Rains and Bows

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It’s raining and I’m here for an outdoor event. Here, in this case, is Ithaca, New York. The event is the parade that’s an integral part of the Ithaca Festival. As people have been laying out their chairs and blankets along the route since morning, it’s a fair guess that if we don’t stake out our few feet of available public space we’ll miss the parade. And yes, it will rain on my parade. The problem is waiting in the rain. With one hand holding an umbrella and water getting in anyway like a leaky roof, there’s only so much you can do. Reading a book—my default activity—is out of the question. I know very few people here and since I’m acting as a placeholder, there’s nobody to talk to. Tom Petty was right after all.

The parade itself turned out to be a celebration of diversity. Ithaca is what America could be. The various liberal organizations, eager to educate, marched by to cheers and bonhomie. There’s nobody judging here. This became clear in a particularly striking juxtaposition (for which I have no photos, because it was raining) in the parade lineup. A group of Mad Max-themed metal rockers went by in a gnarly truck decorated with torches protruding from fake human skulls. Dressed in future period costumes from the movie diegesis, they produced the guttural, primal roar that is an accusation against current society. Then, like Mel Gibson shifting to The Passion of the Christ, the group immediately behind was a Bible Baptist Church. Add water and mix.

For this I’d sat in the rain for a couple of hours. Forced to relax, I watched the water on the fabric over my head as beads crawled together, joined one another, and scurried, animal-like, from the umbrella to the ground. The drops may look uniform from a distance, but they’re diverse. They come in different sizes, and perhaps because of the distorting character of the nylon, they took different shapes. Placed together in one location, it was natural, it seemed, for them to come together for a common goal, which was the ground. There was a parable playing out here right over my head. While it didn’t seem to be the case at the time, it clearly was a lesson to be shared. Had it been sunny, I would’ve been reading a book. Sometimes it takes sitting in the rain to learn something that should be obvious no matter what the weather.

The Hardest Part

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The waiting, Tom Petty suggested, is a most difficult portion (no copyright violations!). The late, great departed rocker had a point. When I was younger I thought waiting was a theological problem, but the fact is it’s an unavoidable part of life. Right now I’m in that holding pattern between having submitted my files for Holy Horror and awaiting anxiously the proofs. Anxiously because there’s so much going on right now that I’m not sure how I can carve out the time to read them. Time and tides, they say, wait for no one.

I suspect a big part of this is that I have high hopes for this book. Not that I’m being unrealistic. I’m hoping to break that 500 copies barrier that holds most academic books hostage. Holy Horror isn’t really academic—it’s not technical at all like my last two books were—it’s just that the premise is academic. What do horror movies tell us about the Bible? I take that question seriously. You see, I read about the Bible a lot. Whether we want to admit it or not, western culture is based on it both implicitly and explicitly. People who castigate it don’t seem to realize that our very way of thinking is based on it. If you doubt that, talk to someone raised in eastern Asia. Someone thoroughly Buddhist or Confucian in outlook. The way we frame our thinking is based on a biblical worldview over here. It’s smart to pay attention to things like that.

At the same time, we are believers in media. Looking out the bus window on the way home I’m always amazed at how many people on the Parkway are texting while they’re driving (yes, you can be seen from above!). We can’t live without our media. When it comes to the Good Book, most people rely on media to tell them what it says. Horror, although not popular with many people, always does well at the box office. And one of the things I explore in Holy Horror is just how often the Bible appears in such movies. It’s not ubiquitous, but it certainly isn’t rare either. We should take to heart what other people say about us. Not that they know the truth of the matter—they seldom do—but we are social animals and we make our reality based on interactions with others. Those who make horror movies know things about the Bible that scholars don’t. And they know that suspense—waiting, as it were—is the hardest part.

Fictional Facts

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“If you want truth,” Indiana Jones famously said, you need to go to philosophy class. The sad fact is most people have little practical training when it comes to such issues as discerning truth. Some time ago I read an article about how fake news travels faster and is more deeply believed than actual truth. I suspect that’s because the truth is hard. The age-old trope used to be a wizened elder sitting atop a mountain in the lotus position. A lifetime of thinking through the labyrinthian corridors of wishful belief to get to what is finally and unassailably true. Our president, with the full complicity of the Republican Party, is out to dismantle the concept of truth once and for all.

