Brute Norse Podcast Ep. 14: The Archaeology of Evil Dead

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Archaeologists have recently stumbled upon a never before heard 14th episode of the Brute Norse Podcast, so without further ado: It’s another episode of the Brute Norse Podcast!

In this episode, Eirik and Aksel catch up after several months of disconnect and get up to speed with some of their favorite archaeological news of 2018. They speculate on the contents of prehistoric alcoholic beverages, muse on recent incidents on North Sentinel Island, analyze Danish gang wars in light of warlike honor-shame societies and Norse sexual defamation, look at the so-called Staffordshire hoard helmet, and find some odd historical parallels to the Evil Dead franchise.

Other topics more-or-less covered:
- The Jellestad Viking Ship
- Hot tips for budding criminals who hate the past
- The oriental black market
- Norse dilemmas: Which is worse - Being flakey, or being a murderer?
- Dwarf children?!
- Prostitution in the legendary sagas
- Digital chess in the legendary sagas
- Body horror in the legendary sagas
- Exciting new research on the guldgubber

Like the skaldic poets of old, Brute Norse endures and prospers at the generous mercy of warlords and kleptocrats such as yourself, so why not have peek at the Brute Norse Patreon page? And while we’re at it, check out some of the rad new additions to the Teespring store.
And don’t forget to subscribe to Brute Norse on the podcast provider of your choice!




“An Old Norse Word Meaning Kill”: was the Zodiac killer into vikings?

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Between the late 60's and early 70's, the California Bay Area was haunted by one of the most cryptic serial killers of the 20th century. Though only seven victims have been conclusively tied to the case, the Zodiac killer orchestrated much of his own notoriety through a series of letters – frequently containing codes and ciphers – which he would send to various newspapers in and around San Francisco.

The case is cold as the grave, but whoever he was, he put a lot of thought into his image. Unlike most serial killers, Zodiac was quite talkative. He chose his own nom the guerre, and signed his letters with a crossed circle, resembling a Celtic cross or, rather, the wheel of the zodiac. The likeness to the crosshairs of gun scope is quite obvious, and surely deliberate. This symbol served as his personal logogram throughout his letters, which often contained intertextual references, and sometimes more famous passages of symbol-ciphers, of which only one has been successfully deciphered.

It's difficult to make a non-speculative assessment based on the limited information revealed in these letters. Besides, it would not be unfair to characterize the Zodiac as an unreliable narrator, as he often distorted or embellished the facts surrounding his crimes. Almost every letter he wrote is a cornucopia of spelling errors and mistakes, which might suggest that the killer suffered from severe dyslexia. If he really did is anybody's guess, but reading the notes I can't help but feel that many of the typos seem a tad too deliberate, down to over-obvious, childlike mistakes such as inverted characters. This seems incongruous with the more or less fluent diction and clevernes of some of his other alleged letters, if these are authentic, and not penned by copy cats and impersonators. I would not put it past him to plant such ruses, and that Zodiac was gaslighting the police with layers of conflicting information and red herrings.

If his strategy was to spawn a cacophony of speculations, his efforts were clearly a huge success: The references, as well as the playful, even creative contents of the letters, have lead some to think that he might have been an artist, graphic designer, musician, or other such cultured person. Then again, if he's not the evil genius he's made out to be, he could simply be reaching far and wide for symbolism he knew would give him a chime of mystery. He wouldn't be the first person with a kinda-sorta creative knack to be lauded as a genius, despite being about as deep as a puddle. Guesswork about the Zodiac's identity has made him a modern day Jack the Ripper, and the chaotic tangle of imaginative theories far outgrow the facts we know about the actual personality behind the crimes. While not exactly a fully developed armchair theory, I have come across some things myself that have left me wondering if the Zodiac killer might have been interested in the Viking Age.
 

Exhibit A: A letter to the San Francisco Chronicle

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Dear Mr. Editor,
Did you know that the initials SLAY (Symbionese Liberation Army) spell “sla,” an Old Norse word meaning “kill.”
a friend

The above letter was received by the the San Francisco Chronicle on February 14th 1974, and is assumed to be one of the many letters penned by the Zodiac killer to various newspapers during his active years. The Symbionese Liberation Army was a shortlived far-left terrorist group, and some speculate that their activities, and subsequent media notoriety following the kidnapping and recruitment of Patty Hearst – the daughter of a senator – might have left Zodiac feeling that the SLA was stealing his thunder. It's possible that the SLA roused Zodiac's jealousy, but again there is nothing but the letter to support the assumption. Though a minor detail in a complex narrative, my eyes remain glued to the last phrase of the letter. I find it odd that Zodiac should have any interest (or knowledge) about Old Norse as a (presumably) non-academic American living in the 1970's. It could be an example of him reaching for obscurity in an attempt to seem creepy, but it seems like a far-fetched and unnecessary reference.
 

Patty Hearst posing in front of SLA banner

Patty Hearst posing in front of SLA banner

The one thing we do know, is that the Zodiac seemed to mention things that interest him, such as movies he liked, or criminal cases he followed. It might be that he felt some sort of affinity to a perceived Norse brutality, so common in outward depictions of the culture, especially in those days. Though this is the only example of him making an unveiled reference to Old Norse, it does exhibit a highly specific sort of know how, even if he was in fact wrong about the etymology: The Old Norse verb slá does not specifically mean "to kill", but "to strike". Conversely, the verb drepa can mean "to kill" but also "to strike, knock, beat". I don't think he would have been aware of these nuances (he did, after all, mispell slá. Anybody with a background in Old Norse would hardly have left out the diacritic). It seems safe to suggest that he was a better graphic designer than he was a linguist.

Postcard received by the San Francisco Chronicle,October 27th 1970 (Front). Note the first symbol on the bottom right

Postcard received by the San Francisco Chronicle,October 27th 1970 (Front). Note the first symbol on the bottom right

Constructing a theory

While we won't get more definite answers from the Zodiac's vocabulary, the postcard above features a peculiar monogram or symbol, speculated by some to be a runic ligature. If so, it could be the runes lǫgr , or týr , and áss . In any case you'll be hard pressed to find a meaningful message drawing on that piece of evidence alone, but since it's impossible to muddy the waters more than armchair detectives already have across half a century's worth of digging, I'm going to entertain this idea a little further. The symbol (or whatever it is) sort of resembles the runic ciphers from the early 9th century Rök stone, though these ciphers are constructed differently (each rune runs along one axis, and they criss-cross. They don't turn 90 degrees like in the postcard above). If the Zodiac killer was familiar with runes, perhaps we might expect to find some rune-like symbols in his other ciphers? There are none as far as I can see. If there is any deliberate model for the Zodiac's coded letters, then Greek seems to be a more likely candidate.

