Unconventional Resurrection

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GospelLivingDeadWith talk of resurrection in the air, it seems natural to turn to zombies. In this internet age the monster of choice seems to change from day to day, but since the turn of the millennium zombies have been a contender for popular favorites. In a world where many of us feel zombified by our work, this is no surprise. Late capitalist power structures drain the life, leaving only the shell. In a situation where zombies appear so frequently, it is difficult to keep current. I bought Kim Paffenroth’s Gospel of the Living Dead shortly after it was published. Subtitled George Romero’s Visions of Hell on Earth, it saves itself from too my obsolescence by taking the narrative from Romero’s movies, and one remake, thus leaving room for the many other zombie movies to come and go. While it does make reference to 28 Days Later and Shaun of the Dead, most of the discussion stays pretty close to Romero, taking the reader through his quaternity of movies in the genre.

Roughly paralleling Romero’s oeuvre with Dante’s Inferno, Paffenroth treats the movies theologically. Not surprisingly, sin and ethics play a large part in his analysis. The undead, after all, are not un-spiritual. As I read along, however, I often thought how a western Pennsylvania connection gives some insight into what Romero is trying to do. Perhaps we are in danger of over-reading without the context (what biblical scholars call isogesis, but which post-modernists call simply reading). For example, some of the place names are given a theological significance in Gospel of the Living Dead that some of us who grew up in the area recognize as just another town. This always comes home to me when watching Night of the Living Dead. The posse out to hunt zombies always reminds me of people I knew in high school. After all, the first day of buck season was a local holiday.

Still, I have trouble seeing Romero agreeing with the dialogue revolving around sin. Yes, his first two movies were as much social criticism as they were horror. The Vietnam War and consumerism were true evils to be cast in parables and shown to the public. Zombies were prophets. Paffenroth suggests that zombies will never become mainstream commodities, but time has shown that even zombies can be bought out. World War Z was a Hollywood extravaganza. The Walking Dead is hardly the domain of outcasts and pariahs. Romero’s monsters were, alas, not more powerful than capitalism. Even zombies can be purchased. Zombies and vampires can indeed earn money, and resurrection itself comes with a price.

Overboard

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NotWantedOnTheVoyageThe story of Noah has long fascinated me. The world of early Genesis is so mysterious and compelling—a mythical time when all the action seemed to be taking place in just one bit of the world, and events were always momentous. Noah, the new Adam ten generations on, stood out as the prototypical good guy. The sort of fellow you’d like living next door. An everyday hero. The movie Noah, however, introduced a dark and brooding ark captain whose unyielding devotion to his own concept of righteousness led to a tormented journey over the flood. I wonder if Darren Aronofsky read Timothy Findley’s Not Wanted on the Voyage. Recommended to me by one of my students, this novel was difficult for me to categorize. At first I thought it might be a funny story—despite the tragic overtones, there is much in the flood story that suggests humor—but no, it was more serious than that. Noah was cast in a primeval, post-Christian world where elements of the twentieth century were freely available, while others were not. And more troubling, Noah was not at all a nice guy. Indeed, he is one of the best written antagonists I’ve encountered. You shudder when he enters the room.

Apart from Noah, however, the novel explores the premise that Yaweh [sic] sent the flood as a final, dying act. Old, feeble, yet the creator of everything, the deity is ready to give it all up as the absentee landlord who has no idea what’s happening on earth. The reader feels little sympathy for the divine. Like humanity, he set something in motion he has no hope of controlling, yet which he can destroy. As he is about to die, unbeknownst to all humans, he sends the flood. Noah, six-hundred years old and senile, oversees his ark with an iron hand. His religion has made him cruel, and I was frequently left wondering whether those who survived were more fortunate than those who did not. As a fantasy the story works, with well drawn characters and a devious plot. The problem comes in trying to reconcile it with a Bible story all too well known. In the end we’re left wondering if the flood does really ever end, and, if so, does anything turn out okay.

