>to me that Santa Morte is interesting because she is

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<v Speaker 4>one of these death figures that not only has a gender.

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<v Speaker 4>You know, you can imagine some death personifications that are

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<v Speaker 4>gender neutral or you can't really tell what gender they're

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<v Speaker 4>supposed to be, and then some some personifications have a

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<v Speaker 4>clearly intended gender, but maybe it's not necessarily supposed to

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<v Speaker 4>mean anything. But in this case, it seems like the

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<v Speaker 4>gendered embodiment is meaningful, Like she something about her being

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<v Speaker 4>death being a woman brings meaning to the relationship with her.

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<v Speaker 2>So there may be some sort of stereotypical nurturing context

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<v Speaker 2>to her, comforting context to her. But then, as we've

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<v Speaker 2>been discussing, with room for other connotations as well.

0:13:45.640 --> 0:13:47.960
<v Speaker 4>Yeah, I mean, as they say, I think the powerful

0:13:47.960 --> 0:13:51.079
<v Speaker 4>and protecting mother aspect of her is an important part

0:13:51.120 --> 0:13:54.880
<v Speaker 4>of what she is. So she's represented in all different

0:13:54.960 --> 0:13:57.960
<v Speaker 4>kinds of media. You can have pendance worn around the neck.

0:13:58.440 --> 0:14:01.440
<v Speaker 4>She might sometimes just be an image Jnan devotional candle,

0:14:02.320 --> 0:14:05.439
<v Speaker 4>or she can be in full sized statue form at

0:14:05.440 --> 0:14:09.480
<v Speaker 4>the head of a shrine. Believers will turn to her

0:14:09.720 --> 0:14:13.120
<v Speaker 4>for miracles and other aid, as you do with some

0:14:13.160 --> 0:14:16.959
<v Speaker 4>of these other folk. Saints are miraculous dead, and often

0:14:17.160 --> 0:14:19.680
<v Speaker 4>they believe she has the power to bring good health,

0:14:20.160 --> 0:14:24.800
<v Speaker 4>to bring success in love, to bring deliverance from money troubles,

0:14:24.920 --> 0:14:27.360
<v Speaker 4>and all other kinds of blessings. So it's not just

0:14:27.400 --> 0:14:31.880
<v Speaker 4>stuff that we think of as inherently connected to death.

0:14:32.120 --> 0:14:34.680
<v Speaker 4>She can bring boons of all sorts.

0:14:35.280 --> 0:14:38.520
<v Speaker 2>That is interesting yet, because you might expect her powers

0:14:38.520 --> 0:14:42.360
<v Speaker 2>to be, you know, to borrow from dungeons and dragons,

0:14:42.360 --> 0:14:45.560
<v Speaker 2>spell classification. You might expect her to be a necromancy specialist,

0:14:45.600 --> 0:14:48.480
<v Speaker 2>you know, and all her abilities would be nechromatic in

0:14:48.520 --> 0:14:50.640
<v Speaker 2>one form or another. But yeah, once you're getting into

0:14:50.920 --> 0:14:55.960
<v Speaker 2>general blessings and financial boons, then you're in different territory.

0:14:56.440 --> 0:15:02.160
<v Speaker 4>Now where does this interesting sort of wide ranging power

0:15:02.200 --> 0:15:04.120
<v Speaker 4>come from. We'll come back to that, because that's actually

0:15:04.120 --> 0:15:05.800
<v Speaker 4>a core part of what they argue in the paper.

0:15:05.840 --> 0:15:08.239
<v Speaker 4>I'm going to be focusing more on their general characterization

0:15:08.280 --> 0:15:10.600
<v Speaker 4>of Santa Marte, but they're also making an argument about

0:15:10.800 --> 0:15:13.960
<v Speaker 4>culturally where she comes from, so we'll come back to that.

0:15:15.400 --> 0:15:17.920
<v Speaker 4>Another thing that's important is that the authors note that

0:15:17.960 --> 0:15:24.240
<v Speaker 4>Santamerte has been grossly misrepresented by some sensationalist media reporting

0:15:24.960 --> 0:15:29.160
<v Speaker 4>that has treated her as some kind of Narco saint.

0:15:29.280 --> 0:15:32.000
<v Speaker 4>That's a term used to refer to her narco saint,

0:15:32.280 --> 0:15:36.240
<v Speaker 4>a sort of cult figure worshiped exclusively by criminals and

0:15:36.320 --> 0:15:40.120
<v Speaker 4>drug traffickers. The authors say this is not correct at all.

0:15:40.240 --> 0:15:43.600
<v Speaker 4>She's venerated by all kinds of people, especially by the

0:15:43.680 --> 0:15:47.840
<v Speaker 4>poor and by people without much individual access to power,

0:15:48.920 --> 0:15:52.880
<v Speaker 4>So it's not that she is never invoked by anybody

0:15:52.920 --> 0:15:55.240
<v Speaker 4>related to the drug trade or drug war. The authors

0:15:55.240 --> 0:15:59.520
<v Speaker 4>say that actually she is regularly supplicated by people on

0:15:59.640 --> 0:16:03.200
<v Speaker 4>both sides of the law within the drug war in Mexico.

0:16:03.680 --> 0:16:06.080
<v Speaker 4>But she also says that lots of people were turning

0:16:06.080 --> 0:16:08.880
<v Speaker 4>to Santa Marte for protection during the first year of

0:16:08.880 --> 0:16:13.040
<v Speaker 4>the COVID pandemic, and that she is widely seen as

0:16:13.080 --> 0:16:16.120
<v Speaker 4>a protector of women in places where there is a

0:16:16.160 --> 0:16:20.320
<v Speaker 4>special thread of gender based violence. The author is also

0:16:20.400 --> 0:16:23.320
<v Speaker 4>mentioned that there is you know, of course, no formal

0:16:23.480 --> 0:16:28.320
<v Speaker 4>authority or structure within the faith, so there's nothing like

0:16:28.360 --> 0:16:32.440
<v Speaker 4>the Catholic hierarchy. So you can have people kind of

0:16:32.640 --> 0:16:37.200
<v Speaker 4>striking out to honor her or relate to her in

0:16:37.280 --> 0:16:40.400
<v Speaker 4>whatever way they see best. So you get these chapels

0:16:40.440 --> 0:16:45.440
<v Speaker 4>and shrines that are sometimes opened and operated by independent

0:16:45.560 --> 0:16:48.880
<v Speaker 4>religious entrepreneurs, but a lot of the faith is actually

0:16:48.880 --> 0:16:52.520
<v Speaker 4>conducted in private, like in private homes and at family alters.

0:16:53.080 --> 0:16:57.000
<v Speaker 4>And because there are no formal rules, there are no structures,

0:16:57.040 --> 0:16:59.720
<v Speaker 4>there are no authorities. There's just great freedom in how

0:16:59.760 --> 0:17:03.520
<v Speaker 4>the faith of Santa Marte is practiced. And the authors

0:17:03.560 --> 0:17:05.879
<v Speaker 4>again I mentioned this a minute ago, but they identify

0:17:05.960 --> 0:17:10.000
<v Speaker 4>that freedom as a key part of the appeal. However,

0:17:10.760 --> 0:17:14.400
<v Speaker 4>so you know, that's sort of the heteropraxy aspect. There's

0:17:14.480 --> 0:17:16.720
<v Speaker 4>just a lot of diversity in how people honor and

0:17:16.760 --> 0:17:19.760
<v Speaker 4>relate to Santa Marte. But they also say there are

0:17:19.800 --> 0:17:23.639
<v Speaker 4>some common trends that they've identified in their study of

0:17:23.640 --> 0:17:24.359
<v Speaker 4>this phenomenon.

0:17:24.400 --> 0:17:26.240
<v Speaker 3>So, first of.

0:17:26.160 --> 0:17:31.000
<v Speaker 4>All, altars and chapels are important. Most devotees of Santa

0:17:31.000 --> 0:17:34.919
<v Speaker 4>Marte will visit the nearest chapel devoted to her, to

0:17:34.960 --> 0:17:37.879
<v Speaker 4>her at least like once a month, and so people

0:17:37.960 --> 0:17:41.360
<v Speaker 4>visit these chapels and they say prayers and leave offerings.

0:17:41.720 --> 0:17:45.359
<v Speaker 4>Lots of people have altars within their homes, often consisting

0:17:45.440 --> 0:17:47.720
<v Speaker 4>of like a small statue of the saint on a

0:17:47.800 --> 0:17:51.760
<v Speaker 4>table or a votive candle. And the offerings can take

0:17:51.800 --> 0:17:54.960
<v Speaker 4>a lot of forms. They might be foods, like chocolate

0:17:55.119 --> 0:17:58.800
<v Speaker 4>or other candy I've seen some. Sometimes fruits are given.

0:18:00.160 --> 0:18:03.919
<v Speaker 4>The offerings might be flowers. They could be alcoholic beverages

0:18:04.000 --> 0:18:08.200
<v Speaker 4>like beer or tequila. Sometimes it's cigarettes or other smokables.

0:18:09.000 --> 0:18:11.959
<v Speaker 4>There are bottles of water. Actually, the authors say quote

0:18:12.000 --> 0:18:15.360
<v Speaker 4>as the skeleton saint is said to be perpetually parched.

0:18:16.760 --> 0:18:18.320
<v Speaker 2>Everything she drinks it just goes right through.

0:18:18.640 --> 0:18:18.880
<v Speaker 3>Yeah.

0:18:19.000 --> 0:18:20.960
<v Speaker 4>No, I don't know exactly how to read the tone

0:18:20.960 --> 0:18:22.800
<v Speaker 4>on that phrase, but I think I take that as

0:18:23.040 --> 0:18:26.320
<v Speaker 4>there being a bit of playfulness in the relationship between

0:18:26.359 --> 0:18:32.440
<v Speaker 4>her devotees and her. But she's also she's commonly understood

0:18:32.600 --> 0:18:36.280
<v Speaker 4>as a folk saint of the powerless, of the marginalized

0:18:36.280 --> 0:18:39.960
<v Speaker 4>and oppressed, So the people with the least power, or

0:18:40.000 --> 0:18:43.200
<v Speaker 4>the people who live closest to meeting death are thought

0:18:43.240 --> 0:18:47.400
<v Speaker 4>to be especially within her domain. The author's cite previous

0:18:47.440 --> 0:18:51.200
<v Speaker 4>work by a scholar named Olaskyevitch Peralba, who argues that

0:18:51.920 --> 0:18:55.960
<v Speaker 4>she is appealing quote among liminal sectors of population that

0:18:56.080 --> 0:19:00.439
<v Speaker 4>deal with transitions and transgressions, such as people working on

0:19:00.480 --> 0:19:07.840
<v Speaker 4>the streets e g. Street vendors, criminals and prostitutes, migrants, inmates, policemen, troops,

0:19:08.080 --> 0:19:12.639
<v Speaker 4>prison guards, social workers, and lawyers. So it's interesting that

0:19:12.680 --> 0:19:15.600
<v Speaker 4>it's not just like a cohort of natural allies there.

0:19:15.640 --> 0:19:18.480
<v Speaker 4>You know, you have people in all different types of professions,

0:19:18.480 --> 0:19:20.520
<v Speaker 4>maybe on both sides of the law and so forth.

0:19:21.680 --> 0:19:24.920
<v Speaker 2>But it's everybody on law and order, all the characters.

