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Biblio: Bronze Age books

Major influences:

Baring, Anne & Cashford, Jules. The Myth of the Goddess: Evolution of an image, 1991
Graves, Robert. The Greek Myths, 1955
Hawkes, Jacquetta. Dawn of the Gods, 1968
Kerényi,Carl. Dionysos: Archetypal image of indestructible life, 1976
Markale, Jean. Women of the Celts, 1972
Pellegrino, Charles. Unearthing Atlantis, 1991
Rush, Anne Kent. Moon, Moon, 1976
Walker, Barbara G. The Womans Encyclopedia of Myths and Secrets, 1983

Partial Bibiography:

Barnard, Mary (translated). Sappho, 1958
Bell, Robert E. Women of Classical Mythology, 1991
Butler, Alan. The Goddess, the grail, and the lodge: tracing the origins of religion, 2004
Castleden, Rodney. Minoans: Life in Bronze Age Crete, 1990
Castleden, Rodney. The Knossos Labyrinth, 1990
Chadwick, John. The Mycenaean World, 1976
Chadwick, John. Linear B and Related Scripts, 1987
Christ, Carol, P. She Who Changes, 2003
Condren, Mary. The Serpent and the Goddess: Women, religion and power in Celtic Ireland, 1989
Cottrell, Leonard. The Bull of Minos: the discoveries of Schliemann and Evans, 1953
Dickinson, Oliver. The Aegean Bronze Age, 1994
Durant, Will. The Life of Greece, 1939

Easwaran, Eknath (translated). The Upanishads, 1987
Eisler, Riane. The Chalice & the Blade: Our history, our future, 1987
Ellis, Richard. Imagining Atlantis, 1998
Farnoux, Alexandre. Knossos: Searching for the legendary palace of King Minos, 1993
Feuerstein, Georg. Sacred Sexuality: the erotic spirit in the worlds great religions, 1992
Fraser, Antonia. The Warrior Queens, 1988
Gadon, Elinor W. The Once and Future Goddess: a sweeping visual chronicle of the sacred female and her reemergence in the cultural mythology of our time, 1989
Gimbutas, Marija. The Language of the Goddess, 1989
Goodrich, Norma Lorre. Priestesses, 1989
Grant, Michael. Myths of the Greeks and Romans, 1962
Grant, Michael. The Ancient Mediterranean, 1969
Graves, Robert. The White Goddess, 1948
Hamilton, Edith. Mythology, 1940
Harrison, Jane. Prolegomena to the study of Greek religion, 1903
Hawkes, Jacquetta. The Atlas of Early Man, 1976
Homer. (Robert Fitzgerald, translated). The Iliad, 1974
Homer. (Robert Fagles, translated). The Odyssey, 1996
Houston, Jean. A Mythic Life, 1996
Johnson, Buffie. Lady of the Beasts: the Goddess and her sacred animals, 1994
Kerényi, Carl. Eleusis: Archetypal image of mother and daughter, 1967
Kerényi, Carl. Athene: Virgin and Mother in Greek religion, 1978
Lane, Richard J. & Wurts, Jay. In Search of the Woman Warrior: four mythical archetypes, 1998
Leonard, Linda Schierse. The Wounded Woman, 1982

Mackenzie, Donald A. Crete and Pre-Hellenic: Myths and Legends, 1917
Matthews, Caitlín. Voices of the Goddess: a chorus of sibyls, 1990
Mellersh, H.E.L. The Destruction of Knossos: the rise and fall of Minoan Crete, 1970
Meyer, Marvin W. (editor). The Ancient Mysteries: sacred texts of the Mystery Religions of the ancient Mediterranean world, 1987
Mountainwater, Shekhinah. Ariadne’s Thread, 1991
Neumann, Erich. The Great Mother: an analysis of the archetype, 1955
Nilsson, Martin P. The Mycenaean Origin of Greek Mythology, 1932
Petrocheilou, Anna. The Greek Caves: a complete guide to the most important Greek caves, 1984
Ruether, Rosemary Radford. Gaia & God, 1992
Runnels, Curtis, & Murray, Priscilla M. Greece Before History: an archaeological companion and guide, 2001
Salmonson, Jessica Amanda. The Encyclopedia of Amazons, 1991
Shlain, Leonard. The Alphabet versus the Goddess, 1998
Sjöö, Monica & Mor, Barbara. The Great Cosmic Mother: rediscovering the religion of the earth, 1987
Spretnak, Charlene. Lost Goddesses of Early Greece: a collection of Pre-Hellenic myths, 1978
Stone, Merlin. Ancient Mirrors of Womanhood: a treasury of Goddess and heroine lore from around the world, 1979
Stone, Merlin. When God was a Woman, 1976
Sykes, Bryan. The Seven Daughters of Eve: the science that reveals our genetic ancestry, 2001
Taylour, Lord William. The Mycenaeans, 1964
Walker, Barbara G. The I Ching of the Goddess, 1986
Warren, Peter. The Aegean Civilizations, 1975
Wilde, Lyn Webster. On the Trail of the Women Warriors: the Amazons in myth and history, 1999