Known for his dark, conflicted characters, Findley adds a macabre dash of the improbable to an already unbelievable story. Mrs. Noyes, aka Mrs. Noah, is perhaps the most sympathetic character in the novel. Her son Ham, cursed in the biblical version, is clearly the best son, but one his father dislikes by reason of his love for science. Part morality play, part farce, Not Wanted on the Voyage can be a disturbing novel, rather like the movie Noah. That’s not to suggest there’s no message here. I see it as a cautionary tale of a misplaced faith taken too far. Instead of pleading to save humanity, Noah seems only to glad to let all but his own be wiped out. His sons disappoint him, and the one daughter-in-law he appreciates disappoints him in the end. Perhaps this is what destructions are all about. Does any flood really have a happy ending?

A Night at Culture

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AmericanMuseumOne of the undisputed benefits of living in the greater New York City metropolitan area is the potential for culture. I know that culture exists everywhere, and that is precisely one of the points behind Douglas J. Preston’s Dinosaurs in the Attic. I picked this up at a used book sale because of my love of dinosaurs, but the subtitle provides more of a description: An Excursion into the American Museum of Natural History. Just when the first Night at the Museum movie came out, the American Museum of Natural History offered a program of nights to sleep in the museum, geared toward children. A generous family member bought us tickets and we got to sleep in the oceanarium under the giant whale dangling from the ceiling. We were allowed to explore galleries by flashlight, including the most famous collection of dinosaurs in the world. Who wouldn’t want to read about the backstory of such a museum after such an event?

As might be expected, with roots in the late nineteenth century, it was a different world in which this museum was conceived and built. Rare animals were shot to be part of exhibits, artifacts were acquired and shipped across national borders, and even world-class bird collections were bought to help an indiscrete baron avoid the humiliation of having an affair revealed by a blackmailer. Still, the religious element was clear. One of the founders for the museum, Albert Bickmore, went off in search of artifacts with his Bible tucked under his arm. Exotic places and peoples were still allowed to be called exotic, and the museum eventually became famous enough to star in a movie.

What struck me the most about this fascinating story, however, is when Preston points out that the most fragile, and valuable possession of the museum are the myths. Early ethnographers visited peoples that, even then it was already too clear would become extinct (culturally), and recorded their religious stories. This, and not the thundering Tyrannosaurus Rex, was the true purpose of the museum. Museums are about people. What we discover, what we make, and how we impact our planet. Myths, religious stories, are some of the most unique and delicate pieces of information that we can leave behind. Even materialists have beliefs. We all believe in something. Although nobody goes to a Night at the Museum to read dusty old stories, it is a source of comfort that they are there. Many of the cultures have indeed died out. Were it not for the foresight of those who could see where globalization would eventually lead, they would have been forever lost. And a world without myth is not a world worth living in.

Lazarus, Come Forth

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The red-cast face staring down from the giant LCD billboard this side of the Lincoln Tunnel has my attention. Having become an unwitting fan of horror movies, the genre was clear from the creepy, black-eyed gaze that found me even in mass transit. The Lazarus Effect, it said. I stored the information away knowing that it would be a movie I’d have to rent and watch alone—I don’t know many other true fans, and I don’t like going to a theater by myself. Then I started thinking about Lazarus. The man raised from the dead, according to the Gospels. When I was a child I always confused this Lazarus with the one from the parable of the rich man and Lazarus. I’d never known anybody with that name, and to find it twice in the same book must imply, at some level, that they were the same guy, right? I mean, they’re both dead. So my juvenile thinking went. In the parable Lazarus, whose wounds are licked by dogs, is taken into the comfort of heaven when he dies. The rich man, it turns out, isn’t so lucky.

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This was a bitter cold day. Dressed like I was headed to McMurdo Station rather than central Midtown, I tried to keep my head down as the wind howled through the channels constructed by excess wealth. I am always distressed to see the homeless out and about on such days. I’ve got on more layers than an onion on steroids, and I’m still chilled through. What must it be like to face such weather threadbare? There, on Madison Avenue I saw a dog being taken for a walk. He had on a warm sweater and fancy purple slippers to keep his canine feet from touching the cold ground. That dog was better dressed against the cold than some of the people I’d passed. I thought of the dog licking the sores of Lazarus. “Father Abraham, have mercy on me,” the rich man cried.

