Inanna

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Summary: A unique production, brilliantly put together.
Review: 'Inanna - Queen of Heaven and Earth' is the impressive fruit of a collaboration between Professor Samuel Noah Kramer, the world's foremost Sumerologist, folklorist Diane Wolkstein, and art historian Elizabeth Williams-Forte. In his Preface to this unique collection of illustrated stories and hymns, Kramer explains that "the main goal of the selection ... is to provide the reader with an authentic portrait of Sumer's most beloved and revered deity, the goddess Inanna" (page xiii).

Setting aside the question of whether the Sumerian DIN.GIR really means 'god[dess]' (see Sitchin, 12th Planet, p.169), the task of bringing us this portrait was by no means easy. It required that Professor Kramer comb through a mass of Sumerian literary documents, extract the relevant data, bring his own translations up to date with the help of fellow Sumerologists, and then pass the stories to Diane Wolkstein to be reworked by her into a form suitable for the modern reader. Wolkstein has also contributed a brief and interesting Introduction, and a very full and informative 35-page essay, 'Interpretations of Inanna's Stories and Hymns,' which guides us to their deeper significance.

But it gets better! For the stories were then passed to Elizabeth Williams-Forte who proceeded, on the basis of her own particular expert knowledge, to provide a large number of wonderful halftone illustrations of Sumerian art which have been liberally sprinkled throughout the book in such a way as to provide a visual comment on the persons, events, and objects depicted in the stories. The reproductions aren't of the quality they might be, but remain fascinating nevertheless, and add much to the book's interest.

Not only that, but the same lady has also thoughtfully provided a 25-page essay, 'Annotations of the Art,' which gives detailed sources of all the Sumerian cylinder seals, relief plaques, steles, etc., from which the art was taken, along with her analyses of its content. These analyses are both interesting and informative, and since Sumerian art is highly symbolic, she has directed us to many details we might otherwise have overlooked.

I don't of course agree with all of her interpretations; for example, the Uruk vase (c. - 3000) on page 104 which depicts a scowling naked man (slave?) presenting a large basket overflowing with produce to a richly attired haughty and imperious Inanna suggests to me the true meaning of civilization as exploitation, rather than the priestly ritual Williams-Forte seems to see, but I certainly learned a great deal from others.

It would be difficult to overpraise Elizabeth Williams-Forte's contribution. The world of ancient Sumer is very remote to us, but her pictures, quite apart from their deeply symbolic significance, serve to bring that world before our eyes as a concrete presence. Another of the more striking of these photographs depicts naked 'Lovers Embracing on a Bed' (page 43), and is appropriately located in the middle of the story, 'The Courtship of Inanna and Dumuzi.'

But it gets even better! The literature of the Sumerians is, in many ways, a peculiar literature and employs many conventions which seem strange to us but were of course perfectly natural to them. Certain Sumerian ideas may also seem strange to some, since as a pre-Christian people their attitude to sex and the body was far healthier than ours.

In the hands of less skilful translators, such strangenesses can be obtrusive. But Diane Wolkstein's marvelous reworkings of these ancient stories, which she has sensibly rendered in verse, seem somehow to have avoided strangeness and to have restored to us something of what one feels must have been their original naturalness and wholesomeness.

Here is a brief example of Wolkstein's highly effective style, taken from 'The Courtship of Inanna and Dumuzi,' with my slash marks to indicate line breaks:

"... she shone before him / Like the light of the moon. // Dumuzi looked at her joyously. / He pressed his neck close against hers. / He kissed her. // Inanna spoke: / .... the horn, / The Boat of Heaven, / Is full of eagerness like the young moon / .... Who will plow... / .... Who will plow my wet ground?" (pages 36-37).

Besides the courtship story, the book also includes 'The Huluppu Tree,' 'Inanna and the God Of Wisdom,' 'The Descent of Inanna,' and 'Seven Hymns to Inanna.' All have been beautifully translated, and all will evoke a response in sensitive readers.

There are many other interesting things in this book, such as, for example, Professor Kramer's fine essay on 'Sumerian History, Culture, and Literature,' but perhaps I've said enough to indicate that 'Inanna - Queen of Heaven and Earth' is a unique production, has been brilliantly put together by a very talented team, and belongs in the collection, not only of all Sumerophiles, but of anyone who cares at all about good literature. I thoroughly enjoyed reading it, and I'm sure you would too.

