Like Clockwork

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It is probably safe now to reveal something that occurred at Grove City College over a quarter of a century ago. I often feel I must justify my choice of college, but I was a first-generation college student who knew nothing about higher education. I was raised with a Fundamentalist orientation, Grove City was a “Christian college,” and it was only about 30 miles from home. I do give Grove City credit for shaking me out of my Fundie way of thinking; as a religion major I met some genuine honest thinkers in the department who let me question the inconsistencies of Fundamentalist beliefs. I broke free in my own time. One of the literature professors, however, insisted that we both read and watch the movie version of A Clockwork Orange. It was my senior year and I felt ready to handle it. As I watched the movie again over the weekend, the first time since college, I was shocked that the institution Grove City College has become would have ever allowed such a movie to be shown. Although there is Kubrickian nudity, the movie was initially given its rating because of the violence, which, by today’s standards, is somewhat tame.

Anthony Burgess’ book is so well known that I don’t need to summarize the story here. What struck me in a new way was the religious element in the plot. While Alex is in prison, and wanting to be reformed, it is the prison chaplain who advises him against it. Undergoing the famous movie treatment, Alex indeed proves docile after testing, leading the priest to declare, “He has no real choice, has he? Self-interest, fear of physical pain, drove him to that grotesque act of self-abasement. Its insincerity was clearly to be seen. He ceases to be a wrongdoer. He ceases also to be a creature capable of moral choice.” Of course, the government is satisfied with this kind of morality, the sort that upholds appearances at any price to humanity.

What I find particularly disturbing is Burgess’ prescience. A Clockwork Orange was published fifty years ago, and since that time we have seen politics shift from care of the citizen to the ultimate window dressing of courting the Moral Majority to make it look as if all governmental decisions are moral. The Tea Party seeks to underscore that charade, claiming that all who would argue for Alex’s humanity deserve the fate that he so wrongfully dispensed before his “reform.” This view of the world suffers for its lack of complexity. Humans do not come in black and white. Ironically, Burgess chose to make the clergyman the only the objector to the inhuman treatment imposed on Alex. This is the kind of dilemma on which Stanley Kubrick thrived, but it has become even more poignant in the decades since his movie was released. True, Kubrick’s film is based on the apocopated American version of the novel, perhaps obscuring the intended meaning of Burgess. But isn’t that exactly what he was attempting to do?

Digging Deeper

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A propos of apes, I’m not sure whence derives the draw of Planet of the Apes on me. I watched the movie with fascination as a child—since the obviously satanic delusion of evolution was impossible this had to be pure fantasy (and perhaps just a little dangerous). The movies just kept on coming, Beneath the Planet of the Apes, Escape from the Planet of the Apes, and Battle for the Planet of the Apes, each with their new twist on the theme that we are the beasts. Recently I watched the second installment, Beneath the Planet of the Apes. It had been years since I’d seen it, although I remembered the terrible mutants and their possession of an atomic bomb. Although the geography is badly distorted, it is made amply clear that the church where the bomb is stored is St. Patrick’s Cathedral on (beneath?) Fifth Avenue. As Brent makes his way into the partially intact cathedral he finds a priest praying to a missile with the letters alpha and omega inscribed on one of its fins.

Since last seeing the movie I spent a lengthy stint among the Episcopalians. Naturally I became thoroughly acquainted with the liturgy and therefore could appreciate subtleties in the movie I had missed before (nothing is ultimately wasted, it seems). As the mutants prepare to set off the doomsday bomb that will obliterate the entire planet—both apes and humans—they recite many prayers from the mass, substituting the word “bomb” for “God” and “Holy Fallout” for “Holy Spirit.” Okay, so maybe “subtleties” was the wrong word. Of course, back in the early 1970’s this was a very real concern, the arms race was well underway. Despite the overacting and forced script, the movie did offer considerable social commentary. Ironic and iconic Charlton Heston condemns the unadulterated praise of such a lethal weapon (or was it just missile envy?), even as he falls, shot, onto the controls, accidentally destroying the earth.