“Son, remember that thou in thy lifetime receivedst thy good things, and likewise Lazarus evil things: but now he is comforted, and thou art tormented.” The words are almost as harsh as this wind. We’ve become a society that will spend more readily on our pets than on our compatriots. Dogs, at least the breed I saw on the street, have evolved to grow thick coats. I’ve seen pictures of huskies running across the snow like their wolfen ancestors. Indeed, the wolves, where we’ve not hunted them to extinction, still manage in the winter. But then, there’s the Lazarus Effect. I’m feeling guilty thinking about putting out the money to rent it, several months down the road. There’s a real life Lazarus who could use any spare change right now. And the well-heeled dogs, I’m sure, would be made to turn up their noses from even getting near enough to lick his wounds.

Ultimate Superlative

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“Push men too far and they fall off the cliff.  Push great men too far and they soar.”  The words are those of my novelist friend K. Marvin Bruce.  Unless you read this blog you’ve probably never heard of him; his novel publishing record is about as successful as my academic career.  Still, I think quite a bit about Marvin’s plight.  He seems to be a gifted writer—he sends me copies of his stuff—but publishers take no notice.  He’s had a few short stories appear in online journals; two of them even won prizes, but the internet is a very crowded place.  It’s not easy to get noticed. Those who try to make a living smithing words often face a dilemma; it feels like all the momentous words have already been taken.

Marvin on a superlative walk

Marvin on a superlative walk

I mentioned in a recent post that we are suffering from a crisis of superlatives.  The other day I was in a mall (this is a foreign activity for me—the people all look far trendier than I do, and they seem to think this is the place to be, not just where you have to go to have your laptop serviced).  I saw a mother walking by holding the hand of her maybe three-year-old son.  His little tee-shirt read “Über Awesome.”  I recall when awesome really meant full of awe.  And that was rare, reserved for things like towering, severe Midwestern thunderstorms alive with constant lightning, or gray north Atlantic waves crashing mercilessly into the cliffs of Maine. I stood, small and insignificant on the prairie or the coast, utterly at a loss for words. Yes, it was that impressive. My superlatives, however, have all been absconded. We live in a world where “greatest” sounds somewhat ordinary. Even the apocalypse has grown thin from overuse, and that used to be the ultimate end of everything. How weak it all sounds.

Over the past few weeks I’ve been watching the second Star Wars trilogy. While the special effects are impressive, it suffers compared to the original trilogy. One of the reasons, in my idiosyncratic hermeneutic, is that the Jedi knights were reconceived, or reconceptualized. They are action figures, hands on hips, ready to dart into a fight. “May the force be with you,” has become a mere “God bless you.” Was not the real strength of Obi Wan his silence and lack of haste? Was Luke ever more impressive than when he slowly walked into the cave of Jabba the Hut, light saber tucked away, only to be used when such an awesome weapon was called for? It takes a certain placidity of soul to stare long into the abyss. Perhaps this is a metaphor for our superlatives. Calm lives of measured, considered action. This seems to be what the world lacks. To find it would truly be experience simple greatness.

Jedi Night

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Star_Wars_Phantom_Menace_posterIt all began with that trailer. You know, the teaser for the new Star Wars movie. I was among those many small-town boys crowding into theaters in 1977 to have their small-town minds blown with a Luke Skywalker, somehow just like us, getting to go on a galactic adventure and conquering evil. It was a transformative experience. Later I was to learn that noted Jungian mythologist Joseph Campbell had advised on the story, helping to produce image after archetypal image that spoke to deep levels of viewers’ psyches. Hungrily we watched, as even through some missteps, the franchise grew to trilogy proportions, creating its own cultural memes (has “I am your father” ever been the same since?). Then somehow I missed The Phantom Menace, or episode one. It could be that work at the time (Nashotah House) was an epic struggle in its own right. With a small child and not sure about baby-sitting options, taking a night out to watch the prequel to a story that had already nicely resolved itself felt kind of pointless. We already knew how it ended. But that trailer. Now it seems, the story will continue.

So it was that my wife and I decided to catch up. Over the weekend we watched The Phantom Menace. Of course, I’d seen clips before. I’d also read the reviews that were less than complementary (Joseph Campbell had died in the meantime and George Lucas couldn’t seem to come up with archetypes on his own). I was curious, but not curious enough to rent the video (as people did in those days). So The Phantom Menace, cast from the same die as episode 4, also has a strong religious resonance. The Jedi (and already the religion of Jediism has begun to appear) filled the backstory with near invincibility, and all the aliens seemed somehow comic, yet we are told remarkably little about the Force. Perhaps episode 4 had said enough. When Darth Vader is introduced as a prescient boy, the audience (at least this audience) finds it hard to believe he is the result of a virgin birth. Indeed, Lucas throws us the midi-chlorians as a sop, but we know that when a woman gives birth with no male intervention we’re in messianic territory. And of course, non-Muppet Yoda tells us straight up that he may be the chosen one.

