THE MYTH OF THE WANDERING JEW
Her premise was strong; what if the Wandering Jew … was a woman? Of course she was, I was always getting bad press. That’s why I’m here to set the record straight. But maybe I’m barking up the wrong date palm. So I read the proposal and it’s better to quote her or she’ll start one of her no speaks campaigns again, burrowing into her scriptwriting like a beaver in an avalanche.
The Wandering Jew will rewrite her personal history using covert aspects of the archetypal stages of the feminine individuation myth. Traversing and intersecting the different worlds of the novel – The Pleroma, the CyberCyde, The Landscapes, The Liminal Spaces, Wanda will relate in various ways to the cast of characters she meets through Herstory, flipping the script on the hero’s journey to discover her own part.
The myth had its origins in the Anti-Semitism embedded in the crucifixion tale. The Jews killed Christ, right? There were shoemakers and door keepers and Sanhedrin priests and Roman Prefects but it was the mass guilt of the tribe to have a hand in Deicide. That’s quite a burden to carry. Rear-engineered by Roger of Wendover in 1234, mythologized by sightings in the cities of Medieval Europe, presented libelously during times of plague and overpopulation and various Inquisitions. She poured over Flores Historium to find the clues. As we both knew, I had a hand in that kerfuffle. But for none of the reasons that Roger put forward.
Later in her process, once she has thoroughly examined, interrogated and explored the myth and archetype of picaresque and picara, these elements will merge and emerge as a whole new creative myth; the emergence of the feminine autonomous trickster, fleshing out the ancient skeleton constructed by Spanish converso writers. Nobody remembers that the first picaresque novel was published in 1555, around the time I was hanging out with Solly.