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 KARIN SANDERS

and the Archaeological Imagination

 KARIN SANDERS

BODIES IN THE BOG

and the Archaeological Imagination

Known for his red hair, day-old stubble, and

uncannily preserved two-thousand-year-
old physique, Tollund Man—a mummified
body discovered in 1950s Denmark—was
an instant archaeological sensation. But he
was not the first ofhis kind: recent history
has resurrected from northern Europe's
bogs several men, women, and children
who were deposited there as sacrifices in the
eatly Iron Age and kept startlingly intact
by the chemical properties of peat. In this
remarkable account of their modern after-
lives, Karin Sanders argues that the discov-
ery of bog bodies began an extraordinary—
and ongoing—cultural journey.
Throughout the nineteenth and twen-
tieth centuries these eerily preserved re-
mains came alive in art and science as mate-
rial metaphors for such concepts as trauma,
nostalgia, and identity. Sigmund Freud,
Joseph Beuys, Serge Vandercam, Margaret
Atwood, Seamus Heaney, and other major
figures have used them to reconsider fun-
damental philosophical, literary, aesthetic,
and scientific concerns. Exploring this intel-
lectual spectrum, Sanders contends that the
power ofbog bodies to provoke such a wide
range of responses is rooted in their unique
status as both archaeological artifacts and
human beings. They emerge as corporeal
time capsules that transcend archaeology to
challenge our assumptions about what we
can know of the past and about what it
means to be human.
BODIES IN THE BOG
 KARIN SANDERS

BODIES IN THE BOG

and the Archaeological Imagination

The University of Chicago Press | Chicago and London

KARIN SANDERS is professor of Scandinavian at the University of California, Berkeley.

The University of Chicago Press, Chicago 60637

The University of Chicago Press, Ltd., London
© 2009 by The University of Chicago
All rights reserved. Published 2009
Printed in the United States of America

18 17 16 15 14 13 12 11 1009 12345

ISBN-13: 978-0-226-73404-0 (cloth)

ISBN-10: 0-226-73404-8 (cloth)

Library of Congress Cataloging-in-Publication Data

Sanders, Karin, 1952-
Bodies in the bog and the archaeological imagination / Karin Sanders.
p.cm.
Includes bibliographical references and index.
ISBN-13: 978-0-226-73404-0 (cloth : alk paper)
ISBN-10: 0-226-73404-8 (cloth : alk paper)
1. Bog bodies—Europe. 2. Human remains (Archaeology)—Europe. 3. Water-
saturated sites (Archaeology)—Europe. 4. Antiquities, Prehistorical—Europe.
5. Europe—Antiquities. I. Title.
GN803.824 2009
936—dc22
2009010355

‘The paper used in this publication meets the minimum requirements of the American
National Standard for Information Sciences—Permanence of Paper for Printed Library
Materials, ANSI Z39.48-1992,
For Kenny
 g
&
a
CONTENTS

List of Illustrations ix
Preface and Acknowledgments xiii

Introduction: Remarkable Remains

Nature’s Own Darkroom

The Archaeological Uncanny

Uses and Abuses: Bog Body Politics

Erotic Digging

Bog Body Art

Museum Thresholds and the Ethics of Display

BND
WO
FB
oOo
Oo
4“ Making Faces 197

Postscript: Frozen Time and Material Metaphors 219

Notes 235
Bibliography 283
Index 299
 | ILLUSTRATIONS

0.1 Face of Tollund Man in Silkeborg Museum, Denmark xxii

0.2 Ravnsholdt Man, a so-called paper body reported in a Danish
newspaper, 1773 5
0.3 Bog lake near the location of Tollund Man’s discovery 8
1.1 The “newborn” Grauballe Man, 1952 24
2 Preserved head of Tollund Man after his first curation 27
1.3, 1.4 Before-and-after reconstruction of Tollund Man’s body from
photographic archives 28-29
15,16 Museum picture postcards of Grauballe Man’s hand and feet 32
17 Tollund Man’s beard stubble 37
1.8 Road leading into the location of Tollund Man’s discovery 43
743 Giuseppe Fiorelli’s plaster casts of Pompeian bodies, circa 1870 55
Wp Right breast fragment from the remains of a young girl found in
1784 in Bareler Moor near Oldenburg, Germany 58
rayWe 4 Tollund Man’s two-thousand-year-old mummified face vis-a-vis
Danish author Karen Blixen in 1961 78-79
4.1 Haraldskjer bog body, also known as Queen Gunhild, found in
1835 and reburied in an oak casket 93
4.2 Weerdinge Couple, found in Holland in 1904 109
oe | Illustrations