Introducing the Sith, who are the embodiment of the dark side of the force, we are treated to a devil in only a thin disguise. The red and black greasepaint warn us that when he removes his hood he will have horns. Although we’re not shown, I suspect he has cloven feet as well. So through the movie with its gratuitous cameos of creatures we already know from episode 4, we come to an end that is strangely familiar. We’re back where we started. The Jedi favor earth tones over white, however, and the Sith is neither all red nor all black. The evil of the galactic empire seems to be no more than the very real overtaxation of the poor. And yet for all my disappointment, there’s that trailer we all saw in December, and using my own version of the Force, I foresee an attack of clones in my future.

Sporting Chance

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I didn’t watch the SuperBowl last weekend. In fact, I haven’t had television service for over two decades now. I don’t really miss it too much since I don’t have time to watch TV (the commuting life leaves time only for sleeping and working, except on weekends). Still, for special events, I think, it might be nice to see things live. (My wife raises this point every time the Olympics roll around. I seem to recall them being every four years, but now it seems they’re seasonal, and about twice as frequent. Could it be that advertising revenues are really that important? Maybe I missed that, not having television…) Even when I have managed, over the last couple of decades, to pull the SuperBowl onto a fuzzy, snowy screen, it was for one major reason—the commercials. I wonder what that says about a society? I now spend precious weekend time watching commercials on YouTube, sometimes having to watch a commercial for the privilege of watching a commercial. The substance without the fluff of the actual entertainment.

So it was that I saw the Mophie commercial about the apocalypse (here’s the link, in case you’re as entertainment-challenged as I am). So as the world comes to an end, the weather goes even more wonky than we’ve already made it go, Fortean fish fall from the sky, dogs walk their owners and priests steal plasma television sets. Then the punchline, God’s cell phone dies and the end of the world ends. It isn’t the shock of seeing an African-American God—Morgan Freeman led the way there with Bruce Almighty—but rather the technique, the divine delivery, if you will, that is the shock. Not even God is anything without his cell. (I wonder when we’ll see a Latino woman as God? Dogma came close, but not quite.) Is the smartphone really not the deity here?

God, it seems, has become a null concept. I don’t mean because of different racial or gender presentations, but I do mean that the concept itself is completely up for grabs. God, according to Anselm of Canterbury, is that being greater than which nothing can be conceived. In fact, God seems to be that which people worship, more of a Tillichian ultimate concern. A wired world should, in theory, be a world headed toward peace and equality. If we know what’s going on everywhere, shouldn’t we be doing our best to ensure that it is fair and just? The truth of the matter gives the lie to such optimistic musings. I would hate to confess just how much my phone bill is every month. Even without the “triple play” (no television) it is the biggest expense after college tuition and rent. And it goes on, in saecula saeculorum. When I pull out my smartphone, I gaze upon the face of the Almighty. And perhaps that’s a good thing, because how else would I entertain myself without television?

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In honor of the fifty-year anniversary of the release of Dr. Strangelove this past week, my wife and I sat down to rewatch the movie this weekend. Psychologically, as Kubrick found out, dark humor was the only way to deal with the sense of doom that pervaded the world into which those of my generation were born. Nuclear weapons had been developed and the Cold War was in full swing. Somehow, even in small-town America, I didn’t find Communism to seem so awful. After all, I grew up reading the Bible and it sounded quite a bit—at least in theory—like the arrangement the apostles had made in the book of Acts. The idea of private property, the very spine and muscular system of capitalism, was considered a sure way to lead to God’s kingdom not being established on earth. Nevertheless, that is the way, as the phrase goes, that the money went. And Communism threatened the right of one percent to horde all the money, so we were ready to annihilate all human life for it. Talk about taking your marbles and going home! No child should grow up knowing the meaning of the phrase “mutually assured destruction.”