The fascinating aspect of this social critique is that the players may have changed, but the drama remains the same. Those who protest evolution praise the build-up of native strength so that the true Christians might obliterate their enemies first and better than they will obliterate us. One gets the feeling that destruction is not so bad a fate as being proven wrong. Somewhere along the millennia religion slipped its mooring from being an ethical way of life to become an extreme way of believing. And yet people are still the same. And the Planet of the Apes movies continue to appear, ever evolving. When it comes down to the final scene, however, it is not the evolved apes who destroy us. No, it is the utterly self-righteous humans who decide that if they can’t have it all, nobody will have any of it. In the name of the bomb, and the holy fallout, amen.

The Times they are a’Chanin

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Across from Grand Central Terminal in Midtown Manhattan rises the Chanin Building. Named for Irving S. Chanin, the tower is no longer easily picked out among Manhattan’s dizzying skyline, but the building is a monument to the humanistic spirit that was beginning to flower in the 1920s between the harsh realities of the world wars. Outside the building, above the ground floor shops, runs a bronze frieze that still catches the breath of visitors who stop to stare for a moment or two. Interestingly, the frieze is a monument to evolution, showing the development of “lower” life forms among the water flourishing into birds and fish. Although prosperity gospelers would object to its inherent Darwinian message, they would appreciate a huge monument to the triumph of capitalism in Chanin’s dream, as much of Manhattan reflects.

Antipodes are a fact of geography and human understanding. It would seem that they are also a paradigm for those who “want it all.” Perhaps it is ironic in coming from a Disney movie, but I’ve always found Mary Poppins’ maxim apt: “enough is as good as a feast.” Indeed, leaving the table after eating more than I need I feel miserable and disgusted. There is only so much that people can have, and this is a matter of physics as well as biology. If God wanted us to be wealthy, why didn’t he make us that way? (Surely the God who promotes personal wealth must be male.) Evolution and capitalism could be a dangerous mix should we forget that evolution is not goal-oriented. Natural selection works by trial-and-error, only the trial isn’t planned or intelligent.

This dialectic reminds me of that old chestnut, Beneath the Planet of the Apes. Ursus, the gorilla warlord, gives a jingoistic speech concerning the Forbidden Zone. “It is therefore our holy duty to put our feet upon it, to enter it, to put the marks of our guns and our wheels and our flags upon it.” Of course, this second, lesser installment of the Planet of the Apes movies raises the entire specter of nuclear war to a disturbingly sacred level, but that’s a topic for another post. What I notice is the full circle of evolution here—not just human to ape, but human to capitalist ape. Apes that wish to own and control their entire world, including that region where, in the original movie, both ape and human fear to go. It should not surprise me to see talking apes in Manhattan, but then again, it might just be the bright sun reflecting off the bronze of Irving Chanin’s monument to economic growth.

Black Swain

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In a somewhat rare move, I watched a film that was released less than five years ago this weekend. Black Swan is difficult to classify since it crosses so many genres with relative ease and it left me strangely reflective. Although called a “thriller,” the frenetic pacing and sense of outside menace of most thrillers is lacking. Black Swan includes some horror elements, but little in the film defies rational explanation if Nina Sayers is really going insane. The underlying story, however, is something that every religion would recognize—the need for transformation. Even before John Calvin dreamed up the laughable doctrine of total depravity (and for any Presbyterian readers, I was predestined to write that), all religions have at their heart the concept that people need to change. Sometimes the transformation is subtle and gentle, at other times fiery and dramatic. If you end life the same way you began it, you are a religious failure. This premise lies behind every movie where a character transforms into something else, be it werewolf, Mr. Hyde, Mrs. Doubtfire, or a wereswan.

Our perceptions of who we are cause us considerable introspection. Nina Sayers is a timid yet ambitious girl, living with her mother yet wanting to be the seductive black swan. She really doesn’t comprehend what she is wanting to become, but she knows that it must be better than what she presently is. Again, the parallels with religion are striking. I have known good people who’ve transformed into black swans under the influence of noble religions such as Christianity and its monotheistic siblings. People who have become intolerant and judgmental, insisting that their way is the only possible correct way. In the mirror they see a white swan, but the audience sees the black one.

Black Swan is heavily symbolic and provocatively mythic. Like any honest account of life it refuses to provide any definitive answers. Since each experience we undergo leaves its mark upon us, we cannot help but transform. Volition, however, can lead us toward paradise or perdition and any ambiguous place in between. Is the Nina Sayers dying on stage the greatest sinner of all, or a saint who has been beatified as fully human? The answer to the riddle the film stubbornly refuses to relinquish. So it is with life. We will transform over its course. Religion will declare whether it is good or bad, right or wrong. At the end of the script, however, we are both the white and the black swan.

