Ghost Rider

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GhostsOf all frightening creatures, ghosts are by far the most ubiquitous. Believed in by every civilization ever recorded and throughout the world, not even science has been able to displace them. Lisa Morton’s Ghosts: A Haunted History offers a brief tour through the realm of the dead. With a sense of how ancient the phenomenon is, she also notes time and again how religions have an uneasy but steady relationship with disembodied spirits. After all, religions give us souls that science strives to take away. What makes Morton’s study so interesting is its restlessness. Not focusing on one culture or time period, the reader learns about Asian ghosts as well as the familiar translucent variety favored in the western world. Ghosts are everywhere.

Now that October has invited thoughts of long nights and falling leaves, I often ponder a world without ghosts. If rationalism of the materialistic variety had its way, this would be simply a natural season like any other. No need to be frightened as the sun takes on that quality that suggests some things should not be seen, and the air feels as if anything might happen. Spooky houses are merely wanting maintenance and every creak and rustle can be explained. There are no ghosts in the night and Halloween is only for children. It seems to me, rather, to be the season of belief. It’s more tangible now, the world where unanswered questions dwell. Ghosts, whether in our mind or in this physical world, are part of the ambiance without which autumn isn’t worth having.

Are ghosts real? I can’t say that I have any evidence one way or the other. We all die, and we all wish we didn’t have to. In this world some are lucky enough to make their wishes come true. Might it be that some have found a way to stay when the physical party is over? Religions are uncomfortable with ghosts since they refuse to be contained in any Heaven, Hell, or Purgatory. They simply are. People of every education level and social standing see them and some believe while others explain them away. Without going over to the other side we likely will never be able to prove whether they are really real or not. As Morton amply demonstrates in her thoughtful little book, they will never go away as long as consciousness and death coexist.

Hurricane Joaquin

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The name Herostratus is deservedly obscure. In fact, I shouldn’t even be mentioning him here. His use as an object lesson, however, seems apt in a country fascinated by firearms and fame. Herostratus was an arsonist of the fourth century B.C.E. who destroyed the Temple of Artemis in Ephesus, one of the Seven Wonders of the Ancient World. He perpetrated this crime so that he would become famous, and he is representative of those who want fame at any cost. So it was that on Thursday a gunman, who shall remain nameless here, shot and killed nine people at Umpqua Community College in Oregon before being killed by police. This individual, upon investigation, had been fascinated by how obscure people gain immediate fame by killing innocents. After a summer of what seemed like endless, pointless shootings, we now have nine more graves of students to mourn, and as a nation we still lovingly stroke our guns.

Society is a dangerous combination of a cult of celebrity and violence. Most of us live our lives in utter obscurity, not being noticed. For many that is the way they want it, but for some it is a pathology. Guns are so easy to find. Police discovered seven firearms in this man’s apartment, in addition to the six he took to campus. Doing the math confirms the madness of a nation that makes guns so very accessible. Even the insane may buy. All it takes is money. The Temple of Artemis was one of the most magnificent structures of all time. It even gets mentioned, in an indirect way, in the Bible. Although it had been rebuilt, the idea had already fermented, without firearms, that fame could be had for infamy. In antiquity the perpetrator’s name was outlawed. Now anyone can find out who he is.

No shooting is without tragedy. Those that take place on college campuses and high schools are especially tragic because education is the only way to move forward from barbarism. Those who went to class on Thursday were improving their minds. Education makes the world a better place. They were, however, eliminated by a nameless man with easy access to weapons and a wish for fame. Perhaps American Idol and American Gladiator should offer a venue for those who wish to slaughter each other in public. It could be sponsored by the NRA. It was the ancient world, after all, that also gave us bread and circuses. Although the hurricane may be veering away, we have already been hit by tragedy, only this one was of our own making.