Cipher Runes from the Rök Stone (Sö 136)

Cipher Runes from the Rök Stone (Sö 136)

In fact, the Zodiac's other ciphers have quite a striking resemblance to the so-called Oak Island inscription which, of course, some bozos think was carved by the vikings. Admittedly, that is not the most popular theory, but it does seem to be yet another one of the many inscription-based hoaxes endemic to North America. Any similarities to Zodiac's writing could be coincidental, but apparently the inscription has only been in circulation since the mid-20th century, so who knows what Mr.Z might have picked up along the way:

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Now compare it to one of Zodiac's ciphers below:

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Another point addressed by many interested in the Zodiac case, is the fact that his main symbol of choice is also extremely similar to the Celtic cross, popular among American white supremacists. However, I've found no evidence to support that Zodiac's “interest” in Old Norse was influenced by a neo-nazi or otherwise far-right movement. All of his victims were pale as the driven snow, so there seems to be no white nationalist angle to the killings, and he certainly doesn't mention it in his letters. Besides, the Celtic cross does not seem to have been widely used in a white pride context at the time, though The Minutemen, a 1960's anti-communist paramilitary group had a logo not dissimilar. In this case it's clearly a gunsight, rather than a Celtic cross. If nothing else, I do believe Zodiac intended his signature reminded people of a gunsight, given that one of his ciphered letters stated:

I like killing people because it is so much fun it is more fun than killing wild game in the forrest [sic] because man is the most dangeroue [sic] anamal [sic] of all […]

While there seems to be no political motivation for the crimes, it's not impossible that Zodiac was a man with casual counter-cultural affiliations, perhaps associated with some of the many subcultures thriving in 60's and 70's California. Again, the evidence for this is spurious. True to the theatrical marketing of his crimes, it should come to nobody's surprise that people have tried to frame the Zodiac as everything from a satanist, to a victim of government mind control experiments. But when all is said and done, I don't think we need to buy into media hype to think there might be something to the Zodiac's alleged fringe interests, the time and place of the murders considered. One of the more interesting subjects among the countless suspected Zodiacs out there is Earl Van Best, who was supposedly friends of Church of Satan founder Anton LaVey, and allegedly jammed with Kenneth Anger's crush/Manson Family affiliate Bobby Beausoleil. One would suppose that such a character had a passing fascination with norseness, at a time when anything remotely Teutonic had a spooky spectre hovering around it. However, there seems to be nothing but guilt by association tying Van Best to the case.

A statement from the Minutemen showing their gunsight logo

A statement from the Minutemen showing their gunsight logo

Slaves in Valhalla, or: How deep was the Zodiac?

If I may allow myself to wade deeper yet into these waters of speculative insanity, I'm going to pretend that not only is the apparent “runic cipher” hypothesis completely true, but I will also entertain the notion that the Zodiac killer was actually a full fledged Old Norse nerd, possibly with academic credentials. Of course, we may have to assume that he was playing dumb when he penned the SLA letter for this hypothesis to work.

In several of his letters, Zodiac refers to a belief that his victims will become his slaves in the afterlife. Even if I'm not convinced that Zodiac actually believed this himself, I have to wonder where on Earth he got the idea from. Continuing down the road with our Norse goose chase, we may state that if he had read the 10th century Arab chronicler Ibn Fadlan's account the so-called Rus on the Volga river, he would have found a vivid description of dead chieftain's cremation in great detail. The exact ethnicity of the Rus in Ibn Fadlan's description is debated, but it suffices to say that most scholars assume they were Scandinavian. If Zodiac was an academic specializing in the viking age at the time, he probably wouldn't have doubted it either. Most famous of all is the passage where a slave girl is killed in order to serve the dead chieftain in the afterlife, which is also indicated in Viking Age burial practices more broadly.

Postcard received by the San Francisco Chronicle,October 27th 1970 (Adverse)

Postcard received by the San Francisco Chronicle,October 27th 1970 (Adverse)

It doesn't quite add up if we presume that Zodiac's belief in otherworldly servitude was governed by academic rationality. If indeed he was a scholar he was probably pedantic enough to notice that there is a certain difference in terms of social dynamic between a slave being buried with their master (their relationship is continued, not established, in the afterlife), and gunning down heavy-petting teenagers on Lover's Lane. But let's imagine Zodiac as a man who knew his comparative sources. If so, he might have come across Leo the Deacon, who was a chronicler employed at the imperial Byzantine court in the second half of the 10th century. Being an eye-witness to some of the empire's many run-ins with the Rus (He called them Tauroscythians), Leo mentions a practice of martial suicide among them, through which they believed they could avoid becoming their killer's slave in the afterlife:

This also is said about the Tauroscythians, that never up until now had they surrendered to the enemy when defeated; but when they lose hope of safety, they drive their swords into their vital parts, and thus kill themselves. And they do this because of the following belief: they say that if they are killed in battle by the enemy, then after their death and the separation of their souls from their bodies they will serve their slayers in Hades. And the Tauroscythians dread such servitude, and, hating to wait upon those who have killed them, inflict death upon themselves with their own hands.

One possible parallel to this belief is found in the Second Lay of Helgi Hundingsbane, who rightfully earned the name “Hunding's bane” by becoming a guy named Hunding's bane. It is in stanza 39, after Helgi himself has given up the ghost, that he finds Hunding waiting for him in Valhalla. Helgi immediately tells him:

Þú skalt, Hundingr,
hverjum manni
fótlaug geta
ok funa kynda,
hunda binda,
hesta gæta,
gefa svínum soð,
áðr sofa gangir.

You shall, Hunding,
wash the feet
of every man,
and kindle fires;
bind dogs,
herd horses,
feed pigs,
before you go to sleep.

 

Long story short, Hunding is Helgi's bitch in paradise. Is it possible, even likely, that Zodiac acted on convictions handed to him by Byzantine historians and Norse poetry? Before we start taking the names of every medievalist active in 60's and 70's California, I'd wager it's about as realistic as him being an MK Ultra lab rat, satanist, kabbalist nerd, a government psy-op, a Mossad agent, the Unabomber, or whatever else people have taken him for over the years. In other words, it's pretty damn unlikely. If nothing else, it proves how easy it is to craft a theory.

If you are interested in the Zodiac case, check out www.zodiackillerfacts.com for an impressive archive of articles, pictures, and newspaper clippings dedicated to exploring one of the most confusing serial killers of the 20th century. 

Augvald Granbane: Archaeological Confessions of a Reluctant Eco-Vandal (Interview)

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Driving along the Norwegian coast, you're bound to pass some the many spruce forests dotting the countryside. You'd be excused for thinking that these are naturally occuring features, but in fact they are the wild remnants of man-made plantations. Spruce gardens for the lumber industry. Imported from Canada, it is estimated that some 500.000 acres worth of sikta spruce were planted in the 20th century. Much of it in the years following the second world war, when the rebuilding of the nation raised demand for timber to new heights.

For this, the sitka spruce was a well suited material: It grows fast, straight, and tall. It has excellent strength-to-weight ratio, and more importantly, it thrives in Norway's thin, nutrion deprived coastal soil. There is a sad irony to this, but also a familiar pattern seen wherever the short-sighted decission is made to introduce a new species to a foreign environment.

In a sense, you could say that sitka forests have quite a literal dark side. As anyone who ever set foot in their forests will know, they tend to be dark and lifeless places. The sunless forest floor, though it makes for excellent mushrooming ground, is invariably covered in nothing but spruce needles and cones. If the sitka spruce demands little, it strangles all competition. Considering that most of these plantations are abandoned, they are allowed to spread without regulation. The qualities that made the sitka such a desirable source of timber, have turned it into a monster, and the scheme to meet lumber demands became a sort pact with the devil.