Indiana Jones was contrasting facts to truth in this scene from The Final Crusade. The idea was that facts sometimes make you question truth. In GOP University, however, facts have alternatives. He who bellows the loudest is the harbinger of truth. Never mind that still small voice that comes after the raging wind. The voice that can stop a fiery prophet in his tracks—a man who could raise the dead, for crying out loud—but even his successor called Herod a FOX. In the culture of the shrug, who really cares? Finding the truth is so much navel-gazing. There are real enemies to bomb and somebody has some money that I can take away and claim as my own. To do so we can make up facts as we go along and lies will see us through. With the Evangelical seal of approval.

Even with rumors of a fifth film swirling, I miss Indiana Jones. In his formative days fascists were the enemies, even of the Republicans. Although he was showing his age in Crystal Skull, Jones still couldn’t countenance oppressive regimes. Scientific studies show people would rather believe fake news. We’re hopelessly prone to fantasy, I guess. Even as I volunteered on the archaeological dig at Tel Dor, although I had little money a fedora was required. There was a difference, however. I knew I really wasn’t Indiana Jones. I was digging for facts so solid that they could be held in my hand. Unlike Dr. Jones’ students, I did go down the hall to Dr. Trammel’s philosophy class. Surrounded by the young Republicans of Grove City College, none of us doubted that truth was spelled with a capital T. Now Truth is apparently an artifact buried in the sand, awaiting a hapless archaeologist to bring it to light. Amid all the forgeries that non-specialists can’t tell apart.

Strange Passions

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In Holy Horror I make the suggestion that Mel Gibson’s The Passion of the Christ can be considered a horror film. It certainly has more gratuitous blood and gore than many examples of the genre I’ve seen. Really, I had no desire to see it. One of the great aspects of teaching is learning from students. While an adjunct at Rutgers one of my undergrads brought me a copy of the DVD to watch. She said I needed to see it. Obligingly I did so. I knew if I returned the disc to her without watching she’d ask why I hadn’t. Apart from the famously sadistic flogging scene, it was, like any other Bible film, off base quite a bit of the time. This was commentary, not Scripture.

This came back to me reading Bob Cranmer’s account of his haunted house on Brownsville Road in the book about which I blogged a few days ago. Cranmer didn’t exactly follow orthodox methods for driving the demon out of his house. Some of his tactics were improvised. The one I found the most startling was that in the rooms that were most badly affected he played The Passion of the Christ on a continuous loop for weeks at a time. Not only does this suggest demons are capable of watching movies, but that this film can stand in for the actual events that took place in Israel two millennia ago. If the priests involved objected to this method, he didn’t record it. So we have what could be considered a horror movie being used to try to drive out a real life monster (depending on one’s point of view).

Interestingly, this is one of the points behind Holy Horror. Film (and other media) can be a powerful force in our experience of the world. We don’t just go to the cinema because everybody’s talking about a movie. Our experience of watching it is transformative, if only temporary. The same is true of live theater or a concert. Far from being mere entertainment, these cultural events provide a form of transcendence, if they speak to us. In my own case The Passion of the Christ didn’t sell me on Mr. Gibson’s vision. I have no doubts that Roman crucifixion was a horrible spectacle. I also have no doubts that the Good Book indicates that the point of all of this was elsewhere. The Gospels weren’t an effort to traumatize readers. That’s the job of horror movies. Apparently this is something on which even demons agree.

Movie v. Book

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The debate is about as old as celluloid itself; which is better, the book or the movie? The response obviously depends on personal taste, and I suspect that many people base their answer on criteria that can’t exactly be quantified. Often it’s a matter of the specifics—which book? Which movie? In my own experience I’ve done it both ways, read the book first and watched the movie initially. I’ve even gone to movies not realizing there was a book and, of course, some movies aren’t based on books at all. You couldn’t grow up when I did, however, and not know that The Exorcist was a movie based on a book. I never saw the movie in a theater. There was a lot of buzz about it in my hometown, of course. I hadn’t been introduced to modern horror yet—still being a Fundamentalist at the time—and besides, it was rated “R” and I wasn’t.