0:19:25.520 --> 0:19:28.320
<v Speaker 4>But not just that. I mean also it's a lot

0:19:28.320 --> 0:19:34.360
<v Speaker 4>of connections to maybe danger or connections to what they

0:19:34.359 --> 0:19:39.520
<v Speaker 4>say again is transitions and transgressions, liminal spaces. And the

0:19:39.560 --> 0:19:41.920
<v Speaker 4>authors say also her appeal is fairly broad, so it's

0:19:41.960 --> 0:19:44.840
<v Speaker 4>not just that domain. They say that you will find

0:19:44.880 --> 0:19:49.359
<v Speaker 4>her devotees among people everyone from housewives to fishermen, they say,

0:19:49.960 --> 0:19:52.879
<v Speaker 4>but all kinds of people, especially the poor, who feel

0:19:53.040 --> 0:19:58.760
<v Speaker 4>less connection to the priesthood of the institutional church. And

0:19:58.920 --> 0:20:03.320
<v Speaker 4>the authors argue that her appeal in modern times extends

0:20:03.359 --> 0:20:07.040
<v Speaker 4>to so many people in part because of a pervasive

0:20:07.119 --> 0:20:12.720
<v Speaker 4>feeling of unsafety and a resulting metaphysics of disorder related

0:20:12.760 --> 0:20:15.960
<v Speaker 4>to the ongoing drug war. Of course, this effects not

0:20:16.119 --> 0:20:19.359
<v Speaker 4>just people involved in the drug trade or in fighting it,

0:20:19.800 --> 0:20:22.639
<v Speaker 4>but it involves a lot of innocent people caught in

0:20:22.680 --> 0:20:26.120
<v Speaker 4>the crossfire. And the authors argue that in this context,

0:20:26.200 --> 0:20:29.160
<v Speaker 4>for many people sort of within her domain, especially poor

0:20:29.200 --> 0:20:32.560
<v Speaker 4>people in certain parts of Mexico, for these people, living

0:20:32.800 --> 0:20:36.560
<v Speaker 4>entails a feeling of constantly standing up in the face

0:20:36.600 --> 0:20:37.119
<v Speaker 4>of death.

0:20:38.200 --> 0:20:38.720
<v Speaker 3>Quote.

0:20:39.000 --> 0:20:42.040
<v Speaker 4>However, instead of standing up to death, many in Mexico

0:20:42.080 --> 0:20:46.280
<v Speaker 4>have instead entered into a religious relationship with death, wherein

0:20:46.359 --> 0:20:50.919
<v Speaker 4>she is imagined as possessing the supernatural puissance, meaning like

0:20:50.960 --> 0:20:55.840
<v Speaker 4>a power or strength to protect them from perishing. So

0:20:55.960 --> 0:21:00.720
<v Speaker 4>there's this belief, not necessarily that death is just a

0:21:00.760 --> 0:21:03.720
<v Speaker 4>bad thing to be protected from. There are elements of

0:21:03.760 --> 0:21:06.639
<v Speaker 4>that in the understanding, but it's also a power you

0:21:06.720 --> 0:21:10.920
<v Speaker 4>can appeal too to spare you and the people you love,

0:21:11.560 --> 0:21:14.879
<v Speaker 4>or to be redirected into a kind of general power

0:21:14.920 --> 0:21:18.320
<v Speaker 4>of blessing to bring you protection and boons in your life.

0:21:19.160 --> 0:21:22.159
<v Speaker 4>And so in this the authors invoke an idea of

0:21:22.200 --> 0:21:26.399
<v Speaker 4>a kind of interdependence between death and power. Just power

0:21:26.480 --> 0:21:27.960
<v Speaker 4>to act within reality.

0:21:28.520 --> 0:21:30.520
<v Speaker 2>Yeah, it comes back to, you know, a lot of

0:21:30.520 --> 0:21:35.560
<v Speaker 2>what we've been discussing here about how these dealing with death,

0:21:35.720 --> 0:21:42.720
<v Speaker 2>dealing with complex and semi chaotic or chaotic situations, violence

0:21:42.840 --> 0:21:46.560
<v Speaker 2>on a mass scale. You know, we can feel lost,

0:21:46.920 --> 0:21:50.600
<v Speaker 2>untethered and are you know, we have limited abilities to

0:21:50.600 --> 0:21:55.359
<v Speaker 2>make sense of it all, but we can reach out

0:21:55.560 --> 0:22:00.159
<v Speaker 2>to something. If we personify some of what's going on,

0:22:00.280 --> 0:22:02.560
<v Speaker 2>then we have something at least in our own minds

0:22:02.600 --> 0:22:05.879
<v Speaker 2>that we can deal with, that we can reach out to,

0:22:06.080 --> 0:22:08.439
<v Speaker 2>we can seek to appease, that we can seek the

0:22:08.480 --> 0:22:09.840
<v Speaker 2>guidance of, and so forth.

0:22:10.119 --> 0:22:14.639
<v Speaker 4>Yeah, but especially interesting that it's not just in domains

0:22:14.720 --> 0:22:17.720
<v Speaker 4>related to death. That's like the thing that's most interesting

0:22:17.800 --> 0:22:30.080
<v Speaker 4>to me about this. So anyway, everything I've been talking

0:22:30.080 --> 0:22:32.880
<v Speaker 4>about so far is just sort of from the general

0:22:32.920 --> 0:22:37.439
<v Speaker 4>background sections of their paper. Actually, the main point that

0:22:37.480 --> 0:22:42.040
<v Speaker 4>they're arguing in this paper is they're making an interesting

0:22:42.119 --> 0:22:46.920
<v Speaker 4>argument about the origins and development of the Santamorte belief. Specifically,

0:22:46.960 --> 0:22:50.679
<v Speaker 4>the authors are making the claim that, in contrast to

0:22:50.840 --> 0:22:55.320
<v Speaker 4>some previous writing which they think over emphasized or exclusively

0:22:55.359 --> 0:23:00.000
<v Speaker 4>acknowledged the Catholic or European cultural roots of the deaths

0:23:00.040 --> 0:23:04.479
<v Speaker 4>ain't they say, In reality, Santa Morte is a syncretic figure.

0:23:04.720 --> 0:23:08.639
<v Speaker 4>A syncretic meaning a figure that emerges from the combination

0:23:08.800 --> 0:23:12.399
<v Speaker 4>or synthesis of elements from different cultures. In this case,

0:23:13.040 --> 0:23:16.240
<v Speaker 4>they're going to identify two main cultural inputs. One of

0:23:16.280 --> 0:23:21.280
<v Speaker 4>them is European Catholicism. It's the Catholic or Iberian grim Repress.

0:23:21.760 --> 0:23:25.879
<v Speaker 4>So this is a European and specifically Spanish Catholic moment

0:23:25.960 --> 0:23:29.639
<v Speaker 4>of death figure in female form, which was not a

0:23:29.920 --> 0:23:32.879
<v Speaker 4>god really as understood by the Christians, but it was

0:23:32.960 --> 0:23:35.879
<v Speaker 4>more of an image that served as a memento mori

0:23:36.040 --> 0:23:39.040
<v Speaker 4>or was a kind of teaching tool. So the image

0:23:39.840 --> 0:23:42.760
<v Speaker 4>reminds you that death is coming, and thus you need

0:23:42.800 --> 0:23:45.720
<v Speaker 4>to get right with Christ and confess right right.

0:23:45.760 --> 0:23:49.919
<v Speaker 2>And as we're mentioning being not completely shackled the doctrine,

0:23:50.520 --> 0:23:53.879
<v Speaker 2>it does leave you open to interpret it and present

0:23:53.920 --> 0:23:58.040
<v Speaker 2>it in various ways throughout European literature.

0:23:58.240 --> 0:24:00.920
<v Speaker 4>Yeah, so that's one input that they say. If you

0:24:01.200 --> 0:24:05.840
<v Speaker 4>just acknowledge that input, the Sentamorte belief doesn't make a

0:24:05.840 --> 0:24:07.919
<v Speaker 4>whole lot of sense. It's hard to make sense of

0:24:07.960 --> 0:24:11.400
<v Speaker 4>where a lot of its features come from. So they say, actually,

0:24:12.080 --> 0:24:16.640
<v Speaker 4>a huge input on it is pre Columbian indigenous thanatologies,

0:24:17.240 --> 0:24:20.960
<v Speaker 4>the death deities and other personifications of death from the

0:24:21.000 --> 0:24:26.040
<v Speaker 4>religions and cultures of pre Hispanic meso American peoples. And

0:24:26.080 --> 0:24:28.439
<v Speaker 4>then finally after this they also talk about this you

0:24:28.520 --> 0:24:31.480
<v Speaker 4>might have heard in the title there's the bricolage aspect.

0:24:31.600 --> 0:24:35.800
<v Speaker 4>They say that after this, the Senta morte belief continued to,

0:24:36.000 --> 0:24:39.960
<v Speaker 4>especially in recent years, accumulate elements from other sources, including

0:24:40.040 --> 0:24:43.520
<v Speaker 4>Afro Cuban, Santa Ria, Palomayumbe, and even.

0:24:43.280 --> 0:24:44.760
<v Speaker 3>Wicca and New Age beliefs.

0:24:45.800 --> 0:24:48.479
<v Speaker 4>But the main point I think they're making is that

0:24:48.880 --> 0:24:53.480
<v Speaker 4>you really can't understand how santamorte works today without understanding

0:24:53.520 --> 0:24:58.080
<v Speaker 4>the function of indigenous death deities in meso American religions,

0:24:58.560 --> 0:25:03.320
<v Speaker 4>which represent whole different ways of thinking about death compared

0:25:03.400 --> 0:25:09.760
<v Speaker 4>to European Catholic cultures. Specifically, these thanatologies in vision kind

0:25:09.760 --> 0:25:13.360
<v Speaker 4>of a more of a relationship between death and the

0:25:13.400 --> 0:25:17.359
<v Speaker 4>rest of life. I think a naive misinterpretation of this

0:25:17.480 --> 0:25:21.760
<v Speaker 4>reframing would be just that, oh, these meso American religions,

0:25:22.040 --> 0:25:24.639
<v Speaker 4>they didn't think death was bad, they thought death was good.

0:25:25.040 --> 0:25:27.400
<v Speaker 4>It's not exactly like that. I mean, in all cultures

0:25:27.440 --> 0:25:31.600
<v Speaker 4>you find religious expressions of aversion to death and people

0:25:31.640 --> 0:25:33.920
<v Speaker 4>wanting to find ways to put death off and other things.

0:25:33.920 --> 0:25:36.920
<v Speaker 4>But I think it is fair to say that as

0:25:36.960 --> 0:25:39.760
<v Speaker 4>opposed to the Catholic vision of life and death as

0:25:39.840 --> 0:25:43.040
<v Speaker 4>kind of binary opposite states of being, and the Catholic

0:25:43.160 --> 0:25:45.640
<v Speaker 4>vision of death is like a kid of a kind

0:25:45.720 --> 0:25:47.600
<v Speaker 4>of destruction that must be.

0:25:47.640 --> 0:25:48.960
<v Speaker 3>Avoided by salvation.

0:25:49.080 --> 0:25:54.159
<v Speaker 4>In christ the meso American religious view of death, and

0:25:54.200 --> 0:25:57.479
<v Speaker 4>there's not just one, obviously, there's a diversity, but fairly

0:25:57.520 --> 0:26:02.320
<v Speaker 4>common among them in meso American religions is the idea

0:26:02.440 --> 0:26:06.680
<v Speaker 4>that death has some kind of more general power over

0:26:06.800 --> 0:26:11.320
<v Speaker 4>life and is related to birth and regenerative properties and

0:26:12.000 --> 0:26:15.679
<v Speaker 4>other kinds of good things in life, That in death

0:26:15.760 --> 0:26:19.480
<v Speaker 4>there is something cyclical and regenerative and life affirming.

0:26:20.240 --> 0:26:23.159
<v Speaker 2>Yeah, that life and death are linked, That the womb

0:26:23.160 --> 0:26:26.960
<v Speaker 2>and the tomb are linked. Yeah. We discussed some of

0:26:26.960 --> 0:26:30.120
<v Speaker 2>this already, about how even Mother Earth can come into

0:26:30.160 --> 0:26:34.240
<v Speaker 2>play in all of this, and it's not necessary. The

0:26:35.240 --> 0:26:38.639
<v Speaker 2>Catholic vision and the Christian tradition of it is a

0:26:38.640 --> 0:26:42.240
<v Speaker 2>little more set in stone, with some deviations as well.