«Guttorm's Mound» (Also called The Prince's Mound), Karmøy. Photo: UiS

«Guttorm's Mound» (Also called The Prince's Mound), Karmøy. Photo: UiS

A new threat to an ancient landscape

Conservationism comes in many forms. In the past, overgrowth was kept in check by traditional livelihoods. A flock of sheep or goats was all you needed to keep the landscape open. With the decline of subsistence farming and rural lifestyles, saplings that would have ended as treats for livestock, now live well into maturity. With landowners uneager to finish the work their grandparents left behind, you can imagine the result. Trees are left as they are, even if they ripe beyond their years for logging. Sooner or later, a gust of wind will tip them over, and their shallow root systems will rip up the soil. This leaves an ugly crater or bare mountain. If a tree grows on a burial mound tips over, which is certainly a realistic scenario, it can ruin the mound forever. And since they they tend to grow in dense concentrations, they'll often take their neighbors with them when they fall. It's not unusual to see huge clusters of fallen trees after winter storms. Sometimes eradicating old pathways.

Landscapes that would have been just as familiar to an Bronze Age sheep herder as they would have been to a 19th century fisherman, are quickly disappearing. Ancient shrublands and pastures are dwindling away in the shadow of an invasive species. It outcompetes local flora, and rips through the innumerable ancient sites along the Norwegian coast.

Today, the sitka spruce is a recognized ecological threat, an unwanted species. It should have happened much sooner, but the fact that it made the national blacklist at all, is probably thanks to a national awareness that has come over time, much through the effort of a few individuals who have gone beyond the call of duty to save our pastures, moors, meadows, and monuments from the sitka's sprawl.

Enter Augvald, vigilante spruce killer

Arguably, the most infamous character in the saga of the sitka spruce, is the mysterious rebel activist going by the name of Augvald Granbane - the spruce bane. Nobody knows who the person behind the name is, only that he (or she) has haunted the ancient landscape of Avaldsnes, on the West Norwegian island of Karmøy, since 2003. His mission? To completely rid the heritage site and its vicinity of the hooligan spruce, as he calls it.

Avaldsnes itself was allegedly the main estate of Harold Fairhair, Norway's first, Viking Age unifier, and forms part of one of the most find dense archaeological areas in the entire country. Including two ship burials from the 8th century, several massive Bronze Age mounds, standing stones, hill forts, and the 3rd century princely burial of Flaghaug, which contained a 600g solid gold torque, among other things. It is also a recurring, important area in the kings' sagas, and was mentioned in mythological Eddic poetry. 

Taking his title from the mythical king that gave Avaldsnes its name, Augvald's nom de plume is not a random choice. In a sense he has written himself into the rich mythology of Karmøy's history soaked moors and mires, taking as his emblem a sketch of a lost, local bronze artifact. Coming and going, issuing updates on his latest activities, leaving a trail of mutilated sitkas in his wake. Emerging every now and then to make statements remniscent of a guerilla leader taking responsibility for an assasination or kidnapping.

But Augvald's intent is not to instil fear or subvert the law. If anything, he seems see himself as a necessary evil against bureacratic passivity. Killing spruce trees at night, and writing by day. His resin stained hands elegantly steering his pen, loaded with literary wit and sarcastic remarks. Demonstrating passion, interest, and understanding of the unique value of Avaldsnes and its surroundings as an archaeological smörgåsbord, which covers the entirety of Norwegian history, from the Ice Age to the Oil Age. Having absolutely no mercy for local politicians without skin in the game, it is hard not to see this anonymous rebel as an example of the great Norwegian archetype of the subversive underdog who sticks it to the big man. As you can expect, not everybody is too thrilled about his vigilante conservationism. Even in the local history scene, he remains a controversial figure.

The Viking Farm by Avaldsnes. Hidden in the sitka jungle. Photo: Eirik Storesund.

The Viking Farm by Avaldsnes. Hidden in the sitka jungle. Photo: Eirik Storesund.

This is close and familiar ground to me. I grew up around the area, where I spent my formative youth reenacting the Iron Age, eventually working as a seasonal educator and guide at the Viking Farm open air museum, and the Nordvegen History Centre on Avaldsnes. Which in turn led me down the path I find myself on to this day. Augvald had a sort of spectral presence there, I recall, as I would spend the hours after drinking and walking from burial mound to burial mound with my friend Aksel, musing and meditating on the mysteries of the past. Very often, Augvald's signature cutmarks adorned the overgrowth around us. 

It was obviously just a matter of time before I reached out to Augvald Granbane for an interview. The rest of the article, I dedicate to our conversation. 

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Confessions of a reluctant archaeo-activist: Augvald Granbane

Brute Norse: It's not every day one gets the honor of questioning a living, local legend. I think it would be most prudent to let you describe yourself in your own words. Who exactly are you, Augvald?

Augvald: Living legend is a flattering exaggeration. Shady instigator with a narrow, and local agenda is, perhaps, a better description. I've arranged civilly disobedient operations on Avaldsnes since 2003. This is done to demonstrate my severe dismay with a situation where the invasive sitka spruce was allowed to dominate – exceedingly – a cultural landscape, one that has always been clear and wide open, ever since people first began to keep pastures along Karmsund [That is, a narrow strait between the isle of Karmøy and the Norwegian mainland]. I've done this anonymously, and as an eye-catcher for websites where I have published my thoughts and observations under the pen name Augvald Granbane.

Brute Norse: The core of your activism seems rooted in the fact that spruce forests are an anachronistic and destructive element, unfitting in a protected historical landscape such as Avaldsnes. Reading your statements, it seems the spruce has become somewhat of a symbol of some overarching bureaucratic tendency. Perhaps you could you elaborate on that?

Augvald: First of all, sitka spruce is a concrete and obvious foreign element on Avaldsnes. That these trees were allowed to grow in peace for half a century is bad and difficult to comprehend. Personally, this situation became unbearable when the trees were still standing a decade after this mistake was pointed out, loudly and clearly. And all while the spruces kept growing, vast resources were spent on building a reconstructed viking farm in the middle of the spruce forest on nearby Bukkøy, and a history center up on Avaldsnes itself. For my own part, the invading trees became an increasingly potent symbol of a nonchalant, restricted, and embarrassing display of historical ignorance among those people whose responsibility it was to take action.

Part of the Migration Era hillfort at Steinfjell, Karmøy, before and after clearing. Photo: Aksel Klausen.

Part of the Migration Era hillfort at Steinfjell, Karmøy, before and after clearing. Photo: Aksel Klausen.

Brute Norse: The sitka spruce is a blacklisted, invasive species, and is considered a terrible nuisance in other parts of the country as well. Is Granbane's mission primarily cultural historical, or is there an element of ecological conservationism as well?

Augvald: My actions were motivated by cultural history from the start. Eventually, the WWF and other environmental organizations have also begun to combat the «hooligan-spruce». Their methods are clearly more effective than mine. In some places along the coast, there's a real ongoing struggle against these invasive forests, which were planted in the post-war era. But unsurprisingly, this trend has not reached our local backwater. 

Girdled sitka spruce. Photo: Augvald Granbane.

Girdled sitka spruce. Photo: Augvald Granbane.

Brute Norse: You've become somewhat infamous for your weapon of choice: So-called girdling, in which you cut a groove along the circumference of the tree, thereby severing the tree's access to water and nutrients, which slowly kills it. I have to admit it's been a bit eerie stumbling across these girdled trees over the years. This has been a sort of trademark and signature of your presence, but I understand you went through a more experimental phase in your early days, when you used poison. Beyond visibility, are there any other perks to girdling that a budding tree-killer should take note of?

