Fleeting Meaning

Leave a comment April 26, 2014 Steve A. Wiggins

Just a year before I had been unceremoniously dismissed from a fourteen-year teaching job at Nashotah House, devastating everything I thought I knew. I’d found a temporary job at the University of Wisconsin, Oshkosh and the head of the department encouraged us to go see the mandala that some Buddhist monks were constructing in Oshkosh one weekend. My family came up and we breathlessly watched as the orange-draped, shaven monks meticulously tapped brightly colored sand into an intricate pattern of incredible beauty. My daughter, quite young at the time, wondered what they would do with it when they were done. We’d been told, in the department, that the sand would be safely flushed into a local waterway, as Buddhism teaches about the transitory nature of life. My daughter was upset at the thought of such a nice piece of art being destroyed. But that’s part of the point of a mandala. As the Buddhists say, too many people concentrate on the hand pointing at the moon rather than on the moon itself.

Photo credit: Kamal Ratna Tuladhar, WikiCommons

I’m no expert in Buddhism. It is a complex way of thinking, and, like many religious systems, it is not unified into one particular thought-structure. Nevertheless, one of the main teachings of Buddhism is that life is, pardon the crass translation, suffering. We experience desire and we will continue to experience desire until we die. Then we’re reborn to experience desire all over again. Those who are enlightened may break out of this system into Nirvana, or a kind of non-existence where desire can no longer afflict us. There is an appeal to this way of thinking in a universe that science tell us will eventually burn out so that we’re all just a bunch of cinders in infinite, but expanding space. Almost Buddhist in its conceptualization, actually.

So when this morning’s New Jersey Star-Ledger had a front-page, below-the-fold, story of a mandala incident in Jersey City, I had to read. This entire past week, three monks have worked on a mandala at City Hall in Jersey City, for up to ten hours a day. Having watched this work, I know it can be backbreaking, and it is incredibly meticulous. Yesterday, after four days of work, a three-year old, while his mother was distracted, jumped on and ruined the mandala. A mayor’s aide, horrified, had to show the monks what had happened. A mandala is all about the transitory nature of life. Its fleeting moments are, after all, suddenly swept away. Despite the drama, the monks repaired the mandala and one of them quipped that perhaps the child’s action had underscored the lesson the mandala was intended to teach. Indeed. Many religions recognize that children know something about life that most adults simply forget. It’s the moon that’s important, not the hand.

The Lost Forest

2 Comments April 17, 2014 Steve A. Wiggins

Asherah has, from lack of new material, fallen into a quiet retirement among the gods. For a while there no shortage of new books appeared, including my first, which explored many aspects of this shy goddess. While academia has pushed her to her logical limits, she has thrived in the world of popular imagination. I was reminded of this during a recent visit to Grounds for Sculpture, a whimsical park in Hamilton, New Jersey featuring the work of many artists. The appreciation of art works on many levels. A piece of sculpture can take on new meanings when viewed from different angles, and a piece that seems to make no sense can become imbued with meaning when new perspective is added. Sometimes it is the title of the sculpture. A friend had pointed out to me last year that one of the artworks was entitled, Excerpts of a Lost Forest: Homage to Ashera, by Tova Beck-Friedman. Ironically the sculpture is from the same year as my finished dissertation on Asherah, a continent away. I must have seen this sculpture many times, but without knowing what it was, had paid no attention.

Asherah is often considered a goddess of trees. My research indicated, however, that such an association was premature. Of course, any discourse that has the Harvard University stamp of approval is decidedly fact, despite contrary evidence. Nevertheless, the dendrite nature of the goddess has persisted into popular culture and even into the world of abstract sculpture. The loss of a forest is, no matter whether goddesses are involved or not, tragic. Asherah has become the protectoress of trees.

