Omega Alpha

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The-Omega-Man-Poster Perhaps out of a warped—perverse even—sense of self-punishment, I watched The Omega Man. Being unemployed will make you react that way. I have a pretty high tolerance for theatrical assault, as my regular readers will know. For those of you with less self-destructive penchants, The Omega Man was the second cinematic adaptation of Richard Matheson’s novel, I Am Legend. The first movie version, The Last Man on Earth, was released in 1964, starring Vincent Price. The most recent version, borrowing the novel’s name and starring Will Smith, is the third and best attempt so far. In any case, The Omega Man opens with Charlton Heston thinking he’s the last man alive, and even that doesn’t stop him from taking his shirt off at every opportunity. That I could tolerate, however, had the movie not strayed from what I thought was its central premise—that Robert Neville was alone with a city full of vampires. Although Vincent Price did not, uncharacteristically, make a convincing last man alive, the earliest version at least retained the vampires. The Omega Man, perhaps in the spirit of 1971, substituted them for religious fanatics.

The substitution didn’t bother me so much, but the religious fanatics were pathetically acted. Leibowitzian, anti-progress monks, hating the science that led to the nuclear holocaust that made them photophobic night dwellers, they snack on sardines and graham crackers, but only come out at night to kill scientists. Well, only one, since Neville seems to be, uh, the last man on earth. They accuse him of making the wheel and using technology as they run around in off-the-rack children’s Halloween costumes acting otherwise infantile while Heston strikes dramatic poses, grimacing with a variety of machine guns in hand, as he simply shoots them. That’s not the way the world’s supposed to end. The vampires have become a religious society doing everything short of handing out tracts on the corner. Well, maybe it is the end of the world after all.

It is difficult to portray loneliness effectively. Those of us who’ve been there know it intimately, and somehow Charlton Heston has too much fun with it. Even Vincent Price had trouble making it look convincing (I mean, who still uses a saucer when having their coffee and wears a tie after the apocalypse?). Will Smith at least showed a man occasionally breaking down in tears. Charlton Heston doesn’t cry. And he doesn’t shy away from god-like delusions. When he finds the other survivors (or they find him), we learn that Neville has been attempting to cure the religion virus. Dutch says, “Christ, you could save the world.” Neville doesn’t deny the obvious messianization of his mission. In fact, pseudo-crucified on a piece of modern art, Neville receives a spear-thrust to the chest, and dies in cruciform posture in a pool of his own blood. His blood that has the antibodies to save the world. Sound familiar? For all the blood, the vampires are gone. And when I feel that the world is against me, I want to see vampires.

Sleepy Hallow

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Sleepy_hollow_ver2Upon occasion I found movie clips to be of great help in explaining ideas in religion classes. A movie whose clips I used sparingly, due to concerns for squeamishness, was Sleepy Hollow (the Tim Burton movie, not the modern television series). Upon viewing it again recently, I was impressed by just how much religion is intertwined in the narrative. This is especially interesting since Washington Irving’s story does not contain much in the way of religious symbolism or motifs. From the beginning of the film, Rev. Steenwyck is one of the conspirators, making the church complicit in the attempt to subvert the van Garrett will. When Ichabod Crane arrives in Sleepy Hollow the cleric drops a Bible—a recurring motif in the movie—on the table beside him, telling Ichabod it is the only book he will need. Christianity and Paganism clash throughout the film as a number of the women are revealed to be witches, either “innocents” or practitioners of a darker kind of magic.

In flashbacks Ichabod Crane recalls his mother’s white magic that draws the ire of his ordained father. Indeed, Ichabod’s father is a stylized amalgamation of Roman Catholicism and Protestantism blended into one. His harsh white chapel houses an inquisitorial torture chamber in which he murders his wife. Seeing her pagan symbols in the fireplace ash, he too drops a heavy Bible to point out his wife’s sins. When he stalks off from his medieval chamber of horrors, the camera angle shows him to be headless—he is the true terror, rather than the Horseman who was raised by magic and appeased by the simple return of stolen property—his head. Even in the present Rev. Steenwyck is both an adulterer and a murderer. The melee in the church leaves the final three conspirators dead.