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The End of the Gods

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RagnarokHovering somewhere between fiction and fact, A. S. Byatt’s Ragnarök: The End of the Gods is a compelling reimagining of Norse mythology. Starting in childhood, the stark and bleak icons of a world where even the gods die captured my fantasy in a way that the more real myths of my own faith did not. Like “Greek mythology” the tales of the Norse don’t come in an authoritative canon. Like the tales collected by the brothers Grimm they are bits and pieces that Byatt brings to life with honest description and the willingness to trust the outlook of a child. Mythology is too often castigated as puerile and of no inherent worth. We would not, however, be human without it.

I suspect we all secretly envy the gods, begrudging them their strength, but especially their immortality. Most myths admit that gods might die, but often they come back or become greater for their demise. Ragnarök is the final death of the gods. In fact, it isn’t so far from the “heat death of the universe” that some scientists warn us is surely coming. All good things come to an end. Even gods. The Christian God, who becomes omnipotent, omnipresent, and omniscient over time, loses something of his likableness for it. Vulnerability lends us a sense of sympathy. Who cannot help but weep for Balder? Odin, the God hung on a tree, dead and brought back to life is swallowed by a wolf. Even mighty Thor succumbs to the poison of the serpent. The world feels impoverished for their loss. Victorious gods have a way of making warriors of their worshippers. Maybe we have something to learn from the gods of the folk.

Mythology is out of fashion among academe. The only money it brings in is from the movies it inspires. Truth may be had for bargain basement prices, so why pay to learn what makes us believe in the impossible? Reading of the end of the gods instills a kind of inspiration that orthodoxy only smothers. No, these deities never really lived. These events never really happened. Still, humans have always found mythology to be uniquely satisfying. Ragnarök explains a chaotic world where our ideas of justice and fairness are often left disappointed. As Byatt points out, Loki is a compelling figure perhaps because he represents what we all know to be true—visions of control are only delusions. In a world with one, monolithic, monotheistic God, we find things hard to explain. Postulating a world where the gods know that they too face an end, even if only in fiction, may help us better understand a world where facts just don’t add up.

Dog in a Manger

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I’m easily amused. I suppose I never outgrew that sophomoric fascination with the little things that seem like big jokes. The other day, for instance, I was given a copy of the Chronicle of Higher Education to read. The supplement featured Great Colleges to Work For; what are we supposed to do with that? None of them have jobs, so why advertise? It’s so funny when those who have a great thing going advertise it, even though there’s nothing to it beyond bragging rights. Those of us who’ve tried repeatedly to get into higher education (and I even succeeded for nearly two decades, in some measure) would love to take a job at even the worst college to work for, but they’re not hiring either. Nobody is. So why does the Chronicle want to remind us that the fruit will always be just out of reach, and that the water will be just too low to sip—even if we’re bathing in it?

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The frustration that settles in when the laughter dies off is because everyone I know agrees that I should be teaching. Colleagues, tenured and not, former students, friends. “Why aren’t you a professor?” they say. Many of my best friends are. Full professors. Sabbaticals. Grants. Time that’s not spent on the bus or in the office. Perks of every sort. Ask them. Or ask the Chronicle. I can’t reach the grapes, but they’re probably sour anyway. I mean, I can’t help it that I spend hours on faculty webpages and see those who made the cut not writing the books I have like jets in a holding pattern over Newark. How can the get written when time is he one thing I haven’t got? (Oh, and money too, but you don’t need so much of that to write.) Any one of those Great Colleges to Work For appear on the advertisement pages? Anyone hiring a warmed over religion professor who reads a hundred books a year? Nah!

Just joshin’ ya. I poke fun at higher education like you can only tease a lover. I’m into exercises of nihilism as much as the next prof. Didn’t old Ecclesiastes say it centuries ago: learning is a zero-sum game? So the academic vehicle that doesn’t boost the number of jobs offered will continue to tell us where we should work, if there were any jobs. Perhaps professors of privilege demand more than I think. Just give me a classroom and a syllabus to teach her by. I’ve done so in very primitive conditions at a college that make no marks on the “Best of” scale. Real world experience, however, doesn’t count. We’re only telling you what you can’t have anyway. Isn’t that better than where you work now?

