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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Afraid for God

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ReadingLolitaInTehranReading Reading Lolita in Tehran, by Azar Nafisi, is not easy. It is, however, rewarding. Appropriate for Banned Book Week, we might want to remind ourselves what a society that bans books actually looks like. Nafisi, an Iranian teacher of English literature, had broadened her mind and had traveled abroad. When she returned to her home country to take up a teaching post, she discovered that the world you always knew can be very unstable. It can change without you realizing it. (Mene, mene, tekel, upharsin, left even the sages scratching their heads.) The Revolution, as it was known in Iran, brought in the radical conservatism of religious outlooks that saw women as little more than temptations for men. The wearing of the veil was enforced by law. Nafisi was told it was a small price to pay for the greater good. The rhetoric is the same every time I’ve been frisked at the airport, although I’m a lifelong pacifist. In Iran, things were much worse.

Nafisi recounts gathering a group of her women students together after she was forced out of the university. They would meet at her apartment to discuss literature, including Vladimir Nabokov’s Lolita. How must it feel to be a woman reading about a man’s obsession with a girl so young? As Nafisi points out, girls of Lolita’s age are considered marriageable in some Islamic states. It isn’t Islam that’s the problem, it is extremism. When I read about how she became “irrelevant,” I literally shuddered. In my own way too, I had been made irrelevant to higher education by those who felt any means would justify religious ends. And the bookstores in Tehran were closed, for they sold dangerous ideas. The irrelevance of one woman, or even half the population, is a small price to pay for self-righteousness.

“You say you’re afraid for God,” Ellen Hopkins wrote in “Manifesto.” Afraid for the Almighty. Such a strange concept. Fundamentalists of all monotheistic stripes believe in an all-powerful God whom they arrogantly presume to protect. How can a human even conceive such hubris? We feel secure in our Bible-emboldened superiority, challenged when reminded that the Quran, the Book of Mormon, or even Science and Health came later, and by definition supersessionism inevitably takes hold. “Paranoia is in bloom,” Muse reminds us. Missiles fall on Tehran, killing women and children. We elect, however, officials who agree that healthcare for women is politically negotiable. The reason has nothing at all to do with justice. It has everything to do with using a black-bound book for power over those who are just twelve-year olds wondering how any of this is even possible.

Lola Lolita

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LolitaAs a father, Vladimir Nabokov’s Lolita is difficult to read. With Banned Book Week upon us, however, and with my wife suggesting I read Reading Lolita in Tehran, I figured I’d better read Lolita in New Jersey first. It’s not the kind of book you want to be seen reading on the bus. As is well known, the novel is written from the sympathetic point of view of a pedophile. It is distinctly creepy and yet also strangely sincere. Effacing the distinctions between love and lust and healthy and ill psyches, the story draws you into the life of a single-minded Humbert Humbert and his twelve-year-old obsession. I had been prepared for the end of the story, having seen Stanley Kubrick’s cinematic version some years ago, still, this tale distresses. Banned books take us to places we’d rather not be, and cause us to linger there. This is part of their secret appeal. These authors are honest enough to make us question assumptions. You have floated out of sight of land.

Lolita, through euphony, if not something more, reminds me of “Lola.” The Kink’s hit. I first heard “Lola” while I was in seminary, although it had been released a decade and a half earlier (I tend to run a little behind the times). When I listen to songs I pay attention to the lyrics, and I was disturbed to find that “Lola” was a catchy tune with a (to me, at the time) disturbing message. I confessed to a friend that I liked the song, but wasn’t sure that I should. We ban songs just as we ban books, because they bring us to a place where we question what we thought we knew. In my case, it often doesn’t take much. My friend Dave gave sage advice not to overthink the whole thing. If you like a song, you like a song. Let the music play on.