Augvald: Girdling, also known as ring-barking, requires patience, but it's simple and effective if you do it right. In the growing season, poisoning the tree with glyphosate will do the trick in about two weeks. Girdling on the other hand won't take effect until the end of the second growth season. With my long-term perspective, it's okay to wait two years. Besides, if you're going to put down another man's spruce, you might as well do it in a way where you cannot be accused of hurting the environment.

Brute Norse: Absolutely, I imagine pesticides would be somewhat counter-productive to your image in the long run. Do you think your ghostly presence has had an impact on local development, say, in terms of environmental intervention?

Augvald: That's hard for me to determine, but anybody can go there and see for themselves that not even a single spruce remains on Avaldsnes itself. Those involved would of course claim that the trees were due to be removed anyway. That may be partly correct, but obviously they've been forced to deal with a somewhat unpredictable, anonymous figure. A recurring fly in the ointment.

Brute Norse: That's for sure! I know one mutual friend of ours reached for his saw and lopper to clear up a Migration Era hillfort outside of Åkra [a small town South on the island], certainly inspired by your own efforts. Do you hope to inspire others to do similar acts in their own local area?

Augvald: Absolutely! But the fact of the matter is, that there is rarely a reason to do this anonymously and illicitly anymore. On the contrary: Combating «hooligan-spruce» and other examples of overgrowth has by far become accepted as a necessity. There's a lot you can do, and today it's even possible to apply for public funding. 

Hill fort site at Steinfjell, Karmøy. Note the girdled tree in the background. This was done with the landowner's permission. Photo: Aksel Klausen.

Hill fort site at Steinfjell, Karmøy. Note the girdled tree in the background. This was done with the landowner's permission. Photo: Aksel Klausen.

Brute Norse: There must be room for some hope with that sort of development. I think it's fundamental that we teach the public to see these sitka forests as the run-amok plantations they are, and not as natural occurring forests. How do you think the situation is a hundred years from now?

Augvald:

I hope the sitka spruce is gone from the entire North and West Norwegian coast, but I am a realist. I expect it will continue to be very dominant in the landscape. Keeping it away from selected areas is a realistic goal, and Avaldsnes is obviously one such area, but it seems it's certainly here to stay. The hope of eradicating this foreign element must necessarily lie in some (bio)technological solution, and that doesn't exist as of today.

Brute Norse: As one would expect, there's no shortage of speculation surrounding your identity. Personally, I think the power of Augvald Granbane's activism lies in all the uncertainty, which seems to give it an element of folklore. Like some sort of modern outlaw, shrouded in hearsay and legend. For example, the story of Augvald ties in with the occasion where Olaf Tryggvason, by many considered one of Norway's great tyrants, was subverted by the god Odin. In a sense, the old taking back from the new.

Do you think Augvald would have made the same impact without the evocative imagery, and the mythology surrounding his name? Is he just a mask for you to hide behind, or do you consider him a being with ambitions of his own? I can imagine such a character taking on a life of his own.

Augvald: The pseudonym was, originally, a purely practical device, and it's served this purpose well. But regarding both the name and means of expression, this was a conscious strategy I chose in order to make the message I wanted to convey a topic of discussion, questions, rumors, and at best even jokes among a local audience. I had a pretty concrete and longstanding plan at the base of it, but it took a while before I came to realize that Augvald Granbane also had a more mythological potential. On a day to day basis, Granbane plays only a marginal and passive role in my real life, but after 14 years it's safe to say he's left his mark on me. Maybe I've even contracted something of a personality disorder? At least he's certainly developed a few stances and values that somewhat differ from my own, and I've grown strangely capable of distinguishing between his opinions and those of mine.

The 13th century St. Olaf's Church on Avaldsnes in 2004. Photo: Augvald Granbane.

The 13th century St. Olaf's Church on Avaldsnes in 2004. Photo: Augvald Granbane.

Brute Norse: Speaking of which, the name Augvald Granbane is frequently uttered in the same breath as the terms «vandal» and «eco-terrorist», but many consider you a kind of folk hero. I suppose I am guilty of this line of thinking, too. Do you keep track of all the speculations and characteristics projected onto you?

Augvald: No... Well, I've obviously heard a variety of more or less puzzling guesses and peculiar commentaries, but for the most part I just let Granbane's reputation go wherever it pleases. But I found an exception relatively early on in his career, when there was an overabundance of rumors about my identity, and some of them were quite unfair. I found it best to contribute with some simple facts to dispel a few of the most imaginative and paranoid theories. Hopefully, this served to clear the names of certain people who were unjustly accused, who may unfortunately have felt it as a burden.

St. Olaf's Church on Avaldsnes in 2012. Not a spruce in sight. Photo: Augvald Granbane.

St. Olaf's Church on Avaldsnes in 2012. Not a spruce in sight. Photo: Augvald Granbane.

Brute Norse: The area around Avaldsnes, actually the entire region, is unbelievably rich in ancient and historical monuments, yet, in the local branding, we see that it is the Viking Era and Harold Fairhair that steals the show. Hence the local slogan «Homeland of the Viking Kings», which is probably the first thing people see when they land at the local airport. What are your thoughts about this «viking circus», as you like to call it?

Augvald: «Homeland of the Viking Kings – Norway's Birthplace!» was the most outrageous version. An undocumented and obviously unreasonable claim. Made even more edgy by the fact that it was presented in English only - from the very beginning. As if it would become more true or trustworthy if one could avoid expressing this hollow nonsense in the native language of the primary audience.

Initially, I think it's absolutely great that the municipal council of Karmøy, and other local institutions want to shine a light on cultural heritage. My complaint is that this is done in a narrow, historically ignorant, short-sighted, clumsy, stale, and partly destructive way. All the while the cultural landscape and the real historical sites go for lye and cold water [a Norwegian expression: to suffer in neglect], get overgrown or outright ruined, unless antiquarian institutions or private forces intervene. Local politicians and municipal bureaucrats have barely any understanding of the fact that the landscape forms an entirely central part of cultural heritage. Their attitude seems to be, that only the Viking Age is worthy of interest, and that it is better to construct new and completely artificial Viking cultural sites, than it is to take care of the actual and far too dull monuments, for the simple fact that they too often belong to the wrong period. The remains of the amazing ship burial Storhaug [A late Merovingian/Vendel Era find, straight north of Avaldsnes] is perhaps the most depressing example of this. Not many years ago, Storhaug was conveniently «forgotten» by the local council, and almost ended up as an industrial site. Today, what remains of the mound is wedged up against, and probably partially within the industrial zone. Storhaug was by no measure a lesser mound than those which hid the Oseberg and Gokstad ships, neither in terms of content nor size. Some persons of influence should reserve a field trip to Vestfold and see how the ship-mounds are taken care of there. On the plane back home, it would be nice if they could find a moment to silently contemplate the state of things, and the verdict that will be passed on them by future generations. Do they think that our descendants will favour their efforts to fund construction of «real» viking houses in the spruce forest on Bukkøy, while at the same time letting actual historical sites – some of them world class – be destroyed by industry, roads, and real estate?

