Addam’s Evve

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MaddAddamDystopias can be optimistic. I just finished reading Margaret Atwood’s MaddAddam, and came away from it strangely at peace. The third of its eponymous trilogy, the story takes place in a future that is simply a continuation of where we are at the moment. Things have gotten pretty bad—most of humanity has been wiped out, genetic engineering has taken dreadful liberties with creatures human and non, and corporations have fulfilled their dreams and have taken over at last. The few good people left are tormented by those society has made into sociopaths. Global warming has proven the naysayers false, and yet, despite all this, there is room for hope. Tying together the various strands from the previous two books, Oryx and Crake, and The Year of the Flood, MaddAddam is probably the most eco-conscious trilogy on the planet.

Apart from the many obvious biblical allusions (I often wonder what it must be like to miss so much, for want of familiarity with holy writ), the book also introduces a fully functional faux church. Atwood can be at her best when taking on the charlatans of piety. Cynical and calculating, “the Rev,” father of two of the ensemble cast, is everything a televangelist is, and more. Indulging in all that he denies his flock, even Elmer Gantry would have trouble keeping up. The Church of PetrOleum represents the most damaging of industries in a world already suffering the consequences of the greenhouse effect. Corporations make it rich while the Rev takes out his personal issues on his wives and children. Instead of being on the side of paradise, the church introduces chaos.

Through the gloomy scenario she’s foreseen, Atwood is able to see glimmers of a future that has possibilities. The protagonists are the members of a commune of a green religion, earth-centered and bearing a resemblance to both Wicca and monastic Christianity. That spiritual tradition, an offshoot of more established churches, is seen as dangerous by the corporations. And with good reason. Despite what televangelists tell us, spiritual truth is not on the side of big business. Jesus was no trickle-down economist. Reagan was no messiah. Corporate greed leads to blocking laws to clean up our world. We do not have control over what geneticists are doing, and, in fact, most of us have no idea what we’re eating or wearing any longer. Or what it is they’re packaging our food in. We are the consumers. Taught always to consume more. And the more that we are told to consume is the very planet that gave us life. My hat is off to Atwood, who still seems some possible cause for hope.

Good, Evil, and Normal

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GoodOmensTo date I’ve read a fair number of Neil Gaiman novels. One of my students started me out on American Gods and I pursued his others on my own after that. I was a little unsure about Good Omens, however. I guess I’ve always been dubious about the quality of co-written books. Terry Pratchett, an accomplished novelist in his own right, paired up with Gaiman on this one, and it took the wisdom of another student, albeit recently graduated, to assure me that it was worth the effort. Given that it’s about the apocalypse, or perhaps an apocalypse that doesn’t quite take off, there seemed to be no reason not to give it a try. It is, at the end of the day, a charming book with colorful characters and an Antichrist who gets switched at birth and grows up in a normal household and herein lies the tale.

One of the most common religious themes in novels is the end of the world. The four horsemen of the apocalypse are one of the most striking literary tropes of the first century, if not of all time. The real question about the end of the world, it turns out, is—why can’t it be funny? For those who’ve pondered that, Good Omens is the book for you. It actually does help, however, if you’ve read the Bible. It adds to the cumulative effect. Subtitled The Nice and Accurate Prophecies of Agnes Nutter Witch, the book revolves around the certainty of the written word. Prophecy, however, just as in the book, only achieves verisimilitude in retrospect. The prophets didn’t always get it right, even in the Bible. Human choice often causes a breakdown in divine plans. In Good Omens, you’re pretty sure from the beginning that the world won’t end, but you’re not quite sure how it won’t end. The unfolding of the story eventually addresses how a prophecy can fail.

Free will, those who specialize in theology and philosophy will say, is among the more difficult of phenomena to pin down. Some predestinarians would say it’s all an illusion. We are programmed to do what we do. Ironically, some reductionistic materialists would say the same thing. Each of us, however, trudging through out days of toil and play, feels like we’re making our own decisions. True enough, sometimes circumstances decide for us, but if we were given the choice of good or evil, wouldn’t we approach it the way we approach just about everything else? Along the way, the demon Crowley asks a pointed, poignant question: why would God make people inquisitive and then forbid them some obvious, desirable fruit? Isn’t the conclusion foregone? Any writer today would know the outcome before the first sentence was finished. And so, free will is off and running. I hope that the fact that the world doesn’t end won’t be a spoiler for anyone, because I also hope that others will read Good Omens and learn a great deal about how demons can be good, angels can be naughty, and people will always just be people.