Being Sheepish

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Being among the animals at the fair, you begin to notice things that are foreign to those of us with exposure only to the house-pet variety of fellow creatures. Up close, for example, sheep are bigger than you might think they are. Since they’re domesticated and wooly, I tend to think of them as little—maybe knee-high—and in need of constant attention. The truth gives the lie to such false constructs. It was in the course of seeing sheep that I found out about Shrek. Shrek the sheep, now unfortunately deceased, has his own Wikipedia page. This was a single-minded ungulate who decided that the ’70’s lifestyle wasn’t truly over. The New Zealander took off from his heard, to avoid shearing, so the story goes, and hid in a cave for six years. With echoes of Odysseus, the ruminant survived just fine without human help and grew a serious coat of wool. When finally discovered and, of course, sheared, he gave enough wool to make suits for twenty men. Shrek had to be euthanized four years ago.

The story might have ended there. Shrek, however, fueled the imagination of several Christian writers who saw all kinds of parables in the lifestyle of this prodigal sheep. After all, in the pastoral culture of first-century Palestine, sheep suggested themselves as the fodder for the original set of Christian parables. Sheep wander, get lost, and get saved. They need someone to look after them. A good shepherd, preferably. In fact, sheep tales go further back in time, even to the Hebrew Bible. Perceptive prophets noticed how similar we are to our distant, quadruped cousins. It would be very odd, in hindsight, if nobody had picked up on the story. The mental picture is simply too appropriate.

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Metaphors, some have argued, are what make us human. We can see ourselves projected into just about any part of nature, and looking at nature, we can spy ourselves. Parables, by their definition, are never literal. We have to peer into them and find truths that gainsay the obvious. If we’re honest, we’d have to admit to being very much like Shrek. Who doesn’t want to run away and hide from what “the man” instructs us to do, against our own will? Yes, sheep have wills. Like any sentient creature, they have a sense of what they want and the best way to survive. With our fancy neocortex, we’ve domesticated sheep and bred many of their natural tendencies out of them forever. Still, I’m heartened to learn of Shrek the sheep. The lesson I draw from his story may not be the same as many Christian websites, but it will be no less true, I should think, for being such.

Witnessing Angels

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OrdinaryAngelBack in my undergraduate days, I wanted to learn more about angels. Surprisingly, there were no courses offered on the subject, even at evangelical Grove City College. When I finally took an independent study on angels, I found that few serious books had been written on the topic. I was immature as an academic, and I hadn’t learned that the subject of angels was a kind of scholarly embarrassment. Although many biblical scholars still clung to the idea of God, most had jettisoned angels along with other Medieval fabrications such as dragons and virgins. We inhabit a hardened, material world with no room for spiritual beings flitting about. As a student of ancient Near Eastern religions, I discovered angels possessed a hoary pedigree stretching back to Mesopotamia and perhaps beyond. Susan R. Garrett’s No Ordinary Angel opens the question again, and considers the many roles that angels have played and continue to play.

Subtitled Celestial Spirits and Christian Claims about Jesus, the book goes beyond the issue of angels per se, and addresses the distinctly Christian concern of how Jesus differs from them. What becomes clear in the reading of the study is that uniformity isn’t to be had. The earliest Christians already had divergent ideas on many concepts. As Roman Catholicism developed, angels attained a natural role in a world that still allowed mystery and shadows to exist. Protestants, the progenitors of much of science, cleared the closets of supernatural beings, leaving God and a table instead of the hosts of Heaven and an altar. I’m oversimplifying, of course, but there’s a sense in which the more liturgical traditions have more room for angels and demons. You don’t call a Protestant for a proper exorcism. Still, Garrett knows her stuff and shows how angels insinuate themselves into several aspects of sacred experiences of both Protestants and Catholics.