I finally got around to reading the book. At this point in my life I’ve seen the movie several times, so I knew how the story was “supposed to go” beforehand. The fact that William Peter Blatty wrote the screenplay suggested it would be close to the novel, and indeed that’s the case. Novels, by their nature, tend to have more information about the storyline than is obvious from a film. The author can take time to explain things that don’t translate visually, including scenes where one character lectures another, like this blog. Since I’m writing a book about demons in movies, I paid careful attention to this. One of the themes from the novel that didn’t make it to the movie was witches.

That surprised me a bit. I had seen the movie first and it was plenty scary just as it was. I had to remind myself that my younger years coincided with the rebirth of the fear of witches. Literal ones. I’m not an astute enough sociologist to say whether the “witch hunts” of McCarthyism led to a hypostatized fear of real witches or not, but people were afraid in those days, as I recall. The Exorcist tapped into cultural fears in a way rare for a horror movie. It spoke to the fears of the era, but it didn’t mention witches. I couldn’t help but make the comparison with Rosemary’s Baby, which hit theaters shortly after The Exorcist. Rosemary believes the Satanists are witches. There’s a whole supernatural concoction of malevolent entities on the loose. Witches, ultimately in the novel, are simply one avenue the desperate Chris MacNeil explores to find out what’s wrong with Regan. The movie, wisely in my opinion, chose to leave it out. Demons are scary enough on their own, but of course even that’s debatable.

Watching Research

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Now that Holy Horror’s been announced, I’m at work on my next book based on horror movies. Although some people might question the aesthetic of the horror genre, these films are sometimes remarkably intelligent and can indeed be good cinema. Having spent the better part of last weekend watching multiple flicks, however, I’ve come to realize that watching films for research is quite different than viewing them for fun. We all know the feeling of going to the theater to be exposed to the mythology of the present day; movies are the new mythology and are a common source of meaning and hope for individuals in a post-religion era. We go for the spectacle and the story. We leave, if the movie is good, with a renewed sense of purpose, or in a thoughtful state. That’s what mythology does.

In writing up my analyses of many films, I’ve noticed how little the detail is generally acknowledged in many synopses. They can make a flick seem banal. I’ve even had very intelligent people ask me why I think watching movies should be considered intellectual exercises. One reason for this, at least in my experience, is how often people rely on what they see in movies to inform them of important things. Historical events, for example. For the average person, an historical recreation on celluloid can provide recall better than a detail from some 400-page tome on the topic. Human beings are visually oriented by nature and evolution. It takes us years to learn how to read, and if we don’t keep up with the practice our ability to comprehend advanced writing atrophies. It’s easier to watch a film.

No doubt movie scripts are available for purchase. To get the message of a film, however, you need to watch. Immerse yourself in a kind of flickering light baptism. Research watching, however, involves multiple viewings. Taking notes. Watching again to make sure you got that detail correct. Some may doubt that this is an intellectual exercise at all. Still, one of the concerns that some scholars feel is that we’ve lost touch with what hoi polloi believe. People have turned to mythology from the beginning of time in the quest for meaning. Science tells us how the world works, but not why. For such questions we need our mythologies, ancient and modern. Since Nightmares with the Bible focuses on demons, I’ve had to construct a cinematic demonology that’s quite different from those of the Middle Ages. It requires, after all, a modern research method for a modern mythology. And movie watching. Lots of movie watching.

Mediated Reality

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According to the Good Book, Methuselah lived nearly a millennium. For all that, the information on him in Genesis occurs in a mere five verses, in a span of seven. We learn when he married, whom he sired, and how long he lived. Not much information of the last antediluvian, especially considering how much time he had. When I searched for him on the web the other day, the information box that showed up on Google had, at the very top, a picture of Anthony Hopkins. I immediately recognized his makeup from Noah, a movie that I just can’t make myself love. The fault for having no other image may be the failure of human imagination—where do we find an image of a thousand-year old?