Holy Trilogy

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AtwoodAlumni magazines, thinly disguised appeals for money that they are, seldom merit much time. This doesn’t stop me, in any case, from sending notices of my new publications or blog, since I, like most fellow alumni, have never been cited as notable. One of the thousands who graduated and amounted to nothing. Once in a great while, however, I feel a slight twinge of pride when one of my three mothers does something of which I’m particularly proud. Most often this is Edinburgh University, although once in a while Boston University also catches my attention. A recent copy of Edit—an alumni mag that began some time after I graduated, American-style—has a familiar face on the cover. Well, not familiar in that I know her, but familiar in that I’ve read several of her books and feel like I know her. Margaret Atwood was given an honorary degree by my old school, and I am pleased to be a, albeit lesser, co-alum.

Over the holidays I picked up a copy of MaddAddam, the third and long-awaited conclusion of the trilogy of the same name. As my regular readers know, I have a soft spot for dystopias. In spite of attempts by many writers to paint a brighter future, it seems that given how far we’ve let things go, collapse before reform feels inevitable. The apathy I find when we read about the vastly disproportionate disparity between haves and have-nots, and the surging of deep, animalistic, primate, rage at injustice doesn’t seem to me a healthy mix. Atwood, although I can’t yet speak for MaddAddam, envisions collapse before florescence. The same may be declared about A Handmaid’s Tale. Complacency, it seems to me, is the real enemy.

And universities continue to send me alumni magazines that instead of inspiring me, rub my face in my own mediocrity. I spent thousands of dollars and thousands of hours on my education and I am paid less than most janitors at most colleges. Not that I was ever in it for the money. I did, however, envision a hopeful future where I’d be teaching, perhaps at a small college somewhere, writing my thoughts in books rather than blogs, and having a modest impact on the world for good. Instead, I have found myself living in a dystopia. As I roll over and see that 3 in first position on my bedside clock on a table with the legs broken off, I know it is time to face the cold of a drafty apartment so I can await the bus to pay for another day’s privilege. My comfort is that Margaret Atwood made an impression on Edinburgh University, and will soon be making another impression on me.

Ships Ahoy

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Huge ShipsI’m always on the lookout for a good metaphor. Some time ago a humorous list of improbable book titles was circulating the internet. One of those books was How to Avoid Huge Ships, by Captain John W. Trimmer. Privately published, it surely made its author little money, and it quickly became one of those books with hilarious, bogus reviews on Amazon. My family, knowing my predilection for seafaring (at least in imagination) and my love of irony, found an overpriced, used copy for my birthday. I was glad to have it, but wasn’t sure I’d ever read it. I don’t own a boat, and my efforts to live on the coast have always been thwarted. But then, I’m always on the lookout for a good metaphor.

How to Avoid Huge Ships, subtitled I Never Met a Ship I Liked, is one of the most parsimonious books I’ve ever read. Trimmer, a veteran of many years at sea, writes with paternal concern for those who have no apparent sense of reason. Large ships, as most of us with a modicum of physics realize, can’t stop or turn quickly. Yet, in this spellbinding little book, Trimmer reports, and even provides photographic evidence that smaller, private boats often deliberately cut across the bow of these fast-moving juggernauts. As he points out, no license is required to drive a boat, and most small boat pilots have no training. Accidents and fatalities occur. People destroy exorbitantly priced yachts by not moving out of the way of what can truly be called a monster. And like an impatient father, he’s somewhat weary of it. The style is so unpretentious that it might redeem self-publishing in an era when common sense doesn’t interest commercial book houses.

