Inanna: Queen of Heaven and Earth : Her Stories and Hymns from Sumer

As S.N. Kramer states in his excellent introduction to Sumerian `History, Culture and Literature': Sumer is the `cradle of civilization'. Its culture produced the first world literature with twenty myths, nine epic tales, more than two hundred hymns and hundreds of historiographical documents and `wisdom texts' (fables, proverbs, essays). Inanna One of this tales is `Inanna, Queen of Heaven and Earth', written some 5000 years ago. It is, by any standard, a remarkable text. Its incantations have the power of a rhythmic cadence. It has the images: `the agate necklace of fertility', `my vulva, the horn, the Boat of Heaven, is full of eagerness like the young moon. My untilled land lies fallow.' It has the themes of love and sorrow, of good and evil and of life and death. It has it symbolism: the descent of Inanna into the underworld. During her journey, she has to strip herself naked. Her body is `turned into a corpse, a piece of rotten meat, and was hung from a hook on the wall.' It has its dream (of Demuzi) and its superb interpretation. Diane Wolkstein wrote remarkable `Interpretations of Inanna's stories and Hymns', while Elizabeth Williams-Forte gave perfect explanations of the abundant graphic material. All in all, this book is a splendid reconstruction of a remarkable tale. A must for all lovers of world literature.

Fascinating read. A beautifully faithful translation of the stories of Inanna, followed by an academic discussion of how the language structure of the original text contributes to its meaning. There is also an interesting discussion of how the authors came to work together, how the stories were gradually discovered and stitched together. I was introduced to ancient Sumer at the age of 12 in history lessons at school. I have had a passing interest in Sumerian mythology ever since, but this book has brought the Queen of Heaven and Earth, the Great Inanna, to life for me.

Absolutely brilliant just what I have been looking for

I have to say, that this book is a nice addition to a library for anybody interested in Sumerian/Akkadian mythology, especially myths about Inanna (Ishtar). The book was first published in 1983, and is divided into two parts. In the first one, you have several myths and stories about Inanna from Akkadian and Sumerian sources, and in the second you have a few commentary chapters written by Noah Kramer, Diane Wolkstein and Elizabeth Williams-Forte. Stories/myths, including 7 hymns to Inanna (they follow Reisman's translation of Iddin-Dagan's Hymns to Inanna), are as follows: -The Huluppu-Tree (this is actually part of epic tale "Gilgamesh, Enkidu, and the Nether World" - which is not discussed in this book) -Inanna the God of Wisdom -The courtship of Inanna and Dumuzi (great love story of shepherd Dumuzi - son of Enki - and Inanna) -The descent of Inanna (Inanna leaves for Underworld) Hymns: -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 the Heaven -The Joy of Sumer: The Sacred Marriage Rite The important point to mention is that some of the ancient text used in the book had been shortened (hence 4 stars only). Nothing major though, and as the authors are saying in the Notes section of the book, in some cases it was necessary to quicken the dramatic flow of the reading. For example in case of "The Huluppu-Tree" the change was as follows: "When Inanna speaks to Utu and Gilgamesh, she condenses the first section of the Sumerian text of 13 lines into 5 lines as has been done. However beginning from line 14, Inanna retells the story both times line by line in the Sumerian text, until the line `How Inanna wept!". Wolkstein has condensed Inanna's two retellings to Utu and Gilgamesh from 33 or so lines to 19 lines". This change doesn't bother me that much, as the text is easy to read anyway (and I understand why something like this was done) - but it may be a negative point for you. If you want to read a full proper text, you will probably have to buy a different book. Another important point worth mentioning is that, even though there is a short chapter (in the commentary section of the book) about history and culture of Sumer (12 pages long, written by Kramer), this is not a book about history of Sumer. If you would prefer to read book like that, this one probably won't interests you. The commentary section also includes the history of discovery and decipherment of the "The Descent of Innana" (written by Kramer) and various interpretations of Inanna's stories and hymns (written by Wolkstein) - both of which are quite interesting to read. Overall, I would say that the book is a nice addition for anybody interested in Sumer and stories/myths that include Inanna - the goddess of sexual love, fertility, and warfare. It provides you with all major myths and hymns, and various interpretations of them in one easy to read package (just bear in mind that some parts of the original text have been shortened). At the end you have a selected Bibliography (quite good) and "Annotations of the Art" chapter by Elizabeth Williams-Forte -> a good section describing various Sumerian cylinder seals, statues, clay plaques and stele that are actually used in the book (as a small black & white photos inserted between texts).

I am in love with this book and the Story of Inanna! The co authorship of Wolkstein and Kramer works perfectly. This book is wonderfully balanced and will satisfy those who wish to luxuriate in the poetry of Wolksteins' rendering of the story/verse and those who seek the historical background to the discovery of the tablets and Sumerian history. A Classic. Lovely plates too.

Some of the most beautiful poetry ever written, with a comprehensive commentary. Well worth reading just for itself, but also essential to any profound understanding of the development of modern Western culture.

Not just a translation of ancient Sumerian stories, but a re-writing to try and capture the rhythm and spirit of the originals, without deviating too far from the literal translation. The authors have also sought to return the stories to their original chronology and provide an insight into their deeper meaning. I found both the stories and their interpretation fascinating and totally convincing. I have subsequently discovered one or two more stories concerning Inanna, which were not included, but despite this a delightful read.

Excellent, beautiful book, easy to read. Essential for all those interested in the goddess Inanna.

It is good to have this long poem in a book! The myth of Inanna's descent to the Underworld is quite well interpreted and translated. I don't regret my purchase. Thankyou

A pesar de que tardó un día más de lo previsto, la entrega no fue lenta. Y el producto cumple con todas las características que se establecen. Es un magnífico libro para conocer a la diosa Inanna.

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.

Interessante e curioso. l'ho usato per la mia tesi ma èè interessante da leggere anche nel tempo libero

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