The internet mediates our reality. One of the points of both my books now in the works is that modern understanding of the Bible is largely media based. Few people have the time or inclination to read such a big book. (Given the continued evangelical support of Trump, it’s pretty clear that most of them haven’t read it either.) We want other people to do the heavy lifting and give us a summary in neat little boxes at the top of the screen. There’s far too many things to do in this tangled web to be spending months reading a ponderous, outdated tome, even if it does have plenty of sex and violence. Even if it influences the lives of each and every person living in America every single day. We’d rather have someone else—preferably not some egghead with a Ph.D.—give us the executive summary.

Once I did the math. If you add up the dates in what I used to call “Genesis years,” the year Methuselah died was the year of the flood. The Bible doesn’t say that old Methuselah drowned when the windows of heaven were opened, but it’s a reasonable conjecture. Nature abhors, it seems, a human being living so long. Our bodies just aren’t built for it. Some trees, on the other hand, have been alive for thousands of years. Botanists call them “Methuselah trees” (I told you the Good Book influences everything!). The pity is we know so very little about this ancient human being from days of yore. Was he a good man? He seems to have been washed out in the sluice gates of what became one great universal sewer at the time. Although we know little, his life would make quite an epic movie, I think. We already have an actor lined up, for Google tells me so.

Updates

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So, I’m getting ready to update this website. I’ll give you a warning before things change. Another update, however, is in order. I’ve been promising that I’d let you know when my forthcoming book with McFarland received its final title. Well, drum roll please! The final title is actually the first title I proposed—Holy Horror: The Bible and Fear in Movies. And it has an ISBN: 978-1-4766-7466-7. And a cover design too, but I can’t share that just yet. It is appropriately lurid, matching the subject. But in all seriousness, the book makes a case for the fact that many people understand their religion via popular media. Being a bad boy, I look at it through horror movies.

The title Holy Horror was a play on Douglas Cowan’s excellent book, Sacred Terror. I recall reading that book, starting the night I bought it as SBL, curled up in the swank conference hotel bed, turning pages until I couldn’t hold my eyes open any longer. It had honestly never occurred to me that religion scholars could get away with writing about horror movies. Cowan had the natural advantage of being a Canadian, something I’ve always longed to be. He also has a secure university post. I was, at the time, just a guy trying to feel secure in what seemed like (and turned out in reality to be) a threatening seminary position that was shortly to end.

It may be difficult to understand how horror can be consoling. It can. I’m a squeamish guy. I don’t like blood and gore. I hate being startled. Nevertheless, I took comfort in this genre as my career was falling apart. Holy Horror was a cathartic book for me to write. There’s more than a little metaphor in it. One thing that will become clear to readers is that the Bible is no stranger to horror movies. Ironically, many of them are strangely conservative—Carol J. Clover’s classic Men, Women, and Chainsaws (which I’ve reviewed on this blog) made that point clearly. Horror often has the same message as your typical Disney film, although it’s presently slightly differently. How so? Well, I can’t say very much here or you’ll have no reason to read my book. McFarland does a great job with publishing this kind of title. You won’t find it in Barnes and Noble, and not likely in your local indie either, but it’ll be available on Amazon and these days that’s enough. And before long these pages will change to reflect its coming.

Re-reading the Rite

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I’ve written on The Rite before. My current book project, however, led me to reread this account after watching the movie based on it a couple of times. The film dramatizes, of course, the somewhat understated demonic activity in the book. The protagonist loses about 30 years in age and isn’t yet a priest. As is usual, the book is better than the movie. Matt Baglio’s story follows Fr. Gary Thomas from parish ministry in California to his discovery of possession and appointment as an exorcist. As part of the Vatican initiative to have an exorcist appointed in every diocese, Fr. Thomas was sent to Rome to take a course on exorcism. His experience was all academic until he began to attend actual exorcisms with an unconventional Capuchin monk. Very little described in the book is difficult to believe.

This time around the curses nabbed my attention. Among exorcists of the Roman Catholic stripe, there is a strong belief in the reality of curses. Not only the reality of curses, but the belief that curses can lead to demonic possession. Knowing that Catholicism has struggled with accusations of being unsophisticated and behind the times, the fact that this isn’t more widely known is pretty self-explanatory. Growing up Protestant, I was always taught that curses are make-believe. They don’t really have any influence on a person’s life. The world of demons, however, is a supernatural one and the concept of curses still holds sway in this universe, as the book shows.