Aware of his own literary limitations, Trimmer bemoans not having an exalted final chapter of great wisdom. He’d already won me over, however, with the simplicity of his sermon. Get out of the way of massive ships. It is a gospel for those with ears to hear. He even points out that the non-seafaring Israelites had respect for ship pilots (citing Ezekiel on Tyre, with decided hints of Melville, intentional or not). I’m not likely to be on a ship soon, but I have survived a horrific hovercraft trip across the English Channel that forever taught me the true respect for the sea. And I know, if I ever find myself again upon the waves, I will consider myself fortunate for having read this wonderful little book.

Soulful Phantoms

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PhantasmagoriaPhantasmagoria is a most appropriate title for the book by Marina Warner that bears that single-word name. The back cover bears none of those helpful tags that give the reader a handle by which to categorize the book. The subtitle helps somewhat: Spirit Visions, Metaphors, and Media into the Twenty-first Century. The book is about ensoulment. The popular rage among many academics is the exploration of embodiment—the times and trials and wisdom of having a physical body. (We all know it, but it is the scholar’s job to think about it.) Warner asks what soul stuff is and pursues this through many media: wax, air, clouds, light, shadow, mirror, ghost, ether, ectoplasm, and film. She’s not suggesting that souls are made of these things, but rather that people have used these media to explore what a soul might be. Apart from being a fine historical resource on these different avenues of exploration, individual chapters in the book focus on various artists, psychologists, parapsychologists, writers, and Scriptures. This makes for a fascinating, if challenging, exploration to undergo.

One of the topics that emerges in the discussion is how soul distinguishes itself from other unquantifiable aspects of being human: what is mind, for example. We can’t really define soul, but it is frequently differentiated from mind or personality, neither of which is particularly well understood. In an era when we’ve not so much ceased to ask these questions as sublimated them into various fictional realms, a book like Phantasmagoria is especially important. The reaction against materialistic reductionism is strong, if not empirically provable. We still flock to theaters to watch zombies on the screen, precisely because we too have become soulless. Romanticism had a place for Gothic sensibilities as well.

Along the way Warner makes a particularly apt observation that politics and entertainment have become difficult to distinguish. Thinking over the number of entertainers who’ve become policy makers, this is a particularly disturbing thought. We trust the media and it gives us entertainment. Most college professors make so little money as to be jokes when it comes to running a political campaign. Where your treasure is, as the saying goes. Media, in all the forms explored, has failed to capture the soul. The chapter on Revelation (the book) is truly spectacular, coming, as it does, in the section on film. It is the embracing of the chimera of the end of the world pieced together from various myths and nightmares that our political leaders find, in many cases, far too compelling. Someone like Warner might be a much better leader to trust, even if she is a scholar.

Divergency

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DivergentSelf-denial, no matter what its motivation, is a religious ideal. In its more extreme forms it becomes martyrdom, but most religions agree on the value of taking less for yourself so that others might have more. This has been running through my head since seeing the movie Divergent. I read and posted on the book some time ago, but having recently seen the movie—a fairly faithful adaptation to the novel—I was forcefully reminded that this is a dystopian parable. In the future, society is divided into different factions, based on a person’s predisposition. This is done to keep the peace, and the factions seem to get along until suspicion grows about the group called Abnegation. The Abnegation faction is moved by pity and compassion for others. They are the consummate self-deniers, not thinking of themselves to the point of limiting time they can spend looking in a mirror. Others are the focus. Naturally, those who see the utter selflessness of others wonder what they’re really up to. Suspicion grows that this group is after wealth, in the form of food, secretly stockpiling it for themselves. Nobody would give up for themselves so that others can have more.

As I watched the movie I thought about religious groups that preach self-denial. Granted, I’m only one person, but growing up that was the message I continually heard loud and clear in the teachings of Jesus, according to the Gospels. Deny yourself so that others might have more. The deeper I became involved with the church, however, the rarer I found such behavior. By the time I reached college, I still hadn’t figured out that religion had become an industry, like any other. A service industry, to be sure, but it still had CEOs and treasurers and, increasingly, political power. The political seduction of religion already had a history by the time I became aware of it, but I still believed that self-denial was at the core of true religion. Perhaps the factions I heard whispering around me were right. Perhaps there was something more driving all this.