Sadly, it is my impression that the occasionally extreme commotion about the Viking Age locally, is a product of a collective inferiority complex, need for attention, awkward search for identity, and a dream of great economic profits when all the tourists start flooding in to experience these constructed delights. A proper mess, in other words. Let me tell you: Pointing this out won't make you popular...

Brute Norse: A firm statement. There are numerous other examples of such local hypocrisy. When they renewed the road to Saint Olaf's Church on Avaldsnes for its 700 year anniversary, they actually removed several burial mounds to save themselves a few extra truckloads of stone! In 1950! Anyway, I guess the last word is yours. Is there anything you want to add?

Augvald: On my homepage, I've explained the prelude to my actions in detail, as well as the development up until today. It's a long and winded saga about delays, narrow-mindedness, and hopeless ignorance of history. The angle is rather localized. Even to readers who understand Norwegian, but lack a local connection, it's probably difficult to pick up all the details. Google translate works badly for this text, and to a non-Norwegian reading audience I'm sorry to say that only the pictures offer some impression of its content.

Apart from this, I'll keep my action firm. Going in the same tempo, and with the same goal and strategy in mind as before.

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http://avaldsnes.blogspot.com/

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The Burglary at Bergen Museum: Make The Burglars Pay (And The Security Guard Who Helped Them Too)

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Storm-winds bellow, blackens heaven!
Comes the hour of melancholy;
Back is taken what was given,
Vanished is the relic holy.
~ A. Oehlenschläger, The Gold Horns

Here's a recap: On August 12th, 2017, the Historical Museum in Bergen became the scene of the most spectacular disaster ever to strike Norwegian museum history, as more than 400 Viking and Iron Age artifacts were stolen from the site. The thieves had entered the museum storage through a window on the seventh floor, which they accessed from a shoddily secured scaffold.

Though the burglars triggered the alarm twice, they were left completely free to ravage the collections at their own pace. Initial reports claimed that the security guard had inspected the site, but noticed no signs of tampering. This claim smelled fishy from the start, and it was soon enough revealed that the guard never actually entered the museum, because it was windy, and he figured it was just the weather that had set the alarm off. 

When the alarm sounded again, he didn't even bother to leave his office, some 300 meters away. Instead, he presumably reset the alarm from the comfort of his chair. Nobody noticed that anything was wrong until Monday morning, when employees at the museum came in to find their workplace ravaged. 

Photo: Kari K. Årrestad/ Bergen University Museum

Photo: Kari K. Årrestad/ Bergen University Museum

The trail was cold. It bore several markings of a deliberate, planned heist - apart from the highly circumstantial, literal window through which the criminals could enter the museum, which would suggested that the thieves might have taken advantage of an immediate, short-lived opportunity. It was a confusing mix, and many, including myself, suspected the workings of an organized crime league. 

After all, who would be stupid enough to commit theft on such a grand scale without the proper network, means, and market? It was one or the other: It was either a well calculated scheme by a bunch of well seasoned art theft veterans, or an impulsive act of idiocy executed by desperate imbeciles.

In light of recent events, it seems indeed that we may have given them more credit than they deserved. But if there is one lesson to be learned here, it is that we must never underestimate the malice born in the union of opportunity and short-sighted stupidity.

Some hell of a drug

Photo: Bergen University Museum

Photo: Bergen University Museum

 

In October, the Bergen police department was contacted by a 49 year old man who claimed to be affiliated with the burglary, citing remorse for his actions as the reason for turning himself in. On November 9th, the local newspaper BA reported on the breakthrough: Two men were now in police custody, and another two have been arrested since then, and somewhere along the lines of 300 out of the more than 400 artifacts have been returned. The police say that they will not rule out the possibility of additional arrests, with the common denominator being drug related crimes and theft.

One of them has already plead guilty on account of embezzlement, but claims he found the treasure in a bag by the Strax house - a local health center and clinic for drug addicts, right across the bridge from Bergen Museum. As a former neighbor of the clinic, I am hardly surprised. Has the Strax house made its neighborhood a rattier, dirtier, more dangerous place? I'll give that an unequivocal lol yes, but there's no point for us to unravel the ridiculous saga of how Bergen city council sweeps society's undesirables under the rug. Not here at least.

Several artifacts are still missing. Apparently some of these are also gold objects, which is alarming for a number of reasons. Some of the confiscated items have suffered severed damage, in part due to neglect, but also deliberate maltreatment. The arm-ring from Stranda, displayed at the top of the page, was sawed straight through, for instance, which is suggestive of every conservationist's worst nightmare: The perpetrators sought to re-melt and sell it for its silver value. An insult to the integrity of the artifact.

If any of the objects have suffered this fate, it is far worse than any black market transaction. They will never pop up in an online auction. They will never pop up in a police bust. They are gone forever.

A fitting punishment

Okay, so four junkies are now sweating away in the can. What next? For starters, I think we need to make examples of those responsible. I am not making this appeal out of bloodthirstiness, but because symbol laden actions demand a symbol laden response. This includes not only strict punishment for the burglars, but criminal persecution of the security guard as well, who failed - not once, but twice - to do his job. He twice enabled the crooks to help themselves.

And so he made himself complicit. His behavior represents a severe case of criminal neglect and infidelity towards his duties. The situation that followed was a direct result of his personal laziness and lack of commitment. He did everything short of waving them goodbye. I consider it a given that the security guard be stripped of his position if this hasn't been done already. He should not be trusted to work in the field again. I would not oppose a prison sentence, and at the very least he should be forced to pay compensation for the losses. 

Foto: Ole Marius Kvamme / Bergen University Museum

Foto: Ole Marius Kvamme / Bergen University Museum

Obviously, no less of a burden should befall the burglars. It should be made abundantly, glitteringly, shiningly clear that they have done irreparable harm to our collective inheritance. It must be exceedingly obvious to all, that these crimes go beyond theft and vandalism. They should be dealt with harshly. Obviously, the one who turned himself in should be dealt a proportionately reduced sentence. Honesty should should pay, too, and if it leads one to turn them all in, then all the better. How does one even quantify compensation for the malicious theft of invaluable artifacts? It must go far beyond their matieral value, that's for certain. Harsh judgments have befallen people who did a lot less.

I am not a legal expert. I am not unbiased. I write under the conviction that any crime against cultural heritage is a crime against our ancestors, a crime against our future descendants, and and a crime against all of us. It's an insult to our inheritance, and we cannot sleep at night allowing such things things to happen.

If we give the security guard his part of the responsibility for this theft, we thereby set grounds for future and current security guards to be more diligent. If we do not send this signal, we invite it to happen again.

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Archaeologists Enable The Black Market By Destroying Historical Artifacts

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These are sad days for Scandinavian museum objects. Last week, 1some 400 objects were viciously burgled from the University Museum in Bergen, in all likelihood bound for the black market. Now, words of lament are howling from across the Swedish border as archaeologists have been forced to destroy artifacts recovered from digs, and objects such as scales, coins, knives, decorated foils, pre-Christian cult objects etc. are sent for scrap metal right on the site, if they are not considered unique enough to warrant conservation. Apparently too precious to own, but not to precious to be thrown.

This has already been discussed elsewhere on English language sites that are, diplomatically speaking, more tendentious in disposition, and where it plays right into the hands of a narrative where Sweden is on a masochistic binge to erase its own cultural memory to better accommodate swarthy hordes from across the sandy dunes. This will not be yet another article about that, but you cannot help but think that with this legislated destruction of their own cultural heritage, Sweden is not doing a very good job at combating the stereotypes pinned against them.