43 Windeby Girl, found in Germany in 1952 16

5.1 Joseph Beuys’s installation Grauballe Man, 1952 129
5.2 Serge Vandercam’s painting Jollund Man, 1964 134
5.3, 5.4 Serge Vandercam’s Tollund Man serigraphs, 1963 135-37
5.8 Serge Vandercam’s Tollund Man clay vase, 1962 140
5.9 Kathleen Vaughan’s book-sculpture The Touch ofYou;
1995-96 142
5.10 Kathleen Vaughan’s life-size double canvas Bog Series 3,
1995-96 143
5. Désirée Tonnaer’s Weerdinge Couple sculpture Vastelaovesmone-
ment, 1993 146
Sle Désirée Tonnaer’s Vastelaovesmonement in situ at Sittard,
Holland 148
5.13 Kathy Herbert’s bog art piece Container, 1990 151
5.14 Remco De Fouw’s bog art piece Let Sleeping Bogs Lie, 1990 152
5.15 Catherine Harper’s mixed media piece Nerthus, 1990 153
5.16-5.19 Trudi van der Elsen’s photo series The Fall into the Bog,
1991 156-57
5.20, 5.21 Semi-profile of Tollund Man and Trudi van der Elsen’s photograph
Untitled, 1991 158
5.22, 5.23 Caravaggio's Narcissus, 1645, and Trudi van der Elsen’s photograph
Narcissus, 1991 159
5.24 Etta Unland’s mixed media Austrocknung (Withering), 1992 161
5.25 Kiki Smith’s sculpture The Ice Man, 1995-96 165
6.1 Slice of peat with inlaid bog contour from Oldenburg,
Germany 170
6.2 Face reconstruction of Grauballe Man 180
6.3 Museum display of bog bodies in artificially constructed bog at the
Oldenburg exhibit 182
6.4 Slices ofpeat on the back wall of the Oldenburg exhibit 182
6.5 Bulletin board outside the exhibit room of Windeby Girl in Gottorf
Castle, Schleswig 185
6.6, 6.7 Children’s drawings of Windeby Girl: “Skeleton Girl” and “Hilfe
Girl” 186
6.8 Yde Girl’s face reconstruction 189
TAG Various stages of the face reconstruction of Yde Girl 202-3
 Illustrations { xi J

Te Archaeologist Wijnand van der Sanden with the face reconstruction

of Yde Girl 204
7.8 Face reconstruction of Homo Neanderthalensis from Chapelle-aux-
Saints, France 207
To Face reconstruction of Kennewick Man 212
TAOS EL Face reconstruction of Lindow Man, before and after 215
p.l Tollund Man on a wooden pencil holder 222
 | PREFACE AND ACKNOWLEDGMENTS |

The seed for this study was planted decades ago. In 1965 the Danish archae-
ologist P. V. Glob published Mosefolket (The Bog People) and I remember find-
ing a copy of the book in my primary school library outside Copenhagen. The
thrill of reading about the uniquely preserved human beings in the peat bogs
of northwestern Europe and the powerful effect of the black and white photo-
graphs of faces, feet, and hands from these ancient yet seemingly contempo-
rary people made me ponder whether I too should become an archaeologist.
The realness of the bodies combined with an aura of mystery—even if it was
of a rather melancholic and sometimes frightening kind—took me on many
imaginary time travels.
Eventually my interests in literature and the arts won out over my fas-
cination with archaeology, and I started digging out the past as a literary
scholar. But the lure of archaeology and my interest in bog bodies have lin-
gered through the years. The Irish poet Seamus Heaney’s bog poems, from
Wintering Out (1972) and North (1975), reopened the door to archaeology
for me and provided a bridge between the world of words and that of ma-
terial remains. Heaney’s poems on Tollund Man and other bog bodies made
Glob’s book present and familiar again, and caused me to revisit The Bog People
(this time in its 1969 English translation). I discovered that Heaney and Glob
were not the only ones who had searched these ancient faces and bodies for
arsenals of archaeological tropes to be used in literature or visual art. The ros-
[ xiv J Preface and Acknowledgments