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Summary: Brings 4,000 Year Old Clay Tablets to Life
Review: Diane Wolkenstein revives ancient poetry that reminds us of a Goddess tradition, long lost to the Western world. In conjunction with Samuel Noah Kramer, a noted scholar on Sumer, she works with the subleties and ambiguities of the texts to reveal experiences long ago pressed into clay and forgotten.

This book is a collection of stories & hymns, translated from the cuneiform by Kramer. Wolkenstein, an expert in folktales, mythology, & storytelling, worked with his translations to craft an essence of the myths that reads coherently; confronting the reader with stories that are at once archaic and contemporary.

Numerous relief images from ancient Sumer enhance the "otherness" of the text. Rhythms and repetitive lineation loudly proclaim the exotic nature of this sacred poetry. And yet, at the heart of these stories, lie essential & archetypal material, which underlies the lives of each of us. I like this feature of the book best--I can read these ancient hymns and find a resonance within my modern soul. Wolkenstein and Kramer have well accomplished what they set out to do.

One notable feature of this poetry is the erotic content. Whether veiled in metaphor:

"At the king's lap stood the rising cedar."

or explicit:

"As for me, Inanna, / Who will plow my vulva? / Who will plow my high field? / Who will plow my wet ground?"

this erotic sacred literature of a vanished people stands in stark contrast to the purified verses of the canonical Judeo-Christian scriptures. Long before religion villified sexuality, we read--we experience in this poetry--that it was an honored sacrament, inseparable from spirituality.

The book concludes with chapters on Sumerian history, commentary on the material and translation, notes on the artwork, and a bibliography for further research. It contains an useful index.

This book is appropriate as a translated primary source for undergraduate work about the ancient Near East or mythology. It is a great source for those seeking to explore (and reclaim) the history of the Goddess, and for those who just can't get enough good Sumerian poetry! Five stars for an excellent balance of the literary with the scholarly, for breathing new life into a lost tradition.

(If you enjoyed this review, please leave positive feedback. My other reviews can be read by clicking on the "about me" link at the top of this review. Thanks!)

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Summary: Fantastic introduction to Inanna's greatness
Review: I'm a pretty big nut when it comes to Sumerian gods and goddesses, so this book was a no brainer. I also have "Inanna: Lady of the Largest Heart," which I would highly reccommend in addition to this book for those who want to learn more about Inanna and Sumeria.
This is mostly a collection of short hymns to Inanna, and show her gentle side. Some of the hymns are rather explicit in their descriptions of sex, something kind of out of character for a goddess of love (and of war, let's not forget!). A lot of the poems are really heartwarming, for lack of a better term. I'd actually read some of these to my girlfriend for "romantic poetry," and we both enjoyed them (even though she isn't really into the Sumerian stuff).
There are a lot of copies of the ancient Sumerian tablets and images of Inanna, which will really help you get a clear picture of her.
The second half of the book is information about Inanna and Sumeria, not exactly really interesting for me, but well written. This would be the best book to pick up for those interested in Inanna, then check out "Lady of the Largest Heart."

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Summary: Another must-read!
Review: If you have any interest in Inanna or ancient Mesopotamian religion, this is the book for you. Very informative, with translations of actual cuneiform tablets "written" by Inanna's people. This book brought me closer to knowing Her, and I look forward to reading another book about her that I plan to buy soon...

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Summary: Inanna IS the Queen of Heaven
Review: Inanna, Queen of Heaven and earth was a joy to read. Inanna being my favorite Goddess was a plus but the book was set so that anyone can read and understand it, unlike some other Sumerian books. The commentaries and interprtations were presented acuratly and clearly. The commentary on the me was extremly acurate in that she acquired more as she crossed to Uruk. I was impressed with the fact that it was bold and to the point which is what Inanna was all about. The Courtship of Inanna and Dumuzi was explicit and exciting. I actually used the poems in a group Sumerian rite.

This book is a must for anyone loving Sumerian, Ancient civilizations, or Inanna.

