The familiar made foreign
ST.
JOHN’S, NL—I took this photograph at Chapters. I think by “The Odyssey” here, they mean Christopher Nolan’s Woke hit film, not Homer’s epic poem:
Chapters has gathered all its Greek mythology–related books and merchandise into one corner, apparently on the strength of the movie’s notoriety:
I find it genuinely sad.
Classical mythology—one of the basic foundations of Western civilization—used to be common knowledge, especially in schools. Now it apparently takes a ridiculous, ideologically fueled uglification and butchering of Homer’s great opus to make people—particularly young people—aware of it at all.
And even then, what they are being introduced to is not really Homer, but a false and thoroughly distorted “version” of one of the most revered works of the ancient world.
As I moved along the display, away from “Nolan’s” corner, another book caught my eye—this time because of Vermeer.
The synopsis reminded me a little of Sophie’s World, except this time the journey of discovery is through art rather than philosophy.
The dust jacket is something quite special: it opens out to show reproductions of the artworks mentioned in the story:
I thought that was lovely—but, again, it made me rather sad. Western art, like Classical mythology, is one of the foundations of our civilization. There was a time when educated people were simply expected to be familiar with the likes of Botticelli, Leonardo, Michelangelo, Raphael, Titian, Watteau, Gainsborough, Jacques-Louis David, and the other great masters. Their works formed part of a shared cultural vocabulary.
I am glad if a book like this leads people to discover them. What saddens me is that they have to be “discovered” at all.
Artwork aside, I’m actually curious about the story, so I bought the book—though at this rate I suppose I should expect the film adaptation announcement any day now.