“You say you’re afraid for children,” Ellen Hopkins’s second stanza of “Manifesto” begins. (I confess to following a different scansion of the poem, call it poetic license.) I believe, however, our fear is for ourselves. We know that we could have a monster lurking inside. Lolita does not encourage pedophilia. Like many social crimes, pedophilia is the manifestation of an illness that some people, like sociopaths, unfortunately suffer. The lack of empathy for others is a frightening thing indeed. It makes for some of the scariest movies, and headlines, that I have ever seen. We do ourselves no favors, however, by pretending it doesn’t exist. I know little of the life of Nabokov, but I know that he died in Montreux. I know that he could afford to live there at least in part because of the royalties from Lolita, a novel whose manuscript he had once attempted to burn. And I know that in Montreux “some stupid with a flare gun,” well, you know the rest.

Acts of Apostles

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“Manifesto,” the poem that launched Banned Book Week 2010, was written by banned author Ellen Hopkins. As a perspicacious undergraduate I know pointed out, each stanza of this poem addresses an aspect of that strange cultural fear known as Banned Book Week. Her line, “false
patriots who live in fear of discourse,” in stanza one makes me tremble each time. You see, it is easy to believe that censorship applies only to Nazis goose-stepping around bonfires with books flying through the air like a Steven Spielberg movie, or even, more recently, The Book Thief (the book is better than the movie), or godless Communists. That fear, however, travels both forward and backward in time. The Patriot Act has been at work effacing liberty for several years now, and people too fond of fear are unwilling to withdraw it. The world of frightening ideas in which we live, however, is nothing new. Literary artists bring us to uncomfortable places. That’s why we read them.

If we turn history’s pages back to the Nazis, we find ourselves sitting in judgment over their cowardly act of book burning. Those who never read of the phoenix are swift to recreate the myth. But we do history a disservice if we stop there. I was recently reminded that burning books has a biblical precedent. According to Acts 19.19, while Paul was performing miracles in Ephesus, those who were converted brought out their books of magic and burned them, to the approval of the nascent Christian movement. A Bible that advocates the burning of books is ironic, for the Bible itself has been banned in parts of the world. What greater crime against humanity can there be than the deliberate destruction of its own cultural heritage? We don’t believe in magic any more, but we still burn books.

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Owen Davies, in his book Grimoires, shows that the practice goes back even further, with Romans burning books of magic as early as 186 B.C.E. There is a perverse symbolism at work here. As someone who admires, but can’t afford, antique books, the thought of ancient documents intentionally destroyed appears as one of the most easily preventable of cultural crimes. Sometimes as I hurry through the Port Authority Bus Terminal to reach my gate, I see the military guards with machine guns and full combat fatigues and I hope that they don’t stop me to search my bag. The only thing I’m carrying is books. Books, however, convey ideas. Banned Book Week reminds us each year that ideas are essential to the life of the mind. They may be burned or banned, but they will live on. The cost, however, may never be fully recovered by the society that permits its ideas to be incinerated.

All Things Being Equal

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Today the light and darkness are equal. The equinox is the great equalizer of the year, the day that reminds us summer’s ebullience is always, and ever will only be, temporary. From this day forth, for six months, night will dominate day. Religions the world over have offered responses to the increasing darkness. Autumnal festivals are among the most poignant as we can see the light diminishing, but we know nothing we can do will prevent it. Time alone cures this growing tenebrous atmosphere, until, as the solstice arrives, we dance, and sing, and drink, and burn candles to encourage the light to return. Return it does, on our universe’s ever rotating axis, bringing us around once again to when days lengthen and we turn our thoughts toward shallower things.

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The ember months, September, October (by association), November, December, each with an increasing sense of solemnity, invite us to read. Today begins Banned Book Week. I’ll be posting about banned books since, although my books deemed fit to print are so mundane as to offend no one, I stand in solidarity with any writer who has ever been told that her or his book is too violent, sexy, or depraved to be read. What thoughts are too dangerous to think? Religions will tell you, and so will pseudo-religions. Thoughts, however, are not so easily stopped. As an editor, I am a gatekeeper of sorts. Still, I know as an author that those I turn aside will persist. They will find their publishers. Their words will not be banned.