The nature of this particular lost forest isn’t clear. At first it might appear that a fire has gone through, claiming the vitality that once thrived in green leaves and mottled bark. I sense that something more is happening here. Asherah is, above all, the divine female. Here single-most constant role in antiquity was as the spouse to the high god. The loss of the forest still speaks to the on-going repression of women. We like to think that our society is headed toward equality, but progress is painfully slow. As usual with lack of momentum, religious institutions lead the way in conservatism. In the largest Christian body in the world, and in some of the fastest growing religions on an international scale, women are kept from leadership roles on the basis of gender alone. Monotheism declares there’s one god for two sexes. Those who experience life from the other side are like trees falling in the forest. We still don’t know if anybody hears.

They Call it Civilization

1 Comment April 3, 2014 Steve A. Wiggins

An interesting article about the Assyrians appeared in last week’s Guardian, On Art blog. The piece by Jonathan Jones, describes a piece of ancient Assyrian art on auction that the British Museum is not interested in buying. Having toured the Assyrian galleries a time or two, more’s the pity, but Jones puckishly suggests that the museum may be afraid of the curse inscribed on the piece. We all know of the story of ancient artifacts that come with value-added supernatural attributes—it’s a standard staple of Hollywood horror. Jones knows, however, that the museum isn’t really afraid of a curse, but he does display an interesting attitude toward the Assyrians. You see, the Assyrians were conquerors. They knew how to intimidate potential enemies long before their armies ever set out on the move. The imagery displays powerful men, ripped and ready, killing lions in hand-to-claw combat. Jones rightly points out that some of this is disturbing. What strikes me as interesting is a probably unintended subtext.

“Assyrian art is certainly awe-inspiring – but perhaps not civilised,” Jones writes. As if civilization necessitates politeness. Perhaps it should, but civilization began in the very region south of ancient Assyria, among the Sumerians who were a culture emulated by later Mesopotamians. There is no doubt that the Mesopotamians gave us many of our beloved Bible stories, in their original, unedited form. They gave us organized religion, writing, and the wheel. Comparing the Assyrians to the Egyptians and Greeks, Jones suggests they were uncivilized. I would beg to differ. The Egyptians and Greeks could also be quite violent. The Assyrian aesthetic was a bit different, to be sure, but there is a raw beauty to it. And I have to wonder why, from our western perspective, what comes out of Iraq seems to hint at something insidious or sinister.

I’ve always been a fan of the Mesopotamians. Since a Ph.D. program only lasts so long (for those of us perpetually struggling to make ends meet), I did not have time to indulge my Assyriological fantasies once I learned of them. I was deep into Ugarit, and although I loved the tales of Asherah and Baal, there was something more ancient, more powerful, lying to the east. I often thought that if I could’ve had more time, my interests would’ve definitely drifted toward the progenitors of civilization. Yes, some of the art-work is deeply troubling, but the Assyrians, indeed, the Babylonians and Sumerians, looked at the world from the viewpoint of cultural creators. Civilization involves violence, no matter how we try to hide it. When I stand in London, taking in those Assyrian reliefs I see an honesty that is carefully hidden by the Egyptians and Greeks. And I think I prefer to know the truth of the situation, curse or not.

Imagine Images

Leave a comment November 26, 2013 Steve A. Wiggins

“Thou shalt not make unto thee any graven image, or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth.” Thus spake the Lord one day long ago. So the Bible says. The problem is that humans are visually oriented. We teach our young to read by enticing them with books with pretty pictures—images that captivate. We make things that are pleasant to see, some of them are even graven. I used to ask my students what the difference was between a god and an idol. The answer is, of course, perception. “Idol” is a word that implies falsehood. The item represented is somehow divine, but is not actually divine. There are ways around the rules, of course.

I spent many years in the United Methodist Church. Many people I knew claimed that the local Catholics were idol worshippers, and when I entered a Catholic church for the first time I was struck by the graven images that seemed to stand in blatant contradiction to the second commandment. How could this not be a direct violation of divine orders? After all, this wasn’t some minor infraction—it was one of the very commandments! Back in my Methodist context, I began to wonder, however. We had crosses, some of them in the round, right up there on the altar. True, there was no corpus on our crucifix, but that seemed to be a handy bit of casuistry. Human beings naturally convert images to idols. We all knew, Protestants though we were, that you should never take a sacred object out to the streets and treat it profanely. An image in a sacred venue could be an idol.