Dr. Strangelove has held up well for the half-century since its release. Despite the thawing of the Cold War, the big chill isn’t over yet. And humor still seems the only way to keep sanity and deal with the state of the world. There are still many General Turgidsons out there (some of whom have held very high government offices, and this is no joke). There are at least, as far as we know, fewer General Rippers. So we hope. As the bomber crew nears its target, Major Kong goes over the contents of the government issued survival kit, among which is a comically small Russian Phrase Book and Bible combined. Kubrick, a master of satire, has the godlessness of Communism thrown time and again across the lips of the hawks. It is better to kill everyone than to allow the godless to rule. Even the Bible, however, shares space with the Russian phrasebook, making us wonder whether it is a tool of conversion or an admission of inevitability. Still the bomber, piloted by a Texan, flies on.

Perhaps the biggest moral dilemma we face is our ability to destroy hope. Capitalism promises opportunity to all. Like many who grew up poor, however, I have found lies hidden in plain sight. It is not easy to move ahead if you choose to mire yourself in debt to get an education. In fact, if you lose a job in higher education you can easily find yourself adrift for a decade or more, not earning any retirement money and being frequenly sought out by your local universities as an adjunct instructor. In fact, at many points your career might look like the end of the world. So it is that I take great comfort in settling down to watch Dr. Strangelove again. At least it is an honest movie, and that hasn’t changed in the past half-century. And I think I may have been wrong about how few General Rippers there really are.

Divergency

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

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

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

Land’s End

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Although not due for release for another two years, the internet is already buzzing about Pirates of the Caribbean 5. Thing is, once a studio finds a successful formula, they’re reluctant to let it go. Nevertheless, with a couple days off for New Year’s, and all the family here, we decided on a marathon of the four movies available for home viewing. I used to use a clip from the second movie (Dead Man’s Chest) in my classes to demonstrate how the Bible is portrayed in popular culture. In the scene where Pintel and Ragetti are rowing toward the beached Black Pearl, Ragetti is leafing through a Bible, although he can’t read. He says, in his defense, “It’s the Bible. You get credit for trying.” Indeed, the Bible appears disguised as the huge codex of the pirate code (a kind of over-compensatory pentateuch), and, as I noted before, the book that saves the mermaid’s life in On Stranger Tides. In fact, for those willing to look behind the scenes, the Bible shows up repeatedly in the series.

Even as a landlocked child maritime themes and concepts were compelling to me. I yearned for the ocean without ever seeing it. Long I stared at the cover of Rachel Carson’s The Sea Around Us in wonder. When I finally had the opportunity to strike out on my own, it was to Boston I headed, with its rich New England tradition of the sea. I have tried, ever since, to return there. Theologians, although I don’t count myself among their number, have often found a religious resonance with the sea. The Pirates of the Caribbean movies, based as they have been on a Disney ride, nevertheless manage to tap into the romance of the ocean. Not compellingly written, apart from the fun antics of Captain Jack Sparrow, they don’t present an entirely coherent story line, but they do put the viewer, vicariously, at least, on the ocean. And they have been among the most successful film series ever released. Many, I suspect, are drawn by the lure of the open ocean.

Rewatching the films also reminded me of Cthulhu’s influence on the character of Davy Jones. The origins of the euphemism “Davy Jones’ locker” are uncertain, although some trace it back to Jonah. Nevertheless, it stands for the place of death on the sea floor—the very place where Cthulhu lies dead but dreaming according to his creator H. P. Lovecraft. No doubt, Lovecraft’s description of Cthulhu played into the depiction of the character of Davy Jones as presented by Disney. At the end of At World’s End, Jones falls dead, once again, into the maelstrom that will take him back, dreaming, to the ocean floor. In so doing he participates in the endless give and take of the sea. I suspect a couple years hence will find me in a theater to watch what seems a somewhat tired trope, but it will be more the sea than the sparrow that will draw me in.