As an erstwhile writer I know that some of myself resides in each work clacked out on this keyboard. Those lucky enough to court editors with their efforts find the larger readerships. Some authors don’t even write their own books any more. Anyone can be imitated. The truly original, however, will always end up on someone’s banned book list. Our minds resist being challenged. We don’t want assumptions to be wrong. It’s too much work to have to think through all of this. It is easier to ban books than to have to try to comprehend them. As the darkness increases over the coming months, I will stockpile candles and light bulbs and huddle down next to a stack of books, secure in knowing that most of them have offended somebody along the way. And reading those books will only cause the light to grow.

Banned Magic

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Grimoires“If you believe in the power of magic,” Eric Woolfson plaintively sang, “then I can change your mind.” A song that bewitched my younger years, when the atmosphere is just right, it can still bring a silent tear to my eye. Magic is a powerful elixir.

On my own personal almanac of holidays, Banned Book Week is one that takes the most preparation. In anticipation, for it is next week already, I read Owen Davies’ Grimoires: A History of Magic Books. Since this blog doesn’t get nearly the readership of a banned book, I might explain that witches are among my favorite topics. Despite that, and despite growing up with constant curiosity about religion, I only learned about grimoires recently. Davies makes it clear in his book that apart from some standard texts that have been around for a few centuries, the idea of a magic book is really relatively recent. Yes, the Egyptians and Mesopotamians had books of magic, but the concept of a grimoire only really fits the Zeitgeist of medieval Europe particularly well. Such books may draw on or cite oriental wisdom, frequently stepping into the forbidden territory of Arabic learning and alchemy, but they reflect the worldview of the Middle Ages when magic still seemed possible. In earlier centuries conjuring seems to have been subsumed under the miracles associated with Jesus, and we don’t hear much about magi beyond people like Simon Magus.

Davies packs a lot of information into his book, but my reason for focusing on it here, now, is the banned nature of grimoires. Many of them are considered rare and valuable books today, but in their day they were dangerous and forbidden. The concept that an idea can be suppressed is an odd one. In fact, many ideas have a very difficult time finding receptive minds. Once it is written down, however, an idea can circulate. The surest way to guarantee that it will is to ban it. People want to know what is so dangerous about this idea that it must be kept hidden. It makes an idea powerful, esoteric. Forbidden fruit, we all know if we’ll only be honest, is the sweetest.

Grimoires were considered most efficacious when written by hand. Although it took the printing press to proliferate such books, magic was believed to be most potent in the hand-written form. By writing text, one engages intimately with it. This is a reality we are in danger of losing in the computerized age. I grew up with only a second-hand typewriter acquired by my family when I was in high school. Most of what I wrote—for inspiration seldom comes when you’re sitting at your desk—was done by hand. My own little grimoires. Now we’ve added the interface of a keyboard. It is faster, and more efficient. Clinical even. But often the magic seems to be gone. And that is testified in many banned books. They especially, I would aver, believe in the power of magic.

Centuries and Millennia

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This past week I had a look at Christian Century. It has been about a century since I’ve read it, so I noticed quite a few changes in that time. Magazines in general, I’ve noticed, have been on a weight-reduction program. They are thinner and more direct than they used to be. Also, the last time I looked at Christian Century, perhaps in my college days, it was still assumed that Christianity was the dominant paradigm for American society. Church attendance wasn’t stellar, but it seemed pretty solid. In my town, in any case, pretty much everything was closed on Sundays. There was a sense of status quo ante, perhaps it was just that social changes of the sixties and seventies were taking a while to settle into the cracks. My college town was pretty far from the forefront of theological, or even social developments, and enough other places must have still been as well. There was no denying that you had great odds of finding Christians, self-professing, in places outside the halls of government.