Over the years it seems that the strictures of the ten commandments might have been relaxed just a little. Collectively as a culture, the real has become more and more virtual. We buy our movies, music and books in electronic format. We play our games on computers. In such a context a physical image may seem somehow less real. Our idols have been digitized. It doesn’t seem like the Bible was looking that far ahead when attempting to create an exhaustive list of what might anger the divine. After all, electricity wouldn’t be discovered for millennia. Reality was dry, dusty, and deadly. The prohibition was against physical images. It is no longer an issue for many in the Judeo-Christian tradition that a statue or an icon might be a sign of piety rather than profanity. Things seem to have come full circle when I find a statue of John Wesley, nearly of bobble-head proportions, looking at me with eyes seeking prevenient grace. I guess the powers that be might just be willing to overlook even Methodists gone native.

Making Saints

2 Comments October 19, 2013 Steve A. Wiggins

Some places are inaccessible in the academic world. Or perhaps invisible. I couldn’t help but have Santa Muerte on my mind as I visited the Phoenix/Tempe area of Arizona. I knew from reading Andrew Chestnut’s Devoted to Death that the skeleton saint has a large following in that area. Having been raised in a working class religion in a blue-collar household, I also knew that such trappings might not be entirely visible around a university setting. Arizona State is a huge school and my minimal free time on the trip only permitted a wander-radius of a couple blocks from around the campus. Many universities are, because of their property-value-lowering non-profit status, on the edge of sketchy neighborhoods where work-a-day people live. It didn’t seem that way in Tempe. The areas I reached all seemed to have that adobe-solid middle-class feel to them. Not that I go looking for seedy neighborhoods when I’m traveling by myself, but I do like to see stores that aren’t part of a chain, and to get a sense of local culture. For most academics, the pedestrian devotion to Santa Muerte is below the radar.

The concept has haunted me ever since reading Chestnut’s study—why would people find appealing to death attractive? Santa Muerte has the trappings of a Catholic saint, but she is, plainly put, death personified. She is a favorite among drug lords and criminals, and that is somewhat understandable. Her Hispanic devotees, I realize, often live lives of desperate poverty. The well-heeled saints of conventional religion might not be able to see things from their perspective. Although the Catholic Church continues to make saints, many of the traditional saints predate capitalism. Capitalism creates its own insidious disenfranchisement. I realized this already as a child growing up in a setting where just about everybody I knew had it better than my family did. For some to prosper, others must suffer in such a system. I knew which end I belonged on.

As in my visits to Santa Barbara (a much more conventional saint, by the way), Austin and Houston, in Tempe the Hispanic population was evident mostly in the menial labor sector. The person who makes your hotel bed or brings the hot plate of food to you in the restaurant. The person who mops up your spills or picks up your trash. And they are the ones who’ve made it into the earning bracket of the minimum wage. Why not worship personified death? Does not Santa Muerte remind them that we all face the same rictus grin at the end of our days? Isn’t it best to be on good terms before we reach that inevitable place? It was clear that on my visit I wasn’t going to be able to get far enough from prosperity to see the skeleton saint myself. At Phoenix Sky Harbor airport, waiting for my 11:30 p.m. flight back to cloudy skies, all the shops were closed. I passed by a boutique with local art, and there I possibly glimpsed her. A small statuette, possibly just the grim reaper, among other Day of the Dead motifs. Was it inspired by Santa Muerte? I would never know, I pondered, as the Hispanic airport attendants, still at work around me, were busy emptying the garbage.

The Goddess

Leave a comment September 6, 2013 Steve A. Wiggins

Merlin Stone was a sculptor and an artist. I met her only once, a few years back when I was still recognized as an “authority” on ancient goddesses. At one of the many Society of Biblical Literature annual meetings I attended, she came and introduced herself to me, thanking me for my work. Of course I knew who she was—the author of When God Was a Woman, one of the books that was most influential in the revived goddess movement of the 1980s. I have always appreciated those women who have dared to take on the often amorphous patriarchal power structures of society to raise the necessary questions of fairness and justice. Stone was one of those women. Her book, while based on sometimes questionable historiography, nevertheless highlights some of the issues that many male scholars have chosen simply to ignore.