The white witches, however, are marked by their purity. Mother Crane is so light that she can float up into the air. Katrina van Tassel draws chalk icons to protect Ichabod, indeed, the whole town, from evil. While Ichabod refers to his father with the evocative phrase “Bible-black tyrant,” his mother was an innocent child of nature. In the film Ichabod moves from the rational view of life to one that allows for the supernatural, in the form of magic. True, the Horseman cannot cross onto the consecrated ground of the church (another Catholic concept mixed in with the Protestant milieu), but the faith that saves Ichabod’s life is the book of spells given to him by Katrina. Yes, the physical book stopped a material bullet, but it was faith the put the book in the pocket in the first place. All very appropriate to bring students’ minds to religion in the autumn of the year.

Literate Monsters

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Skin-ShowsLiterary criticism is not for the faint of heart. Biblical scholars long ago adopted the methodologies of literary criticism since it had become clear that an absolute meaning for any biblical text will always end up being a chimera. Many of us are versed in the techniques of structuralism, post-structuralism, deconstructionism, reader-response, post-colonialism, and any number of other means of parsing hidden truths from texts. Since it is October and monsters have a way of creeping into the psyche about now, I read Judith Halberstam’s Skin Shows: Gothic Horror and the Technology of Monsters. Halberstam is using the word “technology” technically here, so this isn’t the easiest of texts to digest. Still, for those of us haunted by monsters this text does tap into one of the main connective tissue between monsters and religion: meaning. As Halberstam notes, the Gothic suffers from a surfeit of meaning. There is just too much meaning bursting out that we have no choice other than to analyze.

Beginning with Mary Wollstonecraft’s Frankenstein, and up through Bram Stoker’s Dracula into the modern horror film, Halberstam probes deeply into the layered meanings offered by the Gothic discourse. The monster is a transgressive creature, one with indistinct boundaries. I couldn’t help but to think how odd it is to suppose that we end at the limits of our bodies. The things that we do influence our environment, and we are capable (often through science) of a kind of spooky action at a distance (think of drones, HAARP, or fracking—I’m talking literally spooky here). As Halberstam points out more than once we don’t make monsters, monsters make us human.

Skin Shows is all about boundaries. Biological, psychological, sexual—we define ourselves by our boundaries. The monster is no respecter of such boundaries, forcing us to face our own definitions with a certain ambivalence. What do our monsters say about us? Do we really want to know? Monsters can be brutally honest. More honest, at times, than religions are willing to be. As views change over time, so do conceptions of the monster. Religions frequently attempt to hold out against inevitable change. Perhaps such stalwart bravado is admirable, at least until we experience a dark and stormy night of the soul. Here be monsters.

The Tell-Tale Telegraph

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Steampunk CityThere’s a guy next to me with a robotic arm. Women with lace umbrellas and aviator googles walk by on the arms of Victorian gentlemen with walking sticks. A couple have an effervescing water-cooled device on their backpacks. I must be in Steampunk City. The forecast had predicted rain, but it is a beautiful October day in Speedwell, New Jersey. Steampunk City, an event dreamed up by Jeff Mach to make money for local museums, draws in a good crowd of the garishly bedecked, causing my wife and me to feel desperately underdressed. I’ve read my share of steampunk fiction, and I am really thrilled to see so many people taking an interest in such a literary event. I did wonder, however, what demonology had to do with it. Kevin Meares of Delaware Valley Demonology Research is giving a talk on demons, and it’s interesting to notice how the light laughter of customers from the booths outside wafts through the door where stories of possession are being told.