0:26:42.560 --> 0:26:44.640
<v Speaker 4>Okay, so I'm not going to have time to discuss

0:26:44.720 --> 0:26:47.520
<v Speaker 4>everything they get into in their paper here. It is

0:26:47.560 --> 0:26:49.680
<v Speaker 4>an interesting read if you want to go follow. Especially

0:26:49.760 --> 0:26:51.880
<v Speaker 4>they get into the whole history of how they think

0:26:51.920 --> 0:26:55.840
<v Speaker 4>the centimorte belief developed over time and more recent inputs

0:26:55.880 --> 0:26:58.400
<v Speaker 4>on it. But the main thing I wanted to talk

0:26:58.400 --> 0:27:02.240
<v Speaker 4>about from it here is their discussion of the different

0:27:02.320 --> 0:27:05.159
<v Speaker 4>views of the power of death, where the where death's

0:27:05.160 --> 0:27:09.840
<v Speaker 4>power comes from, and then also a little bit about

0:27:09.880 --> 0:27:15.359
<v Speaker 4>what the indigenous religious inputs on santamorte might be. So

0:27:15.440 --> 0:27:18.919
<v Speaker 4>first of all, again you've got this distinction between the

0:27:19.480 --> 0:27:23.520
<v Speaker 4>European Catholic understanding of death, which tends to be more

0:27:23.600 --> 0:27:28.880
<v Speaker 4>often about destruction, death as destruction and death as finality

0:27:29.000 --> 0:27:32.440
<v Speaker 4>in a sense of finality as a kind of finality

0:27:32.440 --> 0:27:34.760
<v Speaker 4>that can be averted through you know, faith in Christ.

0:27:34.880 --> 0:27:38.199
<v Speaker 4>But otherwise it's the hammer comes down and its finality.

0:27:39.160 --> 0:27:39.640
<v Speaker 3>And then the.

0:27:39.600 --> 0:27:46.520
<v Speaker 4>Destruction has associations of chaos, disorder, violence, negativity, pain, and sacrilege.

0:27:47.320 --> 0:27:50.800
<v Speaker 4>And again you find these negative elements of association with

0:27:50.840 --> 0:27:52.240
<v Speaker 4>death in other cultures too.

0:27:52.400 --> 0:27:54.280
<v Speaker 3>But the authors argue.

0:27:53.960 --> 0:27:58.439
<v Speaker 4>That in many of these different cultural contexts, death just

0:27:58.760 --> 0:28:02.400
<v Speaker 4>is believed to have more power over life, and not

0:28:02.520 --> 0:28:05.320
<v Speaker 4>just the power to end or destroy life, but to

0:28:05.560 --> 0:28:06.960
<v Speaker 4>influence and guide it.

0:28:06.920 --> 0:28:07.679
<v Speaker 3>In many ways.

0:28:08.720 --> 0:28:10.960
<v Speaker 4>And they have a kind of interesting theory about why

0:28:11.000 --> 0:28:13.040
<v Speaker 4>that would be. Why would death have any power over

0:28:13.200 --> 0:28:15.840
<v Speaker 4>like whether you could be healed from a sickness or

0:28:16.160 --> 0:28:19.560
<v Speaker 4>have success in love, or could you know, have material gains,

0:28:19.600 --> 0:28:22.080
<v Speaker 4>whether you know you get stuff from the hunt, or

0:28:22.119 --> 0:28:24.320
<v Speaker 4>you know you make money, or any of these things

0:28:24.359 --> 0:28:28.000
<v Speaker 4>people want. They say, you know, death is associated with

0:28:28.040 --> 0:28:31.879
<v Speaker 4>what they call liminal forces, forces having to do with

0:28:32.280 --> 0:28:35.840
<v Speaker 4>crossing a threshold from one thing to another or making

0:28:35.920 --> 0:28:39.240
<v Speaker 4>a transition from one thing to another. They say, actually

0:28:39.440 --> 0:28:44.680
<v Speaker 4>death is the ultimate and the most mysterious transition in life.

0:28:44.720 --> 0:28:47.479
<v Speaker 4>It's the one where we genuinely can't see what's on

0:28:47.520 --> 0:28:50.080
<v Speaker 4>the other side, at least for us, is there nothing?

0:28:50.240 --> 0:28:53.000
<v Speaker 4>Is there something? If there is something, what is it?

0:28:53.680 --> 0:29:00.960
<v Speaker 4>And so because liminal stages are so powerful, they're very

0:29:01.120 --> 0:29:04.240
<v Speaker 4>powerful and emotionally charged in our lives. Like if you

0:29:04.240 --> 0:29:08.120
<v Speaker 4>think about a lot of the most emotionally important and

0:29:09.600 --> 0:29:12.440
<v Speaker 4>you know, causally crucial things in our lives, they're these

0:29:12.840 --> 0:29:16.600
<v Speaker 4>things we think of as liminal stages or turning points. Birth, death,

0:29:17.400 --> 0:29:22.520
<v Speaker 4>rights of passage, and initiation, marriage, stuff like that. These

0:29:22.520 --> 0:29:25.640
<v Speaker 4>are the points where we transition into a new phase

0:29:25.680 --> 0:29:28.520
<v Speaker 4>of life, and because of that, they tend to be

0:29:28.560 --> 0:29:31.280
<v Speaker 4>the subject of a lot of prayer and ritual because

0:29:31.440 --> 0:29:35.040
<v Speaker 4>we correctly identify them as literal, causal turning points, like

0:29:35.360 --> 0:29:38.280
<v Speaker 4>they're the most important moments in our lives and they

0:29:38.360 --> 0:29:42.040
<v Speaker 4>determine the course of the future. And thus, in many cultures,

0:29:42.080 --> 0:29:46.240
<v Speaker 4>including these pre Hispanic meso American cultures, death was often

0:29:46.280 --> 0:29:50.520
<v Speaker 4>associated with the power to renew and restore life. Life

0:29:50.560 --> 0:29:55.800
<v Speaker 4>is guided by these very powerful liminal points, these transition points,

0:29:55.800 --> 0:29:58.640
<v Speaker 4>and death is the most powerful of them all. So

0:29:58.680 --> 0:30:01.520
<v Speaker 4>that's how I understand the argument they're making that it

0:30:01.560 --> 0:30:05.520
<v Speaker 4>has this association with liminality, the changes or the turning

0:30:05.560 --> 0:30:09.840
<v Speaker 4>points in life, and this association with liminality gives death

0:30:09.880 --> 0:30:13.120
<v Speaker 4>its perceived power over all important things in life, or

0:30:13.160 --> 0:30:17.880
<v Speaker 4>at least most important things in life. And then there's

0:30:17.920 --> 0:30:21.120
<v Speaker 4>another point they make that I think is interesting. They

0:30:21.160 --> 0:30:25.520
<v Speaker 4>say that death this is just a way that these

0:30:25.600 --> 0:30:30.320
<v Speaker 4>religious beliefs tend to manifest within culture. Death seems to

0:30:30.400 --> 0:30:34.760
<v Speaker 4>have more power over every aspect of life. If you

0:30:34.920 --> 0:30:38.440
<v Speaker 4>feel that you live your life in close proximity to death.

0:30:38.960 --> 0:30:42.240
<v Speaker 4>So if real danger is a big part of your

0:30:42.280 --> 0:30:47.200
<v Speaker 4>everyday experience, then a deity of death comes to feel

0:30:47.240 --> 0:30:52.280
<v Speaker 4>more like it has power over everything you do. Another

0:30:52.320 --> 0:30:54.720
<v Speaker 4>interesting note on the power of death, the authors cite

0:30:54.760 --> 0:30:58.720
<v Speaker 4>an interview with a devote of Santa Marte named Zenia,

0:30:59.320 --> 0:31:03.360
<v Speaker 4>who is asked why she worshiped Santamorte and she said,

0:31:03.760 --> 0:31:06.360
<v Speaker 4>and this is a translation from the Spanish. In translation,

0:31:06.480 --> 0:31:11.920
<v Speaker 4>she says, because the only thing that is certain is death. Interesting. So,

0:31:12.120 --> 0:31:14.760
<v Speaker 4>I don't know if I'm interpreting this right, but the

0:31:14.800 --> 0:31:18.600
<v Speaker 4>way I took that meaning, it's kind of that death

0:31:18.640 --> 0:31:23.800
<v Speaker 4>has undeniable power because unlike other spiritual entities, which you know,

0:31:23.880 --> 0:31:26.720
<v Speaker 4>you name another god or saint, you're kind of having

0:31:26.760 --> 0:31:29.880
<v Speaker 4>to put some faith in the idea that they have power.

0:31:30.880 --> 0:31:33.960
<v Speaker 4>With death, There's no question about it. You absolutely know

0:31:34.080 --> 0:31:36.120
<v Speaker 4>that it's real and it will be a factor in

0:31:36.160 --> 0:31:40.560
<v Speaker 4>your life. And that kind of certainty of real power

0:31:40.600 --> 0:31:45.360
<v Speaker 4>in the world can get mapped onto this embodiment of

0:31:45.400 --> 0:31:45.800
<v Speaker 4>the thing.

0:31:46.080 --> 0:31:46.840
<v Speaker 3>Does that make sense?

0:31:47.160 --> 0:31:50.760
<v Speaker 2>Yeah, yeah, absolutely. I mean there's so many other religious concepts,

0:31:51.200 --> 0:31:56.400
<v Speaker 2>personified or non personified, that are yeah, harder to grasp

0:31:56.480 --> 0:31:59.480
<v Speaker 2>and maybe more of a even more of an intellectual

0:31:59.520 --> 0:32:02.240
<v Speaker 2>pursuit to try and understand like some sort of you know,

0:32:02.320 --> 0:32:09.440
<v Speaker 2>deep theological concept. But yeah, death is inevitable, and not

0:32:09.520 --> 0:32:12.200
<v Speaker 2>only as the final destination if you will have our

0:32:12.200 --> 0:32:16.280
<v Speaker 2>own life, but as something that will occur multiple times

0:32:16.880 --> 0:32:20.200
<v Speaker 2>within proximity to our own life. We will experience it,

0:32:20.280 --> 0:32:24.600
<v Speaker 2>we will feel it. It has an absolute reality, and yeah,

0:32:24.680 --> 0:32:29.520
<v Speaker 2>as we experience the reality of death, it does kind

0:32:29.520 --> 0:32:32.200
<v Speaker 2>of take shape like we have Again, we have all

0:32:32.200 --> 0:32:35.040
<v Speaker 2>these personifications in our culture. And if you have a

0:32:35.080 --> 0:32:39.200
<v Speaker 2>dominant personification like this that is just sort of like

0:32:39.280 --> 0:32:43.000
<v Speaker 2>floating there, then yeah, the experience, the real experience of death,

0:32:43.040 --> 0:32:45.320
<v Speaker 2>I can imagine, might bring you closer to it and

0:32:45.440 --> 0:32:48.600
<v Speaker 2>realize like this, you know, if this entity has dominion

0:32:49.120 --> 0:32:51.960
<v Speaker 2>over this thing that I feel like it's power, then

0:32:52.040 --> 0:32:53.480
<v Speaker 2>is something I can feel as well.

0:32:54.040 --> 0:32:54.440
<v Speaker 3>Yeah.

0:32:54.720 --> 0:32:58.840
<v Speaker 4>Yeah, So anyway, I want to get on just briefly

0:32:58.880 --> 0:33:01.920
<v Speaker 4>to talk a bit about specifics of where they think

0:33:02.040 --> 0:33:04.800
<v Speaker 4>this comes from, examples of where they think senta morte

0:33:04.960 --> 0:33:09.040
<v Speaker 4>comes from, in the branch feeding into it that comes

0:33:09.080 --> 0:33:13.760
<v Speaker 4>from indigenous traditions. So they talk about some broad trends

0:33:14.240 --> 0:33:17.560
<v Speaker 4>in how death was most often spoken of in preconquest

0:33:17.640 --> 0:33:21.120
<v Speaker 4>Mexico as far as we know. They say that in

0:33:21.280 --> 0:33:25.600
<v Speaker 4>preconquest Mexican cultures, death was not as it was in

0:33:25.640 --> 0:33:29.000
<v Speaker 4>the European context, thought of merely as the extinction or

0:33:29.040 --> 0:33:33.960
<v Speaker 4>opposite of life. It was widely associated with, as we've said, regeneration.