Another arcane aspect that resurfaced when I reread this book is just how elaborate the Catholic backstory is. Many Catholics, it’s clear, distance themselves from such topics as the Devil and demons, but there’s no escaping the Virgin Mary and the drama of Jesus versus the powers of evil, as well as the intercession of saints. The problem is that many of the players are personified in the Bible. It’s pretty hard to say the Good Book got it wrong. That worldview lends itself to belief in supernatural impingement on this sphere. Not that that’s a bad thing. Many people, however, would rather believe in a materialist world with physical cause and effect being the main operating paradigm. Demons complicate all that. But then, so does the idea of Mary being a perpetual virgin, and even the patrilineal heritage of Jesus himself. The Rite brings to the light something many would perhaps prefer to be kept under a bushel. Strange things do happen in this world, and they do tend to respond to the backstory that’s been told. That makes such books difficult to classify, even with the backstory.

Spoiler Alert

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I work in a cubicle. That’s just one word shy of the famed “six word novel” challenges. I’m wondering what qualifier I should add. To understand this dilemma you have to realize a few things. My first professional job (professor) included a three-room office to myself. Also, I am a middle-aged man amid a work-pool of mostly twenty-somethings (everyone else my age has their own office). My cubicle has walls six feet high, so I can’t see, but can hear my just-out-of-college neighbors. Very few people talk to me at work. In fact, I can go an entire week without anyone saying anything to me, right here in the largest city in the country. The office is generally very quiet. You can hear everything. This leads to my concern with a very specific peril regarding work in a cubicle.

Much of the meaning in my life comes from what I read. In addition to all the books I review here on this blog, I have quite a few fiction projects going at any one time. I happen to be reading a book just now that was recently made into a movie. The reason I know it’s been made into a movie? My unseen, 20-something colleagues began talking about it yesterday morning. Complete with spoilers. Now, they couldn’t see the contortions on my face, hidden in my cubicle. The people who sit next to me work in a different department than mine and I have no reason to speak to them—they don’t even know who I am. Should I, like the voice of God, thunder unseen from my cube, “No spoilers!”? Or should I just continue to sit here with my fingers jammed firmly into my ears and hope that when I pull them out I don’t learn anything more about what I haven’t read yet?

I know it’s just me. I don’t read the blurbs on a book before reading the book itself. I don’t read reviews of movies before seeing the film. Guys my age appreciate the craft of story, building up to the reveal, not getting it in Monday morning water-cooler talk. I finally got up and walked away from my desk. There’s nowhere private to go on my floor, so I went to the stairwell and pointlessly climbed to the top floor and back down again. I returned to my desk and they were still talking about it. Not only was it Monday morning in a New York City where nobody had spoken to me in the three hours since I arrived in town, but there wasn’t even a spoiler warning for one of my favorite pastimes. Such are the perils of cubicle life.

Exercising Exorcism

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About the last people, ironically, that you’ll find researching demons are religion scholars. That’s perhaps a slight exaggeration, but there’s an embarrassment to the topic that serious academics just can’t shake. Nobody wants to be thought truly believing in that stuff. Michael W. Cuneo, who teaches sociology and anthropology at Fordham University, isn’t afraid to look. His American Exorcism: Expelling Demons in the Land of Plenty is a user-friendly, often witty look at what is an amazing phenomenon. Exorcism had pretty much gone extinct by the middle of the twentieth century. Then The Exorcist happened. Cuneo makes no bones about it—Hollywood wrote the script on what was to become a somewhat bustling business through the end of the millennium and beyond. And it wasn’t limited to Catholics. Protestants, mainly of Evangelical stripe, cottoned onto Deliverance ministry and joined the fray against the demonic.

American Exorcism reflects Cuneo’s personal account of attending exorcisms. As he puts it at the end, no fireworks occurred. In fact, he’s skeptical that demons exist and he strongly suspects exorcisms work in the same way that a placebo does. He’s well aware that the majority of people he met and talked with in the making of this book disagree on that point. Cuneo himself attended at least fifty exorcisms, both Catholic and Protestant, and shysters among the exorcists were rare. Most were sincere, devoted people who are helping others in distress for no fees, no glory, and no promotion. They see a need, believe they know the diabolical cause, and take the devil by the horns (metaphorically speaking).