It is difficult to listen to Mr. Meares and believe that he hasn’t seen some pretty strange things. A practicing demonologist rather than the armchair variety, he has accompanied priests on exorcisms and is utterly convinced of the reality of the entities. When asked where demons come from, he relies on the Bible and Bible lore. Either they are fallen angels, remnants of a prior creation (thus the discrepancy between Genesis 1 and 2), or the offspring of the Nephilim of Genesis 6. Whatever they are, he has seen them in the dark, and people have died because of their activity. Being somewhat of a skeptic, I still find myself a little creeped out, kind of wishing I was outside with the laughing, costumed fiction readers.

Steampunk is often about alternate realities. A world where technology developed in the fog of steam rather than the neat circuitry of electricity. Speedwell, ironically, (and probably intentionally) is where the telegraph was invented and first demonstrated. It is a key site in the Industrial Revolution, the development that made the modern world what it is with smart phones, air-light laptops, and iCloud. I’m in the basement of an historic building having my rational worldview threatened by stories of demons. Although I’m wearing my nonplused face, I know that things will be different in the middle of the night. I’ve got brass gears in my pockets and supernatural entities in my head. I’ve met a watch maker outside who translates Aramaic manuscripts. What hath God wrought indeed, Mr. Morse? Yes, I’m in an alternate universe, and I may decide not to come back to the work-a-day one after all.

Grendel’s Gods

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GrendelGardnerSometimes I think that if I had to do it all over again, I might’ve chosen Beowulf instead of the Bible. Let me define “it” here: if I had to pick a vocation that would lead to personal fulfillment and personal penury, that is. Beowulf is the earliest written story in English and, it’s a monster story. What’s not to like? In honor of Banned Book Week, I decided retroactively to read a banned title, John Gardner’s Grendel. An early parallel novel narrated from Grendel’s point of view, we are introduced to the introspective, existentialist monster who is really just wondering, like the rest of us, what the point of it all is. Not surprisingly, the protagonist often addresses the question of religion—indeed, it might even be at the heart of the story.

In chapter nine, Grendel sits in the darkness in the ring of wooden gods of the Danes when Ork, the great, blind priest stumbles in and believes the monster is the Destroyer god. As Grendel toys with his theology, the old priest understands this all as a revelation, and although Grendel gives him no answers, the words are taken as divine utterances. The other priests, finding their leader out on a winter’s night, insist that he has gone senile, that gods do not reveal themselves like that. The old man, however, is unshakeable in his faith. As in much of the novel, there is more going on here than meets the eye. The deluded priest believes a monster is his god.

The question of theodicy (literally, the judging, or justification of God) is never-ending for theists. The world is a problematic place (made so, I must note, by human consciousness) for the creation of an omnipotent deity who is good. Too much suffering, Grendel, too many failed expectations. Clergy and theologians have, for centuries, tried to frame a convincing answer to the dilemma. The tack they all studiously avoid is that God is a monster, although some posit that as a straw hypothesis quickly to be knocked down. Gardner, although not a theologian, was the son of a lay preacher and farmer. One suspects that elements of that childhood crawled out through the pond with Grendel. One of the truly tragic characters, a “son of Cain,” Grendel still has an immense power on the imagination. And that power, at times, might even appear godlike.

Monsters are Due on Main Street

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MedievalMonstrosityNow that the slow descent into darkness has begun, my mind naturally turns to monsters. In the early days of this blog I felt as though I had to justify writing about monsters when I was limiting myself (mostly) to religion, but it is now clear that many scholars have recognized the connection. Monsters cross over boundaries, and, given religions’ focus on proper borders, declaring monstrosity is often a sacred task. That comes through clearly in Sarah Alison Miller’s Medieval Monstrosity and the Female Body. Utilizing mainly three medieval texts, Miller draws out how they present various aspects of the female body as monstrous. Predictably, the source of their conviction is frequently the viewpoint of the church, the dominant institution of the Middle Ages. Biology was a touch more advanced than it had been in the biblical period, but despite the figures, many writers assumed the male to be the default model of humanity and the female somewhat suspect. Given the multiple pluralities of the natural world around them, this idea is passing strange.