Angels come at births and deaths. They heal the sick, they protect people and they worship God. They rebel and fall, becoming Satan and his minions. Angels are, by their nature, liminal figures. They help to transition people between different states and worlds. As early back as written records, people believed in them. Outside of academia, people still do. God has become wrathful and distant in his old age and, well, you can talk to an angel without having to worry about vaporizing. In antiquity they were messengers. When God didn’t condescend to the earth, angels would come down. Now we get the sense that they’re more like us than we might have originally thought. Or maybe we’re more like them. Angels, even though they may have fallen out of academic fashion, are sure to endure longer than most weighty treatises, no matter how well footnoted they may be.

Growing Green

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It was bound to happen sooner or later. I married into a family of singers, and when we gather at a cabin in the woods, singing breaks out. In the drought-tormented northwest, under an extreme fire ban, there was no campfire, but that doesn’t stop the music. Once campfire songs begin, “Green Grow the Rushes, O,” always appears. I’m no singer, but I spent a couple years as a camp counselor, and many years before that as a youth conference attendee in the United Methodist Church. I know the song by heart. Usually it is now a sign for the adult males to sneak back to the cabin rather than endure the twelve repeating verses. Nevertheless, the question invariably comes up: what do the words mean? We have a couple of lists, here and there, explaining the lyrics, but the fact is the origins and meaning of the carol are obscure. It’s origins appear to be England, but the countdown of twelve verses contain imagery that is Christian, Jewish, and pagan. Over time, many of the verses have, like most oral tradition, undergone corruption. In many respects, it is almost biblical.
While it might be fun to run down all the verses and discuss their potential meaning, that is a task best left to a day when I have my computer working again. With limited internet access and an iPhone from which to post, full-scale exegesis is a daunting task. One aspect of the song, in any case, is clear—it is generally accepted to be a Christian catechetical tool. Repetitive and, especially before adulthood, fun, the song rewards those with strong memories for such obscure phrases as “April rainers,” “symbols at your door,” and “bright shiners,” in the proper order. After the song is over the teaching begins.
I have a book of camp songs from my counseling days, and it suggests a hermeneutic key to the song. My wife studied musicology, and she provided a somewhat more authoritative source. Then, of course, there’s Wikipedia. On some of the verses there is a general consensus, but most are open for debate, with some seeming to point to pagan origins. Tied up with the fact that the song is, in some places, connected with Christmas, this blend of Jewish, pagan, and Christian ideas comes as no surprise. The age and origins of the song are unknown, but it features references to Greek deities, Jewish laws, and Christian miracle stories. Musicologists have had a crack at the song, and surely will examine it again. The strangeness of the lyrics suggest a mystery to explore. Some mysteries are still to be found around the campfires of the north woods on a summer’s night.
  

Monster Impulse

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MonstersSome people are impulse buyers. In fact, retailers count on it. All those last-minute items next to the cash register while you wait your turn to consume—they beckon the unwary. I have to admit to being an impulse book buyer. I have to keep it under control, of course, since books are “durable goods” and last more than a single lifetime, with any luck at all. A few years ago I was in the shop of the National Museum of Scotland in Edinburgh. It was my last day in the city where I’d spent my post-graduate years and I didn’t know when I’d ever be back. What could help me remember this visit? A book, of course. Why I chose Monsters, by Christopher Dell, to mark this particular occasion, I don’t know. I love monsters, yes, but why here? Why now? Why in the last hours I had in my favorite European city? It was a heavy book, hardcover and unyielding in my luggage. I had to have it.

More of an extended essay than a narrative book, Dell’s Monsters begins with a premise that I never tire of contemplating: religions give us our monsters. At least historically, they have. There is an element of the divine as well as the diabolical in the world of monsters. As a student of art, what Dell has put together in this book is a full-color unlikely bestiary. These are the creatures that have haunted our imaginations since people began to draw, and probably before. One exception I would take to Dell’s narrative is that the Bible does have its share of monsters. He mentions Leviathan, Behemoth, and the beast of Revelation, but the Bible is populated with the bizarre and weird. Nebuchadnezzar becomes a monster. Demons caper through the New Testament. The Bible opens with a talking serpent. These may not be the monsters of a robust Medieval imagination, but they are strange creatures in their own rights. We have ghosts as well, and people rising from the dead. Monsters and religion are, it seems, very well acquainted.