In Divergent, the belief in selflessness leads to self-sacrifice. In many feel-good movies, this leads to an expected resurrection. Here the future is bleak, and the dead remain dead. There is a kind of resurrection as the Dauntless faction comes out of its stupor, but the movie leaves the viewer wondering if there is a future after all. Is there a place in the world for those who legitimately want everyone to share? I think that every time I find myself driving. Behind the wheel, selfish maneuvers that lead to little, if any, ultimate gain seem to be deeply embedded in those who want to get there first. Abnegation, it seems, is a danger on the road. Driving, it seems to me, is a real test of someone’s religious convictions. Perhaps it is that one has to realize that the vehicle in front of you contains another human soul. Or perhaps it is that the fragmentation of society has already gone too far and those who don’t take for themselves are not emulated, but consumed.

Book Ends

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It’s the end of another year of reading. Since Goodreads keeps track of my booklist, I see by their accounting I finished 95 books in 2014. The final day of the year seems an appropriate time to reflect on those that made the greatest impact on me. Starting at the beginning, Jacques Berlinerblau’s The Secular Bible immediately struck me as a book of high importance. In an era when religion is constantly considered irrelevant, Berlinerblau gives this trite brushoff the lie. Likewise Jeff Kripal and Sudhir Kakar’s Seriously Strange opens questions that must be addressed if we ever hope to find the truth. Frans de Waal’s The Bonobo and the Atheist and Christopher Ryan and Cacilda Jethá’s Sex at Dawn both raise, in fundamental ways, the question of what it means to be human. Benjamin Ginsberg’s The Fall of the Faculty is essential to understanding the current crisis in higher education. Edward Ingebretsen’s Maps of Heaven, Maps of Hell is a roadmap through the genre of horror and its importance to society. The Miracle Detective by Randall Sullivan again highlights the question of what counts as reality. Nonbeliever Nation by David Niose shows the importance of separating politics from religion. Dean Radin’s The Conscious Universe brings science to bear on unanswered questions.

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Books specifically concerning religion also deserve some highlighting. Karen McCarthy Brown’s Moma Lola is crucial for comprehending, in a sympathetic way, voudun in a major city. Patricia Tull’s Inhabiting Eden makes a clarion call for religions to pay attention to the needs of the environment. Going Clear by Lawrence Wright is a good introduction to Scientology, while Jon Krakauer’s Under the Banner of Heaven serves a similar function in regards to Mormonism. Sam Harris’s Waking Up shows the need even atheists have for spirituality, complicating the sharp divide we are offered most of the time. Religion for Atheists, by Alain de Botton, also demonstrates the continuing usefulness of religion in a secular age. Vincent Bugliosi’s Divinity of Doubt calls both theists and atheists to task. Spirit Unleashed by Anne Benvenuti allows animals to have souls.

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Fiction always makes a part of each year’s reading as well. This year found me reading several ponderous tomes, but I very much enjoyed the lighter fare by Ransom Riggs, in Hollow City. James P. Blaylock’s Homunculus and K. W. Jeter’s Infernal Devices slaked my steampunk thirst temporarily. John Green’s The Fault in Our Stars and Vladimir Nabokov’s Lolita were both difficult to read as a father, but important literature nevertheless. All of these books and more have individual posts dedicated to them on this blog. I always feel compelled to make clear that I find the books I read, whether highlighted here or not, one of the most rewarding aspects of my year. The long daily commute I normally endure would be torture without my books. Each year, each day I’m thankful for those who write them, and I look forward to an equally stimulating 2015 spent with my face buried in books.

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Bible Stories

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JosephSay what you will about it, but the Bible has some great stories. Based on classical measures of what makes a good tale, the Bible ranks up there with Greek mythology and other ancient fiction that is meant to teach us about being human. Stories do teach, and literature is among the greatest of pedagogues. For the past two decades, Plays in the Park here in the New Brunswick area of New Jersey, has been putting on a post-Christmas, pre-New Year production of Joseph and the Amazing Technicolor Dreamcoat (indoors, due to the time of year). With the kinds of production values you expect of many off-Broadway venues, the show is exceptionally well done, and due to the local color, never too serious. And they play before a packed house. The reasonable prices, I’m sure, have something to do with it, but the fact is the story of Joseph is classic. Full of radical reversals, dreams that come true, and reconciliation, the Joseph novella is one of the great stories of humankind. Unlike many tales of Genesis, God is rather in the background here, perhaps overseeing the event, but not interfering in the human drama.