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Summary: Wow! Beautiful and Powerful Poetry to Inanna
Review: INANNA, QUEEN OF HEAVEN AND EARTH: HER STORIES AND HYMNS FROM SUMER is a wonderful read, especially if you are studying the ancient Mesopotamians. The book, which is authored by Sumerian expert Samuel Noah Kramer and folklorist Diane Wolkstein is divided into two parts. The first part consists of the poems themselves. These are "The Huluppu Tree"; "Inanna and the God of Wisdom"; "The Courtship of Inanna and Dumuzi"; "The Descent of Inanna", which contains "From the Great Above to the Great Below", "The Dream of Dumuzi", and the "Return"; and "Seven Hymns to Inanna." The seven hymns are "The Holy Priestess of Heaven", "Loud Thundering Storm", "The Holy One", "The Lady of the Evening", "The Lady of the Morning", "The Lady Who Ascends into Heaven", and "The Joy of Sumer: The Sacred Marriage Rite." The second half of the book is commentaries. Kramer writes two. I found the first one entitled "Sumerian History, Culture, and Literature" absorbing, but his second essay called "The Discovery and Decipherment of 'The Ascent of Inanna'" just left me cold. Wolkstein's contribution was both fascinating and illuminating. It was "Interpretations of Inanna's Stories and Hymns." Elizabeth Williams-Forte wrote the fourth and last entry "Annotations of the Art." It had some interesting information about the black and white pictures of art interspersed throughout the poetry, but it didn't exactly bowl me over with awe.
In addition there is a Family Tree for Inanna, a map of Sumer, Sources for Inanna's Stories and Hymns, Notes of the Textual Editing, Selected Bibliography, Acknowledgments, Selected Pronunciation Guide, Index, and Index.
The beautiful poetry to Inanna is the most important thing though. I read them aloud. Poetry should be read aloud. They bring the past into the present and they are gorgeous. If you're studying ancient Mesopotamia or if you're into the Goddess Inanna, do yourself a favor and get this book.

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Summary: Inspiring window on the great Sumerian goddess
Review: The result of a collaboration between Sumerian scholar Noah Kramer and folklorist Diane Wolkstein, this book is a thoughtfully annotated translation of the major Sumerian cuneiform texts devoted to the goddess Inanna-among the oldest religious texts in the world. It is illustrated with black-and-white reproductions of ancient Sumerian art, mostly on clay tablets.

Our understanding of Sumerian culture continues to grow as new texts are found and our perceptions change. This book was published in 1983, and included material unknown to the general public at the time. There are four major stories of Inanna told here: "The Huluppu Tree," "Inanna and the God Of Wisdom,"
"The Courtship of Inanna and Dumuzi," and the extended epic "The Descent of Inanna." Seven hymns to the goddess round out the collection.

In "The Huluppu Tree," we meet the adolescent Inanna, expectantly awaiting the attainment of her queenship. The Huluppu tree, which she has planted and tended as a symbol of her hopeful authority, becomes infested with evil creatures, like personal demons, that will not depart and bring her to despair. She eventually appeals to Gilgamesh to vanquish the demons, and they exchange gifts made from the wood of the tree, bringing them both to greater power.

In "Inanna and the God of Wisdom," Inanna, now sexually mature but still youthful and unproven, is welcomed by Enki, God of Wisdom, who acts the role of proud grandfather, giving a feast in her honor. Enki's magnamity increases as he drinks, and he ends up offering Inanna all the magical keys to human civilization. Inanna, with enthusiastic politeness, accepts the gifts, and then makes a quick exit, getting a head start before Enki thinks better of his generosity and sends his monsters in pursuit of the errant goddess. Inanna, with the help of her trusted companion goddess, gets passed the monsters and arrives in Uruk with
her magical cargo, where she comes into her full power. Enki, apparently wise enough to let go of his greed in the face of fate, acknowledges Inanna's victory and ascendance.

In "The Courtship of Inanna and Dumuzi," Inanna, after some initial resistance, enters into an erotic courtship with Dumuzi the shepherd. This text is strangely alluring, moving with untroubled ease from sexual frankness to touching detail. (The scene where Dumuzi knocks on the door of Inanna's house for the first time feels like it could have come straight from a modern teenager's diary). After the marriage is consummated, Dumuzi curtly informs Inanna that he's going to be very busy being king now-don't wait up, hon. This poignantly rapid slide from courtship to neglect sets the scene for events in the next narrative.