The illustrations, of course, are what bring Dell’s book to market. Many classic and, in some cases, relatively unknown creatures populate his pages. They won’t keep you awake at night, for we have grown accustomed to a scientific world where monsters have been banished forever. And yet, we turn to books like Monsters to meet a need that persists into this technological age. About to get on a plane for vacation, I know I will be groped and prodded by a government that wants to know every detail of my body. Sometimes I’ll be forced into the private screening room for more intimate encounters. And for all this I know that William Shatner was on a plane at 20,000 feet when he saw a gremlin on the wing. Like our religions, our monsters never leave us. No matter how bright technology may make our lights.

One Flew Over Cthulhu’s Nest

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Pluto is a metaphor for the ultimate of outer limits. Just one of many largish objects in the Kuiper Belt, Pluto for a while held the status of the final planet in the solar system. With the photos from New Horizons coming in, we’re discovering a world more complex than most have imagined. It’s not just a snowball after all. With discovery, of course, comes naming. The planets are all named after Roman gods, just as our weekdays are named after Germanic deities. The features on our celestial neighbors often bear more prosaic names, such as those of astronomers or decidedly non-mythological human beings. As the rules of nomenclature go, the first to find claims the privilege to christen. What shall the new features of Pluto be called?

I was gratified when the New York Times photos displayed the informal names by the New Horizons’ team. There is a large area called “the Heart,” but lurking to the lower left there’s a feature being called “the Whale,” or, more appropriately, “Cthulhu.” The internet breathed new life into H. P. Lovecraft’s literary fame. Like most writers, he remained obscure for his entire life, finding really only one publisher who favored his work. Genre fiction has always been considered the bargain basement of literary artists, and Lovecraft wrote in the lowest part of that basement, horror. (Okay, well, romance might be further down, on purely literary grounds.) Only within the last few years has horror literature begun to be recognized by academics as worthy of serious exploration. Nevertheless, it was as the Monster Boomers grew up—or failed to—that Lovecraft reemerged. The world-wide web has become the lair of Cthulhu and of his minions.

Far out in the most remote reaches of our solar system, Cthulhu awaits. Lovecraft fans know Cthulhu is one of the Old Gods, but that he is also a being from the stars. His murky, dark presence has thrived on the underworld of the internet, and now has fired imagination on the darkest planet of an obscure solar system. What more could a writer dream? A fictional creation being suggested as the name of a planetary feature. H. P. Lovecraft lies decomposing under the loam of Providence, Rhode Island. His imagination, however, has reached as far as, at least to date, humanity can possibly go and find some kind of land beneath our feet. And that land, appropriately enough, is peopled with monsters. The Old Gods lie dead but dreaming, and they will rise again.

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The Last First

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Pluto used to be a planet. Humans, in our unfaltering confidence, have downgraded it to a sub-planet, a dwarf planet, as if we know how big a planet ought to be. Even so, the arrival of New Horizons at the mysterious ice world has us all interested once again in the has-been wanderer. For ancients looking into the fixed stars of the night, the planets were all mysterious. They move against the backdrop of the stars that always maintain their places. When the planets came to be named, the gods suggested themselves. Our modern names, of course, reflect the Roman borrowings of Greek gods. Many of the Greek deities go back to ancient West Asia, where even Zeus has a strong counterpart in Hadad, or Baal, and Aphrodite is recognizable as an aspect of Ishtar.

Pluto, or Hades, was the ruler of the underworld. He was known to be decidedly rich since, well, if you can’t take it with you, someone has to inherit. Pluto, like the devourers of Ugaritic mythology, was forever hungry. Insatiable. This association of wealth and death gives us our word “plutocracy,” rule by the rich. As Bruce Springsteen sang, the poor want to be rich, and the rich want to be kings. “And a king ain’t satisfied til he rules everything.” Who says mythology isn’t true? As New Horizons flies by, we will learn more about the hellish world perpetually frozen so far from the sun. We wonder if perhaps we’ll learn more about ourselves by peering into the farthest rock from our star, Sol’s youngest child. Hades was the brother of Zeus, the king of the gods. Even Zeus had to dispose of the Titans to claim that title. In a scenario going back to ancient times, the younger generation—those we recognize as gods—struggled to make it to the top. As the paper describes it, Pluto is the last first—the last “planet” that is being closely examined the first time.