Kaphtor (Crete)

Kaphtor is merely an ancient name for Crete. It comes to us from Egypt mostly.

In his book Unearthing Atlantis, Charles Pellegrino says on page 88:

“When finally the troops entered Canaan, carrying the Ark before them, war broke out almost immediately between the Hebrews and the people they found there. Among those people were the Philistines, whom the Bible tells us came from Caphtor (Crete.) Can it be that the Philistines (Cretan Minoans?) and the armies of Hebrew slaves, having escaped from (or been chased out of) famine-stricken Egypt, were actually two populations of refugees created, in different ways, by the same volcanic catastrophe? Can it be that the present-day conflict between the Palestinians and the Israelis has as its roots Thera and the origin of the Atlantis legend?”

In Minoans, Life in Bronze Age Crete, by Rodney Castleden says on page 21:

“A tablet found far away at Mari in Mesopotamia mentions a weapon adorned with lapis lazuli and gold and describes it as ‘Caphtorite.’ The Egyptians called Crete ‘Kefti’, ‘Keftiu’ or ‘the land of the Keftiu’, while in the Near East Crete was known as ‘Caphtor’: it is as Caphtor that ancient Crete appears in the Old Testament, ‘Caphtorite’ clearly means

Cretan. The similarity of the words ‘Caphtor’, ‘Caphtorite’ and ‘Keftiu’ strongly implies that the Minoans themselves used something like the word ‘Kaftor’ as a name for their homeland.”

on page 37 he says: “There is a tradition that the Philistines originated as Cretans; the Book of Jeremiah (47:4) says, ‘for the Lord will spoil the Philistines, the remnant of the country of Caphtor.’ Caphtor was Crete.”

(Both photos from Wikipedia)

Iphiboë, Aridela’s sister

See below for attribution

Iphiboë is the queen of Crete’s oldest daughter, and heir to that magnificent throne.

Too bad she’s so timid. A shame she’s so afraid of men, of sex.

The vast majority of Crete’s populace believes poor Iphiboë will fail as queen. They believe she’ll be the downfall of their rich, prosperous civilization. If only Aridela were the oldest, is a thought that runs through a thousand minds a day.

Her name means Strength of Oxen. Her father was Valos, who accepted his three golden apples and walked accepting to his own death.

No one knows Iphiboë like Aridela. But not even Aridela knows the full truth of her sister. The nightmares that have plagued her. The premonitions she’s seen. The future she’s endured, night after night in her dreams.

 

 

 

 

“Salonina Matidia Musei Capitolini MC889 n2” by Marie-Lan Nguyen – Marie-Lan Nguyen (2009). Licensed under Creative Commons Attribution 2.5 via Wikimedia Commons – http://commons.wikimedia.org/wiki/File:Salonina_Matidia_Musei_Capitolini_MC889_n2.jpg#mediaviewer/File:Salonina_Matidia_Musei_Capitolini_MC889_n2.jpg

The year-king: his year and the later “Great Year”

From The Greek Myths, by Robert Graves:

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Prince of Lilies from: https://en.wikipedia.org/wiki/List_of_Aegean_frescos

14:  Once the relevance of coition to child-bearing had been officially admitted,  man’s religious status gradually improved, and winds or rivers were no longer given credit for impregnating women. The tribal Nymph, it seems, chose an annual lover from her entourage of young men, a king to be sacrificed when the year ended; making him a symbol of fertility, rather than the object of her erotic pleasure. His sprinkled blood served to fructify trees, crops and flocks, and his flesh was torn and eaten raw by the Queen’s fellow-nymphs – priestesses wearing the masks of bitches, mares, or sows. Next, in amendment to this practice, the king died as soon as the power of the sun, with which he was identified, began to decline in the summer; and another young man, his twin, or supposed twin – a convenient ancient Irish term is ‘tanist’ – then became the Queen’s lover, to be duly sacrificed at midwinter and, as a reward, reincarnated in an oracular serpent.