Friday the Sixth

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I tend to run behind on the movie front.  In some cases, decades behind.  I have never been a fan of slashers, although I did take a date to A Nightmare on Elm Street in the staid, dry town of Grove City while in college.  We broke up shortly after.  Still, I have a soft spot for “the classics,” and Friday the 13th has spun enough sequels to qualify.  “Jason” is a household name for the heartless serial killer, and the movie is set in New Jersey.  And it was hot outside and lazing on the couch trying not to stick to myself seemed about as much of a challenge as I could handle. Besides, a week from today is Friday the thirteenth. Now that I’ve finished with the excuses, here is a declarative sentence: I finally got around to watching Friday the 13th.  After many other films I’ve seen, I have to say that it didn’t really qualify as scary.  You know in advance that the counselors, by rote, must by killed in what are supposed to be shocking ways.  Shadowy corners and rainy woods and aluminum canoes are to be avoided, if the movie and its successors have taught us anything.  Nevertheless, the religion and scary film equation still applies.  And a strange kind of throwback to an unexpected classic (the literal kind).

The religious element comes in the form of the stock crazy local named Ralph.  Ralph warns the kids that they will die and says he’s been sent by God to warn them.  Of course they don’t listen.  If they had, there would have been no movie. As a child I was always offended by the caricature of the religious crazy, but I have come to see that this stock character is itself a symbol of fear.  Although ubiquitously laughed off, the person passionately driven by religion is indeed a potential danger to society.  In the days of my innocence we had little hard data upon which to hang such fears.  In the post-9/11 world it seems there are far too many sky-hooks for that purpose. Some of those sky-hooks are a little closer to the ground, but they inspire fear nonetheless. I’ve known all along that one of the reasons I watch scary movies is to give myself some advance warning of what might go wrong.  Not that it would help in any real way, but sometimes avoiding the shock by anticipating the worst seems like the only human thing to do.

What about the literal classic that I mentioned? Beowulf falls outside the Greco-Roman period, but is clearly a classic of English literature.  (Spoiler alert for anyone even more behind the times than me—) The only thing scarier than Grendel was, of course, Grendel’s mom.  So in Friday the 13th, the killing is done by Jason’s mom.  Like Grendel, Jason dwells underwater and surfaces to pull down his victim(s).  Like Grendel’s mother, Jason’s mother is decapitated by a sword (actually, a machete in the modern version), on the shore of the Crystal Lake.  After the mother’s death the child (Jason/Grendel) is resurrected.  Whether it was intentional or not, there is a lot going on here. The sacrificial mother is an inherently religious theme although many formal religions make it a male prerogative. The death of the mother brings the son back to life.  I wonder how Christianity might have differed if instead of three male deities, there had been a divine mother.  In such cases resurrection of the son comes only at a very steep price. Just like watching Friday the 13th on a hot summer night.

Cabin Fervor

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It’s a sure sign that work is growing overwhelming when I’m too tired to watch my weekend horror movies. Well, I decided to fight back the yawns and pull out Cabin Fever this past Saturday night. I’d seen the movie before, and I’m not really a fan of excessive gore. The acting isn’t great and the characters aren’t sympathetic, yet something about the story keeps me coming back. In short, a group of five teenagers (it always seems to be five) are renting a cabin for a week when they get exposed to a flesh-eating virus. They end up infecting just about everyone in the unnamed southern town before they all end up dead. It doesn’t leave much room for a sequel, but that hasn’t stopped one from being made. One of the unfortunate victims of the virus is torn apart by a mad dog. The locals, fearing their safety, decide to hunt down the surviving youths.

On the way to the now gore-smattered cabin, one of the locals mutters that they’ve been sacrificing someone—a natural enough conclusion when body-parts are scattered around, I suppose. He says, “it ain’t Christian.” Well, yes and no. Sacrifice is at the putative heart of Christianity, although human sacrifice (beyond infidels and women) was never part of the picture. As is often the case with horror film tropes, the victim who has been dismembered is a woman. The guys whose deaths are shown are all shot. Now, I have no wish to attribute profundity where it clearly is not intended, but there does seem to be a metaphor here. Our society and its staid religion tolerate the victimization of some over others.