0:33:35.000 --> 0:33:39.440
<v Speaker 4>The symbols of death in pre Hispanic indigenous cultures include

0:33:39.600 --> 0:33:45.240
<v Speaker 4>often themes of fecundity, sexuality, and rebirth, so you have healing,

0:33:45.440 --> 0:33:51.520
<v Speaker 4>life giving, procreative properties. And they also say that Mesoamerican

0:33:51.560 --> 0:33:56.040
<v Speaker 4>death deities were often not exactly gods and goddesses, but

0:33:56.160 --> 0:34:01.120
<v Speaker 4>in the author's words quote conceptualized as representing or embodying

0:34:01.360 --> 0:34:04.840
<v Speaker 4>the vital force of death, which vital force of death

0:34:04.840 --> 0:34:07.600
<v Speaker 4>that almost sounds like a oxymoron, right, is the life

0:34:07.600 --> 0:34:10.520
<v Speaker 4>force of death. But that is sort of what they

0:34:10.600 --> 0:34:15.279
<v Speaker 4>really were. It's hard, you know, to maybe identify with

0:34:15.320 --> 0:34:17.920
<v Speaker 4>that from the outside, but there is a life force

0:34:17.960 --> 0:34:20.920
<v Speaker 4>of death, and that is what they embody within their person.

0:34:22.280 --> 0:34:25.600
<v Speaker 4>So they sometimes symbolized the places where the dead dwell,

0:34:25.880 --> 0:34:28.919
<v Speaker 4>and they sometimes acted as psychopomps, which we've talked about

0:34:28.920 --> 0:34:30.799
<v Speaker 4>in other episodes of this, so they might guide the

0:34:30.840 --> 0:34:34.440
<v Speaker 4>souls or the dead in some form to their place

0:34:34.480 --> 0:34:38.879
<v Speaker 4>of dwelling after death. But they also had powers especially

0:34:38.960 --> 0:34:42.360
<v Speaker 4>related to death, not just to cause death, but to

0:34:42.440 --> 0:34:45.080
<v Speaker 4>do the opposite, so you could persuade them to delay

0:34:45.239 --> 0:34:48.839
<v Speaker 4>death or to heal you in sick or wounded. And

0:34:48.960 --> 0:34:51.760
<v Speaker 4>the authors bring up a pair of Aztec death deities.

0:34:51.800 --> 0:34:54.200
<v Speaker 4>I apologize if I get the pronunciation wrong here, but

0:34:54.239 --> 0:34:59.160
<v Speaker 4>they are mik Lantakoutli and mikta Kasiwatum. These are the

0:34:59.160 --> 0:35:03.520
<v Speaker 4>male and female male deities associated with death and the underworld.

0:35:04.000 --> 0:35:06.680
<v Speaker 4>And the authors say that in pre Hispanic times their

0:35:06.719 --> 0:35:11.480
<v Speaker 4>domain was not exclusively death, so you would possibly approach

0:35:11.560 --> 0:35:15.600
<v Speaker 4>them for blessings having to do with the with preservation

0:35:16.040 --> 0:35:19.839
<v Speaker 4>and enrichment of life. And in Aztec art they are

0:35:19.880 --> 0:35:24.680
<v Speaker 4>associated with the imagery of regeneration, birth, sex, and fecundity.

0:35:25.239 --> 0:35:30.560
<v Speaker 4>I believe the female deity here, miktakasi Wato, is often

0:35:30.760 --> 0:35:36.960
<v Speaker 4>represented as as pregnant. Actually, so these these images include

0:35:36.960 --> 0:35:41.000
<v Speaker 4>everything from sexual penetration to pregnancy and lactation.

0:35:42.080 --> 0:35:44.160
<v Speaker 3>They quote a couple of other scholars.

0:35:43.680 --> 0:35:46.960
<v Speaker 4>Who have an idea about the origins of this connection,

0:35:47.640 --> 0:35:51.279
<v Speaker 4>so they say quote it is assumed by McCafferty and

0:35:51.480 --> 0:35:54.279
<v Speaker 4>Carrasco that this is related to the and then they

0:35:54.280 --> 0:35:58.160
<v Speaker 4>begin to quote. These authors quote regenerative power of bones

0:35:58.360 --> 0:36:01.520
<v Speaker 4>as seeds, which which is evident in the journey of

0:36:01.640 --> 0:36:05.040
<v Speaker 4>Ketzlkowat to the world of the dead to steal the

0:36:05.080 --> 0:36:07.320
<v Speaker 4>bones from which human beings.

0:36:06.960 --> 0:36:08.000
<v Speaker 3>Would be created.

0:36:09.280 --> 0:36:11.680
<v Speaker 4>So there's a like if bones are seeds, that is

0:36:11.719 --> 0:36:16.680
<v Speaker 4>a quite literal connection between death and both both. I

0:36:16.719 --> 0:36:20.360
<v Speaker 4>meant to say birth and growth, but both it is both.

0:36:21.200 --> 0:36:25.640
<v Speaker 4>The authors discuss how before the Spanish Conquest, the female

0:36:25.640 --> 0:36:30.719
<v Speaker 4>death deity miktakasi Watt presided over a roughly month long

0:36:30.800 --> 0:36:34.320
<v Speaker 4>celebration of the beloved dead, which took place in the summer,

0:36:35.040 --> 0:36:37.640
<v Speaker 4>and this was a time when you would remember ancestors

0:36:37.840 --> 0:36:40.839
<v Speaker 4>and you would remember family members you had lost. And

0:36:40.880 --> 0:36:45.040
<v Speaker 4>then after the Spanish conquest, as part of the imposition

0:36:45.239 --> 0:36:49.320
<v Speaker 4>of Christianity by force, the authors say, quote, the Catholic

0:36:49.480 --> 0:36:55.120
<v Speaker 4>Church exercised Miktakasiwat and moved the date to coincide with

0:36:55.280 --> 0:36:58.440
<v Speaker 4>All Saints Day, the first of November, which is also

0:36:58.480 --> 0:37:01.040
<v Speaker 4>known in Mexico as Day of the Innocence for its

0:37:01.040 --> 0:37:05.000
<v Speaker 4>association with masses focusing on deceased infants and children, and

0:37:05.160 --> 0:37:08.240
<v Speaker 4>All Souls Day the second of November, where the focus

0:37:08.320 --> 0:37:12.520
<v Speaker 4>is on departed adults. So there's this attempt by the

0:37:12.560 --> 0:37:16.080
<v Speaker 4>Catholic Church to kind of hammer the original festival into

0:37:16.120 --> 0:37:19.360
<v Speaker 4>shape and make it a part of a Catholic celebration

0:37:19.760 --> 0:37:25.360
<v Speaker 4>instead of the traditional celebration. However, interestingly, for many followers

0:37:25.360 --> 0:37:28.560
<v Speaker 4>of Santa Morte, the Second Day of the Dead has

0:37:28.760 --> 0:37:33.319
<v Speaker 4>become the Skeleton Saints feast day, and the Church, they say,

0:37:33.320 --> 0:37:36.239
<v Speaker 4>has tried to suppress this because the Catholic Church says,

0:37:36.280 --> 0:37:37.640
<v Speaker 4>this is not an approved saint.

0:37:37.719 --> 0:37:39.239
<v Speaker 3>You know, you should not be making.

0:37:39.000 --> 0:37:42.319
<v Speaker 4>This folk saint part of your celebrations. They would just

0:37:42.360 --> 0:37:45.080
<v Speaker 4>want to keep the focus on the church sanctioned remembrance

0:37:45.080 --> 0:37:47.680
<v Speaker 4>of lost loved ones. But the presence of Saint Death

0:37:47.719 --> 0:37:52.480
<v Speaker 4>has not gone away. And the authors note that while

0:37:52.840 --> 0:37:56.960
<v Speaker 4>they are intentionally trying to highlight the influence of Miktakasi

0:37:57.000 --> 0:38:00.799
<v Speaker 4>Watt in those traditions on the evolution of to Morte,

0:38:01.160 --> 0:38:02.800
<v Speaker 4>that is not the only.

0:38:03.920 --> 0:38:04.360
<v Speaker 3>Religion.

0:38:04.440 --> 0:38:07.080
<v Speaker 4>It's not only in as Tech religion that you find

0:38:07.120 --> 0:38:11.160
<v Speaker 4>these regenerative or life giving powers related to death deities.

0:38:11.440 --> 0:38:15.040
<v Speaker 4>You'll apparently find this association in traditions of the Mishtech

0:38:15.160 --> 0:38:18.759
<v Speaker 4>and in the Maya. So one example they bring up

0:38:18.920 --> 0:38:23.080
<v Speaker 4>is a Mishtech death deity named the Lady nine Grass,

0:38:23.600 --> 0:38:27.440
<v Speaker 4>which is portrayed in a particular set of cotticies with

0:38:27.640 --> 0:38:30.439
<v Speaker 4>first of all, a naked, hinged jaw like you'd see

0:38:30.440 --> 0:38:33.200
<v Speaker 4>on a skeletal figure, so kind of a skeletal grim

0:38:33.200 --> 0:38:36.200
<v Speaker 4>reaper type face. But also so she's not dressed in

0:38:36.239 --> 0:38:38.719
<v Speaker 4>a dark hood with a scythe she is in a

0:38:38.800 --> 0:38:43.640
<v Speaker 4>blouse like garment that you'd normally see worn by the vibrant,

0:38:43.719 --> 0:38:48.839
<v Speaker 4>life giving female deities in post classic Mexican art. So

0:38:49.080 --> 0:38:51.759
<v Speaker 4>you've got skull like imagery and life giving or life

0:38:51.760 --> 0:38:55.040
<v Speaker 4>affirming imagery in the same figure. And so this seems

0:38:55.080 --> 0:38:57.879
<v Speaker 4>again to be in line with beliefs about death as

0:38:58.120 --> 0:39:03.000
<v Speaker 4>a transition to cyclical rebirth or a figure containing powers

0:39:03.040 --> 0:39:06.680
<v Speaker 4>of states of change. And finally, I just want to

0:39:06.680 --> 0:39:09.880
<v Speaker 4>mention they talk a bit about the contestation over the

0:39:09.920 --> 0:39:13.680
<v Speaker 4>origins of Santa Marte. So versions of Santa Marte go

0:39:13.840 --> 0:39:17.360
<v Speaker 4>back to the colonial period, but there's no consensus about

0:39:17.400 --> 0:39:20.839
<v Speaker 4>exactly where Santa Marte comes from. That's why you get

0:39:20.840 --> 0:39:24.040
<v Speaker 4>these different theories abounding. So some argue that she is

0:39:24.320 --> 0:39:27.439
<v Speaker 4>just a version of the grim reapress La Parca brought

0:39:27.480 --> 0:39:31.360
<v Speaker 4>from the Iberian traditions and made into a deity. But

0:39:31.480 --> 0:39:34.399
<v Speaker 4>the authors here again argue that this theory doesn't really

0:39:34.440 --> 0:39:37.200
<v Speaker 4>make sense because, for one thing, the grim Reaper was

0:39:37.280 --> 0:39:42.080
<v Speaker 4>not venerated and did not provide blessings in a Catholic context.

0:39:42.680 --> 0:39:45.719
<v Speaker 4>It was just an image to teach about death and

0:39:45.800 --> 0:39:48.760
<v Speaker 4>to remind you, momento moray, remind you that death is coming.

0:39:49.080 --> 0:39:50.480
<v Speaker 4>Christ is the only salvation.

0:39:51.360 --> 0:39:51.560
<v Speaker 3>You know.

