Danish. The article traces the forgotten origins of crime fiction in medieval Persia. Crime fiction as we know it today consists of two fused elements: crimes and clues, typically in the form of a murder and a series of material remains whose meaning is revealed by a hyper-intelligent detective. It is the latter’s history that I follow in this article, using the surprising etymology of the word “serendipity” as my own clue and tracing a journey from England through France, Italy, Armenia, Iran, and India to a surprising destination. The article was written in response to my mother’s essay about Agatha Christie.
“På sporet af krimien” (“In search of lost crime”), Weekendavisen (23 December 2022). Link.
The article proposes a new definition of philology as a systematic engagement with crises of reading, focused on the difficulties that prevent readers from gaining access to or drawing meaning from a given text, all the way from scrubbed signs to obscure ontologies. Responding to two recent interventions in the field—Philology by James Turner and World Philology by Sheldon Pollock, Benjamin Elman, and Ku-ming Kevin Chang—the article explores the practices, history, and current state of philology.
“What is philology? From crises of reading to comparative reflections.” The article is slated for publication with Poetics Today in December 2022; please do not cite or share it before then without my permission.
The chapter, written for my PhD thesis, argues that “authorship” means two things at once: textual production and its presentation, that is, the way authors are depicted in our sources. I argue that such depictions have an inherently narrative form, and that for ancient cultures, it is more methodologically sound to study the narratives than the reality of authorship. But authorship’s double nature also imbues it with an odd temporality: authorship-as-presentation claims to be identical with authorship-as-production, but it is in fact born belatedly, in the wake of a text’s circulation.
“Narratives of Authorship and Cuneiform Literature,” in Authorship and the Hebrew Bible, edited by Sonja Ammann, Katharina Pyschny, and Julia Rhyder (2022, Tübingen: Mohr Siebeck), pp. 17–35.
Danish. Reflecting on my childhood crush on Lord Asriel from Philip Pullman’s His Dark Materials trilogy, I discuss what a crush is in general: a kind of infatuation that is not, cannot be, or should not be reciprocated (e.g. because its object is a fictional character), and so acquires a strange intensity and violence. Asriel is Pullman’s reimagining of the character of Satan from John Milton’s Paradise Lost, and to a prepubescent bisexual reader like myself, he was the perfect amalgamation of the youthful rebel and the authoritative father. He came to represent for me a fiery, ruthless form of desire, which shaped my relation to desire as such.
“Lucifers lækkerhed” (“Satan’s sex appeal”), Weekendavisen (15 July 2022). Link.
The book includes a translation of Gilgamesh, and five essays that introduce readers to the world of the epic. The translation is a fresh take on the ancient epic and seeks to bring out the poetic power, clarity, and enchanting cadence of the original text. The essays discuss the epic’s long history, its literary form, its depiction of emotions (especially the homoerotic bond between the main characters), its engagement with death and the power of narrative, and its social context, including the role of women and of the natural world.
Gilgamesh: A New Translation of the Ancient Epic. New Haven: Yale University Press, 2021. Link.
Danish. In a review of the third Danish translation of Sappho to appear in ten months (!), I argue that one of the distinguishing features of Sappho’s poetry is their ability to create what I call moving images, in a nod to the oxymoronic force that this phrase once carried: the poems present pictures that are perfectly still, yet infused with motion. Nothing ever happens in the now of Sappho’s poems, but her words still shimmer with memories of the past and expectations for the future.
“Digter i måneskin” (“Writing in the moonlight”), Weekendavisen (21 August 2021). Link.
The majority of Babylonian epics are organized according to the same narrative structure: the story is divided into two acts, where the second act mirrors and expands the first. The essay shows that this structure applies to Atra-hasis, Enuma Elish, Gilgamesh, Etana, and more, for a total of nine texts.
“The two-act structure: A narrative device in Akkadian epics,” Journal of Ancient Near Eastern Religions, vol. 20, no. 2 (2020 [April 2021]), p. 190–224. Link. DOI: https://doi.org/10.1163/15692124-12341315
The essay explores the representation of time and space in Gilgamesh. The figure of the threshold is a key aspect of the epic, separating highly different, but internally homogeneous kinds of time and space—a structure that also affects its depiction of characters and textuality.
“The chronotope of the threshold in the Epic of Gilgamesh,” Journal of the American Oriental Society, vol. 141, no. 1 (April 2021), p. 185–200. Link. DOI: https://doi.org/10.7817/jameroriesoci.141.1.0185
Danish. An essay on the literary history of falling, touching on Dante, Lewis Carroll, Lucretius, Milton, and Inger Christensen. Falling is the moment in which we discover ourselves as bodies, masses of meat whose movement through the world we cannot fully control. Falling implies a loss of agency or a surrender to emotions (think of the phrase “falling in love”), but it can also, less intuitively, figure as the foundation from which our self-control springs, or even as the ultimate form of freedom.
“Dybt at falde” (“The harder they fall”), Weekendavisen (8 January 2021). Link.
Danish. A free rendition of Enheduana’s Exaltation of Inana, commissioned by Shëkufe Tadayoni Heiberg for the indie press Forlaget Uro and illustrated by Johanne Helga Heiberg Johansen. One reviewer called it “an impressively accesible, deeply fascinating publication”; another asked: “What have we done to deserve such a pearl of delight?”
Dronning over verdens magter, illustrated by Johanne Helga Heiberg Johansen, 2020, Hvidovre: Forlaget Uro. Link.