Let's add some much needed nuance: To my understanding, the destruction is for the most part carried out by private companies sourced to conduct routine and emergency digs on behalf of state archaeologists. Additionally, the items bound for the grinder are usually of negotiable historical value. These are digs that are often done in association with construction work, which none the less make up the bulk of Scandinavian digs, to the point where contemporary Nordic archaeology is more or less synonymous with highway projects and the like. Sweden, however, is unique in its employment of private archaeological companies for such tasks.

The fun thing about archaeology is that you never know what you're going to get. Sometimes you get little, sometimes you get a lot. This rings particularly true when it comes to emergency digs, in which the lack of time necessitates many tough choices. I'm sure more than a few artifacts and their contexts have met an untimely demise at the hands of such gambles, but it's debatable whether or not this is problematic if they would have been obliterated by machinery anyway.

Blasting the past

It's not unheard of to find examples of house remains, burials, or even cult sites where archaeologists can do little but step back and let the bulldozers in. In my hometown, there is the particularly grim example of the destruction of the Bronze Age burial mound at Tjernagel. A site unique not only for its impressive size, but for the fact that it's referenced in a skaldic poem from the beginning of the 11th century. The 3000 year old mound was destroyed in 1983 to make room for a since decommissioned radio transmitter. As baffling as this might seem, such practices have generally been accepted sacrifices on the altar of societal infrastructure.

However, extending this logic to artifacts is a new turn, or should I rather say; shockingly old. Especially considering that contemporary archaeology explicitly distances itself from its antiquarian roots in the 19th century, where conservation was entirely up to the excavators  who could more or less scrap whatever they saw fit. Deliberate destruction was not entirely unheard of, either, as the fate of the 8th century Storhaug ship shows. Buried in a massive mound on a particularly fertile stretch of farmland on my own native island of Karmøy, it was Excavated in 1886 by Anders Lorange. The Storhaug ship is estimated to have been at least 27 meters long. Three meters longer, and a century older, than the Gokstad ship. Lorange had no idea what to do with such a find, so he rounded up the artifacts and let the local peasants tear the ship apart for firewood. 

A child of his time, for sure. I have not met a sane archaeologist that didn't roll their eyes at Lorange's choice of action, so it's shocking to me that any Scandinavian archaeologist would return to the antiquated practice of scrapping artifacts they don't consider beautiful or important enough to save. You know, I really don't want to be one of those argument-by-current-year sort of people, I really do. But that sort of practice would hardly be tolerated in 1917 archaeology, let alone 2017.

The reasoning behind the choice to destroy these artifacts lies with the fact that museum stores are filled with metal objects of negotiable public interest. Okay, they better be filled to the brink, to the edge of absolute collapse, because the case applies to all the other Nordic countries, or Western Europe for that matter, but so far I've yet to see anybody else making screws and bottle openers out of Viking Age iron. The world may be headed off the deep end, we don't need to enforce such dystopian levels of recycling just yet.

It's been pointed out that most of the recycled material is more recent, modern trash that archaeologists are under no obligation to conserve. But there is an obvious paradox in the fact that, in theory, pocketing a rusty nail is a criminal offense but throwing it in the trash is not.

Absurdly, Sweden is the only Scandinavian country that allows private archaeological companies to perform such excavations, but it's significantly harder to acquire a private permit to use metal detectors there than it is in Norway or Denmark. Sweden banned unlicensed use of metal detectors in 1991 (Swedish archaeologist Martin Rundkvist gives an outline of their legality on his blog). Consequently, Sweden reports the fewest number finds from private detectorists, while the opposite is true for Denmark, which appears to be winning the karmic game as far as conservation goes. Whether or not metal detectors should be subject to draconian restriction is debatable, and is only relevant to this discussion as far as it relates to the black market. It's possible to argue that Sweden's restrictive legislation in itself serves as an enabler to so-called nighthawks. That is antiquarian slang for illicit detectorists. 

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The economy of destruction

Like the destruction of ivory, there is every reason to believe that destroying archaeological artifacts increases their perceived market value, even though they have never been legally obtainable to the public in the first place. With news spreading like wildfire about archaeologists destroying their own finds, the topsy-turvy world of Swedish archaeology finds itself in the situation where nighthawks may choose to claim a moral high ground. It is ironic and utterly inexcusable that artifacts have a better chance of surviving in the illicit market, than in the hands of archaeologists. If given the choice between seeing such items destroyed by the excavation teams, or sold privately, I would see them used as paperweights or mantle pieces in a private home any day. If museums can't even find a shoe box to keep them in, they might as well hand out licenses and auction them off legally. Any fate is preferable to legislated vandalism. If this is how the laws simply are, then one could argue that the laws regulating Swedish conservationism are long overdue for reconsideration. If the core of the matter lies with the fact that Swedish museums are criminally underfunded, then all the more reason to raise concerns.

It is particularly idiotic and counter-productive because archaeologists have been struggling to make themselves understood by the public for well over a hundred years. Archaeologists across Scandinavia struggle enough to communicate with landowners as it is, and this will only perpetuate the vilification of archaeology that is still prevalent in Scandinavian agricultural communities. The message these actions are sending out, is one where not only will archaeologists rip up your yard, but they might destroy whatever they find too. By standardizing last resort actions, they have created means for the black market justify itself, and where illegal possession of historical artifacts becomes preferable to their destruction.

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Raping The Muses: Burglars In The Bergen University Museum

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The other day I was met with a lunchtime read of the dreariest kind: Museum break-in, objects of great historical value stolen, said the headline in my news feed. Consider the picture below if you've never been to Bergen. It is the facade of the Bergen University Museum, specifically the Cultural History Collections, or The Historical Museum as they call themselves these days. Knowing the museum world, cold sweat struck me as I realized the gravity of the situation. After all, I live in Bergen and work for another museum group in the same town. I send tourists their way with warm endorsements, knowing they will have a great experience.

I'm sure we all hoped for minimum losses. That we were up against a clumsily executed crime by some aimless small-timer on an amphetamine bender. That security arrived swiftly, sending the burglar - or burglars - running. If not exactly leaving a trail of coins and flint fragments to follow, then at least some solid footage to identify perpetrators by.

The scene of the crime. Courtesy Bergen University Museum

The scene of the crime. Courtesy Bergen University Museum

 

It was too much to hope for. Assuming there was more than one, the thieves had climbed a scaffold outside the museum (discernible in the picture above) and smashed a window on the seventh floor which, by Odin's knackers, is part of the magazines. I've been up there myself during my brief stint as an archaeology student.

There is some seriously impressive stuff up there, and the timing could not have been worse: The permanent viking exhibit was down and due for reopening later this year. This may mean that many of the artifacts usually displayed downstairs might have been boxed up in the aforementioned storage. In other words, the thieves may have gotten away with a sizeable chunk of some of the museums most recognized treasures.