0:39:51.640 --> 0:39:54.719
<v Speaker 4>It had different cultural values, but none of them were like,

0:39:54.880 --> 0:39:57.600
<v Speaker 4>it's here to help you out and give you blessings

0:39:57.640 --> 0:39:58.560
<v Speaker 4>if you make an offering.

0:39:58.880 --> 0:40:00.759
<v Speaker 2>Yeah, it wasn't implied that you should reach out to

0:40:00.800 --> 0:40:02.000
<v Speaker 2>this individual. Right.

0:40:02.280 --> 0:40:06.440
<v Speaker 4>Yeah, so that doesn't make sense, they say, But it

0:40:06.520 --> 0:40:09.359
<v Speaker 4>does make sense as a sort of contribution of one

0:40:09.640 --> 0:40:12.920
<v Speaker 4>half of the origin is like a contribution of grim

0:40:12.960 --> 0:40:16.800
<v Speaker 4>Reaper imagery. They say, it makes sense if you also

0:40:16.920 --> 0:40:20.759
<v Speaker 4>incorporate the very important influence of indigenous death deities, which

0:40:20.800 --> 0:40:24.920
<v Speaker 4>were venerated and did provide blessings having to do with life.

0:40:26.239 --> 0:40:29.600
<v Speaker 4>And then, finally, to quote from the authors quote, since

0:40:29.680 --> 0:40:32.960
<v Speaker 4>many turned to death deities for their earthly needs, some

0:40:33.120 --> 0:40:36.840
<v Speaker 4>indigenous groups, as archives prove, took the Grim Reaper for

0:40:37.080 --> 0:40:40.359
<v Speaker 4>a saint. Since the Grim Reaper was often referred to

0:40:40.560 --> 0:40:45.319
<v Speaker 4>in connection to Una Santa Marte, a holy Death, the

0:40:45.320 --> 0:40:48.560
<v Speaker 4>figure of Death was understood to be miraculous, much like

0:40:48.640 --> 0:40:51.239
<v Speaker 4>the other saints that the Catholic Church had brought over

0:40:51.280 --> 0:40:55.000
<v Speaker 4>to New Spain, such as Santa Marta. Believing Death was

0:40:55.040 --> 0:40:58.239
<v Speaker 4>a saint in its own right, some began worshiping it.

0:40:58.640 --> 0:41:00.840
<v Speaker 4>This is the case for the Highland Maya in the

0:41:00.880 --> 0:41:05.200
<v Speaker 4>state of Chiapas and Guatemala, and the Guarini in Argentina

0:41:05.280 --> 0:41:09.560
<v Speaker 4>and Paraguay. So yeah, so there's this idea that that's

0:41:09.600 --> 0:41:11.799
<v Speaker 4>their argument about the origins. I guess we don't know

0:41:11.880 --> 0:41:14.320
<v Speaker 4>for sure exactly what the origins are, and they highlight

0:41:14.400 --> 0:41:17.160
<v Speaker 4>that that it's somewhat obscure, you know, this versions of

0:41:17.200 --> 0:41:19.560
<v Speaker 4>this figure popping up hundreds of years ago, and then

0:41:19.600 --> 0:41:21.440
<v Speaker 4>it kind of comes in and out of fashion for

0:41:21.480 --> 0:41:24.400
<v Speaker 4>a long time. It seems to be it is only

0:41:24.600 --> 0:41:29.080
<v Speaker 4>in secret or in hiding that Santa Marte is honored,

0:41:29.120 --> 0:41:32.320
<v Speaker 4>and in recent decades it has become much more open,

0:41:32.440 --> 0:41:35.759
<v Speaker 4>you know, an there's open honoring of Santa Marte. However

0:41:35.840 --> 0:41:38.200
<v Speaker 4>much the church tries to say like no don't do that.

0:41:38.200 --> 0:41:40.040
<v Speaker 4>That's not part of Catholicism.

0:41:40.719 --> 0:41:41.560
<v Speaker 3>But yeah, I don't know.

0:41:41.800 --> 0:41:45.399
<v Speaker 4>I feel like really interesting figure, really interesting history, and

0:41:46.080 --> 0:41:50.560
<v Speaker 4>I love thinking about where this comes from, the idea

0:41:50.640 --> 0:41:55.640
<v Speaker 4>that death is not just about death, that the embodiment

0:41:55.680 --> 0:41:59.800
<v Speaker 4>of death has domain over all of life.

0:41:59.719 --> 0:42:02.799
<v Speaker 2>Yeah, there's so many interesting angles to this, but I

0:42:02.840 --> 0:42:04.520
<v Speaker 2>love how there does seem to be a path of

0:42:04.600 --> 0:42:11.680
<v Speaker 2>desire here. You know, she exists slightly outside of of

0:42:11.680 --> 0:42:16.400
<v Speaker 2>of the actual, you know, dogmatic Catholic belief system, but

0:42:16.719 --> 0:42:20.000
<v Speaker 2>clearly there is a great need for her, and people

0:42:20.040 --> 0:42:23.440
<v Speaker 2>are drawn to the powers associated with her into and

0:42:23.600 --> 0:42:36.839
<v Speaker 2>into that limital space that she occupies. All right, Well,

0:42:37.040 --> 0:42:40.520
<v Speaker 2>I'm gonna turn over to a couple of other concepts here.

0:42:42.520 --> 0:42:46.200
<v Speaker 2>In both of these cases, I'm not introducing entirely new

0:42:46.239 --> 0:42:48.799
<v Speaker 2>concepts to our discussion, but kind of building on things

0:42:48.800 --> 0:42:52.879
<v Speaker 2>we've been discussing already. And first of all, I want

0:42:52.880 --> 0:42:56.560
<v Speaker 2>to just take a few moments to talk about this

0:42:56.719 --> 0:43:01.560
<v Speaker 2>idea of death entities is not merely an idea, you know,

0:43:02.400 --> 0:43:07.399
<v Speaker 2>but also an experience one might have. Because to be clear,

0:43:07.440 --> 0:43:09.960
<v Speaker 2>they don't have to be a death entity, a grim

0:43:10.000 --> 0:43:13.239
<v Speaker 2>reaper or an angel of death or any of these things.

0:43:13.360 --> 0:43:16.080
<v Speaker 2>They don't have to be perceived as anything approach approaching

0:43:16.160 --> 0:43:21.400
<v Speaker 2>literal incarnations or functional supernatural entities to have enormous cultural

0:43:21.480 --> 0:43:24.400
<v Speaker 2>value obviously, but we do have to acknowledge that they

0:43:24.400 --> 0:43:28.800
<v Speaker 2>certainly can be perceived and experienced as entities due to

0:43:28.840 --> 0:43:31.160
<v Speaker 2>a number of factors. And some of these are things

0:43:31.200 --> 0:43:33.319
<v Speaker 2>we've touched on over the years on the show, because

0:43:33.320 --> 0:43:36.600
<v Speaker 2>we often talk about things that may be described as

0:43:36.640 --> 0:43:41.200
<v Speaker 2>paranormal experiences and when you dig underneath them, like for

0:43:41.320 --> 0:43:45.239
<v Speaker 2>us anyway, the really fascinating part is figuring out like

0:43:45.320 --> 0:43:49.279
<v Speaker 2>how this actually emerges within the natural world, within the

0:43:49.280 --> 0:43:52.239
<v Speaker 2>inner workings of our mind and so forth. So I'm

0:43:52.239 --> 0:43:54.319
<v Speaker 2>going to just run through a few of these as

0:43:54.360 --> 0:43:57.080
<v Speaker 2>I related via my own experience in the last episode.

0:43:57.480 --> 0:44:02.919
<v Speaker 2>Dream states are a huge factor, sometimes enhanced by environment, anxiety,

0:44:03.480 --> 0:44:08.120
<v Speaker 2>and the effects of certain medications, including anesthesia meds, and

0:44:08.239 --> 0:44:11.720
<v Speaker 2>there have been many reports of people experiencing impactful visions

0:44:11.719 --> 0:44:16.239
<v Speaker 2>of departed loved ones under anesthesia. Others report angels, demons,

0:44:16.840 --> 0:44:20.960
<v Speaker 2>and death entities are certainly on the menu as well. Also,

0:44:21.000 --> 0:44:26.280
<v Speaker 2>we can have various entities come into play via tempo

0:44:26.320 --> 0:44:31.640
<v Speaker 2>varietal junction disruptions TPJ disruptions, So due to trauma, illness,

0:44:31.719 --> 0:44:35.120
<v Speaker 2>or even electrical stimulation, this can result in the brain

0:44:35.280 --> 0:44:38.560
<v Speaker 2>interpreting its own signals is that of some sort of

0:44:38.600 --> 0:44:42.600
<v Speaker 2>an other. As we've mentioned as well on the show,

0:44:42.800 --> 0:44:46.640
<v Speaker 2>we're hardwired not to contemplate the enormity of death, but

0:44:46.800 --> 0:44:51.600
<v Speaker 2>rather for more localized social interactions as social animals. So

0:44:51.840 --> 0:44:55.239
<v Speaker 2>we've also evolved something known as agent detection as a

0:44:55.280 --> 0:44:58.040
<v Speaker 2>survival strategy, and this is tied in with something we've

0:44:58.040 --> 0:44:59.800
<v Speaker 2>talked about in the show a lot before as well,

0:45:00.040 --> 0:45:04.840
<v Speaker 2>idea of false positives. You know, we presume tigers to

0:45:04.880 --> 0:45:07.680
<v Speaker 2>be where there are no tigers because if you think

0:45:07.680 --> 0:45:10.960
<v Speaker 2>of tigers everywhere, then you have a survival advantage over

0:45:10.960 --> 0:45:13.879
<v Speaker 2>people who don't think they are tigers anywhere. That sort

0:45:13.880 --> 0:45:14.920
<v Speaker 2>of thing, Right.

0:45:15.160 --> 0:45:18.640
<v Speaker 4>At some point you hit the point of diminishing returns

0:45:18.680 --> 0:45:21.120
<v Speaker 4>for that payoff, Like you can be too paranoid, but

0:45:21.239 --> 0:45:25.560
<v Speaker 4>generally nature selects for having greater amounts of fear and caution.

0:45:26.000 --> 0:45:29.960
<v Speaker 2>Yeah yeah, But alongside this, it can mean more than

0:45:30.000 --> 0:45:31.920
<v Speaker 2>just seeing a threat where there isn't one. It can

0:45:31.960 --> 0:45:35.319
<v Speaker 2>mean seeing a will where there isn't one. So the

0:45:35.440 --> 0:45:39.560
<v Speaker 2>argument is that we possess a hyperactive agent detection device

0:45:39.680 --> 0:45:42.920
<v Speaker 2>or had D or hat I guess coined I believe

0:45:42.960 --> 0:45:46.960
<v Speaker 2>by cognitive psychologists Justin L. Barrett around the year two thousand.

0:45:47.560 --> 0:45:51.040
<v Speaker 2>We tend to assume patterns have intent, and it might

0:45:51.120 --> 0:45:53.840
<v Speaker 2>just underlie just about every god, demi god, and magical

0:45:53.880 --> 0:45:57.040
<v Speaker 2>creature we've ever dreamed up. I feel like, for me,

0:45:57.120 --> 0:45:59.840
<v Speaker 2>like the simple version of this is and this is

0:46:00.160 --> 0:46:02.520
<v Speaker 2>in a way, this is like childishness on my part,

0:46:03.040 --> 0:46:05.040
<v Speaker 2>but I imagine many of you have done the same.

0:46:05.280 --> 0:46:08.120
<v Speaker 2>You stub your toe, You might very on the say

0:46:08.160 --> 0:46:11.040
<v Speaker 2>the coffee table. You might very well blame the coffee table,

0:46:11.120 --> 0:46:14.040
<v Speaker 2>curse the coffee table as an entity that has hurt you.

0:46:14.200 --> 0:46:15.440
<v Speaker 3>Why did it do that to me?