One of the biggest problems faced by authors like Merlin Stone and Marija Gimbutas has been the shifting sands of history. I recently had a deep conversation with a couple of feminist friends of mine where the issue of truth emerged. Truth, as I came to realize, may be a temporary phenomenon. What is true today (the earth is the center of the universe) may not be true tomorrow. It is always contingent. Historians reconstruct a past to which they do not have direct access, and further discoveries will often detail the errors made along the way. When God Was a Woman was originally published in 1978. Some of the historical constructs that Stone uses have since crumbled, but the main point of the book remains firm—women have as real a claim on the divine as do men. (I can’t help but wonder if there is some connection between this and the recent trend towards prominent male thinkers declaring themselves atheists.)

Although I can’t agree with everything Stone wrote, one of her ideas dropped a hook in my brain. In describing the sexuality that apparently attended worship of “the goddess,” she notes how male scholars came to refer, always derisively, to the such religions as “fertility cults.” Turning this phrase about, Stone wonders whether far distant future analysts will look at monotheistic religions that decry sexuality as “sterility cults.” Not that the goddess is all about sex. Religions, however, always weigh in when such spiritually significant activities as sex take place. Men, who are often eager participants, are the ones to construct religions condemning what should be a most obviously sacred human activity.

Merlin Stone may have died just over two years ago, but her book will stand as a yad vashem to half of the human race who have been religiously subjected to the other half. And perhaps there is a goddess out there yet who will bring about liberty and justice for all.

To a Fallen Goddess

Leave a comment July 20, 2013 Steve A. Wiggins

One of my favorite places to visit in New Jersey is Grounds for Sculpture. Over the past several years that we’ve domiciled here, we’ve had the opportunity to take several friends and family members to see the whimsical, creative, and inspirational park over in Hamilton. When my daughter graduated from high school, she requested a visit to Grounds for Sculpture, and, since family were near at hand, we took the opportunity to see it again.

I’ve always been aware of the religious aspect of creativity. Perhaps it is because I like to flatter myself into thinking that I’m the creative sort, despite my years of academic training, or perhaps it is the kind of pipe dream for which the liberal-minded are easily accused. In either case, I have always found that the best art evokes something similar to a religious experience. There is an element of wonder, emotion, and awe here. Not every piece of art conjures it, just as a single god isn’t sufficient for the whole of humanity. As I wander the grounds, I grow convinced that this or that sculpture had a vision akin to what I’d call religion, that led to the creation of such a trenchant piece. I always leave feeling blessed.

Photo credit: Grounds for Sculpture, postcard

On this most recent visit, a very conscientious relative found, and later sent, a postcard of a sculpture I’d never seen. (It is possible that the sculpture is not currently on display, as the Grounds are continually evolving.) The piece is entitled “Excerpts of a Lost Forest: Homage to Ashera,” by Tova Beck-Friedman. Several of my relatives have me to blame for their awareness of Asherah; she is, after all, a relatively obscure goddess in the Hebrew Bible. The sculpture, however, speaks to me of the continuing ability of even extinct gods to inspire artists. Just as Asherah occupied several years of my academic life, I suspect she also haunts the work of sculptors who’ve come to realize that not all gods must be male, and not all gods must be real to be important. Quite the contrary, the collective deities of our heritage may still be found where art thrives.

Cultural Religion

Leave a comment July 19, 2013 Steve A. Wiggins

The National Museum of Scotland, like many museums in the British Isles, is free to visitors. Such museums are repositories of national pride and provide a sense of the scope of a nation’s history. While penurious grad students (as opposed to plain penurious, as best describes those long unemployed), my wife and I would wander over to Chalmers Street and pop in for an hour or two of inexpensive culture. During the last minutes of my recent trip to Scotland, I ducked into the newly—well, it has been nearly two decades, I have to admit—expanded museum for a gander. I was naturally drawn to the history of Scotland section—you can see dinosaurs and robots in the US, after all—and was struck at how very religious it was.