15: The number seven acquired peculiar sanctity, because the king died at the seventh full moon after the shortest day.

18:  When the shortness of the king’s reign proved irksome, it was agreed to prolong the thirteen month year to a Great Year of one hundred lunations, in the last of which occurs a near-coincidence of solar and lunar time. But since the fields and crops still needed to be fructified, the king agreed to suffer an annual mock death and yield his sovereignty for one day – the intercalated one, lying outside the sacred sidereal year – to the surrogate boy-king, or interrex, who died at its close, and whose blood was used for the sprinkling ceremony. Now the sacred king either reigned for the entire period of a Great Year, with a tanist as his lieutenant; or the two reigned for alternate years; or the Queen let them divide the queendom into halves and reign concurrently. The king deputized for the Queen at many sacred functions, dressed in her robes, wore false breasts, borrowed her lunar axe as a symbol of power, and even took over from her the magical art of rain making.  His ritual death varied greatly in circumstance; he might be torn to pieces by wild women, transfixed with a sting-ray spear, felled with an axe, pricked in the heel with a poisoned arrow, flung over a cliff, burned to death on a pyre, drowned in a pool, or killed in a pre-arranged chariot crash. But die he must. A new stage was reached when animals came to be substituted for boys at the sacrificial altar, and the king refused death after his lengthened reign ended.  Dividing the realm into three parts, and awarding one part to each of his successors, he would reign for another term; his excuse being that a closer approximation of solar and lunar time had now been found, namely nineteen years, or 325 lunations. The Great Year had become a Greater Year.

23:  The queen-mother of the state, as Ngame’s representative, performs an annual sacred marriage with Odomankoma’s representative: namely her chosen lover whom, at the close of the year, the priests murder, skin, and flay. The same practice seems to have obtained among the Greeks.

38: 6.3: during the king’s sacrifice, designed to fructify the cornfields and orchards, the goddess’s priestesses wore menacing Gorgon masks to frighten away profane visitors. His genitals were thrown into the sea to encourage fish to breed.

52: A hero, as the word indicates, was a sacred king who had been sacrificed to Hera, whose body was safely under the earth, and whose soul had gone to enjoy her paradise at the back of the North Wind. His golden apples were passports to this paradise.

57: Dionysus began as a sacred king whom the goddess ritually killed with a thunderbolt in the 7th month from the winter solstice, and whom her priestesses devoured.

93:  the title Hecate (one hundred) apparently refers to the hundred lunar months of the king’s reign, and to the hundredfold harvest. The king’s death by a thunderbolt, or by the teeth of horses, or at the hands of his tanist, was his common fate in primitive Greece.

108: Dryas (oak) was the oak-king, annually killed. The trimming of his extremities served to keep his ghost at bay, and the wanton felling of a sacred oak carried the death penalty.

Small_golden_double_head_minoan_axe_archmus_Heraklion

Double axe from: https://commons.wikimedia.org/wiki/File:Small_golden_double_head_minoan_axe_archmus_Heraklion.jpg

114: As sacred king, he was struck by a thunderbolt – that is, killed with a double-axe – in an oak grove at the summer solstice, and then dismembered by the Maenads of the bull-cult, like Zagreus; or of the stag-cult, like Actaeon.

115: A sacred king necessarily suffered dismemberment.

126: In pre-Hellenic myth, the goddess chases the sacred king and, although he goes through his seasonal transformations, counters each of them in turn with her own, and devours him at the summer solstice.

138:  the twins’ mutual murder recalls the eternal rivalry for the love of the White Goddess between the sacred king and his tanist, who alternately meet death at each other’s hands.

138:  the twins’ mutual murder recalls the eternal rivalry for the love of the White Goddess between the sacred king and his tanist, who alternately meet death at each other’s hands. The column, on which the Death-in-Life Goddess perches, marks the height of summer when the sacred king’s reign ends and the tanist’s begins. (At the heliacal rising of two-headed Sirius.)

176: The oak-king met his death in Athene’s honor, and all oak-kings fell beneath the double axe. Their bodies were usually roasted in a bonfire.