Photo credit: Anthony92931, Wikipedia Commons

Photo credit: Anthony92931, Wikipedia Commons

A Lot of Salem

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

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

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

Overcoming Justice

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In college a friend I’ve lost track of (and I have, of most of them) turned me on to Irish protest music. I do have some fairly direct Irish heritage, although I didn’t know it at the time, still the righteous anger tied to memorable tunes made a strong impression. Music can move you in that way. In a recent New Jersey Star-Ledger article on protest songs, Lisa Leff raises the poignant question of where the protest songs have gone. In the aftermath of the travesty of justice in both the Michael Brown and Eric Garner cases, we find ourselves musically mute. As I sat in the theater awaiting Exodus, the preview of Selma brought tears to my eyes. Martin Luther King Junior knew the power of peaceful protest. “We Shall Overcome” featured in the trailer. Would there be an exodus after all of this at all? We used to voice our discontent. Now we click on to the next page, oblivious.

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Justice has become a myth for many. Please understand, I’m professionally bound not to use “myth” in a pejorative way. No, justice has become a myth. Fear is powerful, and power is fearful. Juries are supposed to be impartial. Who is really not afraid? Why don’t we sing in the dark instead of drawing our weapons and firing? Why don’t we believe “I can’t breathe” is a statement made in earnest? Why don’t we insist on the “for all” part of the pledge? After all, even some recent presidents not known for their sense of social justice have pointed out that these court decisions are puzzling. I wonder where I put those old Irish protest-song records?

Anything you say can and will be used against you. I don’t know what to say. We have lost the ability to experience justifiable outrage. We see powerful lobbies continue to arm the mentally unstable while one percent hordes the wealth that could be used to help fund the solutions. If you walk past Trump Tower you’ll see that visitors are not welcome in one of the highest buildings in the city. We have forgotten how to sing. These most recent cases of Brown and Garner are only the most recent cases. Violence in the name of law has gone on for too long. I’m afraid when I rush past the fatigues in the Port Authority on my way to work. But I am a white man. Do they know that I used to listen to Irish protest music? I wonder where I put those records. Wait a minute, there’s something new in the iTunes store.

Not Your Grandma’s Moses

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Exodus Gods and Kings

Exodus: Gods and Kings is, in many ways, a startling movie. It didn’t leave me with a strong impression of profundity, but it did make me a bit reflective. The media hype about God as an eleven-year-old boy proved to be merely hype. In fact, the boy deity was one of the most intriguing characters in the film. The role was played respectfully, and God, like a good Englishman, favored his tea. There was nothing comedic about it, however. More troubling was the agnostic Moses, à la Clash of the Titans with its unbelieving Perseus. Moses, even after meeting God, comes across as having little interior life. He hides in a cave and builds an army of terrorists making him seem like Moses bin Laden. He conceals himself while innocent Hebrews are hanged for his crimes (and did they even hang people in ancient Egypt?). When a great storm brews over Memphis, however, it is with a sense of wonder that we ponder at an eleven-year-old doing all this.

The movie plays lightly with the scholarly “explanations” that used to be doled out in seminaries about how one plague led to another. In fact, the character called “the Expert” in the credits is shown lecturing the Pharaoh on the causation scheme of clay churning up in the Nile turning it red, and killing the fish which in turn drove the frogs from the toxic water, but when they died flies came along and the flies spread disease. Then the Expert is hanged. Not so subtle a warning to biblical scholars. In fact, there seems to be a science behind much of the movie that makes miracles less acts of God than acts of nature. Even the drying of the Red Sea is understated. Its return is reminiscent of the Christmas Tsunami of 2004. God is sometimes not there when you’d expect a deity to care.

On the matter of caring, for an age of nones who have concerns for equality, the film was thin on women’s roles, making even the Bible appear to foreground them more. Sigourney Weaver—great in any context—seems only to be there to wish Moses dead. Even Miriam is given scant lines in the movie and no role in the Exodus itself. In Prince of Egypt she at least led her famous song. Zipporah is lovely but shows no sign of being as handy with a flint knife as Exodus makes her out to be. A woman of action. Miriam’s quick thinking saved the infant Moses. Overall, however, the Bible is a guy’s book, and Exodus is a guy’s flick. Opening with the battle of Qadesh on the Orontes is a way to draw men to a Bible movie. Lots of slashing, gashing, and charging horses. And the splendor of Egypt, filmed in Spain and the Canary Islands. Some miracles, it seems, are even impossible for CGI.