I grew up in a nine-planet solar system. I recall learning of Clyde Tombaugh’s discovery of Pluto, marveling at the math and patience required. Now that we’ve reached the outer fringes of our solar system, our little piece of the galaxy, we’re still uncertain how to occupy the earth. Many claim that science will vanquish religion completely, and that those who believe are hopelessly superstitious and uncritical in their thought. And yet, if we were to take a close look inside New Horizons, this technological wonder that has reached the farthest point of our sun’s gravitational influence, we would discover a small package of Clyde Tombaugh’s ashes inside. The man who discovered Pluto is the first to actually go there, although he’s been dead for nearly two decades. Even the most stoic of scientific minds must pause for a moment and appreciate the profound symbolism of this illogical gesture.

Pillars of Science

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I sometimes wonder if science would have the appeal that it does, if it didn’t have religion to shock and awe. I’m thinking of not only the fact that The Humanist magazine quite often has a focus on religion, but even websites, irreverently named to make the sensitive blush, frequently use it as a foil. My wife likes the site now more commonly known as “IFL Science!” Web acronyms have taught us what the second of those letters denotes, but perhaps because making the name more family friendly leads to more hits, it’s been muted a bit. In any case, the most recent post I’ve seen has to do with that marvelous Hubble image of interstellar gas and dust columns where stars are being born, know as “The Pillars of Creation.” Apart from the stunningly beautiful images, I’ve always been taken by the way that implicitly or even subliminally, concepts of deity lie behind this scene. When the image was first published, I remember staring at it in rapt fascination—here we had stolen a glimpse into the private chambers of the universe. We were seeing what, were we in the midst of, would surely prove fatal. It is like seeing, well, creation.

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Creation is enfolded in the language of myth. Reading the description of this great, gaseous cloud, we are told of the tremendous winds in space (what I had been taught was an utter vacuum) where dust is so hot (I was taught space was frigid) that it ignites into stars, like a silo fire gone wild. It’s like witnessing the moment of conception, although Caroline Reid tells us the dust will be blown away in 3 million years. Perhaps ironically, scientists are scrambling to study it before that happens. Or before that will have happened. At 7000 light-years away, it will have been gone as long ago as Sumerians first put stylus to clay before we know of it. We still have a couple million years for a good gander. And the Sumerians, the first writers of which we know, were writing stories of creation.

It is really a shame that science has, in general, such an antipathy towards myth. As scholars of biblical languages, indeed, nearly any language, know, the language of myth and poetry is especially useful when standard prose breaks down. “Wow!” is not a scientific word. Nor is “eureka!” What other response, however, can there be to seeing the act of creation with our own eyes? Meanwhile there will be those who use science to belittle the worldview of the myth maker and and thinker of religion. Our world, it is widely known, is that of superstition and ignorance. We are those who think only in shallow pools and deny the very reality that is before our eyes. That reality can be full of stunning beauty, but were we to describe it in terms empirical, we might have to keep the interjections and useless adjectives to a minimum.

Useful Fantasy

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UsesOfEnchantmentOnce upon a time, I heard about a book called The Uses of Enchantment. During my doctoral studies it was recommended to me, and I put it on my to read list. That list is quite long, and I don’t follow it in any kind of order. Like life, it is chaotic and ever changing. Now, some decades later, I have finally read Bruno Bettelheim’s classic, and I wish I’d read it when I first knew of it. Originally published in the 1970s, The Uses of Enchantment was one of the few serious books that suggests fairy tales are important. Bettelheim was an unapologetic Freudian and in reading his book I found the origin of many of the observations I’d read about fairy tales through the years (what does Red Riding Hood’s wolf represent?) owed their origins to this tome. The book is important even for non-Freudians because it takes great care with a subject that clearly deserves it—our imaginary tales are more than simple entertainment.

