Climate change is the dominant issue of our time, seeping into every aspect of life. One way in which climate change and pollution manifests is by way of its impact on national monuments. This includes objects relevant to Mimisbrunnr.info’s focus such as runestones, picture stones, and Nordic Bronze Age stone carvings (petroglyphs). The rapid deterioration these irreplaceable objects face has long been of concern to regional environmental agencies. For example, a high concentration of such objects exists in what is today Sweden, and back in 2008, the Swedish Environmental Protection Agency made the following observation:

Acidifying air pollutants, chiefly sulphur dioxide, accelerate the corrosion of most materials, although different materials are affected to differing degrees. Other pollutants, especially particles, also need to be included in a long-term strategy to reduce the impacts of air pollution on materials and cultural monuments. Climate, too, is a major factor. The costs to society are appreciable – and cannot be measured in money terms alone, as valuable cultural heritage may also be lost. (Swedish Environmental Objectives Council 2008: 106)

These are not the only threats ancient monuments face in the modern era. Beyond the impact of a changing climate and pollution, historic objects in public spaces have historically faced the threat of intentional destruction by visitors, whether due to quarrying, vandalism, or other reasons, or unintentional destruction due to a lack of awareness of the fragility of these items. (See for example this 2011 piece from Sveriges Radio.)

To date, very little discussion appears to have been produced about the challenges these objects continue to face. This is especially the case in English language media. However, Elin Gustafsson, a cultural heritage and archaeology student at Gothenburg University in Sweden, uses her Instagram and YouTube presence to showcase specific runestones, image stones, and petroglyphs, emphasizing the dangers they face along the way.

1. Where did you grow up?

I am from a small dairy town situated between two mountains, on Falbygden, in the southwestern parts of Sweden. I grew up surrounded by the great majority of Sweden’s passage graves (from the Neolithic period) as well as different historical markets and events, museums, runestones, stone ships, and petroglyphs. On top of all these historical places I was raised as well on tales of mythology and folklore.

2. Can you remember when you first encountered Norse mythology or, more generally, Germanic mythology? What was the context?

I cannot remember the first time I ever encountered Norse mythology; it has been a part of my life since my early childhood. The streets where I used to play as a child are named after the different heroes, gods, and goddesses of Norse mythology and sagas. Together with sports halls, restaurants, kindergartens, and so on. Several of our weekdays are named after the gods. Saturday is still “Lördag”, which originates from the word “löga/lauga”, this is Old Norse for washing oneself. There is no getting away from our mythological roots in Sweden.

When I was a small girl, I always turned the pages of my father’s book Gods and Heroes from Norse mythology, written by Brian Branston and illustrated by Giovanni Caselli. Caselli’s illustrations are magical, with their intense colours and lovely depictions.

My absolute favourite page of this book is the depiction of Nótt and Dagr riding through the sky. I remember leafing through Caselli’s wonderful illustrations repeatedly, year after year. I never grew tired of that book. I actually purchased a copy of it for myself, long after becoming an adult. It means a lot to me.

3. What is your academic background in ancient Germanic studies?

I am currently a student at Gothenburg University, where I am studying the “Cultural Heritage Program”. During my time in the program, I have learned a lot about the machinery which surrounds so-called “cultural heritage”. This includes—amongst much more—everything from pedagogical studies, political standpoints, and the materialistic aspects of how laws and conventions work and are put in place.

I have gained a steady ground to stand on when it comes to the many takes on Swedish cultural heritage. All the different courses combined have given me a better understanding of our modern society as well. There really is something to the notion of how the past can teach us so much about the present.

Starting this autumn (2021), my studies will focus on archaeology. My dreams and goals go beyond archaeological fieldwork though. I would like to become one of the experts that gets called in whenever there are question marks regarding megalithic monuments such as runestones or petroglyphs.

4. What was your earliest work on the topic of Germanic mythology?

I vaguely remember a baby mobile made out of paper viking ships, and shields and tiny men with horned helmets during preschool. Jokes aside, I still have my earliest official work ahead of me, which is more than exciting. I cannot wait until I have a couple of them on my resume.

5. Which scholars had the greatest influence on you? Why?

As a woman who aims for a future within the field of history, I would absolutely say that Elisabeth Svärdström is a great inspiration to me. Svärdström (1909 – 2007) was a Swedish runologist and is the researcher and translator for the runestones of Västergötland and second part of the Gotlandic runic inscriptions. She helped build the foundation of what is medieval runology in Sweden. Being a daughter of Västergötland myself with a huge interest in these specific runestones, I cannot help feeling such awe and respect for a woman doing this type of work, especially during a time when women were not considered equal to men.

6. What research are you currently conducting that relates to ancient Germanic studies? What do you hope to work on related to the field in the future?

Since I am still studying, I have not done any official work on the topic. I do however run an Instagram account, which mainly focuses on runestones, but also contains other bits and pieces of history. On my Instagram, I spread awareness about how to act at petroglyph sites, that there are forgotten runestones (which have been left to ruin in the elements), and how one could go about actually standing up for these sites as well as who to contact whenever something is off.

Recently I started doing what some people online have called “historical activism”. I have made a logo (or brand): “don’t walk on the petroglyphs”. This came to be after I noticed an online trend where people shared pictures of themselves standing on top of petroglyphs. Which is more than irresponsible if these sites are to remain for future generations. “Don’t walk on the petroglyphs” started as an annoyed post after I realised how little information is being handed out by Swedish authorities on these sites. Noticeable to me was also a great lack of knowledge and respect that some influencers show for these sites in the name of aesthetics.

“Don’t walk on the petroglyphs” continues to grow (and now I am being called “the mother of stones” by some members of my online community). I have had more than one discussion about the wellbeing of these monuments with the authorities. I will with high probability spend the rest of my life striving to make a change to lessen the gap between easily accessible historical knowledge and the public’s understanding of the worth of these monuments.

Joseph S. Hopkins thanks Elin Gustafsson for her participation and for providing the sources used in the introduction to this Six Questions entry.