This book is not for the squeamish. Miller plumbs the depths of bodily fluids and the beliefs surrounding them in a pre-scientific era. Male writers wondering at the changes the female body undergoes, however, may have been a necessary stage in the growth of knowledge. It is easy for us today to suppose that equality should have been always on their minds, but Scripture, a large source of authority for medieval mentality, had cast the sexes into an uneasy opposition. The only figure in the Bible who seems sensitive to the unfairness of it all is Jesus. And even his viewpoint couldn’t change the conservative conviction that somehow God was truly the über-male and that all the females of nature were somehow subordinate. Dare we say it? Monstrous.

Miller closes her brief consideration by delving into the writings of Julian of Norwich. Julian was a most remarkable mystic who wrote of God in strikingly feminine terms. Turning those boundary-violating bodies into the sacred, here was one medieval writer who saw the female as normative, salvific, even. Julian never commanded the kind of authority that a male cleric could, but as Miller shows, even men in this period were considering the feminine aspects of a wounded deity. Reformation, however, snapped a masculine, Protestant lid on any such speculation. Today, ironically, many Protestant traditions have, at first reluctantly, admitted female clergy. The religious body of the Middle Ages, the Roman Catholic church, still keeps women in a separate, somehow subordinate role. Monsters come in many forms and they break down boundaries. Some borders, however, may be meant to be breached.

True Possession

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Demons are among the earliest of supernatural creatures. Although sources can be spotty, they appear in the first advanced civilization known, that of the Sumerians. Even with their technology and scientific sense, early people still knew that demons had great explanatory value. Why did things sometimes utterly fall part? Why did some people act so weird? Why did the good will of the gods not always shine through? Demons, while not exactly tricksters, are the demoted gods who cause problems. They also harbor possibilities too, if an article sent by a helpful relative is anything to go by. According to the BBC, a trio of styled and battle-trained young exorcists are about to take to the airwaves to ply their trade in a show called Teen Exorcists. Savannah and Tess Scherkenback join preacher’s daughter Brynne Larson as a trio of demon-dropping debutants ready to take on the powers of Hell. All three, according to the article, are home-schooled.

I’m not quite sure what to make of demons. Aware of more rational explanations of human psychoses and inevitable misfortune, there doesn’t seem to be much room for second-rate deities in the world any more. Still, writers like Matt Baglio and Malachi Martin narrate enough strangeness to make you wonder if we might’ve been a little too hasty in dismissing the supernatural. Especially after staying up late to watch The Exorcist. And it’s not just that it’s three young girls casting demons into the pit—according to Acts Philip’s daughters were prophets and Mark says people who didn’t even know Jesus were pretty handy with the rite. It’s the whole issue of demons. According to the BBC, the girls believe England is especially afflicted because of the Harry Potter novels. (The spells, they say, are real.)

The team of three and Rev. Larson do, unlike Ghost Hunters, charge for their services. And even a duck hunter on television can strike it rich. Simon, later known as Simon Magus, offered the apostles money to gain the power of the Holy Spirit, according to Acts 8. Rebuffed, Simon turned against the fledgling Christians. If there were reality shows back then, I suspect he’d have had one. The three girls are black belts in karate, adding to the television appeal, but demons, we’re told, are incorporeal. That’s right—they have to be fought without physical violence. Armed with Bibles and crosses (no crucifixes, since this is a Protestant exorcise) three young girls take on the dark side of the spiritual world. The chief of the demons, however, is named Mammon. Against that one there seems to be no defense.