One of the hidden treasures of the best of horror movies is the social commentary. George Romero made an art form of it in Night of the Living Dead and its follow up Dawn of the Dead. Many other writer/directors have managed to do it quite effectively. We can critique our world when hidden behind the mask of the improbable. While the commentary for Cabin Fever may be entirely accidental, I still find a little redemptive value in it. That, I suppose, is the ultimate benefit of social commentary—it is true whether intentional or not. Is there a larger message here? I wonder if the fact that when women are victimized no one survives is pushing the metaphor a little too far. It’s hard to say; I’ve been working a little too much lately.

Shelley, Byron, Trelawny, and Ahab

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“I took up the word [atheist], as a knight took up a gauntlet, in defiance of injustice. The delusions of Christianity are fatal to genius and originality: they limit thought.” The words come from Percy Bysshe Shelley, according to Edward Trelawny. After visiting the display Shelley’s Ghost at the New York Public Library last week, I was struck by how little I knew of Shelley. I’d read some of his poetry, and had watched the fictional movie Gothic (maybe more times than is really healthy) to get a sense of this candle in the wind, the Romantic poet who died in a shipwreck before reaching 30. Edward Trelawny’s reputation as an historian is somewhat suspect, but he did form friendships with Shelley and Lord Byron and arranged the disposal of their earthly remains. His book, Recollections of the Last Days of Shelley and Byron, while somewhat self-serving, weaves an intriguing account. Among the mementos in the library display are some fragments of Shelley’s skull, taken after his cremation by Trelawny. This erstwhile biographer did prove his mettle by reaching into the pyre and pulling out Shelley’s heart, according to his own account, that eventually returned to Mary Wollstonecraft Shelley, his widow.

Trelawny admired Shelley’s atheism, and even applauded Darwin’s Origin of Species when it appeared. The nineteenth century was setting the stage for a strange Frankenstein’s monster of political and religious backlash against the freedom of the Romantics. Not all of the Romantics, obviously, were atheists, but their works extolled the wonders of nature and a sense of liberty from tyranny that would define them as dreamers and idealists. Lord Byron comes across much less favorably in Trelawny’s account, although their friendship lasted through some difficult times. After the poet’s death, Trelawny claims to have examined his feet, discovering the cause of a lifelong limp. His psychologically astute conclusion is that Byron’s disagreeable personality traits arose from his lifelong anger and anxiety about his birth defect.

Being an ardent admirer of Herman Melville’s Moby-Dick, I have to admit that the elements of anger at the divine for a limp (Captain Ahab forcefully stomps into mind), and the emphasis on ships and shipwrecks (as in Shelley’s death) tie these three literary geniuses together into a knot of suffering and seeking. Religion had consoled many in the nineteenth century, just as it continues to do now in the twenty-first. Among many of those who have endured through their literary works, however, God had slowly disappeared. Not quite as dramatic of a demise as Shelley’s, nor as unforgettable as Captain Ahab’s, but one for which there will be few biographers.

Alien Deities

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What with The Avengers making such a big pre-summer splash this year and all, I decided to refresh my memory and watch Thor again this weekend. In many ways it is a very impressive movie—very loud in the theater last year, and necessarily quieter in our apartment over the weekend. Often when I see a movie on the big screen I can’t keep track of all that is said or implied, especially when there’s so much action going on. Of course, Thor is an unusual hero in the Marvel Universe, being a god. Being supernatural is not limited to deities in that universe, but the other mutants are the results of science: the Hulk and his gamma rays, Captain America’s experimental treatment, and Iron Man’s good, old-fashioned engineering. They are modified humans. Thor comes from a different place. Upon rewatching the movie, the line about the Norse gods as beings from another dimension worshipped as gods came through loud and clear. Jane Foster comes to believe in the ancient alien hypothesis.

As a solution to the lack of omnipotence on the part of the gods, casting Thor and Loki into the role of aliens serves comic-book universes very well. In reality there are well-meaning and serious people who believe that any entity recognized as a god by human religions might have been a space traveler mistaken for divine. This is an idea I first encountered in Erich von Däniken’s Chariots of the Gods? (Hey, I couldn’t help it—I grew up in the seventies!) The world has enough high strangeness without von Däniken’s hypotheses, but in the case of Thor we have a fictional realm that explains how heroes gain their strength. The same could be postulated, I suppose, for Superman, but then, he never commanded a formal cult in antiquity.