ter of international responses to bog bodies—including Sigmund Freud, Carl

Jung, Heinrich Himmler, Joseph Beuys, Williams Carlos Williams, Geoffrey
Grigson, Hugo Claus, Serge Vandercam, Margaret Atwood, Wallace Stegner,
Anne Michaels, Désirée Tonnaer, and many more—is so long and impressive
that alone it makes the case that a study of bog bodies outside ofthe discipline
of archaeology is warranted.
I soon realized that the discovery of abog body is not the culmination ofits
journey through time, but rather a point of departure from which a new jour-
ney begins. To follow this journey I have chosen a variety of written texts (po-
ems, novels, dramas, scientific studies) and visual representations (paintings,
sculpture, photography, museum displays, facial reconstructions), which, each
in its way, situate bog bodies in relation to the archaeological imagination.
This book then is concerned with the textual and visual corpus surrounding
the mummified bodies. It is zo¢ an archaeological examination but rather an
attempt to show how we see, read, and experience these remarkable remains
as human time capsules capable of connecting past and present in ways differ-
ent from other archaeological artifacts. It is about how various discourses (ar-
chaeological, literary, political, poetical) imagine bog bodies and make stories
about their past and present lives. And it is about how visual imagination has
been able to use bog bodies in art.
When Glob published The Bog People it was a response to public demand
but also a means to set the record straight in terms of numerous misconcep-
tions that had filled the pages of the news media since the 1950 discovery of
the bog body named Tollund Man and the equally spectacular 1952 unearth-
ing of the so-called Grauballe Man. Questions needed to be addressed regard-
ing ethics in the display of human corpses, queries as to their humanness, con-
cerns about their disrespectful commercialization, misidentification of and
disregard for the depth oftime they represented, and their place in the canon
ofthe nation’s prehistory.
The Bog People has since become a classic. It is still in print in English and,
more important, it continues to this day to be the source book for artistic ex-
pression on bog bodies. At one point Glob tells us of abog body discovered in
1942 by peat cutters in Denmark that was found “doubled up like a question-
mark.”! It is easy to imagine this corporeal “question-mark” as a particularly
fitting visualization of the many intricate problems and methodological chal-
lenges that spring from the corpus of bog bodies. As forensic archaeological
objects, they are obviously subject to the particular methodology and history
of the archaeological discipline proper, but in the kind of analysis I will pro-
pose here, the material object itself cannot be understood through just one
prism or one particular methodological approach. I suggest, rather, that we
 Preface and Acknowledgments [ xv ]

see bog bodies as unique go-betweens on many fronts, straddling not only the
binaries of time and space, past and present, text and image, and ethics and
aesthetics, but also the disciplinary boundaries between archaeology, history,
literary studies, and art history.
Throughout this book I center on how the material body is negotiated
when it “ruptures” time and space. I show how, when the past is seen in the
form of archaeological material, the value given to it is inevitably wedded to
its ability to serve as authentic testimony. To see something, or to touch some-
thing, is presented as authentic precisely because the senses seem to allow for
transparent and direct access to knowledge about the object at hand. The au-
thentic in archaeology is, after all, a promise of closeness to what is historically
far removed. All of the examples discussed in this book, then, have at least one
common denominator: they all in one way or another negotiate the pressure
of the bog bodies’ material presence. This pressure, which is also a pressure
from the past, gives urgency to the reality of the physical body—to the poetic
and artistic mind, to the hand that writes or sculpts or paints. The “stubborn”
materiality of the body’s corporeal existence is often vividly confronted with
the material resistance offered by each medium’s own particularity, be it can-
vas, clay, wood, bronze, or words. Since bog bodies are in some sense born as
scientific specimens, museum pieces, and preserved artifacts so different from
what they once were, they are estranged from us even as they mirror us. It is
precisely this combined identification and estrangement that gives bog bod-
ies (and other mummified human remains, for that matter) a valence that is
different than that of other archaeological objects. If we project human traits
onto material artifacts that already exhibit—or seem to inhabit—those same
traits, our projections are caught in the paradox of their very existence. Bog
bodies are both inanimate objects and human beings.
I argue that bog bodies gain mutable identities in their complicated and
sometimes boisterous afterlife. My intention is to consider fundamental ques-
tions about culture and humanity—heritage, origin, nationality, genetics, eth-
nicity, and gender—by way of bog bodies. I show that while the archaeological
imagination situates and actualizes the bodies’ humanness and historicity by
use of display strategies, photography, rhetorical gestures, and so forth, their
situatedness and actualization stipulate sensitivity to and negotiation of the
fuzzy boundaries that the bodies have to navigate in their travels through time
and space: their imagined morphing from being persons to becoming things,
and conversely from being things to becoming persons.
In this process, as we shall see, almost all bog bodies discussed here regain
personal-pronoun attributes. In a kind of transposing of the body to its lin-
guistic equivalent, “it” becomes once more “he” or “she.” Behind this drive to
[ xvi J Preface and Acknowledgments

humanize is then a drive to see humanity as both singular and universal, to see
the bog bodies both as gendered individuals and as human beings in abstract
terms. No one has expressed this with more acumen than Seamus Heaney
when he brings the material past up close and makes it personal as he describes
the kind of reanimation, but also loss of identity, that happens on the level of
personal pronouns:

Once upon a time, these heads and limbs existed in order to express and
embody the needs and impulses of an individual human life. They were the
vehicles of different biographies and they compelled singular attention,
they proclaimed “I am I.” Even when they were first dead, at the moment of
sacrifice or atrocity, their bodies and their limbs manifested biography and
conserved vestiges of personal identity: they were corpses. But when a corpse
becomes a bog body, the personal identity drops away; the bog body does
not proclaim “I am I”; instead it says something like “I am it” or “I am you.”
Like the work ofart, the bog body asks to be contemplated; it eludes the
biographical and enters the realm ofthe aesthetic.*

The plethora of material on bog bodies in the “realm of the aesthetic” —the
volume of which far exceeded my expectations when I first embarked on this
project—takes such diverse shapes and forms that it has been a challenge to
house it on the pages of one study. I have therefore had to make necessary
selections. Not all poems on bog bodies are included; not all novels, nor all
visual art or museum displays. Whenever possible I have chosen works that
are representative of each chapter’s specific concerns: the ethics of display, the
uncanny, erotica, politics, and so forth. At the same time I have strived to hold
onto the multifaceted corpus of texts and have allowed each chapter to unfold
the different peculiarities of the material.
Ultimately, as should be apparent when we come to the end of this study,
in spite of the heterogeneity in bog body representations we will find two fun-
damental tenets at play throughout the material. One concerns time and the
ruptures and reverberations that come with untimely reappearances of dead
bodies; the other concerns the ethics ofaestheticizing human remains from an
ancient past. The bodies represent our humanity—and inhumanity. Reconnec-
tion with the past is frequently intended to stabilize the present. Yet bog bodies,
uncanny and liminal, more often than not refuse to be constant; indeed, they
destabilize. “We stand face-to-face with our ancestors,” claimed Glob. Other
archacologists have called the bodies “silent witnesses”’ or claimed that they
“open a window to the past, through which we see things we would otherwise
seldom see.”' To be face-to-face with silent witnesses who can open windows
 Preface and Acknowledgments [ xvii ]

to the past is no small matter. As we shall see, these witnesses are far from si-
lent; they speak volumes across time. In fact bog bodies, I have discovered, pre-
sent a particularly rich opportunity to investigate a familiar unfamiliarity with
human beings from the past. They allow us to see a “spectacle of human activ-
ity,’ to borrow a phrase from Marc Bloch, full of twists and turns—a complex
ethical and aesthetic “quagmire” from which we can pull information about
literature, art, and archaeology that goes well beyond that of the bog bodies
themselves.
In my exploration of the various forms bog bodies take in literature
and visual representation, I have found myself immersed in a sort of cross-
disciplinary traveling that resembles what Mieke Bal has outlined in her book
Traveling Concepts in the Humanities. She proposes that a cultural analysis must
find its “basis in concepts rather than methods.” The object of cultural analysis,
she goes on to say, often changes in the process, so that “after returning from
our travels, the object constructed turns out to no longer be the ‘thing’ that so
fascinated you when you chose it. It has become a living creature, embedded
in all the questions and considerations that the mud of your travel spattered
onto it, and that surround it like a ‘field?”® Bal’s expression, that “it has become
a living creature,” has of course a particular kind of irony when we speak of bog
bodies. But the point she makes—that the object at hand becomes animated
and malleable when looked at through the concepts of cultural analysis, and
not through one particular or inherent methodology—resonates with my own
experience of traveling the muddy fields and “digging” out bog bodies.
In The Bog People, Glob was sensitive to the peculiar time factor in rela-
tion to writing, publishing, and doing research on archaeological bodies.
He calls his book a “long letter” written for a group of fifteen young English
schoolgirls—Veronica, Catherine, Elizabeth, Prudence, etc.—who had con-
tacted him asking for more information on bog bodies, and also for his own
daughter, who was the same age. As he signs off with an elegant gesture toward
the past, the present, and a possible future, the conclusion of his preface ech-
oes ingeniously the very themes of his book and the time it took to complete
his work with it:

But I have all too little time, so that it has taken me a long time to finish my
letter. However, here it is. You have all grown older and so perhaps are now
all the better able to understand what I have written about these bog people
of two thousand years ago. Yours Sincerely P.V. Glob, August 13", 1964.’

My own study, which is indebted to Glob’s archaeological imagination in

so many ways, has been in process for nearly a decade. But I find solace in a re- -
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