It’s not that the Scots are any more pious than other peoples, but it is the nature of religious artifacts to receive special treatment, and therefore, to survive time’s greedy decay. No one dares to anger the gods. Beginning with the Stone Age Picts, and flowing through contact with the Romans and eventually to the Celtic culture now associated with Scotland, religion is obviously preserved. Prehistoric Picts, by definition, didn’t leave written accounts of their religion, but the treatment of special artifacts in a gritty, harsh world shows where social values were to be found. Christianization, with its apocalyptic earnestness, only accelerated the process. Celtic crosses, case after case of precious metal sacramental artifacts, and a large display of the Reformation denominated the more secular displays, or so it seemed. (The working steam engines and large looms, however, gainsay a bit of my enthusiasm. And swords seemed to be everywhere.)

While there is a genetic base for some sense of nationhood, it is not unusual to hear a person of African or Indian heritage speaking with the familiar Scottish brogue. Surely they are Scottish too. Culture clearly ties disparate peoples together into a “nationality.” In this museum that reaches back to the dinosaurs and beyond, a great deal of the history involves people of similar ancestry who come into contact repeatedly with those of other heritages. What gets left behind after those encounters, when it’s not swords, is religious. The religions themselves then clash, fracturing into a new stage of cultural development. Even in today’s secular Europe, some of the most notable buildings are the cathedrals. And in its own way, the National Museum of Scotland is a cathedral to all who wish to understand what makes us human.

Check Mace

Leave a comment July 14, 2013 Steve A. Wiggins

In the medical sciences building of the University of St Andrews stands a glass display case cradling a mace. The mace, a symbol of smiting authority that goes all the way back to Old Kingdom pharaohs, has a long tradition in academia as well. In all the pomp and glitter of an academic processional, a dean, provost, or chancellor carries a symbolic mace, as if to keep an unruly faculty in order. (I am sure that most of them have wanted to use that mace a time or two in reality, but have been constrained by both convention and the rule of law.) Medical science is among the fields of research quickly moving away from the spiritual mumbo-jumbo of medieval superstition. We are, after all, simply soft machines, doing as nature has programmed us. What more could there be to it?

Looking more closely at the mace, I see on its ornate base, a flanking ring of winged oxen. Perhaps obscure to medical students, the winged ox is the symbol of the putative Gospel writer, Luke. Each of the Gospels emphasizes different aspects of Jesus, and the symbol assigned to Luke has been the ox. If the wings didn’t give it away, the explanatory placard on the wall nearby confirms my analysis. Eyes traveling up the silver shaft, the crown of the mace houses yet another saint, this one an apostle. St Andrew (of course) tops the mace, holding his X-winged cross. Underneath is an amorphous structure for which I need to turn to the placard to have explained. The fountain of healing waters, it tells me.

From tip to tale, then, the mace of medical science is inherently religious. My reading of late has been from scientists claiming that, in the words of the old commercial, “parts is parts.” There is no underlying life-force or animating principle. Life is biological robotics, so I’m told. So as I stood in St Andrews last week, considering this metallic mace, I was poised on the edge of science and symbol. There is no biological need for such symbols—indeed, the mace was originally a weapon to inflict grievous bodily harm. Now, chased with silver, intricately ornate, it begins and ends with religious implications. I can’t help wonder what the robots make of that.

Whatever Happened to Whimsy?

Leave a comment June 15, 2013 Steve A. Wiggins

American Gothic is one of my favorite paintings. I’ve never seen the original, and I know of no other paintings that Grant Wood produced, although I’m sure there are some. The mood in what has been called “the most famous American painting” is unsettled. There’s something not quite right here. When one of my authors wanted to use the image on a book cover, it led to quite a bit of serious discussion. I was a bit surprised by the negative impressions—not of the painting, but of its use on a serious academic book. The discussion seemed to turn on money rather than on wit and whimsy. I confess to being a dreamer, and I admit that the aspects of life that truly inspire me are never financial. When I crave wealth it is so that I might free up some time for creativity. That’s not the way business works.