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It was almost sad that Christian Century felt so diminished. Inside I was surprised to see so many ads and reviews concerning themselves with secularism and/or atheism. Attempts to understand, or convert, were the foci of seminars and books. Get things back to the way they used to be. A century ago. One gets the sense that subscriptions might have slipped a bit. The consensus is breaking up. Too much information—too many choices. People aren’t sure what they will choose after all. The Christian Century seems to have been the nineteenth or twentieth. We are sadder but wiser.

It could be that I’m misreading this whole thing. After all, a couple of the articles were written by big name scholars teaching at big name institutions. One of them, however, is admittedly not a Christian. Those who are are, it seems, trying to learn about this sea change that happened around them while they perhaps supposed everything was progressing as normal. Growing up where I did, I know that I was unaware that people could not, in great masses, not go to church. That other religions were not but minor blips in an otherwise uniformly Christian country. Considering the posturing of many televangelists, I’m not the only one who thought so. It may be that another Christian century is to come. Or even a millennium. Until that happens, however, the institutions that look backward instead of toward a future approaching very fast will feel, I suspect, that a century quickly slipped by and left them wondering in its wake.

Fighting with Monsters

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GothicThe Lady and Her Monsters reminded me of Gothic. A friend of mine in seminary showed me this “shocking” movie by Ken Russell just after it was released on VHS (I always was fond of ancient history). To my young eyes this was a challenging film, but it rated higher in moodiness than scariness. Roseanne Montillo’s book brought the movie to mind because, it turns out, several of the incidents in the movie were based on fact. Perhaps I need to take a step back because Gothic never made it big, and many may not realize that the movie is about the legendary night Mary Godwin (soon to be Shelley) came up with the idea for Frankenstein. In an early nineteenth-century walk of fame, Percy Shelley, Mary Godwin, Lord Byron, and John Polidori decided to write scary stories, as a kind of contest. Only two ever made it to print, Polidori’s The Vampyre, which inspired Bram Stoker’s Dracula many decades later, and Mary Shelley’s Frankenstein. The movie, with Ken Russell’s famous flamboyance, traced an unlikely story of the friends conjuring a ghost and then banishing it once again before the stormy night is over.

Ken Russell had the reputation for being obsessed with the church and sexuality. These interests are certainly well represented in Gothic, where Percy Shelley, famously an atheist and believer in the supernatural, struggles to make sense of it all. Polidori, Byron’s personal physician, is presented as a Catholic who admits, when each has to confess his or her deepest fears, that God terrifies him. The friends (perhaps in an unwitting prelude to a television series by that name) explore sexuality and the supernatural through the long night. Waking nightmares meet them at every turn. They even have a skull of “the black monk,” a character attested in all sincerity, at one time, at the most gothic seminary in the Wisconsin woods.

“He who fights with monsters,” Friedrich Nietzsche opined, “might take care lest he thereby become a monster. And if you gaze long enough into an abyss, the abyss gazes also into you.” That which we worship is that which we fear. Certainly the Christianity of the Middle Ages had as much of Hell as of Heaven in it. Bursting out into the light of rationalism, it seems, did not banish the darkness after all. We still have many questions left unanswered, and many intelligent people have begun to question whether any one paradigm fits all of the evidence. I suspect not. Human experience goes in multiple directions at once. We have ladies, we have monsters, we have scientists, we have God. And on rainy nights we have movies that make us see that we have combined them all into a tale often repeated but never fully understood.

Dystopian Paradise

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Dystopias resonate with me. As I ponder why, two factors seem to rise to the surface: dystopias are inevitably populist in orientation, and I was raised religious. Each of these factors requires some explanation, but so does the choice of addressing dystopian topics on a cheerful September day. In an article by Debbie Siegelbaum in the BBC News Magazine, Project Hieroglyph is featured. Project Hieroglyph, which involves some people I know, is an attempt to write a more optimistic future back into science fiction. To understand my reservations, I have to confess to having grown up as a nerdy science fiction reader. The stories from the 1950s and ’60s to which I had access (growing up poor, and buying books at Goodwill and second-hand shops) tended to be optimistic—people colonizing other planets, creating great labor-saving inventions, traveling time itself. In the meanwhile I slept in torn sheets in a ratty room and had to work to buy my own school clothes, inevitably cheap. For a few years our house didn’t even have a bathtub or shower. It wasn’t an easy existence, and I found solace in religion and science fiction, both of which promised a better future.