0:46:15.680 --> 0:46:16.799
<v Speaker 2>Yeah?

0:46:17.040 --> 0:46:17.840
<v Speaker 3>Yeah, this.

0:46:18.480 --> 0:46:21.439
<v Speaker 4>For a while, the hyperactive agency detection device has been

0:46:21.520 --> 0:46:24.680
<v Speaker 4>one of the theories kicking around about the the you know,

0:46:24.719 --> 0:46:28.000
<v Speaker 4>the biological origins of religion and beliefs in magic and

0:46:28.120 --> 0:46:31.640
<v Speaker 4>things like that. It's possible that this is in part

0:46:31.680 --> 0:46:34.640
<v Speaker 4>where religious beliefs come from. We don't really know one

0:46:34.640 --> 0:46:36.600
<v Speaker 4>way or another, whether you know, it's hard to prove that,

0:46:37.600 --> 0:46:40.400
<v Speaker 4>but either way, I do think it's an interesting idea,

0:46:40.400 --> 0:46:43.239
<v Speaker 4>and I think it's hard to deny that there is

0:46:43.440 --> 0:46:46.400
<v Speaker 4>something like this at work, whether or not it's actually

0:46:47.440 --> 0:46:50.520
<v Speaker 4>the correct cognitive explanation for the origin of religion and

0:46:50.600 --> 0:46:54.080
<v Speaker 4>human history. It's clear something like this is at work

0:46:54.120 --> 0:46:58.880
<v Speaker 4>within us, Like we we believe that there are animals

0:46:59.120 --> 0:47:03.120
<v Speaker 4>or people or things that act with intentions like animals

0:47:03.160 --> 0:47:06.520
<v Speaker 4>or people in situations where there are not all the time.

0:47:06.880 --> 0:47:12.320
<v Speaker 2>Yeah, and even if it's not the primary underlying mechanism here,

0:47:12.880 --> 0:47:16.920
<v Speaker 2>I feel like it's got to be in the mix, right, Yeah,

0:47:17.480 --> 0:47:20.839
<v Speaker 2>let's see. There's also the complex area of near death experience. Again,

0:47:20.840 --> 0:47:24.840
<v Speaker 2>we're often talking about entities that are said to or

0:47:24.920 --> 0:47:31.320
<v Speaker 2>believe to come into play during that liminal transitional phase

0:47:32.160 --> 0:47:36.759
<v Speaker 2>between death and whatever comes after. And so yeah, near

0:47:36.800 --> 0:47:39.880
<v Speaker 2>death experiences. This is a topic undo itself, but basically,

0:47:41.880 --> 0:47:44.640
<v Speaker 2>the neurochemical state of the dying brain makes us more

0:47:44.680 --> 0:47:48.760
<v Speaker 2>susceptible to these sorts of images, and there is nothing

0:47:48.880 --> 0:47:52.920
<v Speaker 2>paranormal about near death experiences twenty eleven by Dean Mobs

0:47:52.920 --> 0:47:55.520
<v Speaker 2>and Carolyn Watt. This is and Trends and Cognitive science

0:47:56.480 --> 0:47:59.319
<v Speaker 2>that they argue that the neurochemical state of the dying

0:47:59.360 --> 0:48:04.440
<v Speaker 2>brain mirror that of individuals on disassociative anesthetics, which frequently

0:48:04.480 --> 0:48:10.760
<v Speaker 2>produce anthropomorphic hallucinations and out of body experiences. And finally,

0:48:10.880 --> 0:48:13.600
<v Speaker 2>in a way that I think is equally profound as

0:48:13.640 --> 0:48:17.000
<v Speaker 2>any of these, if not more so, is another concept

0:48:17.040 --> 0:48:18.800
<v Speaker 2>we've touched on before, and that is that the brain

0:48:18.920 --> 0:48:22.319
<v Speaker 2>does not just produce random static during a crisis. It

0:48:22.400 --> 0:48:25.840
<v Speaker 2>uses top down processing to make sense of internal chaos.

0:48:26.160 --> 0:48:29.080
<v Speaker 2>So there will be all these gaps in our understanding

0:48:29.080 --> 0:48:33.280
<v Speaker 2>of what's happening, and our mind draws on relevant cultural

0:48:33.320 --> 0:48:37.239
<v Speaker 2>symbols and scripts to piece it all together. And that

0:48:37.440 --> 0:48:42.680
<v Speaker 2>script might be alien abduction, that script might be angel visitation,

0:48:42.840 --> 0:48:46.239
<v Speaker 2>it might be the fair folk who live unseen in

0:48:46.280 --> 0:48:49.960
<v Speaker 2>the woods. And the death entity is also a highly

0:48:50.000 --> 0:48:52.839
<v Speaker 2>accessible symbol that is never that far away from us.

0:48:53.120 --> 0:48:54.239
<v Speaker 3>Yeah.

0:48:54.320 --> 0:48:57.000
<v Speaker 2>So anyway, just food for thought here as we're thinking

0:48:57.000 --> 0:48:59.560
<v Speaker 2>about death. And again, I don't want to imply that

0:49:00.280 --> 0:49:06.759
<v Speaker 2>every manifestation of death, every personification of death is indeed

0:49:06.920 --> 0:49:08.960
<v Speaker 2>need to be a case where Okay, people believe they

0:49:09.000 --> 0:49:11.759
<v Speaker 2>see this thing when they're close, or they see this

0:49:11.800 --> 0:49:15.360
<v Speaker 2>thing near a dying person. That is sometimes the case,

0:49:15.680 --> 0:49:19.400
<v Speaker 2>but these concepts, these personifications are just as potent and

0:49:19.480 --> 0:49:21.280
<v Speaker 2>useful without that being in play.

0:49:21.560 --> 0:49:23.960
<v Speaker 4>Oh No, it's a great distinction, because I think the

0:49:24.000 --> 0:49:27.960
<v Speaker 4>majority of what we've been talking about has been artistic representation.

0:49:28.360 --> 0:49:35.680
<v Speaker 4>You know, it's been artistic or deliberate imagination exercises things

0:49:35.719 --> 0:49:39.439
<v Speaker 4>like that, or just literature, you know, cases where people

0:49:39.440 --> 0:49:42.400
<v Speaker 4>are talking about how they imagine death. It's a quite

0:49:42.400 --> 0:49:47.080
<v Speaker 4>different thing to believe. You see someone you know that, like,

0:49:47.120 --> 0:49:50.840
<v Speaker 4>where does that come from? That seems to maybe arise

0:49:50.920 --> 0:49:54.480
<v Speaker 4>by somewhat different pathways, maybe have somewhat different triggers than

0:49:54.560 --> 0:49:58.440
<v Speaker 4>say a deliberate imaginative exercise where you're trying to come

0:49:58.520 --> 0:50:01.400
<v Speaker 4>up with imagery for a painting, or a psychologist is

0:50:01.440 --> 0:50:03.160
<v Speaker 4>sitting you down and asking you to think.

0:50:03.040 --> 0:50:04.799
<v Speaker 3>What does death look like to you?

0:50:05.160 --> 0:50:08.080
<v Speaker 4>Yeah, you might find out in an experience that death

0:50:08.120 --> 0:50:10.120
<v Speaker 4>looks different than you thought you would think.

0:50:10.480 --> 0:50:13.120
<v Speaker 2>Yeah. Yeah, And it is interesting how like we may

0:50:13.960 --> 0:50:18.160
<v Speaker 2>summon this personification in our mind as part of like

0:50:18.239 --> 0:50:23.800
<v Speaker 2>the overarching human attempt to understand something as impactful and

0:50:25.280 --> 0:50:29.320
<v Speaker 2>traumatic and transitional as death in our own life or

0:50:29.320 --> 0:50:32.759
<v Speaker 2>in the lives of others, and then potentially have a

0:50:32.800 --> 0:50:39.560
<v Speaker 2>situation where then you see or experience that manifestation as well. Now,

0:50:39.960 --> 0:50:41.800
<v Speaker 2>for the rest of the episode. Here I wanted to

0:50:41.840 --> 0:50:46.040
<v Speaker 2>follow up on another specific example of an anthropomorphic personification

0:50:46.120 --> 0:50:52.400
<v Speaker 2>of death, and that is the Valkyries. We want to

0:50:52.400 --> 0:50:58.880
<v Speaker 2>come back to the Valkyries here, so on discord email

0:50:59.000 --> 0:51:01.320
<v Speaker 2>us if you want to link to join the stuff

0:51:01.320 --> 0:51:03.960
<v Speaker 2>to blow your mind. Discord Server. A listener by the

0:51:04.000 --> 0:51:07.799
<v Speaker 2>name of Gorpi wrote in and highly recommended that we

0:51:07.920 --> 0:51:12.040
<v Speaker 2>come back to the Valkyries and include mention of a

0:51:12.080 --> 0:51:16.320
<v Speaker 2>particular Skaldic poem. It's included in chapter one fifty seven

0:51:16.560 --> 0:51:20.640
<v Speaker 2>of the Nile Saga. I'm going to probably butcher this pronunciation,

0:51:20.800 --> 0:51:26.560
<v Speaker 2>but is It is titled dar Ratha the Song of

0:51:26.600 --> 0:51:31.640
<v Speaker 2>the Spear, and Gorpi says that it contains quote the

0:51:31.680 --> 0:51:35.960
<v Speaker 2>most metal description of fate being woven, and I agree,

0:51:36.040 --> 0:51:38.680
<v Speaker 2>boy does it. Ever let's hear it all right. So

0:51:38.760 --> 0:51:41.560
<v Speaker 2>I have to do some setup first, because it's not

0:51:41.600 --> 0:51:44.319
<v Speaker 2>going to necessarily make sense to anyone out there who

0:51:44.760 --> 0:51:48.480
<v Speaker 2>doesn't isn't already boned up on the loom or know

0:51:48.560 --> 0:51:52.960
<v Speaker 2>about weaving via allum. It's going to entail a number

0:51:53.000 --> 0:51:56.920
<v Speaker 2>of technology references to the loomb, specifically to the warp

0:51:56.960 --> 0:52:00.960
<v Speaker 2>weighted loom. This is an upright loom that was standard

0:52:01.400 --> 0:52:03.439
<v Speaker 2>for the day, you know, back back in the days

0:52:03.440 --> 0:52:07.080
<v Speaker 2>of the Viking sagas. So in order to get just

0:52:07.160 --> 0:52:09.359
<v Speaker 2>how metal this is, you're gonna have to learn a

0:52:09.360 --> 0:52:12.960
<v Speaker 2>little bit about textile crafting terminology. Okay, all right, so

0:52:13.440 --> 0:52:15.839
<v Speaker 2>I'm gonna bust out some terminology here. So first of all,

0:52:16.280 --> 0:52:19.520
<v Speaker 2>what is the warp? I know it sounds magical and

0:52:19.800 --> 0:52:22.200
<v Speaker 2>and already a little metal.

0:52:22.239 --> 0:52:25.600
<v Speaker 4>But wait a minute, Rob, I'm sorry, is your reference

0:52:25.600 --> 0:52:26.799
<v Speaker 4>point for this warhammer?

0:52:27.040 --> 0:52:27.399
<v Speaker 2>It is?

0:52:27.480 --> 0:52:30.000
<v Speaker 4>Yes, okay, I thought I saw that in your eye.

0:52:30.160 --> 0:52:31.520
<v Speaker 2>Yeah, I mean it could be you know, it could

0:52:31.560 --> 0:52:35.400
<v Speaker 2>also be warp records. You know, they're different, different uses

0:52:35.440 --> 0:52:38.920
<v Speaker 2>of the term. But within the world of the loom,

0:52:39.360 --> 0:52:42.680
<v Speaker 2>the warp is a set of lengthwise yarns stretched tightly

0:52:42.680 --> 0:52:46.959
<v Speaker 2>across the loom before the weaving begins. Then you also

0:52:47.000 --> 0:52:49.840
<v Speaker 2>have the weft or wolf. This is a set of

0:52:49.880 --> 0:52:53.800
<v Speaker 2>horizontal or crosswise threads that are woven over and under

0:52:53.840 --> 0:52:56.680
<v Speaker 2>the vertical warp threads to create a piece of fabric.