Fairy tales are part of a long continuum in human thought. Bettelheim shows that they are very closely related to myths, although mythology is clearly something different. Similar, but not equal. Even more intriguing is the fact that fairy tales are closely tied to religion. Bettelheim notes that several biblical stories could almost be classified as fairy tales. The intellectual life of the child, he notes, for much of history depended on religious stories and fairy tales. The very unrealistic nature of both are intended to speak to children in a way that facts can’t. Indeed, the hardened rationalists sometimes seem to lose sight of the fact that we all need fantasy to keep us going from time to time. Bettelheim suggests that biblical stories help children to cope with things on a symbolic level that creates a sense of security.

Already in the 70s, however, many were suggesting that we, as a species, had outgrown our use for fairy tales. Indeed, it is not difficult to find many academics in the humanities who hear the same refrain—we don’t need this fluff. Science, numbers, technology—these are the keys to the future! But what future, I wonder? What kind of world would we have to face without literature, movies, and music? We need our myths still. Despite Disney’s take on them, we need our fairy tales as well. A world without imagination may be efficient, but it is no livable world at all. Bettelheim’s personal demons sometimes cast a shadow over his work. He was a concentration camp survivor, however, and early trauma has a way of staying with a person throughout life. Those with fairy tales to fall back onto may be those best set to survive in the deep, dark woods.

The Lure of Lore

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SleepyHollowOne of my doctoral advisers, Nick Wyatt, has become a friend over the years. I’m sure he would agree that he is often called a maverick, but in the best possible way. He is one of the brightest people I’ve ever known. When it was time for his Festschrift to appear, I had been unceremoniously tipped out of academia and left to my own devices. Being his first doctoral student, I had to contribute a piece, and so I settled on one I had written about an Edinburgh ghost story that seems to have roots in ancient Sumer.  Nick is the kind of scholar who can appreciate such ventures. This paper came to mind while reading Legends and Lore of Sleepy Hollow and the Hudson Valley by Jonathan Kruk.  Kruk labels himself a storyteller, and that was a venerable role in ancient times.  In fact it was a priestly one.  Kruk draws out the many tales of headless horsemen and other spirits mentioned in Washington Irving’s “Legend of Sleepy Hollow.” Nothing is proven here, but that’s not the point.

Headless ghosts were a staple of nineteenth-century lore not only in the Hudson Valley, but also in Scotland and Germany, as well as in many other locations.  How a spirit became decapitated is generally part of the draw to such ghoulish stories, and Kruk convincingly points to the tradition of the Wild Hunt as an element in Ichabod Crane’s famous ride.  The point is that stories often contain a truth that facts can’t match.  Case in point: the legend of Sleepy Hollow is alive and well. There have been periods, and will likely be more periods, when interest wanes, but we keep coming back to the story because it teaches us something about ourselves.  Empiricism is all fine and good until you find yourself facing a headless phantom on a nighttime highway.  Experience all of a sudden takes the wheel.

What does this have to do with Professor Wyatt?  My Festschrift article was reviewed, at a much earlier stage, by the journal Folklore.  I received a very sniffy rejection letter, citing, among other scholarly infractions, that I had referred to a popular publication (say it isn’t so!) as a source of the Edinburgh ghost story text. Where else was I to find it?  What scholar would bother to replicate an obviously—let’s just say it—uneducated tale?  Isn’t it beneath scholarly dignity? The stories we tell, I’ve always believed, make us who we are. It may be that materialists will have the last laugh.  When they are carted to the graveyard, however, I can guarantee that there will those among the common mourners who will be able to make a believable tale that their lives meant something after all.