Although the musical, like most adaptations, takes liberties with the story, it remains fairly true to the Bible. Andrew Lloyd Webber and Tim Rice also had success with Jesus Christ Superstar, showing that, despite its detractors, the Bible still has some appeal. Negative sentiment directed toward the Bible largely derives from the wooden insistence of literalists that everything must be taken at face value. The Bible isn’t allowed its symbolic resonance. Perhaps we can get beyond a worldview where the sun literally goes around the earth, and pay attention to the very human dimensions of the stories it tells. Truth may be of scientific nature, but it may also be—indeed, it must be—human. The very concept of verity is human. We are the ones making up the story.

Scholars point out that even the colored coat of Joseph is based on a translation decision in the Septuagint (the Greek Hebrew Bible). For many people, however, who’ve never read biblical scholars, the truths of Joseph and the Amazing Technicolor Dreamcoat as just as legitimate. The rivalry between siblings is something many of us have experienced firsthand. While not many of us get promoted from prison to vice-president, we still dream that our lives could get better. Our dreams could come true. The upbeat score, of course, helps to reinforce the message—one might say it makes the message believable. That doesn’t mean that the tale is not true. There was no historical Joseph. The colored coat may be a translation error. The story is nevertheless true. Doubters should watch the show. Next year in the State Theater in New Brunswick just after Christmas would be an excellent opportunity to do so.

A Lot of Salem

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SalemsLotVampires may seem out of place late in December, but they never really go out of season. That will be my excuse, anyway, for writing about Stephen King’s ‘Salem’s Lot, which I have just finished reading. Like many of King’s books, ‘Salem’s Lot takes a fair commitment of time to get through, and I actually started it back in November when it feels natural to have creepy thoughts. I suppose winter is more of a ghost season than a vampire season, but I have read what I have read. So, vampires.

The book is old enough now to have been a kind of prequel to the current vampire craze. Prior to picking up the tome, however, I didn’t know that it as a vampire story. I’m not sure it made as much of an impact as the shudder-inducing Twilight series (and that is a shudder of the most ironic kind). ‘Salem’s Lot is, after all, a fairly conventional vampire story—a Dracula reset in rural Maine. Instead of a Jonathan Harker we have a Ben Mears. Instead of Abraham van Helsing, we have Matt Burke. The plot is much the same, the end result is much the same. And vampires are banished by religious paraphernalia, as we’ve come to expect. For me the ultimate Maine vampire will always be Barnabas Collins (the kind fitting more the description of Jonathan Frith than Johnny Depp). Barlow, as a vampire, is entirely too self-serving. Barnabas is a deeply conflicted ghoul, a monster you can love. But not too much, because then we’d be left in the twilight. Mixing the vampire just right is tricky, and it seems that a soap opera was the place that got it right.

The movie Thirty Days of Night, based on the graphic novel, places vampires squarely in the middle of winter. In the thirty days of no sunshine in the Arctic Circle, the vampires of winter flood the town. Perhaps the idea relates to ‘Salem’s Lot for an entire town to come under siege. Or maybe not. When I read vampire stories I hope to come out transformed, I guess. Elizabeth Kostova’s The Historian may have spoiled me in that regard. As with most King novels, however, ‘Salem’s Lot is artfully written and at least for the characters a new story with a small twist on the old ending. In at least one regard, it is true to life—although they learn that the church banishes vampires, nobody joins and they only pray as a last resort.