Beyond the theological conundrum, Thor also participates in the nearly universal theme of resurrection. Realizing that his arrogance has led to the troubles of the human race, Thor faces the Destroyer (a creature with origins in the Hebrew Bible and Israelite mythology) and willingly lays down his life. This is generally the prerequisite for resurrection in any effective mythology. Of course, Thor returns and, like any good savior, rescues the world. Setting the story in New Mexico only assists in reasserting the mysterious events at Roswell where, like in the movie, something strange fell from the sky. In this subtext the feds rush in and commandeer the data, for people are not capable of making the correct decision. Yet, they leave the god behind. Marvel Studios has been rightly praised for its mastery of the genre. For those willing to look deeply, even Thor has its social commentary.

Varieties of Non-Religious Experience

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The New York Public Library is an icon of rationality. Daily tourists throng by—some inspired by Ghostbusters, others by Between the Lions. Nestled in among some of the tallest buildings in New York City, it is a symbol of culture amid its antithesis, business. Nearing its last days is a small display in the library entitled “Shelley’s Ghost.” Containing handwritten manuscripts and a few artifacts from Percy Bysshe Shelley’s cradle to his grave (literally, his baby-rattle and fragments of his skull), the display celebrates one of England’s most famous and short-lived poets. Shelley, although his life was scandalous at points, was no doubt an idealist. A vegetarian, advocate of “free love,” and protestor, he would have fit well into life a century-and-a-half after he died. He was also an early atheist.

“If ignorance of nature gave birth to gods, knowledge of nature is made for their destruction,” he wrote in The Necessity of Atheism. Not quite the angry atheism often found today, but then, despite his obvious spirituality, Shelley was a rationalist. Born during the English Enlightenment, be was a strange mix of the alchemical and the reasonable. To his young mind the truth was self-evident: the belief in gods grew from nature and therefore the study of nature would reveal those origins. Today the origin of gods is still up for debate, as is the nature of the human animal. It is routine for scientists to claim that our brains are simply processing electro-chemical signals that have no reality beyond this physical world in which they occur. To be a human, however, sure feels like more than that. Shelley was a writer at this nexus. No one writes poetry like that who believes their brain to be full of only electrons.

Reductionism often gets us into trouble. The problem has always been that humans are myopic; we can only see so far and yet assume we have all the data. This myth persists despite the fact that we know some animals pick up on environmental factors that we as humans miss. It need not be supernatural to claim that there is more to the world than we can perceive. This is a double-edged sword. Many of the absolute pronouncements of religions simply don’t match our experience of the world. We find ourselves bombarded by authoritative statements by experts who know as little as we do. I have yet to hear a televangelist who can claim on any intellectual basis any reason that anyone else should pay attention to his raving. Perhaps what the world needs is a few more like Shelley’s ghost—rationalists who still recognize the necessity of poetry.

Hair Cut

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“This is the dawning of the age of Aquarius.” So we hear in the first number of the musical Hair. Since my daughter is learning about the 1960’s counter-culture in US History, she asked her middle-aged parents what life was like then. Well, my wife and I were both born in the early sixties and were a little young to get the full scope of things through juvenile eyes. Besides, I was raised in a biblically literalist family—probably not the best place to gain a great deal of insight into popular culture. We decided to watch Hair instead. One of the few aspects of that era I recall is the Vietnam War (something George W. Bush apparently didn’t remember). The optimism of the hippie movement never really came to fruition leaving an entire era of disillusionment to hang over the remaining years of the millennium. Nevertheless, there is a sense of freedom in Hair that conveys the exuberance of young idealism—something I can honestly claim to have never outgrown. Without idealism we, as a species, are lost.

As I watched the movie for the first time in years its biblical subtext occurred to me this time around. The identity of the youthful protestors is in their counter-cultural hair. Indeed, the show takes its very name from that aspect. Apart from the ubiquity of the hirsute righteousness on the screen, it is essential to the plot. As Claude Bukowski stops in New York City on his way to join the army, he falls in with the Philistine element of society—the long-haired (read uncircumcised) misfits who defy the principles of decency. The dinner party at the Franklin residence makes that perfectly clear. When thrown in jail Woof protests over-strenuously to having his hair cut, leading to the title number. When the friends decide to visit Claude on the army base on the eve of his departure for Vietnam, George Berger has his hair shorn (by a woman) and subsequently loses his strength. His vital force of arguing his way out of any predicament is sapped as he marches to the troop transport plane that flies him to his death. Singing about believing in God as he goes.