There is a solid mistrust between academics with their studied skepticism and exorcists with their eyewitness accounts that defy belief. Cuneo suggests that even what they think they see may not really be happening in the real world. My question, coming down to the end of the fascinating book, revolves around what exactly this real world is. There can be no doubt that present day concepts of exorcism are largely based on “the movie.” Cuneo seems just a bit reluctant to say what I also declared in my forthcoming book—pop culture, the movies, dictate reality for many people. At least in the realm of religion. Sacred institutions have lost their authority to make ex cathedra pronouncements about what is real and what is not. Few bother to, or can, delve into the tedious work of reading academic studies on the subject. It’s far easier to let the unseen presences behind the camera take over. Isn’t that what possession is about, after all?

Down the Road

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First of all, thank you to my regular readers. I’ve been making daily posts on this blog since July 2009—nearly nine years of illustrated commentary. It seems, however, that I’ve reached my limit. My storage limit, that is, on Word Press. As a result I’m going to be upgrading my account. Now, I’m enough of a Luddite to be uncertain of how this might impact any auto-updates (I flatter myself to think there are some) or links to this blog. I’m planning on continuing Sects and Violence in the Ancient World, but it will be but one page on a website that will offer the opportunity for me to go into more detail about my books. I don’t know how it will look yet, but it shouldn’t be disappearing from cyberspace.

Timing, as they say, is everything. It’s never been my strong suit, however. My current book still has no final title, so it’s a little difficult to promote it properly. Oh, it’s finished, and in the hands of the publishers, and although I can give it its own page, I can’t really title it yet. Perhaps in the height of hubris, the new layout will have pages for my previous two books, A Reassessment of Asherah and Weathering the Psalms. These were both academic titles with very limited sales, but they represent a significant portion of my life and I’d rather not have them completely forgotten. My latest book is for a more popular readership, but I don’t have the platform to interest agents (not for lack of trying), so I’m incorporating it into a website that will allow for its self-serving promotion. So embarrassing. You can imagine how red my face must be.

By the way, there’s another book about half-written. (Actually, there are several, but this one looks like it might actually appear.) A new series has been announced—I’ll write about it once I learn if my proposal has been accepted—that follows my own aesthetic closely. In conversation with the series editors, I’ve put together a proposed book based on my current work. If it happens, a new page will pop up on this future website I’m envisioning. Since I’m no Luddite, I can see possibilities for these pages. The blog will continue with its daily babbling. I’ve been doing this so long I wouldn’t know any other way to start my day. Combined with the hubris of those who spend too much time in supernatural headspace, this could be interesting. If you’re search brings you to what looks like the wrong page, please persist. Sects and Violence will be only a click away.

Panthers and Prophets

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Prophetic is a word I seldom use for movies. Prophetic, by the way, doesn’t mean predicting the future. Prophecy was about establishing rightness on the earth. Dress it up with God or dress it down to a girl being shot for wanting an education, prophecy is a necessary ingredient in being human. Black Panther is a prophetic movie. I don’t keep up with comic books, and many regions of the Marvel Universe are unexplored by me. I have no idea if the comics bear the strong message of social justice that this film does, but I left the theater blown away. If those who have the power could only be interested in good rather than personal gain, what a world we could have.

The message of not making race, but humanity, central is one that we have yet to learn. It is so basic, so simple that a child understands it. Somehow world leaders don’t. Any secret advantage is kept in order to make things better for ourselves. To make us feel more secure. To put us in the place of making decisions for others. In Black Panther even the enemy isn’t evil. Humanity is it’s own enemy. We sometimes forget that we have it within our ability to make life fair and equitable. We can share what we have and end jealousy. The Gospel of Adam Smith, however, has supplanted that of Jesus Christ. Just ask the one-percent. The one percent who haven’t most assuredly seen this movie.