Behind the Exodus

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Over this past week two of my friends/colleagues were quoted in major media outlets about Exodus: Gods and Kings. Being merely a blogger with nearly two decades of teaching Hebrew Bible means, naturally, that I have nothing valuable to say. Nevertheless, I would meekly venture to make my own observations and cast them out there into the world-wide web and see what happens. I haven’t seen the movie since it only opens tomorrow. I already know it is only loosely based on the Bible. Still, I wonder at the talking heads who constantly declare the Bible to be irrelevant to a throughly modern world. Okay, so I realize that this is about money, but Manhattan is often seen to be one of the more sophisticated cultural landmarks in the country. This summer I couldn’t walk more than a book or two without being inundated with Noah posters. Now I am finding the same with Exodus paraphernalia. If we try to put the Bible away, it seems, it will come to find us.

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The Bible, relevant or not, is full of great baseline stories. Even in a secular society we can see the appeal of Noah and his menagerie to young children who are so fascinated with animals. We decorate youngsters’ sleepwear and toys with elephants and lions and giraffes (interestingly not mentioning that these are primarily African animals) aboard an ark with an unfailingly cheerful Noah. Now we have another classic—the great liberation story (also set in Africa) of a people held in bondage being released by divine command. We are a post-Christian society, according to the pundits, so who this divine one is remains an open question. The idea that one people is kept oppressed by another people, however, is presented as unequivocally wrong. Moses rides out on a horse, weapons in hand. Are we not focusing on the larger point yet?

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This latest love affair with the Bible as a source of great cinematography will not last forever. It will surely ebb away until only a few old blog posts might remain to remind us there was a time when Holy Writ inspired screen writers and directors. Nevertheless, the Bible bides its time. Back in the days when I used to teach Hebrew Bible Hollywood didn’t do too much to help out. Students had to slog through pages of picture-less Bibles to get the gist of the what God had in mind. The results may not be the same from those comfy seats in movie theaters, but a future generation will come to see Charlton Heston as a white man who loved guns being overcome by a newer generation of producers and directors who know there is a larger story here. Of course, I’m only a blogger with no credentials. Still I know what I see on the streets of the city.

Manitous

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ManitousOne of the yearly autumnal rituals we’ve established is the watching of Escanaba in da Moonlight. It is a silly, crude, and profound movie that revolves around Native American lore—namely, the creature known as the bearwalk. Despite the high level of interest in monsters on the internet, the bearwalk continues to be elusive. Robert C. Wilson wrote a novel, Crooked Tree, about this Ojibwa legend, but academics have seldom explored it. The few resources I found pointed me to the wendigo. Wendigos are frightening spirits of the forest, sometimes presented as skinwalkers, or shape-shifters, who prey on unwary human beings. Some writers call them werewolves, but this isn’t exactly correct. Frustrated at finding no solid information, I picked up a copy of Basil Johnston’s The Manitous: The Spiritual World of the Ojibway. Johnston, who is Anishinaabe, writes to preserve the heritage of his people.

Manitous don’t have a direct equivalent in English. Some have been inclined to designate them as gods or spirits, but they inhabit that strange realm that overlaps with humans as well. The Ojibwa viewed the world as more animate than western science allows. People were part of this larger universe, but were not the sole end of intelligent life. The tales in this book map out an unseen territory where manitous may be found in lakes and streams, in the hearts of trees, in the early prototypes of humankind, and yes, in the wendigo. The wendigo (also spelled windigo or weendigo) is a representation of excessive acquisitiveness. They often begin life as humans, but become cannibals. As they eat other people their hunger grows, along with their bodies, and they cannot be satisfied. The more they eat the more their hunger remains. They are, therefore, extremely destructive, roaming the woods seeking human victims.

Throughout The Manitous, Johnston gives little in the way of editorial comment. One of his stories is a parable for the coming of Europeans and their subsequent treatment of Native Americans, but most of the tales are of the natural world. The wendigo occupies the last chapter of his book. Before putting the matter to rest, however, Johnston makes a poignant and valid point. Although the Ojibwa no longer believe in a literal wendigo, the treatment of the earth by corporations has taken its place. Always hungry, excessively greedy for more to be taken from the earth, industrialists have made the wendigo look as if it were an amateur slaughterer. Living lightly on the land, the Native Americans tried to take only what they needed. Europeans, on the other hand, created new things in order to keep the hunger going. And those who constantly create new needs grow wealthier and wealthier. Instead of naming this inherently destructive system the wendigo, we call it progress and happily invite it to live among us.