Today, forward-looking literature tends to be pretty bleak. With reason. Optimistic futures are the luxury of the elite. The average working person labors under a constant threat of unemployment and no jobs to replace the one you have. Hey, some of the people I see begging in Midtown are not dressed in the rags of the classic ne’er-do-well. Their signs asking for help are articulate and neatly written. The elite may look to a brighter future, but from street-level things appear a bit more challenging. There’s no question that politicians long ago lost touch with the commoner. They have no idea what life is like for most of us. Same is true of most university folk (cited in the article); unless they’ve been cast out, I suspect, they can conjure a pretty rosy future. With tenure.

That’s the populist angle. Now for the religious. The basic idea of Project Hieroglyph is as old as Buddhism, or perhaps even older than that. Salvation. Religions promulgate the idea that people require salvation. Otherwise it’s pretty difficult to get people up on a Sunday morning and convince them to drop their money in the plate. Look, however, at what has been happening to mainstream churches. So technocrats and other elites think technology, rather than the gods, will save us. Those devices of optimistic 1950’s and ’60’s sci fi have turned on us, and we have become slaves to our own technology. Gee, it’s awfully gloomy in here! Perhaps we need a brighter vision of the future where technology makes things better. It sounds like a return to the stories I read as a child. Still, I can’t help noticing all the closed churches I see, and how much the penmanship of the indigent has improved with the passing of time. If only I could decipher hieroglyphs my future might look shinier too.

Is this paradise or what?

Is this paradise or what?

Watchers and (Un)holy Ones

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HiddenOnes Angels, demons, djinn, watchers, giants, and a healthy dose of fantasy pervade Nancy Madore’s novel, The Hidden Ones. In this present world where, I’m told, the supernatural is irrelevant, it is pleasant to come across a work of fiction that delves so deeply into the pagan roots of Judaism, Christianity, and Islam. Monotheism does have its own skeletons in its capacious closets. Madore is a novelist who insists on prying open those doors long shut, and spinning a tale that involves first responders, shady military officers, and a band of rather hapless archaeologists. And Lilith. Throughout the story Madore comes up with clever etiologies for stories that will appear in canonical form much later, and at one point I couldn’t help wondering if the screen writers of Noah had read her book. Well, actually, The Hidden Ones is the first of a trilogy, Legacy of the Watchers. I’m sure the next two books will contain many surprises as well.

The Hidden Ones put me in mind of Michael Heiser’s novel, The Facade. Both take on the mythology of the Nephilim, the fallen ones about which the Bible tells us enough only to leave us hungry. The early chapters of Genesis are like that. There’s so much going on that those of us reading it many centuries after it was written are left wondering what the full story was. The writers of the Bible had no compunction to disbelieve in monsters and beings beyond the human ken. Nor does the Bible attempt to systematize them in any sustained way. These creatures just are. As the old saying goes, however, fiction has to make sense—those who write with gods and angels have to make them fit into a system.

No doubt, the uncanny occasionally intrudes upon our rational world. The Hidden Ones presents one such intrusion that, ironically, takes some of the fact of the Bible while leaving the theology suspect. We know that even before the Hebrew Bible was complete ancient scribes were attempting similar things. The book Jubilees, for example, tries to fill in some of the unanswered questions of Genesis, including the watchers and details of the flood. Jubilees, however, never made it into the Bible thus depriving canonical status to the backstory that demonstrates how religion often chooses for ambiguity, leaving it to theologians to bring it all into a system. And novelists. And among those novels that tread where even J, E, P, and D quail, is The Hidden Ones.