I had no idea what to expect when I walked into that theater, but it was nothing short of an epiphany. As it has been from ancient times, one can always tell when they’ve been in the company of a prophet. We’ve come to dislike prophets because they make us uncomfortable. They possess something we can’t have. Integrity. The dignity of the conviction of what anyone can see is rightness. Such things can’t simply be taken, crammed onto a boat, and sold. Prophets bear the burden of speaking the truth. Black Panther may be unlike most prophets in that it is reaching a huge audience. And rightfully so. It is the antidote to the poison that’s surging through the veins of this country for far too long. Even those who will dismiss it simply as another fantasy—it’s a superhero movie—need to see this vision of what a world can be. It’s not very often that a prophetic movie appears, but the days of prophecy, it seems, aren’t over yet.

On Time

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Getting to the movie theater is not only costly, but increasingly difficult to schedule. This can be problematic for someone who likes to write about movies, but the realities of the commuting life aren’t very malleable. So it was that I finally had a chance to watch Arrival, on the small screen. It had been recommended, of course, and although it’s not horror it has aliens and a linguist as the hero—my kind of flick. Once it began, I wondered if religion would play any role in the story. Alien contact would certainly rate as one of the more formative religious events of all time. The only reference that was obvious, however, was the suicide cult shown on a news story in the background, immolating themselves as the aliens became known.

Louise Banks, a linguist who has security clearance, has a sad story. Spoiler alert here! If you’re even more tardy than me you might want to fire up Amazon Prime and read on afterward! The movie opens with her watching her daughter grow up, only to watch her succumb to a rare disease as a young woman. Then the aliens arrive and she’s whisked off to Montana to try to communicate with them. It’s only after repeated encounters, learning the written language of another race, that she asks who this little girl she keeps dreaming about is. The child is in her future. The aliens see time as cyclical, not linear, and by learning their language she begins to think like them—knowing the future holds a tragedy for her. The intensity of the experience makes her fall in love with Ian Donnelly, another academic, who will become the father of her child but who will leave when she reveals the future to him.

Just as the aliens prepare to leave, not religion but philosophy takes over. A question posed by none other than Nietzsche goes: if you could live your life over exactly the same as you lived it this time, would you? Nietzsche’s point was that those who say “no” deny life while those who answer in the affirmative, well, affirm it. Ian says what he would change. Louise, however, embraces life with the tragedy she knows will inevitably come. While religion is off in a corner doing something that shows just how nonsensical belief can be, philosophy stands tall and faces the difficult question head-on. Although the movie follows some expected conventions—aliens bring peace but militaries want war—it rests on a profound question to which, I’ll admit, I haven’t got an answer.

Apologizing for Whatever

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Maybe you’ve felt it too. The insecurity of liking something other people don’t. Having grown up an Evangelical, I had to try to explain myself at multiple points for liking scary stuff. I love Halloween. I spent my young Saturday afternoons watching monster movies on our black-and-white television. After losing a long-term job at a decidedly gothic seminary, I began consoling myself with horror films. I don’t know why. I also don’t know why other people shun those of us with this particular habit. It’s not like I’m going to make you sit down and watch them with me if you don’t want to. You don’t even need to buy my book, and if you do (thank you!) you don’t have to read it.

One of the issues I’ve often grappled with is why “Christians” dislike horror. Reading the accounts of the martyrs is way worse than almost anything I’ve seen on screen. Revelation, let’s face it, is a horror show of Schadenfreude and ultra-violence. The Calvinistic idea that God would create the vast majority of people to burn in an eternal Hell of fire for reasons best kept to himself (yup, he’s a guy) is hardly charitable. So why do Christians say you shouldn’t watch horror? One of the observations from this lowbrow viewer is that the message behind horror is often good. Moral. Ethical even. We have trouble getting around the form of the message to see its substance.

I seldom talk about horror movies. Maybe that’s why I write about them so much. But the fear of judgment remains strong, even with maturity. The lurking Evangelical fear is that watching horror will entice the young to become interested in evil. I think it’s fair to say that all Christians are somewhat fascinated by evil—where does it come from? Why doesn’t God stop it? Horror films seldom glorify the monster. The protagonists, often flawed, fight evil and sometimes succeed. Do I really need to justify this interest at all? It’s no exaggeration to say that, although no longer an Evangelical I still feel the weight of both their stares and those of others who can’t understand why a nice guy watches such unbecoming things. My book doesn’t answer those kinds of questions, but it may contain implicit answers within. Of course, you’ll only know that if you read it. Not that I’m asking you to do so—it doesn’t even have a title yet.