0:52:57.360 --> 0:53:00.440
<v Speaker 2>Up next, we have the headle. These are small or

0:53:00.440 --> 0:53:03.040
<v Speaker 2>strings with a hole or eye in the middle. Each

0:53:03.200 --> 0:53:06.640
<v Speaker 2>individual warp thread is threaded through one heddle, and when

0:53:06.680 --> 0:53:08.759
<v Speaker 2>the headles are lifted or lower, they pull the warp

0:53:08.800 --> 0:53:11.280
<v Speaker 2>threads with them to create a gap called a shed.

0:53:12.400 --> 0:53:14.640
<v Speaker 2>All right, we also have heddle weights. These are small,

0:53:14.680 --> 0:53:16.960
<v Speaker 2>heavy It's like a small heavy metal rod or weights

0:53:17.040 --> 0:53:19.759
<v Speaker 2>attached to the bottom of an individual heddle. We have

0:53:19.800 --> 0:53:22.640
<v Speaker 2>a headle rod. This is used to lift specific warp

0:53:22.680 --> 0:53:25.320
<v Speaker 2>threads to create an opening. And then we have shuttles.

0:53:25.360 --> 0:53:28.880
<v Speaker 2>These are the tools used to pass the weft or

0:53:28.880 --> 0:53:34.759
<v Speaker 2>the wolf through the warp. Okay, so I actually know

0:53:34.920 --> 0:53:39.040
<v Speaker 2>several loom enthusiasts in real life, but I've never discussed

0:53:39.160 --> 0:53:42.840
<v Speaker 2>the use of the loom with them, so I almost

0:53:42.920 --> 0:53:45.360
<v Speaker 2>pretty much all this terminology was new to me. I

0:53:45.440 --> 0:53:48.560
<v Speaker 2>know we have some loom users out there, just it

0:53:48.680 --> 0:53:51.680
<v Speaker 2>has to be the case. So maybe y'all can throw

0:53:51.719 --> 0:53:54.080
<v Speaker 2>in on this later on in a listener Mail episode.

0:53:55.280 --> 0:53:57.320
<v Speaker 2>But again, the idea here is that while many of

0:53:57.400 --> 0:54:00.319
<v Speaker 2>us have no clue how this technology works or or

0:54:00.440 --> 0:54:03.239
<v Speaker 2>what everything is called, this was an essential piece of

0:54:03.320 --> 0:54:06.839
<v Speaker 2>technology of the day, and as clearly illustrated when I'm

0:54:06.840 --> 0:54:09.960
<v Speaker 2>about to read it details, you know, its details were

0:54:09.960 --> 0:54:13.640
<v Speaker 2>culturally relevant, kind of like how so much computer and

0:54:13.680 --> 0:54:17.719
<v Speaker 2>internet terminology is found in our daily speech today, and

0:54:17.800 --> 0:54:21.520
<v Speaker 2>I included an image of this for you, Joe, to

0:54:21.840 --> 0:54:23.920
<v Speaker 2>look at. I think maybe this might clarify some of

0:54:23.960 --> 0:54:24.759
<v Speaker 2>the ideas here.

0:54:26.280 --> 0:54:28.880
<v Speaker 4>I'm sorry, I'm not you might clarify, but it's just

0:54:28.920 --> 0:54:31.319
<v Speaker 4>like a thing that I have no familiarity with, and

0:54:31.360 --> 0:54:32.840
<v Speaker 4>it's like tons of parts.

0:54:33.440 --> 0:54:36.879
<v Speaker 2>Yeah, yeah, all right, so I'm going to read here.

0:54:37.520 --> 0:54:41.040
<v Speaker 2>I'll also add that this poem is said to concern

0:54:41.080 --> 0:54:47.000
<v Speaker 2>the Battle of Klundtarf in ten fourteen CE. And yeah,

0:54:47.000 --> 0:54:52.920
<v Speaker 2>this is the translation from M. Magnusen and H. Paulson

0:54:53.080 --> 0:54:57.480
<v Speaker 2>from nineteen sixty seven. Blood rains from the cloudy web

0:54:58.040 --> 0:55:01.760
<v Speaker 2>on the broad loom of slaughter. The web of man

0:55:01.920 --> 0:55:06.160
<v Speaker 2>gray as armor is now being woven. The Valkyries will

0:55:06.200 --> 0:55:10.200
<v Speaker 2>cross it with a crimson weft. The warp is made

0:55:10.239 --> 0:55:14.360
<v Speaker 2>of human entrails. Human heads are used as the hadel weights.

0:55:14.960 --> 0:55:18.640
<v Speaker 2>The hatel rods are blood wet spears, the shafts are

0:55:18.680 --> 0:55:22.200
<v Speaker 2>iron bound, and arrows are the shuttles. With swords, we

0:55:22.280 --> 0:55:26.719
<v Speaker 2>will weave this web of battle. The Valkyries go weaving

0:55:27.040 --> 0:55:33.520
<v Speaker 2>with drawn, swords killed and hothriml sangrid and svapal spears

0:55:33.600 --> 0:55:37.480
<v Speaker 2>will shatter, shields will splinter swords will gnaw like wolves

0:55:37.480 --> 0:55:40.960
<v Speaker 2>through armor. Let us now wind the web of war

0:55:41.560 --> 0:55:44.920
<v Speaker 2>which the young King once waged. Let us advance and

0:55:45.000 --> 0:55:48.680
<v Speaker 2>weigh through the ranks where friends of ours are exchanging blows.

0:55:49.160 --> 0:55:50.640
<v Speaker 2>And I'm going to skip a bit at this point,

0:55:50.680 --> 0:55:53.760
<v Speaker 2>but we do indeed continue to wind the web of war. Here,

0:55:54.480 --> 0:55:57.080
<v Speaker 2>as our Scott Baker would put it, death comes spiraling down.

0:55:57.760 --> 0:55:59.279
<v Speaker 2>But then I'm going to pick back up at the end.

0:55:59.320 --> 0:56:02.400
<v Speaker 2>Here it is horrible now to look around as a

0:56:02.440 --> 0:56:05.840
<v Speaker 2>blood red cloud darkens the sky. The heavens are stained

0:56:05.880 --> 0:56:09.040
<v Speaker 2>with the blood of men. As the Valkyries sing their song,

0:56:09.680 --> 0:56:13.600
<v Speaker 2>we sang well victory songs for the young King. Hail

0:56:13.640 --> 0:56:16.600
<v Speaker 2>to our singing. Let him who listens to our valkyrie

0:56:16.600 --> 0:56:19.359
<v Speaker 2>song learn it well and tell it to others. Let

0:56:19.480 --> 0:56:23.759
<v Speaker 2>us ride our horses hard on bare backs with swords unsheathed,

0:56:23.760 --> 0:56:28.239
<v Speaker 2>away from here. So I think you'd agree, Joe, pretty metal.

0:56:28.239 --> 0:56:34.840
<v Speaker 4>That is intense. I like how the intensity is applied

0:56:34.920 --> 0:56:36.959
<v Speaker 4>to the act of making textiles.

0:56:37.280 --> 0:56:40.680
<v Speaker 2>Yeah, yeah, which you would normally think this is something

0:56:40.680 --> 0:56:44.080
<v Speaker 2>that could never harm us, would never be something that

0:56:44.120 --> 0:56:48.680
<v Speaker 2>would entail intrails and blood and splintered bodies. But it

0:56:48.719 --> 0:56:50.320
<v Speaker 2>goes back to what we were talking about earlier with

0:56:50.400 --> 0:56:54.239
<v Speaker 2>the muses, you know, and depending on the technological metaphor

0:56:54.880 --> 0:56:58.120
<v Speaker 2>in order to sort of make sense of how life

0:56:58.160 --> 0:57:01.440
<v Speaker 2>comes together, how long it lasts, and how it ends.

0:57:02.600 --> 0:57:06.120
<v Speaker 4>Yeah, I mean this does. I don't know, maybe I'm

0:57:06.120 --> 0:57:09.160
<v Speaker 4>wrong about this, but this does at least suggest the

0:57:09.280 --> 0:57:14.279
<v Speaker 4>idea of, whereas the usual technological metaphor of death is

0:57:14.360 --> 0:57:19.919
<v Speaker 4>one of cutting, severing, reducing, destroying, that this is a

0:57:20.000 --> 0:57:21.840
<v Speaker 4>productive death enterprise.

0:57:22.760 --> 0:57:25.520
<v Speaker 2>Yeah. Which I think that comes down to the idea

0:57:25.600 --> 0:57:31.000
<v Speaker 2>that it's attempting to help us understand the battle and

0:57:31.040 --> 0:57:35.720
<v Speaker 2>the battle field. So the valkyries here are obviously creating

0:57:35.760 --> 0:57:39.840
<v Speaker 2>no mere cloth. They are weaving the war winning wolf,

0:57:40.280 --> 0:57:44.120
<v Speaker 2>a supernatural tapestry that ensures the king's victory or defeat.

0:57:44.800 --> 0:57:49.000
<v Speaker 2>So once more, it's a textile product of destiny like

0:57:49.000 --> 0:57:52.440
<v Speaker 2>we've discussed before, while also standing as a powerful metaphor

0:57:52.480 --> 0:57:55.880
<v Speaker 2>for the battlefield itself, a place of chaos, of death,

0:57:56.360 --> 0:57:59.960
<v Speaker 2>of strategy and will as well as fate and destiny.

0:58:00.280 --> 0:58:04.520
<v Speaker 2>And when everything settles, the blood, the dust, the entrails,

0:58:04.960 --> 0:58:08.320
<v Speaker 2>like some sort of destiny will be achieved, like a

0:58:08.440 --> 0:58:11.520
<v Speaker 2>king will rise or a king will fall. Something will

0:58:11.520 --> 0:58:24.920
<v Speaker 2>have changed now in thinking about this, thinking about this

0:58:25.000 --> 0:58:27.400
<v Speaker 2>idea though, of the valkyries, the choosers of the slain,

0:58:27.560 --> 0:58:31.080
<v Speaker 2>wheeling over the battlefield like carrion birds, I'm reminded once

0:58:31.160 --> 0:58:33.880
<v Speaker 2>more of the idea of reference in Herzog's Psyche and

0:58:33.960 --> 0:58:38.840
<v Speaker 2>Death that the more archaic death demons in human traditions

0:58:39.080 --> 0:58:43.520
<v Speaker 2>are or more pure animal forms, such as wolves, snakes, horses,

0:58:43.560 --> 0:58:47.240
<v Speaker 2>and of course birds. And of these wolves and vultures

0:58:47.280 --> 0:58:50.240
<v Speaker 2>are exactly the sorts of creatures that would help themselves

0:58:50.240 --> 0:58:52.439
<v Speaker 2>to the dead and dying on a battlefield, that could

0:58:52.440 --> 0:58:55.960
<v Speaker 2>conceivably like physically visit you as you are on the

0:58:56.000 --> 0:59:00.040
<v Speaker 2>threshold of death, not to do anything supernatural, but to

0:59:00.080 --> 0:59:02.880
<v Speaker 2>you know, wait for you to expire, or maybe get

0:59:02.920 --> 0:59:04.880
<v Speaker 2>in a little early on the.

0:59:04.800 --> 0:59:07.480
<v Speaker 4>Goods, to exhibit the virtuars of patients.