Sometimes I feel a stranger in my own country. The unquestioned triumph of unbridled capitalism means that you can go from city to city to city and not really be able to tell much of a difference. If you want to buy a bit of tubing or a piece of wood, it’s Home Depot or Lowe’s for you. Office supplies—Office Max or Staples are your only choices. If you want to buy intelligent books, well, you’re just plumb out of luck unless you go to Amazon. The big financial corporations have won. Just admit it. Every time I visit my hometown I come away depressed at all the vacant stores and lost hopes of the small businesses that offered something just a little different. Something to tickle my fancy. Something to tempt me to wonder. Something with a tinge of American Gothic.

The messages we receive from every angle echo Madonna’s hit song, “Material Girl.” Only this includes all genders. Reductionistic materialism tells us that we’re just proteins walking. Mind is an illusion. Soul is a myth. I work a job where the money I’m paid is transferred electronically and if I want to see some of it in paper form I face a robotic ATM rather than a human face. I went to the mall last night and wept. Call it a mid-life crisis if you will. Say nostalgia has no place in a forward-looking society. I just want a few more options besides the plastic, the smart-chipped, and the sterile. The world needs more whimsy. Maybe that’s why I insisted on American Gothic on the cover of the first book I put under contract.

Tell-Tale Hearts

Leave a comment May 13, 2013 Steve A. Wiggins

As a sometime dabbler in the fictional arts, I was intrigued by Jonathan Gottschall’s The Storytelling Animal: How Stories Make us Human. I read the book because of my own fascination with fiction—it is a transcendent activity to read it, but more so to write it. I‘ve always wondered why. Gottschall, a fellow academic making a living as an adjunct instructor, is a lucid writer and a great storyteller. His book opens with the unusual fact that even the most logical and rational of humans are addicted to stories. Our brains work to spin unrelated events into narratives. Even while we sleep, our minds continue to tell fictitious accounts of weird adventures. To be human, Gottschall clearly demonstrates, is to be in love with stories.

In chapter 6, “The Moral of the Story,” Gottschall turns his attention to religions. That far into his book it is no surprise that we find religions are largely based on story. Those who’ve studied mythology plainly see the story-ridden origins of religions. Religions, after all, have nothing if not great explanatory value. They tell the tales of why we’re here—the technical name is “etiology,” stories of origins, but also tales of what the gods, the tao, or the force demand of us. Believers often take such fanciful narratives literally, missing the point of it all, the proverbial moral of the story. The story is the moral. We find the deepest truths in fiction.

Many of my friends are fiction writers. Most have never been published or struggle to find representation. None simply give up. The draw of narrative is as palpable as the need to eat or sleep, as strong as the urge for sex or recognition. It is far stronger than the desire for money since nothing material can substitute for our desire for stories. After a busy day we send our children off to bed with a nighttime tale. Many of us climb into bed with a book—the more fictional the better—to end our conscious hours each day. We dream our way through the night and spend our long days fabricating a narrative we call “my life.” Those of us who indulge in fiction are sometimes solitary individuals, but we crave the awareness that we are not alone. Others too, as Gottschall clearly proves, are alone with us. In fact, all humans are gathered around this campfire of the storyteller. Thank you, fiction, for coming to the rescue.

Lady Madonna

Leave a comment April 9, 2013 Steve A. Wiggins

Among the paintings and prints in the Edvard Munch collection on display at the Museum of Modern Art in New York is a rendition of his famous Madonna. I first saw a reproduction of this piece in a discussion of Christian art. The question, of course, was whether it could be considered Christian art or not. Munch was not known for creating religious-themed art. Angst was his more natural home. While not the only Madonna to pose naked, Munch predated the aging pop star by a fair number of decades, and named this piece after an icon of Catholic orthodoxy. The problem is the female body. Religion in the western world has pretty much always had difficulty dealing with embodiment. My generation grew up with Charlton Heston and any number of bare-chested, sculpted idols of manhood playing such characters as Tarzan, Ben-Hur, and Moses. Moses? Yes, even Cecil B. DeMille knew the draw of having a biblical hero bathed by a bunch of young, Egyptian women. We are used to seeing Jesus nearly naked on the cross—but Mary?