Dangers de la nuit

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Sex&Paranormal Some books require extra clothing on the bus. When I saw the title of Paul Chambers’ Sex and the Paranormal, I noted the juxtaposition of two aspects I’ve frequently argued are intimately related to religion. There can be no question that religions in some way attempt to regulate sexuality. Those forbidden topics loosely collected under the sobriquet of “the paranormal” tend to be only a baby-step or two away from religious beliefs. Often those who are open to religious acceptance also allow for the possibility of the paranormal. So what did these two quasi-religious phenomena have to do with one another? How was I going to read a book with a title like this on public transit? How would I plumb the depths of its wisdom without feeling like a pervert? I found an unused book sock, a kind of colored condom for textbooks, and wrapped in around my questionable interests and read as discretely as possible.

Chambers, a member of the Society of Psychical Research, as well as a scientist, starts the reader off with what he is surely correct in identifying as a combination of sleep paralysis and hypnopompic hallucinations—the feeling of being violated by demons or ghosts in the night. While the reasons are poorly understood (beyond our latent sense of vulnerability while asleep), the fact of sleep paralysis is well documented. As Chambers points out, our over-active, often religiously fueled, imagination fills in the blanks for those who wake up unable to move, feeling a presence in their darkened rooms. This leads Chambers into a discussion of Lilith and succubi and incubi, the molesting demons of ancient lore. Witch-hunts and amorous aliens are strange bedfellows in this volume as well.

Studies like this daringly bring together subjects that have been parsed apart by conventional society. They are also deeply relevant. Many of us remember the (largely mythic) Satanic worship scares that plagued pockets of America, and then Europe, in the 1990s—latter day witch-scares, as Chambers points out—the tremors of discontent that rumble through societies struggling for an overly rational explanation for human behavior. They are present-day reminders that no amount of fiscal solvency and empirical data will ever banish the deep fears from the human mind. Our emotions have often served us very well, and have sometimes abused us, for the entirety of our evolved existence. And although we can hold them at bay in the clear light of day, at night we are surprised to discover that we really believe in monsters after all.

Corn is King

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For those who no longer believe in Hell, the DMV can serve a very useful function. Actually, the Department of Motor Vehicles is truly the great leveler of society—just about everyone has to cross its threshold, it is just that they all try to do it at the same time. Waiting in lines has always been a problem for me. It’s not that I think my time is more important than anybody else’s, it’s just that I have so much to do without standing in endless lines. Especially since work keeps me away from useful pursuits for over eleven hours out of every twenty-four, weekends seem somehow too sacred to be spent at the DMV. But the Devil must be paid his due. When paying the Devil, I take along Stephen King to pass the time. So it was over the weekend that I found myself reading “Children of the Corn.”

Of course, like most horror movie fans, I have seen the movie a time or two. I’d never read the story before. This is one of the King tales based most directly on religion gone wrong; the children, as any reader/watcher knows, have distorted Christianity into a midwestern corn-god religion. It may seem unlikely to urban folk, but I have stood next to corn stalks that have towered high above my head, ominously silent like triffids on a sunny Wisconsin afternoon. It can be unnerving. Almost a religious experience. But turning back to King, the story differs from the movie, of course, and what the written version makes clear is that the children distort the New Testament, but leave the Old Testament intact. King, like many horror writers, is biblically literate. Yet, this picture of Old Testament god versus New Testament god is stereotypical and a little misguided. The god of Christianity is a deity of many moods. The wrath in Revelation, or even some of Jesus’ sermons, however, stems directly from Yahweh’s darker moments.

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How do we know what is demanded by this mercurial deity? The theological ethicists argue over this daily, but nowhere in the Bible does God have a problem with people treating each other as they would want to be treated. Some of the punishments for minor infractions seem a bit severe—or very severe—but the basic principle, given the Weltanschuung in which it operates, need not cause undue fear. Women, homosexuals, gentiles, Jews, anybody reading parts of the Bible will no doubt be offended by the details. As the saying goes, the Devil is in the details. And that’s why I’m spending my entire Saturday morning at the DMV.

