Cybertron Flower

The Hungarian election result is giving me life. I spent much time with the Guardian's livefeed of the election and its aftermath, just basking in happiness. My favourite moments were the thousands dancing along the shores and bridges of the Danube (including the health minister-to-be, whose dancing went viral), and the gleeful gloating of the Polish prime minister and foreign minister

People on the subway high fived each other as they passed on the escalators (third video in the carousel) and were pouring out glasses of champagne to strangers, and it was so crowded with people trying to get across the river to the victory celebrations that they couldn't fit into the subway carriages.

If it must be necessary, my favourite (sadly universal) experience of democracy is witnessing voters take to the streets to dance in relief and joy at having voted out corrupt, autocratic governments. Inject this straight into my veins, forever.

Apparently the partying in Budapest went on until 5am, and then everyone just floated deliriously into work on Monday morning, awash in the sense of their own political agency.

Edited to add, because I couldn't resist, Marie Le Conte liveblogging the celebrations in the streets of Budapest. Oh, my heart.

I've just rushed in to gather the remainder of the laundry, as it suddenly began bucketing down rain. Amusingly, the neighbours on either side sprinted out to their own gardens at exactly the same moment to do exactly the same thing, and we all gave each other rueful smiles. It's that time of year.

I was recovering from a fairly mild cold this weekend (the worst of it was on Wednesday and Thursday, so by Saturday I was just at the stage of sniffling a bit, and having constant nosebleeds), so things have been relatively quiet, even by my standards: no pool, no gym, very limited activities. I did go to Waterbeach with Matthias yesterday, to sit for a few hours in the taproom of the brewery that only opens up one Saturday a month (where we listened to the couple next to us plan their wedding, with much arguing over seating plans and whether or not to have a traditional fruit cake, but general agreement as to the — seemingly bottomless — quantities of alcohol they were going to serve their guests), and eat handmade pizza from the food truck next door.

Otherwise, the only eventful stuff this weekend has been gardening: readying a few containers with compost in order to transfer the mixed lettuce, dill, and spring onion seedlings out of the growhouse some time later in the week, and planting the next batch of growhouse seedlings (rocket, radishes, corn, zucchini, butternut pumpkin, garlic kale, red spring onions, giant cabbages, and peppermint chard). I'm feeling quite smug that we managed to get all this done this morning, before the rain began.

I think I've only finished two books this week — probably not helped by the fact that I spent Thursday in bed dozing — but both were relatively satisfying.

The first was The Rider of the White Horse, continuing my Rosemary Sutcliff reading with a big shift from her Romano-British trilogy to the time of the English Civil War, and from her resolutely male protagonists and worlds to a female protagonist: the wife of an aristocrat from the north of England fighting for the Parliamentary cause who follows him across the various battlefields as their fortunes wax and wane. As with other Sutcliff books, it has a very strong sense of place, as well as a strongly crafted depiction of life with an early modern army on the move: the muddy plains of battle, the besieged cities, with their populations' fate resting on the choices and consequences happening outside their walls, but here also with an additional focus of what this world might have been like for its women. The other feature that I've come to recognise as a Sutcliff staple — the sense of the catastrophic ending of a particular kind of world, and the disorienting horror felt by people as old familiar certainties are cast aside, unmooring them from former expectations and reference points — is also present and correct. The central relationship — between the protagonist and her husband — is an interesting authorial choice, in that it is an aristocratic arranged marriage which opens with one spouse (the wife) loving the other while knowing that this love is not returned, and over the course of the book, and all the pair experience together and separately, their feelings shift and change until their love for each other is mutual, and more mature, being based, at this point, on a deeper understanding of each other as people. In general, I found the whole book very solid, although it didn't resonate quite as strongly with current global politics as some of her previous fiction that I've read.

I followed this with Mythica, in which classicist Emily Hauser uses the women of and adjacent to Homeric epics as a jumping off point to explore the lives of women in the historical record, and in the material culture of west Asia and the eastern Mediterranean, with digressions into reception studies, and many millennia of literary criticism, historiography, and the shifting western literary canon (as well as some contemporary female character-centric Iliad and Iliad-adjacent retellings).

It's a good thing that although Hauser's name seemed vaguely familiar to me, I had forgotten that this was because she had written a Briseis-centric Iliad retelling that I absolutely detested, because if I'd remembered that detail, I would never have picked up Mythica. (In a very comical moment, she mentions her own retelling as one among many supposedly feminist recent takes on Homer's epic that restore interiority and agency to its women: you and I remember your novel very differently, Emily Hauser.) I'm not enough of a classicist or an archaelogist to know how solid her pulling together of the various threads was, but I felt that as a picture of a specific region in a specific moment in time, shedding light on its non-elite residents (women, enslaved people, ordinary artisans and traders) it did a pretty good job, although Hauser had a frustrating tendency towards certainty where I felt she could stand to be more equivocal when it came to the evidence available. When it came more to the literary and intellectual history of the many millennia of human engagement with Homeric epic, I found the book to be more superficial (is it really news to anyone that for most of recorded 'western' history, the male intellectual and political elite were either silent or misogynistic about the women of the Iliad and the Odyssey?), but possibly this is a reflection both of the type of fiction I tend to read for pleasure (I have a 'briseis fanblog' tag for a reason) and my academic background. Ultimately, I felt that the 'women of the Iliad and the Odyssey' framing of the book was a convenient structure and marketing gimmick for what in reality was an interesting and accessibly told survey of the history and material culture of the lives of ordinary people of the eastern Mediterranean (she does a particularly good job at emphasising the extent that the sea operated as a road, and how outwardly oriented everyone's lives were) that might otherwise have struggled to find a publishing foothold.

In the half-hour or so that it's taken for me to write this post, the rain has, of course, stopped, and my laundry — now laid out on every available surface of the house — is looking at me in a somewhat accusatory manner!