204:  it was a widespread custom to bury the sacred king’s head at the approaches to a city, and thus protect it against invasion.

205:  The Thesmophoria were agricultural orgies celebrated at Athens, in the course of which the severed genitals of the sacred king or his surrogate were carried in a basket; these were replaced in more civilized times by phallus-shaped loaves and live serpents.

209:  As an oak-king with mistletoe genitals, representing the thunder-god, he ritually married the rain-making Moon-goddess; and was then scourged, so that his blood and sperm would fructify the earth, beheaded with an axe, emasculated, spread-eagled to a tree, and roasted; after which his kinsmen ate him sacramentally.

211:  myth showing how an Aeolian chief invaded Elis, and accepted the consequences of marrying the Pelasgian Moon-goddess Hera’s representative. When his reign ended he was duly sacrificed and awarded a hero shrine at Olympia.

255:  Wild Women maddened with hippomanes, either a herb, or the slimy vaginal tissue of a mare in heat, or the black membrane cut from the forehead of a new-born foal closed in on a sacred king by the seashore at the end of his reign. Their skirts were hoisted as in the erotic worship of Egyptian Apis so that when they dismembered him, his spurting blood would quicken their wombs.

267:  The sacred king’s death at the onset of a boar – whose curved tusks dedicated it to the moon – is ancient myth. There was a widespread custom of sacrificing a royal prince at the foundation of a city.

268:  an icon showing the doomed king, with golden apples in hand, being chased to death by the goddess. A companion icon will have shown Artemis supported by two lions, as on the gate at Mycenae, and on several Mycenaean and Cretan seals.

275:  vase picturing the Moon-goddess presenting the apple of immortality to the sacred king.  Also another showing a new king about to ride through the streets of his capital after having ritually hacked his predecessor in pieces with an axe.  The frequent murders, accidental or intentional, which caused princes to leave home and be purified by foreign kings, whose daughters they then married, are an invention of later mythographers. There is no reason to suppose that Peleus left Aegina, or Ththia, under a cloud; at a time when kingship went by matrilineal succession, candidates for the throne always came from abroad, and the new king was reborn into the royal house after ritually murdering his predecessor. He then changed his name and tribe, which was expected to throw the vengeful ghost of the murdered man off his scent. The old murdered king often became an oracular hero. It was found convenient, in more civilized times, when much the same ritual was used to purify ordinary criminals, to forget that kingship implied murder, and to suggest that Peleus, Telamon, and the rest had been involved in crimes or scandals unconnected with their accession to the throne.

Erich Neumann, in The Origins and History of Consciousness says this:

“The womb of the earth clamors for fertilization, and blood sacrifices and corpses are the food she likes best. This is the terrible aspect, the deadly side of the earth’s character. . . . Everywhere blood plays a leading part in fertility ritual and human sacrifice. The great terrestrial law that there can be no life without death was early understood, and still earlier represented in ritual, to mean that a strengthening of life can only be bought at the cost of sacrificial death” (54)

Attributions:

Double axe from: https://commons.wikimedia.org/wiki/File:Small_golden_double_head_minoan_axe_archmus_Heraklion.jpg

Prince of Lilies from: https://en.wikipedia.org/wiki/List_of_Aegean_frescos

Aridela, lunar goddess, mistress of the labyrinth

copyright600 900 back cover

Photo: Shutterstock

At the outset of The Year-god’s Daughter, our Aridela is only ten years old. Yet, fired by divine insight, she enters the bullring, determined to win glory for herself. Because of this act, her life becomes inexorably linked to the lives of two men from Mycenae.

There are two, perhaps three meanings to her name: Utterly Clear, and One Visible from Afar. Robert Graves translates it as The Very Manifest One.

Four words I might use to describe her: “uncomfortable in her skin.”

I will add more about Aridela as books in the series become available.

From Dionysos (Archetypal Image of Indestructible Life), by Carl Kerényi:

“…we may assume that in one aspect of her being Ariadne was a dark goddess. Among the Greeks the epithet “utterly pure” was attached preeminently to Persephone, the queen of the underworld, although other goddesses also were termed hagne. What seems significant here is the intensive contained in the first part of the name. A similarly accented attribute completed Ariadne’s character and provided another aspect. The Cretans also called her “Aridela,” “the utterly clear.” just as they also called Koronis “Aigle.” She could appear “utterly clear” in the heavens. The lunar character of Ariadne can no more be doubted than that of the crow-virgin, mother of Asklepios, who was able to shine like light.”

