![]() ![]() Although Snorri does not explicitly name her as one of the asunjar, he also does not name every goddess counted in this number. As a chooser of life and death, she is sometimes associated with the Norns. ![]() ![]() While the other Valkyries chose the slain, Eir would choose who would live and recover, and return to health. The Ýdalir site does attempt a synthesis, to their credit:Īs a Valkyrie, Eir accompanied her battle-sisters. Modern pagans have mostly shrugged off this inconsistency, mainly seeing Eir as a goddess of healing like the Celtic Sulis, Coventina or Sirona, or the Greek Hygeia. (You could read this last sentence as if Eir was a norn, making you wonder what sort of a being she was, or if anyone even knew.) There’s a lot of inconsistency in Snorri (he makes Thor Odin’s father in his Prologue), but it seems as if he either changed his mind about Eir or interpreted what he knew about her differently in each section. They are called norns who shape necessity. Then are listed Hrund and Eir, Hrist, Skuld. There are yet others, Odin’s maids, Hild and Gondul, Hlokk, Mist, Skogul. In the first, he calls her a goddess, one of the many minor goddesses who cluster around Frigg, but in the second he calls her a valkyrie. Snorri Sturluson, who set out to explain Norse mythology in his Prose Edda, explains Eir in two different ways in the two main books, Gylfaginning and Skaldskaparmal. Eir is a puzzling figure in Norse mythology. ![]()
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![]() ![]() While the boy sleeps, the man reflects upon one of his dreams of a creature with dead eyes. Because this is a post-apocalyptic story, the exemption of these punctuation elements might serve as a way for McCarthy to indicate that in this new world, remnants of the old world - like electricity, running water, and humanity - no longer exist, or they exist in very limited amounts. McCarthy also chooses to use no quotation marks in dialogue and for some contractions, he leaves out the apostrophes. ![]() Stylistically, the writing is very fragmented and sparse from the beginning, which reflects the barren and bleak landscape through which the man and boy are traveling. The story is set in a post-apocalyptic world, date and place unnamed, though the reader can assume it's somewhere in what was the United States because the man tells the boy that they're walking the "state roads." Neither the man nor the boy is given a name this anonymity adds to the novel's tone that this could be happening anywhere, to anyone. The novel begins with the man and boy in the woods, the boy asleep, as the two of them are making their journey along the road. ![]() ![]() ![]() ![]() Jordan, Naomi and Brad look on anxiously. Academy Award nominee Jonah Hill and Matthew McConaugheyĪ shirtless Brad straps wads of money to a blonde woman in her underwear. You know what Fugazi is?įugezi, Fugazi, it's a Wazi, it's a Woozy, it's a fairy dust.Ī caption reads: Academy Award nominee Leonardo Di Caprio. Nobody knows if the stock is going to go up, down, sideways or in circles. Jordan and Mark sit in a smart restaurant high up in a skyscraper with a view of the New York skyline. He still drinks as he walks outside then casually tosses the glass and drink into a bush. ![]() Jordan drinks from a champagne glass as he walks down the stairs. Mark punches his palm while talking on the phone. Jordan, holding a microphone punches the air. ![]() Jordan sits in a whicker chair on a yacht talking to a man in a suit. He opens the door and raises his arms in celebration as an office full of formally attired men applaud him and cheer.Ī caption reads: From Academy Award Winning Director Martin Scorsese.Īn expensive looking supercar pulls up outside a large residence. Jordan walks confidently down a corridor. The year I turned 26 I made 49 million dollars which really pissed me off as it was 3 shy of a million a week. ![]() |