0:59:07.920 --> 0:59:11.960
<v Speaker 2>Yes, and it's interesting too that arguably one of the

0:59:12.000 --> 0:59:16.800
<v Speaker 2>earliest known depictions of a personification of death is that

0:59:16.920 --> 0:59:21.160
<v Speaker 2>of a gigantic black vulture like birds that's swarming or

0:59:21.200 --> 0:59:24.520
<v Speaker 2>birds swarming over a headless human corpse. And these are

0:59:24.560 --> 0:59:30.080
<v Speaker 2>depicted on the seventh century BCE paintings at Chatilhuyuk in Anatolia,

0:59:30.840 --> 0:59:35.160
<v Speaker 2>and it's been proposed that headless remains discovered at this

0:59:35.240 --> 0:59:40.160
<v Speaker 2>location actual headless remains point to some sort of ritual

0:59:40.200 --> 0:59:44.640
<v Speaker 2>defleshing of the dead prior to their burial, which might

0:59:44.760 --> 0:59:48.320
<v Speaker 2>be another angle on the significance of birds in practices

0:59:48.520 --> 0:59:52.600
<v Speaker 2>like this, lining up with practices like exposure or sky burial,

0:59:53.120 --> 0:59:56.240
<v Speaker 2>which we see practice into the modern era, where generally

0:59:56.240 --> 0:59:58.680
<v Speaker 2>in places where bodies cannot be buried all that easily,

0:59:58.760 --> 1:00:01.280
<v Speaker 2>or maybe cannot be burd learned all that easily. One

1:00:01.360 --> 1:00:05.480
<v Speaker 2>way of returning them to the natural cycle of things

1:00:05.560 --> 1:00:09.040
<v Speaker 2>is to allow birds to feast on the soft tissues

1:00:09.400 --> 1:00:11.240
<v Speaker 2>and then you can do what you need to do

1:00:11.280 --> 1:00:14.960
<v Speaker 2>with the bones. So there's obviously plenty of symbolic weight

1:00:15.040 --> 1:00:17.720
<v Speaker 2>to throw around with all this. But you know, birds

1:00:17.720 --> 1:00:20.720
<v Speaker 2>sailing from above coming down to visit the dead and

1:00:20.760 --> 1:00:23.360
<v Speaker 2>the dying, You know what are they doing? Yes, they're

1:00:23.600 --> 1:00:26.000
<v Speaker 2>probably coming down to eat some eyeballs and so forth,

1:00:26.040 --> 1:00:30.960
<v Speaker 2>But more on the mystical realm of things? Are they

1:00:30.960 --> 1:00:34.840
<v Speaker 2>death dealers? Are they psychopomps? And so forth? And so

1:00:35.800 --> 1:00:39.240
<v Speaker 2>these various aspects are combined with the feminine form to

1:00:39.320 --> 1:00:42.000
<v Speaker 2>varying degrees to bring us the likes of the valkyries,

1:00:42.040 --> 1:00:45.080
<v Speaker 2>which again are sometimes said to be clothed in feathers,

1:00:45.760 --> 1:00:49.480
<v Speaker 2>as well as the cares or the cares of Greek tradition.

1:00:50.880 --> 1:00:53.360
<v Speaker 2>And you know, we might be tempted to describe them

1:00:53.360 --> 1:00:56.600
<v Speaker 2>as harpy like, and we've discussed harpies on the show before,

1:00:56.640 --> 1:00:58.960
<v Speaker 2>but I just want to throw in that harpies are

1:00:58.960 --> 1:01:03.400
<v Speaker 2>more closely associated as personification, are more closely understood as

1:01:03.400 --> 1:01:08.760
<v Speaker 2>personifications wind so a different personification going on there in

1:01:08.760 --> 1:01:13.360
<v Speaker 2>its origin. But the keras Uh were the daughters of

1:01:13.480 --> 1:01:16.520
<v Speaker 2>Nicks where to understand the goddess of night, and they were.

1:01:16.920 --> 1:01:20.240
<v Speaker 2>They're often described as death fates and that hover over

1:01:20.320 --> 1:01:24.880
<v Speaker 2>the battlefield, deciding who will fall and or looking to

1:01:25.600 --> 1:01:29.520
<v Speaker 2>exact a fate already decided by some higher deity, and

1:01:29.560 --> 1:01:32.520
<v Speaker 2>then swooping down upon the dying to await their death

1:01:32.760 --> 1:01:35.560
<v Speaker 2>so they can drag their soul into the afterlife. So

1:01:35.600 --> 1:01:38.480
<v Speaker 2>they are scavenger like fearsome creatures of doom.

1:01:38.880 --> 1:01:43.320
<v Speaker 4>So but that's interesting because they combine, uh, you know,

1:01:43.440 --> 1:01:46.280
<v Speaker 4>the pre death selection and the psychopomp role.

1:01:47.200 --> 1:01:49.800
<v Speaker 2>Yeah, but not in a good way. They're more in

1:01:49.800 --> 1:01:53.000
<v Speaker 2>the drag you to hell kind of a realm with psychopomp.

1:01:53.080 --> 1:01:55.479
<v Speaker 2>Not the come, gentle traveler, I see that you are lost,

1:01:55.560 --> 1:01:57.600
<v Speaker 2>let me help you. They're more like I'm going to

1:01:57.640 --> 1:02:02.920
<v Speaker 2>grab you by the tendon and rag you into eightes. Now,

1:02:02.920 --> 1:02:06.520
<v Speaker 2>there's a Greek epic poem attributed to Hesiod titled The

1:02:06.560 --> 1:02:12.600
<v Speaker 2>Shield of Heracles, and it includes an awesome description of

1:02:12.440 --> 1:02:15.840
<v Speaker 2>the keras here, and I should mention that not every

1:02:15.880 --> 1:02:19.640
<v Speaker 2>translation of this poem actually keeps the word keras. Some

1:02:19.800 --> 1:02:25.280
<v Speaker 2>use other words to describe them, and sometimes it's been

1:02:25.400 --> 1:02:28.800
<v Speaker 2>argue that, well, there's not really an appropriate English language

1:02:28.840 --> 1:02:31.680
<v Speaker 2>word for this sort of thing. But I'm going to

1:02:31.720 --> 1:02:35.160
<v Speaker 2>read from the nineteen fifty nine Richard Lattimore translation, and

1:02:35.200 --> 1:02:38.800
<v Speaker 2>it puts it like this. And men, the seniors on

1:02:38.880 --> 1:02:42.960
<v Speaker 2>whom old age had seized already, were sitting assembled outside

1:02:43.040 --> 1:02:46.920
<v Speaker 2>the gates and holding up their hands to the immortal gods,

1:02:47.200 --> 1:02:50.440
<v Speaker 2>being in fear for the sake of their children. And these,

1:02:50.480 --> 1:02:53.400
<v Speaker 2>for their part, were fighting their battle. And where they

1:02:53.440 --> 1:02:57.080
<v Speaker 2>were the spirits of death, dark colored and clattering, their

1:02:57.120 --> 1:03:03.080
<v Speaker 2>white teeth, deadly faced, grim glaring, bloody and unapproachable. We're

1:03:03.160 --> 1:03:06.640
<v Speaker 2>fighting over the fallen men, all of them rushing forward

1:03:06.680 --> 1:03:09.680
<v Speaker 2>to drink of the black blood, and each as soon

1:03:09.880 --> 1:03:13.080
<v Speaker 2>as she had snatched a man down already or just

1:03:13.240 --> 1:03:16.560
<v Speaker 2>dropping from a wound, would hook her great claws about

1:03:16.600 --> 1:03:19.320
<v Speaker 2>his body while his soul went down to the realm

1:03:19.360 --> 1:03:24.000
<v Speaker 2>of hades and cold tartarus. And then the spirits had

1:03:24.040 --> 1:03:27.320
<v Speaker 2>sated their senses on the blood of men's slaughter, they

1:03:27.320 --> 1:03:30.480
<v Speaker 2>would throw what was left behind them and go storming

1:03:30.520 --> 1:03:33.040
<v Speaker 2>back into the battle clamor and the struggle.

1:03:33.440 --> 1:03:36.000
<v Speaker 4>Okay, so quite predatory vision there.

1:03:36.080 --> 1:03:39.840
<v Speaker 2>Yeah, so there's still you know, death selectors in the

1:03:39.880 --> 1:03:43.920
<v Speaker 2>valkyrie s. But whereas the Valkyries are going to escort

1:03:44.000 --> 1:03:47.600
<v Speaker 2>you to a valhalla and are ultimately seen as in

1:03:47.600 --> 1:03:51.479
<v Speaker 2>a way deliverers like mission accomplished, You've done your part

1:03:51.880 --> 1:03:55.200
<v Speaker 2>and now you know, just reward. Yeah, this is the opposite.

1:03:55.400 --> 1:03:59.600
<v Speaker 2>But it's interesting how many things they have in common otherwise,

1:04:00.480 --> 1:04:03.240
<v Speaker 2>and you know, we might wonder, you know, to what,

1:04:03.760 --> 1:04:09.120
<v Speaker 2>to what extent they are partially based on observations of

1:04:09.360 --> 1:04:13.760
<v Speaker 2>raptors feasting on the dead following battles throughout human history,

1:04:14.920 --> 1:04:17.479
<v Speaker 2>I would say that they do not. They certainly don't

1:04:17.480 --> 1:04:20.200
<v Speaker 2>feel like you should worship them. I don't and I

1:04:20.240 --> 1:04:24.600
<v Speaker 2>haven't seen any any suggestions that one should.

1:04:25.520 --> 1:04:26.920
<v Speaker 3>They're not going to do much good for you.

1:04:27.320 --> 1:04:30.320
<v Speaker 2>Yeah, they're they're doing their job, they're enjoying it. Sounds

1:04:30.320 --> 1:04:32.200
<v Speaker 2>like a little bit too much, but I don't know

1:04:32.480 --> 1:04:36.960
<v Speaker 2>they're getting it done. All right. Well, I think we're

1:04:37.000 --> 1:04:39.080
<v Speaker 2>going to go ahead and close up this episode, perhaps

1:04:39.080 --> 1:04:41.160
<v Speaker 2>close up the series. I'm not sure we're going to

1:04:41.280 --> 1:04:45.200
<v Speaker 2>leave it slightly open ended. Maybe we should leave it

1:04:45.400 --> 1:04:49.200
<v Speaker 2>open ended in the long term, because I don't want

1:04:50.000 --> 1:04:53.280
<v Speaker 2>death to think that we're we're done discussing it, that

1:04:53.400 --> 1:04:56.600
<v Speaker 2>this is finished. So yeah, I'm going to say officially

1:04:56.680 --> 1:05:00.360
<v Speaker 2>open ended. We may come back next episode, We come

1:05:00.440 --> 1:05:05.440
<v Speaker 2>back years from now, so we should be permitted to

1:05:05.440 --> 1:05:10.120
<v Speaker 2>flourish in case that is the option we choose to pursue.

1:05:10.280 --> 1:05:12.480
<v Speaker 3>But we will send our messengers ahead of us.

1:05:12.800 --> 1:05:17.560
<v Speaker 2>Yes, yes, no doubt. All right. Just a reminder to

1:05:17.600 --> 1:05:19.720
<v Speaker 2>everyone out there that Stuff to Blow Your Mind is

1:05:19.760 --> 1:05:22.240
<v Speaker 2>primarily a science and culture podcast, with core episodes on

1:05:22.280 --> 1:05:25.760
<v Speaker 2>Tuesdays and Thursdays, short form episodes on Wednesdays and on Fridays.

1:05:25.760 --> 1:05:28.240
<v Speaker 2>We set aside most serious concerns just talk about a

1:05:28.280 --> 1:05:30.360
<v Speaker 2>weird film on Weird House Cinema.

1:05:30.520 --> 1:05:34.440
<v Speaker 4>Huge thanks as always to our excellent audio producer, JJ Posway.

1:05:34.680 --> 1:05:36.160
<v Speaker 4>If you would like to get in touch with us

1:05:36.160 --> 1:05:38.720
<v Speaker 4>with feedback on this episode or any other, to suggest

1:05:38.720 --> 1:05:40.880
<v Speaker 4>a topic for the future, or just to say hello,

1:05:41.000 --> 1:05:44.040
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1:05:44.040 --> 1:05:51.960
<v Speaker 4>your Mind dot com.

1:05:52.080 --> 1:05:55.040
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