Foundation and Empire

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Foundation_gnomeIn a childhood full of science fiction I’m sure I read much material that was too sophisticated for me. After all, I grew up in a working-class family where politics amounted to lambasting the incumbent because things still weren’t getting any better. Even the conservative super-hero Ronald Reagan was mostly remembered for the government-issue cheese we received for free. We called it “Reagan Cheese.” In that setting much of Isaac Asimov’s Foundation trilogy must have been far beyond me. Still, I dutifully plowed through all three volumes as any budding science-fiction nerd was expected to. It was a required piece of the curriculum along with Frank Herbert’s Dune. Heinlein’s Stranger in a Strange Land would have to wait until adulthood. I remember rooting for the cosmic empire—the symbol of law and order—unaware that similar systems would eventually find me as a fifty-something, educated man unemployable for years at a time. Science fiction doesn’t bestow the ability to see the future.

Then I read a recent issue of Books and Culture, the bi-monthly publication review by Christian Century. An article by Philip Jenkins, reviewing a book I’ve not read, started off with a reference to Asimov’s trilogy. Suddenly I found myself transported hundreds of miles and two-score years from Midtown Manhattan to rural western Pennsylvania in barely adequate housing, holding Foundation and Empire close to my face. Jenkins, a noted historian of religion, was pointing out that Asimov often drew from Gibbon’s Decline and Fall of the Roman Empire and based his character of the Mule—those of you who’ve read the trilogy remember him, I’m sure—on Mohammed. The thought had never occurred to me that the science-oriented mind of Asimov would ever delve into religion for inspiration. Still, with the little I recall of the story, it does seem to add up.

In fact, much of science fiction is deeply dependent on religion. Science fiction dares to dream of the future, and no matter how technical that future becomes, the religious are still there. Last century bold claims were made that we’d be living in the twilight years of religion by now. Mid-term elections fueled by religious fervor prove the pundits wrong yet again. Organized religion, fledgling or fully adult, is a political animal. Religion and politics are both about how we interact with one another as a society. It may seem that the concepts behind religious thought are unsubstantiated myths that transcend the mechanistic world in which we live. Even so, they continue to drive revolutions large and small. And somewhere in the attic I still have my copy of the Foundation trilogy ready to be seen by grown-up eyes. Or better yet, through the credulous eyes of a child.

North Tarrytown

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Ichabod Crane has undergone many incarnations since Washington Irving conjured him. Not very sympathetically described in the original “Legend of Sleepy Hollow,” he was gangly and somewhat clumsy and full of self-importance. The story of which he is forever a part, however, has become iconic of American myth-making. A deep symbolism runs through the story of the headless horseman, and for those who’ve actually been to Tarrytown, the modern incarnation of Sleepy Hollow, there may be a disconnect between the urbanity of a town so near to New York City and a rustic school teacher in a rural setting. Still, there seems to be quite a bit of buzz about the current television series “Sleepy Hollow” that I decided to see for myself what was happening. The conceit of Ichabod Crane reawakening, in a kind of Rip Van Winkle twist, in the present day is engaging. He is now a professor at Oxford University turned patriot to the American cause, which brings him to the point of actually beheading the horseman in the first place. But this literate, witty, and moody retelling involves more than Irving. The Bible is pretty much central to the series, at least as far as I’ve seen.

The headless horseman is none other than Death, the final of the four horsemen of the apocalypse, according to holy writ. Although the characters all refer to the Apocalypse as “Revelations,” something that causes premature baldness in biblical scholars, the program places the town of Sleepy Hollow at the crux of the oncoming end of the world, with the other three horsemen to be summoned along the way (Pestilence or Conquest, War, and Famine, for those who are keeping score). Also, witches, hearkening back to Salem, have a prominent place in the narrative, and the forces of rational law seem to be at their collective wits’ end to make any sense of religion breaking into a secular world. Without the Bible’s final book, Sleepy Hollow would have no legs (as well as no head).

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In Tim Burton’s Sleepy Hollow, Ichabod Crane came through as a detective plotting science against superstition. At the end, however, even the most rational had to admit there was more going on than the science of the day could explain. That is part of the appeal of the Sleepy Hollow legend. No matter how strong the light we shed on them may be, our psyches reach out for the immaterial, the ghostly, the supernatural. We like to believe in sacred books and spells to protect from evil. Even the Twilight Zone episode “The Jungle” plays on how in even the most advanced cultures we still build skyscrapers with no thirteenth floor, as if our towers represent an unknown hubris for which we may be held accountable. Irrational? Perhaps. But Sleepy Hollow is not so somnolent these days when the Bible once again takes center stage and hoofbeats are heard once again in the night.