Esoteric Goddesses

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250px-Statuette_Goddess_Louvre_AO20127One of the nice things about the internet is that you can indulge your unorthodox interests and nobody will much care (except, of course, the US government). The other day, while reading about monsters, I found a fellow WordPress site, EsoterX. More specifically, I found a blog post on Ashtaroth. Those who have more than a passing interest in my background know that I spent a few years of my life writing about the goddess Asherah. Asherah and Ashtaroth are sometimes easily confused by anyone not reading about them in the original languages, but I settled on Asherah because we simply don’t have much textual information on Ashtaroth. Ashtaroth has gone by a number of names over time: Athtart, Astarte, and, as I just learned from EsoterX, Lord Treasurer of Hell. I won’t try to repeat the clever observations of EsoterX, but I can’t help myself add my own two shekels’ worth.

Ashtaroth is clearly one of the bad girls of the Hebrew Bible. She tempts the upright astray, and she seems to have been a perennial favorite among the less-than-orthodox Israelites. The Bible doesn’t take much care to flesh her out fully, and she appears only in minor roles in the Ugaritic texts. Some in the ancient world easily associated her with Ishtar, and their names do seem to bear some kind of relationship. Ashtaroth is connected to the planet Venus, as was the latter goddess Aphrodite—named, appropriately enough by the Romans, as Venus. Ashtaroth was also a militaristic goddess associated with horses. That girl got around.

Unfortunately, in the literature that survives from the earliest period, we are left with only the sketchiest of outlines of this once important goddess. Many of the Semitic deities have been revived in popular mythology of the modern age, and Ashtaroth, with her sexy, yet belligerent nature, is always appealing to the puerile imagination of pubescent boys. She was taken with great seriousness long ago, however, although her origins are lost to history and her attributes have become general enough to fit just about any old generic goddess. I’m glad to see that EsoterX has given her a shout-out and has traced a brief history of the goddess through the ages. Maybe someday we’ll find some accurate information on her early days. If we do, will somebody please give me a poke? I will probably be busy reading EsoterX.

Before Twilight

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Despite the summer with its long, languid days, The Telegraph reported on vampires last week. In an article entitled “Polish archaeologists unearth ‘vampire grave,’” Matthew Day narrates how archaeologists have uncovered skeletons buried with their heads—decapitated, obviously—on their legs. This was apparently a not uncommon medieval practice for ensuring that suspected vampires stayed safely in their graves. Interestingly enough, Day comments that the practice mainly began after the Christianization of the pagan cultures that had preceded them. Even pagans, he suggests, ran the risk of being accused of vampirism, a broadly defined threat in the Middle Ages. Of course, the Twilight series had not been written then so that the safe, Mormon cast of vampire was unknown.

Vampires represented a couple of concepts terrifying to people before the scientific revolution: they were a source of draining an individual of some life essence, and they were the problematic undead. The decapitation, in Tim Burton-Sleepy Hollow style, was intended to prevent the vampire from being able to locate its head after death. Unable to find the business end of its vampiristic corpus, the undead might remain just plain dead. Of course, staking works, if the tales of the Highgate vampire, near whose grave I recently stayed while in London, are to be believed.

The belief in vampires, or at least fascination with them, has been very hard to shake. One of the earliest horror films made was Nosferatu, a rip-off of Bram Stoker’s Dracula that was nearly obliterated because of copyright violations. Nosferatu continues to be ranked among the scariest of horror movies, and the Werner Herzog’s 1979 remake is a classic in its own right. The Shadow of the Vampire was an even more recent movie about the filming of the F. W. Murnau original. Among the earliest of the Universal monster movies was Tod Browning’s Dracula, which forever identified the face of Bela Lugosi with the infamous Count. No matter how deeply we bury them, the vampires keep coming back to stalk our nights and nightmares. When future archaeologists uncover the detritus of our civilization, no doubt they will conclude that we too, in a secularized world, feared the undead.