Write the Truth

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XalliopePublication is a tricky business. Just ask my friend, K. Marvin Bruce. Marvin and I have known each other for years as he’s been trying to break into fiction publishing. I don’t envy him. His novel, Passion of the Titans, was under contract with an indie publisher who eventually reneged on their agreement. What can you do? As a supporter of publishers you don’t want to sue, so the novel is floating around again, looking for a home. Meanwhile, I was flattered to receive in my mailbox a copy of Calliope magazine. Calliope is published by the Writer’s Special Interest Group of American Mensa, Ltd. Marvin’s story, “Initiating an Apocalypse,” won third place in their fiction open. Not only am I pleased for my friend, but I was glad to see his story was about gods. Zoroastrianism doesn’t get much attention these days, but Marvin’s tale is about a hapless professor who wants to start an apocalypse by using Zoroastrian deities. I won’t give any spoilers since I’m sure few people have read the story.

His tale has me thinking of gods in fiction. I suppose mainstream literary fiction avoids deities, but fantasy, science fiction, and horror all make good use of them from time to time. Neil Gaiman’s American Gods made quite a splash, and although Marvin has no hope of becoming a widely recognized name, his novel also features gods. It is a literary incarnation. We like to see gods in some ways limited to human circumstances. Omnipotence rarely makes for a good plot. In many respects the Bible attests to this. If God is omnipotent (which is not a claim the Bible actually makes) why can’t the world be a happier place? Indeed, the solution most fondly groped by theologians is either free will or a version of the Zoroastrian solution: a god who is evil. Enter the Devil.

The Devil is also undergoing a kind of literary renaissance. We find a plethora of books and movies starring the prince of darkness. Despite the panegyrics of rationalism delivered by angry atheists, nothing salves the human soul like a good supernatural entity. Fiction writers have long recognized that. Gaiman was not the first to make the gods do his bidding in literature. There is a likelihood that even Homer knew the appeal. Many people can accept that gods might exist, and they certainly don’t object to stories in which they cavort. Fiction, as literary analysts know, teaches us about reality. The characters may not be literally true, but the fact is that in our minds there is still plenty of room for gods. And, if you one of the rare ones to read Marvin’s story, you’ll see that, true to human experience, deities don’t act as we expect them to. Savvy publishers, it seems to me, would do well to recognize the appeal of the gods.

Infernal Religions

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infernalDevicesThe first steampunk novel I read, although some would dispute the classification, was Neal Stephenson’s The Diamond Age. To be sure, I’d noticed other Victorian-style science fiction, but the idea of prescient technology settled into my head to nest for a while. I read a few other exemplars of the genre, finding each interesting in its own right. Having just finished K. W. Jeter’s Infernal Devices, however, I get a sense that I’ve neared the fount. Jeter is generally credited with coming up with the neologism “steampunk,” and this novel, while not his first, is fascinating for the heavy religious symbolism that is used throughout. In our secular, post-Christian age, we tend to forget that in the nineteenth century (actual, if not alternate reality) religion still played a tremendous role in people’s lives and outlooks. Infernal Devices uses that outlook quite effectively. The remnants of Cromwell’s puritan cause appear as the Godly Army, set against science and technology in a society still imbued with religious belief. When a flying machine appears overhead, the Scots suppose it is the beast of Revelation harbinger of the world’s end.

Like most steampunk offerings, Jeter offers us plenty of mechanical wonders. The hapless Mr. Dower, our protagonist and narrator, is the son of a mechanical genius, now deceased. The story involves Dower trying to unravel the many strands his father wove in a lifetime of invention and innovation. The one device that stood out to me, however, was the automaton priest and choir of Saint Mary Alderhythe, Bankside. Dower’s father had invented a robotic priest to go through the mechanical motions of an Anglican mass. Having sat through hundreds of such masses, I could see the point he was making. There are variables, but the overall draw of ritual is, well, its ritualism. The sameness that assures an assuaged deity and a safe congregation. The Godly Army, however, is more revisionist in intention.