The issues tied to embodiment, although they effect every person who has a body, fall more heavily upon females. While there is little agreement as to the why, the excuse is often given that “man” is in the image of God and “woman” is derivative. In actual fact it seems more likely to me that men prefer an easy excuse for bad behavior. Biology sends a pretty strong reproductive message to most males, but, in the human realm at least, the larger burden rests with the females. By blaming the victims the male hierarchy—undeniable in the case of the church, as in many religions—insists that the female body is the problem. Males perform as God intended, thank you. But the reasoning is all backward here. Munch, if he intended this to be the Madonna, is problematizing the discourse.

Art, like holy writ, is open to interpretation. Munch did not explain his enigmatic Madonna, but like Leonardo da Vinci, lets the silent woman speak for herself. Scholars have long noted the multiplicity of Marys in Jesus’ life. At some points the Gospel writers leave a little too much inference up to the reader. It is pretty clear that Jesus had no trouble with women. But he was a singular visionary in a time when cheap blame was easily found. So Edvard Munch may have been following in the footsteps of the master when he portrayed the Madonna who accuses the world of double-dealing and false standards. It is an arresting artwork, and not for prurient reasons. What is being exposed here is a soul. She may be called the blessed virgin or the mother of God, but her gender is still castigated even by those who mouth such holy epithets. We may never know who Munch intended this to be, but we know she is every woman who has been repressed by the religion of men, yearning to be free.

OMG, MOMA!

Leave a comment March 30, 2013 Steve A. Wiggins

New York City can wear you out, spiritually. I suppose that’s why so many people go there, to face the challenge. Thanks to Target, Friday evenings the Museum of Modern Art gives out free tickets for its world-class collection. We knew that Vincent van Gogh’s The Starry Night was there, and had planned on seeing it sometime. Well, Friday of spring break offered an opportunity, so last night, with several hundred, maybe a few thousand, others, we made our way to MOMA. We arrived around 5 p.m. and found the line literally around the block. It wasn’t as cold as it had been, so we braved the hour to wait our turn. Yes, it was worth it. As my wife noted, it was very good to see so many people wanting to see art. Manhattan offers many, many other diversions for a Friday night, but hundreds opted for art. I had long anticipated this. Since my school days I’d seen replications of many of the paintings in the museum, and it was inspiring to be packed in so close with so many people wanting to be close to art. Hoping, somehow, to commune with the emotion in us all seeking such profound expression.

It was a little difficult to commune, however, with so many other religious seekers. This is a religious experience, to touch the soul of another. Standing inches away from The Starry Night, I could almost feel the desperate, longing hands of van Gogh stroking out a manic sky, surreal and ethereal. I could almost hear the echo of his spirit. Were it not for the many crowding next to the painting to be photographed with it. Fellow spiritual seekers, I hope. Van Gogh was a troubled soul, as we all know. How many artists take their own lives after reaching out to touch what so few of us even dare. A sadness so profound as he climbed down that mountain. The starry night is the photograph of a suffering soul.

Then there was Edvard Munch’s classic, The Scream. On a limited engagement at MOMA, facing, just across the hall, van Gogh’s Starry Night. Was there ever such depth of soul in such close proximity? It was there that I began to question the faith that I had hoped impelled the countless masses yearning to observe free. MOMA allows photographs, and cameras, cell phones, and iPads were ubiquitous. To reach The Scream was to endure a crunch of strangers’ bodies pressing you forward, cell phones held aloft, illicit flashes popping, worried looking docents. I was anticipating another spiritual moment when I heard a woman say that she had to get close for a picture. “This is going to be my status!” she cried. So this is modern spiritually, the life splayed on Facebook, bragging about bagging Munch. Yes, Edvard, I am screaming too.