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Hansel and Regretel

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HanselGretelHansel and Gretel: Witch Hunters was on offer on the trans-Atlantic flight. Since I missed it in theaters, I decided to watch it on my mini-screen inches from my face. Witches, among the classical monsters, have a strange longevity into the world of science—like van Helsing (of movie fame) the protagonists have steam-punkish gadgets to destroy the naturally invincible foes. What’s not to like? I could not help but be disturbed, however, at what seemed to be the inherent misogyny of the film. Perhaps it was the lighting on the plane, but I saw only one male witch among the monstrous hordes of females who were battered, shot, and burned with apparent sangfroid. Women were guilty, it seemed, until proven innocent. And Mina, the white witch, again underscores that women who are “clean” are still potential witches underneath. Naturally, she dies before it’s over, but in a noble way.

The witches in the movie are strangely removed from a traditional, satanic context. They derive their power, like modern wiccans, from nature and strange mixes. The source of their magic is never explored very deeply, but when they catch trespassers in their forest, their queen states that even God himself fears to go there. Bewitching bravado, to be sure, but where does this image of God originate? A god afraid of the very nature that (in a film such as this, certainly) “he” created? The sacrifice of children is a good biblical trope, but seems to do little more here than to build the tension.

Monster movies, I realize, are “guy flicks.” Something about all that testosterone seems to be energized by images of ordinary people fighting monsters, against incredible odds. The monsters here, however, are barely distinguishable from regular women. Folklore has a deep well of traditions about witches from which the savvy might draw to write an intelligent, entertaining tale of witch-hunters. After all, the real antagonist, traditionally, is the male devil. He is, in medieval tradition, the source of witching magic. By removing Satan from the picture, we are left with strong women who must be repressed, and the world is really no safer when Hansel and Gretel are done. In fact, the end of the movie implies that they will never be finished. An opportunity for a subtle shift of paradigm was missed in this film, and, as usual, it is women who end up paying the price.

Something to Believe

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Xfilesiwanttobelieve After a rough week at work, nothing helps so much as simple escapism. Thinking back to my glory days in the classroom, I remembered the movies I used to get students thinking about how the Bible is represented in popular culture. One of those movies was The X-Files, I Want to Believe. Not that the movie was my favorite, but escapism isn’t picky—there’s one reality I want to escape, and just about any other will do. As I watched the film again last night I was struck how very much the whole movie is premised on religion. I suppose the title should’ve given that away, but since it is the slogan of Mulder’s famous poster, I’d not really given it serious thought. Scully is now a practicing doctor in a Catholic hospital, and the number of lingering scenes with stained-glass icons in the background simply can’t be ignored. She has given up chasing monsters in the dark, and come to live in a very Gnostic kind of light. Through a pedophile priest (Father Joe), the darkness finds her again. How could I have missed the centrality of a priest to the plot?

The scene I always pointed out to my students was where Father Joe goes into a seizure while quoting Proverbs 25.2, again citing Gnostic hidden ways. The Bible slips from his trembling hands and falls, closed, to the floor. Later, as Mulder is literally about to be axed to death, Scully finds him by noticing the mailbox number 25-2. A proverb was a prophecy and the Bible retains its ability to guide the believer toward salvation. Through paranormal means, of course. After all, this is the X-Files.

Faith versus science, religion versus reason; these are the underlying motifs of the entire film. Scully the skeptic is the one who believes. Mulder, the high priest of the preternatural is just waiting for her to come home. It isn’t the greatest of movies, but it is based on some classic themes. Wanting to believe, but not being able to believe—isn’t this one of the most religious tensions possible? For years now the internet has been buzzing with rumors of a third, and probably final, X-Files movie. And yes, many people are wanting to believe. And if work continues with weeks like this past one, I’ll be needing a lot more escapism as well. Yes, I want to believe.