Jeter, I’m sure, did not intend for the novel to be read for religious truths. It is rollicking and fun, with characters that you can’t believe but you want to. The driving force, however, behind much of the story is the religious bias of elements of London society. Dower, blamed for vices he doesn’t really have, is chased from his home by the Lady’s Union for the Suppression of Carnal Vice. The Godly Army, however, steals the show. Perhaps the most profound observation comes from Scape, who quips “That’s what you get.. when you give people Bibles and guns,” about the Godly Army. “It just messes up their brains.” At this point I began to wonder whether the story were really fiction after all. In this case the truth indeed perhaps lies in steampunk’s alternate history.

Pagan Paean

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ImaginingPaganPastThe old gods still live. In literature. The modern world with its open spirituality has continued the process of rediscovering ancient deities. Marion Gibson’s Imagining the Pagan Past: Gods and goddesses in literature and history since the Dark Ages offers a glimpse into how British writers since the earliest days have wondered about the gods. Of course, many of those early writers were already Christianized, and treated the old gods as curios that might be placed on an intellectual shelf of bygone days. Some, however, came up with an idea that can still be found, on occasion, among dwellers in the British Isles—the idea that the original British religion was monotheistic. Indeed, some believed that the religion of Noah made its way to Britain, establishing a debased, but yet roughly correct worldview that was only contaminated by Roman polytheism. There are books suggesting, a la Latter-Day Saints, that the lost tribes of Israel found their way to Britain. Joseph of Arimathea planted his staff at Glastonbury, after all. Nothing satisfies like being the chosen people.

Gibson explores both the Celtic gods and the Norse gods. British literature has drawn upon both deity pools to populate a literature with colorful, if sometimes dark, deities. Beyond the literary, many of these gods survived in popular culture throughout the ages. Some of my fondest memories of the UK are driving to prehistoric sites with friends and finding the gods alive and well. As the sun, feeble at best in a British December, sank one afternoon we pulled into Wayland’s Smithy, a neolithic long barrow. I’d never heard of Wayland before. Gibson reveals the story of Wayland, as well as Woden and Thor, as the gods jumble in a Gaimanesque celebration of cultural diversity. Even on hikes to obscure sites the locals often knew the stories of the gods that had once passed this way.

There’s a virtual Sutton Hoo’s trove of information in Gibson’s brief study. At many points I found myself pausing to think, “that’s where that idea came from” as I followed the trajectory of her explorations. Even some of the deities she does not explore found their place in my three short years in the enchanted countryside where pagan Celt met pagan Saxon met pagan Roman, leading to a heady brew from the well-known Diana to Julian the obscure (there is some witchery afoot here). Even that Anglicanism that once circled the globe did not rid itself of this great cloud of witnesses. We keep our deities alive by preserving them in scripture, whether sacred or secular, and we have done so for hundreds of years. And the old gods, in this monochromatic world of science and industry, remind us where the rainbow really originates. Imagining the pagan past is sometimes the most human thing to do.

To the Swift

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Despite its generally secular reputation, one of the great charms of New England is its churches. I was forcefully reminded of this during my recent trip to Boston. Each city along the way boasts impressive churches that might be glimpsed even from the highway, and although there are now many taller buildings it is possible to imagine the days when the steeples stood over all. Boston’s historic churches remain stunning symbols of the power Christianity once held in this city. We first climbed off the T at Arlington in the shadow of the great stone Arlington Church. On the Esplanade the looming steeple of the Church of the Advent violently reminded me of the deep mysticism that drew me to the Episcopal Church even while I was a Methodist seminary student. Park Street Church, King’s Chapel, The Old North Church, the Old South Church, and finally Trinity Church in Copley Square invited us to gander and ponder. Almost like fossils, these churches remind us of the history of what made the city, or the nation, what it is.

