THE TABLET OF DESTINIES

A universe of blood, violence, and magic.

In the 11th volume of a project that began in 1983, Italian publisher, translator, and polymath Calasso (1941-2021) continues his investigation of ancient religion and philosophy with an interpretation of Mesopotamian mythology. Translated by Parks, the narrative unfolds as a conversation between Utnapishtim and Sindbad, a sailor who washes up on the island of Dilmun, where Utnapishtim has lived for thousands of years under the protection of Ea, god of fresh water. “I would have liked to be someone who dwells in the midst of everything and sees afar,” he tells the sailor. “Instead, my fate has been to see afar, but from a place no one else can reach.” Central to his stories are a host of vengeful, capricious, murderous gods who create humans from clay and gods’ blood only to become annoyed when their creations become too boisterous and noisy. The solution: a flood to destroy the Earth and its unruly inhabitants. But at Ea’s bidding, Utnapishtim builds a vessel to save all living creatures and is rewarded by spending eternity on Dilmun. Foremost among the magical objects coveted by gods and men is the Tablet of Destinies, “in which everything that was and was becoming the world could concentrate.” The Tablet instructed “how to celebrate the rites and implement the law.” It ensured order. Men yearn for certainty, Utnapishtim observes, for which they make sacrifices to appease gods; protect themselves “behind a barrier of prayers, invocations, exorcisms”; and worship talismans, spells, and omens. “We lived in terror of everything that happens by chance,” he admits. “A few signs etched on a clay tablet went some way to keeping things in check.” Calasso depicts a blood-soaked universe where hundreds of gods battle for supremacy and where men prefer “to live bound tight by destiny than abandoned to the turbulence of chance.”

A vigorous rendering of the remote past.