The dust settles I'm writing this less than a week after the incident, and many questions are still unanswered. Local newspaper Bergens Tidende quoted the museum director, the venerable Henrik von Achen, as saying that the stores dedicated to the safe keeping of Iron Age objects had had been plundered, among them several artifacts from the Migration and Viking Eras. After some initial confusion as to the extent of the raid the museum now reports 2̶4̶5̶ ̶c̶o̶n̶f̶i̶r̶m̶e̶d̶ ̶l̶o̶s̶s̶e̶s̶ ̶a̶t̶ ̶t̶h̶e̶ ̶t̶i̶m̶e̶ ̶o̶f̶ ̶w̶r̶i̶t̶i̶n̶g̶. They expect the numbers to rise significantly as the tally continues. [Update 18/08/17: The museum has adjusted the number of losses to 400]

Thankfully, the museum maintains an extensive photo documentation program. Images of confirmed missing artifacts are uploaded to a dedicated Facebook group run by the staff, hoping to ease recovery by raising awareness and reaching out to the public eye. Though English information is somewhat lacking, these pictures say all you need to know: Dozens of tortoise brooches, bracelets, torques, keys, pennanular brooches, horse tacks, insular fittings, vessels, trefoil brooches, hack silver, coins, and amulets are confirmed so far. Who knows what else. Join the group it and see for yourself.

Just two of the many stolen tortoise brooches. Courtesy Bergen University Museum

Just two of the many stolen tortoise brooches. Courtesy Bergen University Museum

The questions we need to ask

There are a few serious question to be begged about how this was allowed to happen. Bergen has been plagued by professional art theft in the past, and the sad story of the presumably contracted raid on the Historical Museum in Lund also comes to mind, where precious objects from Uppåkra were lost in 2013. That incident bore all the markings of a professional, well planned burglary. It's less clear cut in the case of Bergen, because the items were practically handed to the burglars on a silver platter - and I'll tell you why.

First of all, the break-in is believed to have taken place some time on Saturday night, which is interesting insofar that it was only discovered about 8am Monday morning. Pardon my Ostrogothic, but if this is true, how the blazing hell does that happen? At first it was claimed that the burglars had executed the break-in without setting off alarms, but it was later admitted that the alarm went off twice. Are the Bergen Museum's security systems so dated that they do not point to a specific floor? How did the security guard fail to notice the broken window? If the burglar consciously set the alarm off twice to simulate false alarm, hiding in the meantime, then security must have fallen victim to the oldest trick in the book. One they should have anticipated. It would be an absolute humiliation to the integrity of the company, for such false positives should have no consequence to security routines - especially at an object of that importance. If this is the case, the guard is obviously not fit for such duties.

How could the construction company be so daft as to not secure the site better? I would presume that security concerns would be part of the work routine, but really, the accountability lies with the museum trusted to keep these artifacts safe. Here's the museological bottom line: The security company screwed up, the construction company screwed up, and they should answer for it, but these were red flags that should have been recognized by the museum itself.

Contrary to the picture, Henrik von Achen isn't pointing any fingers. Courtesy Mette Anthun/NRK.

Contrary to the picture, Henrik von Achen isn't pointing any fingers. Courtesy Mette Anthun/NRK.

On that note I must add that the museum handled the situation as honorably as they possibly could. As the director Mr. Achen expressed, no museum suffering a break-in can honestly say that their security measures were good enough, so his integrity can't be questioned in that department. They have taken full responsibility for their own, painful losses. If thieves could be accurately anticipated, these things would obviously never happen, yet it goes to show that an up-to-date, thorough security regime is an undeniable and absolute necessity, because this is the alternative is the exact situation they are up against: There is no security footage, there are no suspects. These fragile artifacts may never be recovered, and some have most certainly sustained some kind of permanent damage. They could be sitting in the back of truck bound for the black market in Eastern Europe, or corroding in a puddle of bong water across town, but really they could be anywhere. Your guess is as good as mine. [Update 18/08/17: Media report evidence pointing in the direction that this was indeed a planned, professional strike. This is congruent with the types of artifacts that were stolen.]

Bergen University Museum is pointing no fingers. I suppose they can't, but as an independent voice, I can. I've worked in museums my whole adult life. I know the meager budget sob story all too well. Bad funding affects the security of artifacts, buildings and, last but not least, the museum work force itself. To update their security - as mentioned, an absolute necessity - I fear many museums will have to make cuts that do damage to other departments. We need artifact security, but job security too. To achieve this, many museums will require better funding, one way or another.

The first, cheapest, and easiest line of security belongs to the attentive museum worker, but while museums and their employees hold the task of protecting our cultural heritage, their ability to do this is remarkably dependent on politicians, and the biggest finger of them all, I shall point at them. Blessed is the museum that runs on ticket sales alone. I've certainly never worked at one. In fact, most museums are at the mercy of either private or government funding. Theft is not the only threat here. It's no secret that many museum magazines simply aren't up to scratch in terms of climatization. Finally I shall also break the taboo of criticizing the public, though I usually try to take their side in heritage matters.

Many Norwegians, spoiled by the nanny state as we tend to be, have entirely unrealistic expectations in terms of the duties and services of museums. As citizens of a heavily taxed social democracy claiming to care about public enlightenment, they expect museums to offer their services cheaply, or even for free. Even though entry fees are comparably cheap here, some will not pay the equivalent of two bus rides, or about 70% the price of a movie ticket to see a national treasure. Simultaneously, governments both past and present relieve themselves of their duties by cutting as much cultural funding as their conscience allows them, preferring to build anew rather than maintaining what they started. Meanwhile, museums who have been asking for decades, don't receive the funds to modernize. Still they are expected to fight off mold and vandals alike, even when they barely have enough to pay their workers in the first place. Relying to a great extent on intermediate positions taken as works of passion, with little to no hope of career development.

Replicas of the lost horns of Gallehus. The National Museum in Copenhagen.

Replicas of the lost horns of Gallehus. The National Museum in Copenhagen.

The museum is a sacred space

I extend my condolences not only to the Bergen University Museum, but to the Norwegian public whose cultural memory has been severely pillaged through this deplorable crime. Norway is a small country built on trust, and the benefit of the doubt. These are core ideals, and relevant to the ongoing domestic debate about so-called Norwegian values.

If, by any chance, the guilty party reads this essay, I want to tell you this, cocksucker, that I hope you realize the symbolic gravity of your deed. You stand shoulder to shoulder with the Taliban, who as a gesture of defiance against world heritage, reduced to rubble the Buddhas of Bamiyan. Your are hardly different from the black market speculation and outright destruction carried out by the zealots of the Islamic State. You are a 1:1 scale copy of the crooked goldsmith Niels Heidenreich who stole and destroyed the Golden Horns of Gallehus for the sake of nothing more sacred than his own greed.

Bamiyan. Picture courtesy of the Taliban.

Bamiyan. Picture courtesy of the Taliban.

This is what's at stake. Museums are sacred institutions, and I mean this quite literally, not as a trite, literary embellishment. The very term comes from the Greek mouseion (Μουσεῖον), which originally denoted a shrine or temple dedicated to the muses, minor deities of art and inspiration. Museums are temples to the memory of mankind. They are shrines in which we may converse with the past, which grounds us and gives our time and lives context. Offering new and old perspectives alike. Where culture is produced, examined, interpreted, and enjoyed. I'd even wager that beyond visiting the graves of loved ones, and family rites of remembrance, it is the closest thing the Western world has to ancestor worship. While all artifacts have indiscriminate value to the museum, the fact that these items were from Iron Age and Viking Era makes it all the more painful, as these periods have a firm grip on the Norwegian consciousness. The Viking Era being is our founding myth, the Norwegian ethnogenesis, the womb of the nation.