Trinity Church lies nestled at the base of the John Hancock Tower, Boston’s tallest building. A blue glass Brobdingnagian, this prophet of capitalism represents the highest possible aspirations of our race, so we are led to believe. The material triumph over the spiritual. And yet the tourists stop to photograph the stunning church. It is on the street level, down here among us mere mortals. Upon closer examination, I noticed the statue of the tortoise and the hare in the plaza of Copley Square, the holy terrapin racing toward the sanctuary, it appears from my angle. It seems that I have unexpectedly received a kind of epiphany.

Look closely.

Look closely.

I first came to Boston many years ago as a spiritual seeker. In the intervening years during which I was attempting to find out what that might mean in a life that was intellectually honest, many bronze sculptures appeared in this city. The one commemorating Robert McCloskey’s Make Way for Ducklings, installed after I completed my studies at Boston University, would not have caught my pre-parental attention, as I had never read the book. Now you have to stand in line even to snap a picture. The work of local artist Nancy Schön, both “Make Way for Duckings” and “The Tortoise and the Hare” are part of Boston’s continual evolution of character. Officially, we are told, the turtle and rabbit are representative of the Boston marathoners who trudge the final feet past this church toward the finish line. To me, this sculpture suggests something more as the hare dawdles and the tortoise breaks toward the church. It may be a marathon, indeed, but the race, I remind myself, is not always about being swift.

Elmer Gantry

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ElmerGantryIn recent years a renewed interest has arisen concerning how powerful entities are perceived by others. Academics are asking how the United States is seen by other nations. Corporations are trying to improve their public images because, well, let’s face it, it effects the bottom line. The same thing applies, but with a difficult kind of finessing, to churches. Part of the difficulty is that churches declare that they have the truth. Backing down from this in the face of public opinion more or less scuttles any claims being made. Thus I’d been curious about Elmer Gantry for some time. Sinclair Lewis’s novel of the self-absorbed, arrogant clergyman who believes in no god other than his own desires, is considered a modern classic. Written during the height of the follies of the Scopes Monkey Trial and Prohibition, as the Fundamentalist movement was just getting started, Lewis used dark satire to try to put the self-righteous in their place. I’d known the name Elmer Gantry from many other media references, so I figured it was time to see who he was.

Going into the novel I had few preconceived notions. Gantry, I knew, would be a hypocrite from the start, but beyond that, cultural references don’t give many hints. Although Lewis’s well-known wit shines through from time to time, on a whole the novel is a distressing read. I suppose it’s the mark of a great writer that you can despise a character so, but really, Elmer is led on his path, indeed, encouraged, by those who know him and whose only zeal is conversion for conversion’s sake. A womanizing, athletic, hard-drinking student, Gantry is where many young men want to be. The campus ministries, however, keep after him until he realizes what all clergy know at some level—there is power in being able to manipulate people by religion. As portrayed by Lewis, Gantry does try, once or twice, really to believe. His cynical and selfish nature, however, are too difficult for him to overcome and he therefore employs them in all his relationships as he climbs the corporate, ecclesiastical ladder.

There is really no triumphalism here, with the society discovering and ousting the charlatan. Indeed, as the book ends, the Reverend Doctor Elmer Gantry dodges a serious threat to his career only to be appointed to one of the most influential churches in New York, poised to go on to even greater things. Trying to find the blame in the novel, however, is not a simple task. Gantry is all too easily led. He follows his base desires deftly and confidently. He knows a mark when he sees one. Throughout his ministerial life, however, he is encouraged and prodded onward to success. Most ministers, in my experience, are burdened with conscience. I’m sure a few slip through with their own agendas, but the working clergy are nothing like the protagonist to this tale. Lewis focuses on the worst offenders. Those who are in it for the power, should they read Elmer Gantry, would find a model who is, like many in the era of early psychology and sociology, too easily excused because of circumstance. More than that, however, they might learn how they look to a larger society for which the church has become a mere historical curiosity. Elmer Gantry is by no means the worst type of figure we can imagine in a secular society.