In "The Descent of Inanna," the goddess, now Queen of Heaven and Earth, finds herself drawn to enter the underworld, realm of the dead, ruled by her evil and somehow tragic sister-self, Ereshkigal. One by one, she is stripped of all the symbols of her power at seven gates, to be left naked and alone before the Queen
of the Underworld, who kills Inanna with a single blow and hangs her on a hook to dry. Inanna has planned her own rescue in advance, though, and escapes to the surface, thronged by demons intent on finding someone to take her place. Inanna will not surrender to them her loyal sons, but when she returns to find her husband Dumuzi, not in mourning, but proudly sitting on his thrown and dispensing authority, she strikes him down and sends the demons after him. The tale of Dumuzi's flight is nightmarish and filled with dream imagery. Thanks to the efforts of his compassionate and self-sacrificing sister, and the softening of Inanna's own anger, a Persephone-like bargain is reached, and Dumuzi is allowed to return to the living for half of each year.

The hymns that round out this book are an exciting glimpse of the actual religious practice of the Sumerians. Especially interesting for modern Pagans is the annual ritual wedding between goddess and king.

I'm someone who tends to be rather skeptical about the ancient precedents of modern goddess worship, but these texts caught me off my guard. They are amazingly modern (or is it timeless?) in their content. The goddess actually grows psychologically and spiritually through the series of narratives, and the
portrayal of the sexual dynamic between men and women rings uncannily true across four millennia. Inanna's story is the original heroine's journey. And, unlike most of her male counterparts, she doesn't need to kill anything to attain her spiritual victory. (Well, almost. Dumuzi gets a serious lesson in raw goddess power!). Her character seems to flow from woman to goddess and back again so smoothly, that it is impossible not to feel a living religion in these texts, one in which there was an intimate dialog between the powers of the goddess and the human experience of her priestesses.

These original texts are better than any modern retelling of Inanna's story I have come across, not just because they are more "authentic", but because they are hauntingly moving. Unlike the familiar mythology of the Greeks and Romans, which has come down to us in a more or less "literary" style, these works seem
more spiritual, even liturgical. Repetition is combined with a directness of wording, and the result is often very powerful; there is a primal intensity about them. They disarm you with their open, almost child-like language, and then leave you sitting, mute and amazed, in that timeless central cavern of the human experience.

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Summary: Special focus book with great introductory material
Review: This a great volume! First off, having a folklorist help with the translation is a tremendous idea because there's a big difference between translating words and reproducing meaning. Wolkstein brings us the poetry and power of these works, while Kramer provides a guarantee everything is grounded in fact rather than being a Neo-Pagan/New Age snow job.

Aside from the welcome addition of more Sumerian literature to my library, the volume includes brief essays on Sumerian history, the story of how the tablets were amassed and translated, and analysis of the works by Wolkstein. This material provides a welcome context for the poetry, and I liked that they put it after the works. You read and then hear what the experts have to say. The volume also includes photos of Sumerian art. As a result, this small volume gives you a taste of Sumer from multiple perspectives. It's an approach that should be used by others translating ancient texts.

Although Wolkstein's analysis is illuminating and astute (particularly in her parsing of structure), I got a little uncomfortable with her analysis of the Descent poem. Rather than analyzing the work, she seemed to take an idea and run wild with it. Her insistance on a triple goddess identity for Inanna smacks more of modern-day feminist/neo-pagan cliches than anything in the actual text. On the other hand, since we will probably never know the exact meaning of these ancient texts, why not take some risks and analyze from a contempory perspective? After all, myths only have power if people can relate to them. I just wish in doing this she had picked a perspective that was less trite.

But that's a minor point, and I'm sure there are others who would find it useful. Bottom line: If you're into Sumerian literature, this is a wonderful book.

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Summary: Poetry of Sumer restored
Review: This book is a fascinating reconstruction of ancient Sumerian tablets, translated by Samuel Kramer and lyricized by the poet Diane Wolkenstein. The collaboration has produced a readable book that recreates the meter and rhythm of Sumerian poetry in English. I enjoyed this book very much and use it often for historical reference to Ancient Sumeria

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Summary: A great look at a lost goddess
Review: Wow. This book is incredible. If you have any interest in the ancient societies of the Middle East buy this book. The translations are clear and give you a feeling of being a part of something that is bigger than every day life. I can't even pick out a favorite with any ease (though I may lean toward "The Lady of the Morning" and "The Lady of the Evening" for personal reasons). Let me say it again: buy this book.