This is not lost on thieves. For artifacts to be recognized in terms of market value, all of the above must be taken into account. But this is nothing compared to the cultural worth of these artifacts. Like a temple, artifacts are deposited and sacrificed. Though they may move from museum to museum, from temple to temple, they must never be fully removed. Art theft is sacrilege. The burglar rapes the muses.

How can you help? By raising awareness, joining the Facebook group, sharing this article, and by keeping an eye open for any suspicious artifacts on the online market. I'm aware several auction houses have been notified. Let's not make it any easier for the criminals.

Ninjas of the North: Royal assassins in medieval Norway

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On the fifth day of Christmas in the year 1181, an angry, drunken mob took to arms and stormed the palace of king Magnús Erlingsson in Bergen, Norway. The assailants were called guests, but they were not visitors. The title of guest was actually a rank within the royal guard. And they served a function comparable to that of secret police or special forces units. As one source puts it, they lent their name from the fact that they “pay visits to the homes of many men, though it is not always friendly.” In short, the guests often served as spies and assassins doing the king's dirty work.

Now they were rebelling, killing servants and vandalizing royal property, breaking their way into the hall, door by door, and catching the king's retainers unarmed and off-guard, who relied on a few armed guardsmen and hot stones from the fire to keep their assailants at bay. Before long the town guard rushed to their aid and the attack was finally suppressed. The king seized the conspirators in the ensuing aftermath, executing the worst aggressors and made examples of the rest by amputating feet and hands. The reason for the uprising? The king had merely served them beer and confined them to drink in a separate building, reserving mead and the best quarters for the higher ranks of his bodyguard. But who were these “guests”, exactly?

Knock knock, who's there?

The key to understanding their title lies in the society they belonged to. As mentioned in the King's Mirror – a 13th century book of noble customs, the guests were named because of their habit of stalking the king's enemies. It is easy forgotten in the relative peace of the 21th century that visitors aren't always wanted, and medieval Scandinavia could certainly be a volatile and dangerous place. The warrior ethos of the Viking era was still alive and well, and strangers should well be treated with equal measures of hospitality and caution.

The guests were oath-sworn members of the king's retinue, or hirð in Old Norse. But unlike his other retainers, who were nobles, the guests were low-born. They earned only half a hirdman's pay, and though they were considered second in rank to them, they were formally above some of the lesser ranks of the retinue. However, noble birth meant that these could hope to rise in status, something that the low-born guests could not. They were held separate and, apart from Christmas day and Easter day, were not allowed to eat and drink at the king's table like the noble retainers.

The hirðskrá – literally the Book of the Retinue – was a law code compiled in the 1270's regulating the Norwegian royal guard. It states a great deal about the guests, who seemed to serve as the king's eyes and ears around the country. Often they were sent to complete specific clandestine tasks. In practice this could be anything from assasinating opponents to delivering letters. It is stated that the king should refrain from sending the guests out on impossible missions, as well as those that would «displease God». Meaning there must have been some ethical concern associated with their function, at least officially, which would serve to explain why the guests could not be nobles. This might also imply that the guests had been involved in past atrocities, and that kings might have been too unscrupulous in their deployment, perhaps even sending them on outright suicide missions. The law code also encouraged the guests to understand, and carefully consider their contracts, as to make sure there were no misunderstandings. They were allowed to question their missions to some degree. Still, the task of the guest was to do the king's bidding, even when the task was grim.

Hrafninn Flýgur (1984), Dir: Hrafn Gunnlaugsson.

Hrafninn Flýgur (1984), Dir: Hrafn Gunnlaugsson.

For king and country

Judging from the sources, their assignments were as varied as they were dangerous. Ranging from downright political assassination to sabotage, the confiscation of property, kidnapping and espionage. The sagas paint a picture of gritty shock troops with license to kill, going behind enemy lines to exterminate strategic targets, even in the midst of an army, which must have required tremendous military skill. They existed all over the realm, and were required to be on the lookout for any military or political threats to the king. Wherever such enemies were spied, they ought to try and kill them, or so the King's Mirror says. 

The Book of the Retinue, however, gives the impression of a more organized force, and being the younger of the two texts, it might point towards a formal development to regulate the guests' behavior more strictly. For example, instead of outright executions, guests should ideally abduct their targets and bring them before a priest to perform their last rites, before ultimately taking them to an executioner. Several accounts reveal that this wasn't always carried out, and many a man's political ambitions must have ended with their guts spilling across the business end of a guest's blade, or dangling from a tree in the forest, as is purported to have been the fate of one particular band of Swedish interlopers.

The guests enjoyed many perks otherwise out of reach to people of low birth. As the king's men they qualified for tax exemption, and crimes against them punished more harshly. They were probably rewarded with properties and special services exclusive to veterans in the king's service. This, along with the brotherly security that came with being part of Norway's elite licensed killers, must have earned them some notoriety.

Loot to kill

Despite being representatives of the king, these professional party crashers didn't always have the best intentions. The aforementioned law code expressly states that the guests couldn't confiscate anything that wasn't directly relevant to their mission. It seems likely that this amendment was a reaction to the guests being a bit too eager to loot and kill. Some thirty years earlier, the King's Mirror claimed that the guests were allowed to keep all the loot they could carry from assassinations (apart from gold, which was forfeited to the king). Such abuse of their position was evidently not acceptable from the 1270's on. Thus we might speculate that guests were using their license to kill to line their pockets.

Like other agents of some majesty's secret service, ill treatment of women is also an issue here. The law code takes special concern for guests on the subject of robberies and women's safety, suggesting a history of sexual assault and larceny within their ranks. All in all, the guests had a reputation for being rowdy and dangerous.

This leads us to the other ethical conundrums of being a contract killer in Norse culture: The guests could only do as they did because they acted on behalf of the highest authority in the country, namely the king. Otherwise, Norse culture frowned upon clandestine activities of any kind, and the deeds of the guests could easily have been condemned as cowardly and unmanly, had they been performed by any other member of society. The mere act of accusing someone of being unmanly was a defamation that could legally get you killed, so this was no small matter. Norwegian society in the 13th century was a transparent one, centered around family ties and a strict code of honor/shame ethics. Between the viking era and the better part of the high middle ages, killing someone was somewhat excusable as long as you openly admitted to it and accepted penalty. Covert killing was, at least in most cases, considered dishonorable, and would qualify a person to outlawry by default. This was effectively a death sentence back then. The fact that guests sometimes had to resort to such methods may explain why this position was reserved for low-born people, as it seems out of step with the chivalric ideals of 13th century nobility. Despite all this, the guests seem to have been highly respected and trusted confidants of the king.

As a guest you might be torching a political opponents house one day and delivering mail the next, with all the immunity of a government agent. Not much has changed in 800 years, has it? 

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Literature

  • Flugeim, Morgan. 2006. Gjestene i kongens hird. Ein samla gjennomgang av deira virke. The Faculty of Humanities: The University of Bergen
  • Imsen, Steinar. 2000. Hirdloven til Norges konge og hans håndgangne menn. Riksarkivet: Oslo
  • Kongsspegelen. 1976. Translated by Alf Hellevik. Norrøne bokverk. Samlaget: Oslo