“Ariadne is described as a girl “with beautiful braids of hair,” an ornamental epithet that Homer confers more often on goddesses than on common girls. According to the Odyssey, (XI 321-22), Ariadne was a daughter of the “evil-plotting Minos,”–an epithet that presupposes the labyrinth as a place of death. Ariadne, the king’s daughter, was mortal, since she was killed by Artemis. She committed the sin of following Theseus, the foreign prince. Homer knew the story of how the hero and his band of seven youths and seven maidens were rescued by means of the famous thread, which is held in the hand in executing the difficult dance figure. The thread was a gift of Ariadne, and it was she who saved Theseus from the labyrinth. Even in this story, which has become so human, Ariadne discloses a close relationship, such as only the Minoan “mistress of the labyrinth” could have had, to both aspects of the labyrinth: the home of the Minotaur and the scene of the winding and unwinding dance. In the legend the Great Goddess has become a king’s daughter, but there can be no doubt as to her identity. In the Greek period of the island she bore a name–although, as we shall soon see, she also had others–that is not a name at all but only an epithet and an indication of her nature. “Ariadne” is a Cretan-Greek form for “Arihagne,” the “utterly pure,” from the adjective adnon for hagnon.”

Carl Kerenyi also says: “Ariadne-Aridela, who had a cult period corresponding to each of her two names, was no doubt the Great Moon Goddess of the Aegean world, but her association with Dionysos shows how much more she was than the moon. The dimensions of the celestial phenomena cannot encompass such a goddess. Just as Dionysos is the archetypal reality of zoë, so Ariadne is the archetypal reality of the bestowal of soul, of what makes a living creature an individual.”

” In the union of two archetypal images, the divine pair Dionysos and Ariadne represent the eternal passage of zoë into and through the genesis of living creatures. This occurs over and over again and is always, uninterruptedly, present. Not only in the Greek religion, but also in the earlier Minoan religion and mythology, zoë takes the masculine form, while the genesis of souls takes the feminine form.”

From The Knossos Labyrinth, by Rodney Castleden:

“The princess Ariadne, at once Minos’s daughter and Theseus’s lover, is the mystic, mysterious, feminine heart of Minoan civilization. She is the dark and volatile beauty at the centre of the Labyrinth: princess, priestess, goddess, mistress. She flees from Knossos with Theseus, sailing away at night to meet an ambiguous fate. In some versions of the legend she is abandoned on another island in the Aegean. In some she marries the god Dionysos, in others she commits suicide. Whatever her later fate, she is that heart of Minoan civilization that was borrowed by the growing civilization of the Greek mainland and subsumed by it.”

And finally, Robert Graves says in The Greek Myths:

“‘Ariadne’, which the Greeks understood as ‘Ariagne” (‘very holy’), will have been a title of the Moon-goddess honoured in the dance, and in the bull ring: ‘the high, fruitful Barley-mother’, also called Aridela, ‘the very manifest one’.

What are the Erinyes?

Here is a general definition from Wikipedia:

The_Remorse_of_Orestes_by_William-Adolphe_Bouguereau_(1862)

Photo: William-Adolphe Bouguereau [Public domain], via Wikimedia Commons

In Greek mythology the Erinyes (pl. of Erinys; literally “the angry ones”) or Eumenides ( pl. of literally “the gracious ones” but also translated as “Kind-hearted Ones” or “Kindly Ones”), or Furies or Dirae in Roman mythology, were female chthonic deities of vengeance, or supernatural personifications of the anger of the dead. A formulaic oath in the Iliad invokes them as “those who beneath the earth punish whosoever has sworn a false oath”. Burkert suggests they are “an embodiment of the act of self-cursing contained in the oath”.

When the Titan Cronus castrated his father Uranus and threw his genitalia into the sea, the Erinyes emerged from the drops of blood, while Aphrodite was born from the crests of seafoam. According to variant accounts, they emerged from an even more primordial level from Nyx, “Night”. Their number is usually left indeterminate. Virgil, probably working from an Alexandrian source, recognized three: Alecto (“unceasing”, who appeared in Virgil’s Aeneid), Megaera (“grudging”), and Tisiphone (“avenging murder”). Dante followed Virgil in depicting the same three-charactered triptych of Erinyes; in Canto IX of the Inferno they confront the poets at the gates of the city of Dis. The heads of the Erinyes were wreathed with serpents (compare Gorgon) and their eyes dripped with blood, rendering their appearance rather horrific. Other depictions show them with the wings of a bat or bird and the body of a dog.