Gothic American

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AmericanGothAmerican Gothic, the painting by Grant Wood, caused me trouble at Routledge. An author wanted to use the image on the cover of his book (we eventually managed it) but the choice was contested at every step. Along the way editors, editorial assistants, and marketers all told me what the painting represented and how it was inappropriate. I’ve learned, however, a few things from the post-modernist movement: nobody can say what an artwork means definitively. So when I read American Gothic: New Interventions in a National Narrative by Robert K. Martin and Eric Savoy, I was ready for a combination of po-mo and the macabre. Like post-modernism, Gothic is a difficult term to define. Indeed, the first set of essays in this collection struggle with definitions. Being literary criticism, the book points out that the novel and Gothic more or less developed together. When people read to be entertained, as early as the eighteenth century, they wanted to read Gothic tales.

Being a life-long fan of Poe, I was pleased to see that he made a good showing in the pieces contained in the book. What makes it appropriate to this blog—other than it being October, a comment that requires no explanation in the northern hemisphere—is a notion I found early in the book. People read horror literature for healing. Anthropologically, the wounded healer is a well-recognized figure. In a world where we expect opposites to go together health comes from disease and healing from being wounded. The gothic is a wounding of the mind to lend it healing. To be sure, many of us who read gothic literature do not relish scenes of violence or hurt. We do, however, find a kind of therapy within such darkness. In the darkness light is best appreciated. Who uses a flashlight outdoors on a sunny day?

As with most books from multiple authors, there’s some unevenness to the contributions here, yet more often than not, I found deep insight throughout its pages. Religion makes occasional appearances. Indeed, the figures of the monk and the debased church are stock images for early gothic literature. The sacred, if we’re honest, is a bit creepy. Having spent many nights in churches on retreats or for hospitality when youth groups couldn’t afford a hotel, I know that fewer places are scarier at night than an unlit, empty sanctuary. The gothic, following culture, has tended to move away from monasteries and churches into the more scientific spaces of the twenty-first century. Nevertheless, ravens and haunted houses still evoke the age-old fears of a coming period of darkness, the Halloween of the soul. And for those who want to know how a post-modern crowd scans the darkness, this book will not disappoint.

The Joy of Tech

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In the age of Steampunk, New Jersey is among the world capitals. Indeed, today is the second day that the International Steampunk City will be inhabited in Speedwell, home of the telegraph. For yours truly, Steampunk is an escape. Alternate realities often look better than the pedestrian one we’ve inherited, so we like to look at the world through steamy lenses and imagine how it might have turned out differently. New Jersey, in the spring, also hosts the Steampunk World’s Fair. Perhaps we have more pressures to escape here in the Garden State. Imagination is certainly in no short supply. I attended the International Steampunk City last year and decided that I’d like to be a part of it. Knowing a thing or two about ancient technology, I thought I might share a bit with the Steampunk crowd. What is Steampunk without tech? Some ancient technology, although not very well known, is perhaps of even greater influence than we might imagine.

One of the connections that is easily misplaced in this era of purely scientific advance, is that technology was devised in the service of religion. At least in the early days. The greatest architectural achievements came under the aegis of temple building. Domes, arches, and eventually flying buttresses that could hold tons of stone high over your head—these were to please the gods. We can’t imagine Stonehenge as anything other than a capitalist venture these days, a way of drawing in the money. Of course, ancient builders knew of the financial benefits as well; temples were often the equivalent of ancient banks. Still, beneath all the pride of accomplishment there was the belief that the gods were somehow pleased with our innovation. Perhaps we’ve just done away with the convenient myth. Steampunk often has a religious underpinning. Many of the stories I’ve read touch on our ancient mythologies. Only, in fantasy, there are different possible permutations.