Colorful Gods

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On my last day in Oxford I had enough free time to visit the Ashmolean Museum. The Ashmolean is the earliest public museum in the country, and, although it isn’t nearly the size of the British Museum, it has its share of very important artifacts. While there I came upon the exhibit called “Gods in Colour.” The display was inspired by the fact that ancient Roman statues—and likely those of other ancient cultures as well—were often painted. The elements have worn away much of the decoration, but traces of various chemicals have indicated what hues were likely used to paint these public icons of divinity. We tend to think of classical society as all white marble and stoic formality, but the reality was likely much more colorful. Many god and goddess statues from ancient West Asia also have traces of paint, although in general they were smaller in the various kingdoms of the Levant than the empires of Egypt and Mesopotamia (the latter of which is sadly falling victim to modern day iconoclasts). The Romans weren’t the only ones to see in color.

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Seeing these representations of gods in color reminded me of my first exposure to liturgical Christianity. Having been raised in a Fundamentalist tradition, we certainly didn’t have images about (although one of our churches had a pastoral fresco on one wall). The United Methodist Church, in which I spent my teens and early twenties, had adapted the liturgy of its Anglican parent church, but not the iconographic tradition. When I first saw churches with painted crucifixes and states of Mary, I was taken aback at how powerful they could be. Like most ancients, I realized that these weren’t the gods themselves, but they still conveyed much of what the liturgy was communicating through words and music. One priest explained them as crutches for those who needed help to imagine the divine.

Having seen what images can do, I object to the use of the word “idol.” People are visual animals. We rely heavily on our sense of sight, and our religious sensibilities tell us to look for the gods our minds tell us must be invisible. It is difficult to focus on that which we cannot see. Today we have images both in the natural color of their medium and resplendent with color. We spend hours before the computer screen with its endless array of pixels of all colors. We still think of our gods in full array of saturated hues. In ancient times they tended to be made of stone, but we tend to use another form of silicon, apparently, to get the same effect.

The Greens

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It would take a lot to make me open a website called “Business Insider.” Despite spending far too much time on the internet, my regular sites are few and my ability to find interesting stories often depends on my wife, daughter, or friends pointing out to me what they’ve found. I knew nothing, for instance, of the dress whose color flummoxed the world for a few days. Someone sent me the link and I pondered how strange the world wide web has become. There was a deeper issue, however, and another friend sent me a story on Business Insider to underscore the point. The piece, by Kevin Loria, is entitled “No one could see the color blue until modern times.” At first I scoffed. Blue is my favorite color, and I’ve always been able to see it. Then I read the piece. (It is a bit frightening in the context of a publication called Business Insider, however.) Beginning with yet-to-be prime minister William Gladstone (when is the last time a world politician knew his or her classics?) scholars began to notice that ancient writers such as Homer did not reference blue. Apart from ancient Egypt, most ancient cultures lacked a word for the hue (and remember when you read it in the Bible you are seeing the words of a frustrated translator). Did they even notice blue? The paucity of ancient records may be to blame. But then, Loria looks at modern experiments.

People who live in particular environment develop the ability to distinguish shades of colors that are difficult for the computer-bound to appreciate. For example, Loria cites an experiment in Namibia where members of the Himba tribe could not distinguish blue from green. They could, however, pick out a very slightly different shade of green with ease. In a world surrounded by greenery, knowing subtle differences is important. And we only pay attention to what is deemed important. Scientists have known for a very long time that we are flooded with sensory information incessantly. With our five basic senses an overwhelming amount of data bombards our brains constantly. Those who survive in this world have to determine what is truly significant.

Stepping back to apply this to societies as a whole, I find myself in a distinctly Tillichian mood. What is of ultimate importance? If our society is focused on lucre, it would seem that we, like the Himba, should be able to detect thousands of shades of green. Instead, we find a world full of color. I’ve been working in Manhattan for over three years now. While interesting, I have to admit that much of the city looks gray to me. Even the green on the rare dollar bills that come my ways seems surprisingly subdued. We notice color because it is important to our survival. Artists who work with color in unexpected ways are often under-appreciated for their talent. Those who splash color flamboyantly are accused of being garish. Amid it all, I turn my eyes toward the sky whenever possible. In my youngest days I learned its color is blue. And there is no other color I would rather perceive.

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