HOWEVER, Barbara G. Walker has something else to say in her The Women’s Encyclopedia of Myths and Secrets.

ERINYES: “‘Avenger,’ title of Mother Demeter as the threefold Furies, who punished all trespassers against matriarchal law. In her fearsome avenging aspect, the Goddess sometimes appeared as the Night-mare, with a black horse head wreathed with snakes.”

She goes on to say:

FURIES: “Also called Erinyes or Eumenides, the Furies personified the vengeful moods of the Triple Goddess Demeter, who was also called Erinys as a punisher of sinners. The three Erinyes were emanations of her. “Whenever their number is mentioned there are three of them…But they can all be mentioned together as a single being, an Erinys. The proper meaning of the word is a ‘spirit of anger and revenge’…Above all they represented the Scolding Mother. Whenever a mother was insulted, or perhaps even murdered, the Erinyes appeared. Like swift bitches they pursued all who had flouted blood-kinship and the deference due to it.

Greeks believed the blood of a slain mother infected her murderer with a dread spiritual poison, miasma, the Mother’s Curse. It drew the implacable Furies to their victim, and also infected any who dared help him. In fear of the Furies’ attention, lest they might have inadvertently assisted a matricide, people called the Furies “Good Ones” (Eumenides), hoping to divert their wrath.

Aeschylus called the Furies “Children of Eternal Night.” Sophocles called them “Daughters of Earth and Shadow.” Their individual names were Tisiphone (Retaliation-Destruction), Megaera (Grudge), and Alecto (The Unnameable). Some said they were born of the blood of the castrated Heavenly Father, Uranus; others said they were older than any god. Their antiquity is demonstrated by the fact that they were invoked against killers of kinfolk in the female line only: a relic of the matriarchal age, when all genealogies were reckoned through women.

Aeschylus’s drama The Eumenides presented the Furies pursuing Orestes for killing his mother, Queen Clytemnestra; but they cared nothing for the murder of the father. He was not a real member of the clan. When Orestes asked them why they didn’t punish Clytemnestra for murdering her husband, they answered, “The man she killed was not of blood congenital.” Orestes inquired (as if he didn’t know), “But am I then involved with my mother by blood bond?” The Furies snapped, “Murderer, yes. How else could she have nursed you beneath her heart? Do you forswear your mother’s intimate blood?” In short, the Furies harked back to a matriarchal clan system like the one in pre-Christian Britain, where “the son loved the father no more than a stranger.” Indeed the name of the archaic Triple Goddess of Ireland, Erin, or Eriu, has been linked with the triple Erinyes.

The Furies were also “fairies,” identified with witches because of their ability to lay curses on any who transgressed their law. Such “fairies” may have been real witches who tried to defend the rights of women against encroachment by Christian laws. Their modus operandi could have been similar to that of the Women’s Devil Bush society in Africa: if a woman complained to this society that her husband abused her, he soon died of a mysterious dose of poison.

Christianity adopted the Furies, incongruously enough, as servants of the patriarchal God. They became part of God’s penal system in hell: dog-faced she-demons known as Furies Who Sow Evil, Accusers or Examiners, and Avengers of Crimes. Their duty, as always, was to punish sinners. As “grotesques” they appeared on the tympanum of Bourges Cathedral, with large pregnant bellies bearing the full moon’s Gorgon face, and pendulous breasts terminating in dogs’ heads. Greek art, however, depicted them as stern-faced but beautiful women, bearing torches and scourges, with serpents wreathed in their hair like the Gorgons.

Although classical tradition understood the Fury as a symbol of the impersonal functioning of justice, yet she came to represent men’s hidden fear of women, an image apparently still viable. Psychiatric Worldview says:

‘To those men who are aware of contemporary changes it becomes abundantly clear that there are a number of openly angry women around….Men trained to recognize and enhance their own anger and aggressiveness in a society where rape and revenge are commonplace view angry women with alarm….Men see women project onto them the full extent of their own potential aggressiveness. The spectre of an angry Fury or Medusa’s head strikes fear in men, which is then often awkwardly handled because men are not supposed to display fear. A woman seeking only reasonable social or vocational equity may be perceived by a man as being out to get the kind of revenge that his pride would require had he experienced the narcissistic and practical wounds that she has sustained.'”