We sometimes think that technology is a modern phenomenon. Actually, it is quite ancient, as far as human culture goes. The first “computer” was invented around about the first century. Since it didn’t have an obvious benefit to the control of the masses, however, no technological revolution took place. The steam engine was, in nascent stages, invented also in ancient times. Until we learned, however, that it could be enslaved to make certain industrialists rich, we had no need for it beyond a diverting toy. Technology does not take hold without a deeper purpose. Every now and again I get a little paranoid knowing that I carry a telephone that knows my exact location at all times. As if I were important enough for anyone to care. Then the feeling passes and I open my iBooks app and turn to my latest Steampunk novel. I am a slave. I wonder what innovations there will be at International Steampunk City this year that might change the world. Only the imagination will limit the possibilities.

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Books on Wheels

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Some unexpected serendipities transport you to childhood. Somewhere on Interstate 80 I passed a bookmobile. The notion felt strangely old-fashioned in this days of Nooks and Kindles. Indeed, a Kindlemobile would have been no less surprising. The idea, I recall, that someone cared enough about my little school to drive a bus full of books right up to it, made me feel special. I mean, these were books—for me! I don’t recollect ever checking any out since it was the ’60’s and everything communal had a strangely communist cast to it. We couldn’t afford many books. Indeed, growing up, we didn’t have a proper bookshelf anywhere in the house. When I began to buy books, I kept them in a cheap suitcase. The only trips I made, really, were in my mind.

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In Manhattan I occasionally see the Mitzvah Tank. New York is often thought of as one of the most literate cities around. Even here, books can come to your door. With chutzpah. Religions, at least many of them, coalesced around books. Sacred writings are among the omnipresent symbols that you’ve come into religious territory. The act of writing itself is somehow holy, even to the most secular, beyond the most cynical. We share our minds through our fingers and others are invited to see, or at least to glimpse, what might be going on inside this three-pound universe locked in our craniums.

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What would I put in a bookmobile? The other day my family began putting together a list of the influential authors in our lives. We all read quite a bit, and the list grew lengthy rather quickly. What would be in the canon of a Bible for the twenty-first century? What books would we want others to share? Ironically, many would find religious books objectionable on some level or another. The armored personnel carrier of Christian soldiers might well set us on the run. Nevertheless, with enough reading even the extremes can be viewed in perspective. On this highway I’ve found a kindred spirit, and when books are coming your way, it is a mitzvah indeed.

Casing the Promised Land

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In one of the great ironies of the English language “flammable” and “inflammable” mean the same thing. Sometimes an extra syllable can make all the difference. “Ideas are incombustible,” wrote Ellen Hopkins in the final stanza of “Manifesto.” Unlike inflammable, that which is incombustible can’t be burned away. Most literally expressed in Ray Bradbury’s Fahrenheit 451, ideas are, however, endangered in a culture that claims to support them while secretly allowing them to be banned. Orwell called it doublespeak, and we all owe it to our heirs to fight it wherever we can. Sometimes the promised land may not be all that it seems. Can the brave truly be this afraid? Some politicians think “Born in the USA” is a complimentary song. Never has there been a better case for emphasizing literacy.

We fear the ideas our children might encounter, making them into the people they are meant to be. I’d like to return to an idea I broached at the beginning of this year’s Banned Book Week—the Bible has been a banned book. According to the antics of various preachers and vigilantes, so have been the Quran and the Book of Mormon. Destroying books or their authors, however, only creates martyrs. Until the world begins to understand that memes are more durable than genes we will fight our futile wars to drive the thoughts away. Azar Nafisi in Reading Lolita in Tehran tells of how some regimes want to control even our dreams. As if cutting the wings from angels were even possible. How do you physically cut an incorporeal being? Some may need to look “incorporeal” up in a dictionary.

I can’t remember when I started to read for fun, but I do know I haven’t been able to stop since. I have no idea how many books I’ve read, but it certainly comes out to more than the money I’ve ever been able to save. I write this with not an iota of regret. In my humble opinion people are products of the books they read, the songs they hear, the movies they watch. Ideas. Ideas permeate us and we, like sponges, absorb our nutrients from them. Inevitably we come to resemble the concepts we ingest. Ingesting concepts is perhaps the best way to think of Banned Book Week. Inflammable and flammable mean the same thing. Incombustible, however, is something completely different.

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