Z War to End

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World_War_Z_posterWorld War Z is playing in theaters and I haven’t even had time to stock up on water and canned goods. Zombies are everywhere. And we can’t say that we didn’t see them coming. As movie critic Stephen Whitty points out, there are over 900 movies featuring zombies and the vast majority of them are recent productions. Major news corporations have been analyzing this undead interest for a few years now. No doubt the zombie is a populist monster, but why does it have such a potent effect on the modern imagination? Stepping back from the screen a minute, I think perhaps an answer is very obvious.

We live in an essentially programmed society. Philosophically we believe in free will, but economically much of our lives are predetermined. Among the happiest years—speaking strictly from the point of view of what I have been required to do for work—of my life were those of adjunct teaching. I had finally broken into the realm of the major university, and I had class after class of students who wanted to learn. Many disparage undergraduates. I never did. They come to college with what they have been taught, and that teaching comes at the behest of a society that informs them college is all about money. Who needs to really learn to not split infinitives? Or reason out that even if you know that Genesis 1-3 is a myth that evolution is not about religion at all? Who needs to learn to think when your boss will not want criticism? Do what you’re told. Be a good citizen. Be a zombie.

Our children are not stupid. I had many intelligent conversations with many bright young people at our state universities. I learned from them, and I hope they learned from me. The voice of the adjunct instructor, however, is nowhere near the decibel level of higher earnings. Is not the price of being a zombie worth having an adequate home, crippling debt, and access to wifi? The zombie, after all, is the antipode to the life of the mind. Zombies are, by definition, mindless. They carry around a carcass that does only what, in the classical sense, it is told to do. And so, if I loved that bohemian life so much, why did I hypocritically leave it? I have a family that requires healthcare. I have a child to support through college. I have a retirement fund that will not support a modest lifestyle for more than a single year. Yes, I too am a zombie. World War Z is indeed already here.

Holy Hostage

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HostagetotheDevilA chance glimpse at a textbook shelf in a university bookstore made me aware of Malachi Martin’s Hostage to the Devil, although it is several years old. I was intrigued that a major, secular, state university would offer a course requiring a book about demonic possession. I’m not completely naive about college students, but this seemed just a tad extreme. Nothing is more dangerous than a book dangling in such a context, like the Necronomicon of Abdul Alhazred. The world of the demonic is freighted with arcane rules and a decided Catholic superiority. Even to the rational it can be insanely frightening. As I read Martin’s account, I frequently found myself puzzling over the unseen world he so meticulously describes—after all even the Bible has little to say about it. And Martin is a great lover of verbosity, detailing more than the reader needs to know about the five exorcisms he elaborates. If you want to know what a dying priest looks like, in great detail, you’ve come to the right place.

Perhaps the most jarring aspect of reading such a book is how such obviously intelligent people can come to such diametrically opposed worldviews while looking at the same evidence. Here was Malachi Martin, convinced that demons lurk about the world in great numbers. There is Richard Dawkins, convinced that we are nothing but particles and proteins walking around. Manhattan—the haunt of countless demons, or the febrile accident of firing synapses that means ultimately nothing? Although much of what Martin describes could probably be mental illness, one has the distinct impression Dawkins has never attended an exorcism. Both write with great authority and even greater conviction.

Hostage to the Devil is not an easy book to read. Martin’s style is smooth, like a novelist, but the length of his book keeps demons on your mind for a protracted period. Rationality can be worn down by attrition, and even the non-believer can be made to wonder. Would priests and their chosen attendants lie? Do the possessed really levitate, and contort, and cause objects to fly around the room in defiance of the physics so highly valued by atheists? For over 450 pages Martin will keep you wondering. You’ll also find out what an exorcist ate for his boyhood breakfast back in Ireland decades before facing the Prince of Darkness. Hostage to the Devil is a deeply disturbing book where the monsters we’ve all learned to shove deeply into the closet come springing back out. And the only effective help in the known world is the Catholic priest who happens to be an exorcist. And who can argue with that?