In the Moon of Asterion is out!

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Book Three: The exciting climax to the Bronze Age segment of the series.

There is a beast in the labyrinth… a monster. The people say he is both man and bull; they call him Asterion.

Of all Crete’s citizens, only two dare enter his lair. One bears his child. The other sees the Goddess in his eyes. Terrifying yet compelling, the beast offers Crete’s only hope for redemption.

Click HERE to read a sample at Amazon.

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It has been difficult to get to this point, I admit. It’s an important book in the series, as it wraps up the Bronze Age segment, and kicks off the next group of books, set in Scotland.

In the Moon of Asterion was published digitally on April 10, 2013. It is available for Kindle, Nook, iTunes, and others. See the Links to Purchase tab.

The paperback is available at Amazon, Barnes & Noble, and the Book Depository.

I’d like to invite you to sign up for my email newsletter, which I use ONLY to announce new releases and to offer subscribers special offers. I will never spam, or clutter up your inbox with chatter, nor will I ever share your email address. It’s easy: just enter your email address, approve it, and, to be safe, add it to your approved addresses so it doesn’t disappear into a junk folder. Here’s the link.

The Thinara King

The Thinara King was named a finalist in the Next Generation Indie Book Awards. More recently, it won a Chaucer First Place award, snagging the coveted blue ribbon for best in Ancient History!

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CLICK HERE for the full list of first place winners in the Chaucer category.

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Ash, earthquakes and tsunamis devastate Crete.

The will of the survivors fades as the skies remain dark and frost blackens the crops. Aridela must find a way to revive the spirit of her people along with rebuilding her country’s defenses.

More threats loom on the horizon. Greek kingdoms see a weakened Crete as easy prey.

And now Chrysaleon, he who carries the ancient title of Thinara King, feels the shadow of Death over his shoulder. Will he thwart his fate? No other man ever has.

 

Click HERE to read a sample at Amazon.

 

I’d like to invite you to sign up for my email newsletter, which I use ONLY to announce new releases and to offer subscribers special offers. I will never spam, or clutter up your 200x308 TTK for wordpressinbox with my thoughts of the week, nor will I ever share your email address. It’s easy: just enter your email address, approve it, and, to be safe, add it to your approved addresses so it doesn’t disappear into a junk folder. Here’s the link.

The Year-god’s Daughter

Book One, The Child of the Erinyes Series. Here begins the tale….

brag seal TYGDof Aridela, Goddess beloved, who will become a cornerstone to the future and a quest to the past….

of Chrysaleon, king and slayer of lions, who shifts from heretic to trickster….

of Menoetius, wounded renegade, who ascends from scapegoat to champion….

The Year-god’s Daughter is the recipient of the B.R.A.G. Medallion, was utilized as a university class study guide, and was shortlisted in the Chanticleer Historical Fiction awards (Ancient History category.)

You can purchase the ebook and/or paperback at Amazon US, Amazon UK, and all the other Amazon venues. The eBook and/or paperback versions are also available at Barnes and Noble and the Book Depository, and the digital version can be purchased at iTunes and Kobo: see the Links to Purchase tab for clickable links.

Click HERE to read a sample at Amazon.

One reader said: “Smart young princess. Macho hunky warriors. Exotic island paradise. Politics, natural disasters, and forbidden love. A big, satisfying epic story. What more is there?”

Crete

A place of magic, of mystery, where violence and sacrifice meet courage and hope.

Aridela

Wrapped in legend, beloved of the people. An extraordinary woman who dances with bulls.

The north wind brings a swift ship and two brothers who plot Crete’s overthrow. Desire for this woman will propel their long rivalry into hatred so murderous it hurtles all three into an unimaginable future and sparks the immortal rage of the Erinyes.

A woman of keen instinct and unshakeable loyalty. A proud warrior prince and his wounded half-brother. Glory, passion, treachery and conspiracy on the grandest scale.

“What seems the end is only the beginning.”

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Callisti

 

The Santorini caldera by Sorbis, Shutterstock

The island now called Santorini has had many names throughout the centuries. One of the oldest known names, and the one I use, is Callisti. In ancient Greek, it means “The Most Beautiful,” and is alternately spelled Kalliste.

Strongyle, another of Santorini’s ancient names, meant, “The Round One.”

Thera, another name long used for this volcanic island, can be translated as:

 

FEAR

 

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