I have never used drugs—life has a way of being weird enough already without them—but the sixties seem to have had a moral righteousness that the Tea Party just can’t claim. It was a righteousness borne of speaking the uncomfortable truth to a society that honored the status quo above all else. The very status quo ante the Tea Party craves—a society of bigotry and inequality. A society of privilege and strict conformity. A balding society that has lost its voice. Drugs are not necessary to see unbelievable things. One of the Bible’s original Avengers, Samson tears his Hulk-like way through any crowd, felled only by the cutting of his hair. Hair also led to the death of Absalom, the son whose life David valued more than his own. At the end of the show it is quite clear where the righteousness really lies.

Dark Light

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It took a few weeks and five states, but I finally got to see Dark Shadows. Although I’d seen the trailers, there was quite a bit over which I remained in the dark. After all, the television series ran daily for several years and the story of Barnabas Collins was never really resolved, to the best of my knowledge. Trying to fit all of that into a couple hours of cost-intensive Hollywood showmanship would be a tall order. I have come to trust the Burton-Depp collaboration, however, and I had read some time ago that Johnny Depp had wanted to be Barnabas Collins when he was growing up. It is difficult nevertheless to resurrect a vampire after some three-and-a-half decades of slumber. Speaking with some friends after the movie I discovered that I was not the only child discouraged from watching Dark Shadows after school as a child. But watch I did.

Barnabas Collins became a monster as the result of a curse. The series—which I remember principally as a series of impressions and images—and the movie make that clear. The man who has lost control of his own fate is a reluctant monster. An aristocrat who lives by draining the blood of the common folk. Despite the humor and carnality of the movie, social commentary is there. Sometimes buried in an iron coffin, and sometimes in a vintage VW bus from the early ‘70’s. It may not appear full blown on the big screen but it pulses through the veins nevertheless. Barnabas Collins is a reluctant and conflicted vampire, but he does kill others to survive.

Why would a kid raised in a religious setting be so drawn to a creature of evil? Perhaps it was because Barnabas was the ultimate penitent. He had to victimize others, but he always regretted doing so. Like any living (or undead) creature, his nature compels him to survive. He is sad about his lot in the world, but is helpless to change it. Like many children of the monster generation I was nourished by a long series of movies featuring impossible creatures, including vampires. The earliest vampire I knew, however, was Barnabas Collins. Although Bram Stoker had set the type nearly a century earlier, my measure of the vampire was the reluctant denizen of Collinwood. Although I read my Bible dutifully, and never missed church, I still found the plight of this lonely monster compelling. The movie may not live up to the standard of all Dark Shadows aficionados, but if it brings a subtlety of moral ambiguity to a generation of absurdly self-assured modern-day fundamentalist children, the curse of Barnabas Collins may really be a blessing in disguise.

Blazing Forest

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Back in 1996 an angel was on the big screen. In a manner of speaking. Michael, starring John Travolta as the archangel Michael, may not have been an instant classic but it did have a memorable line or two. The image of a smoking angel had been contrived by Van Halen over a decade earlier, but the idea of the prince of the army of Yahweh being a guy just like the rest of us was strangely refreshing. No Park Avenue deity this. When the reporters first meet Michael and wonder if he’s the real thing, one suggests tugging on his wings to see if they’re real. Michael responds by asking if he should pull the reporter’s privates to see if they’re really attached. His companion comments, “An angel that says ‘pecker.’” While the very idea of “bad words” is an unusual one, it is well-nigh a universal. In just about every culture there are words or phrases that just aren’t uttered in polite company. Those who can’t control their mouths, suggests the book of James, can’t control their lives. So it is with a kind of perverse wonder that I read about the bullying bravado that issues from the lips of New Jersey’s governor.

Don’t get me wrong. I never fault anyone for speaking like they were taught. I was raised in a blue collar family and at times the talk could get pretty blue as well. I would, however, point out that you’ll not find a student I taught over my two decades in the classroom that every heard me cuss in class. It is a matter of standards. Emotions, those great clawing monsters inside us, rage to escape. The building blocks of society—restraint and control, and dare we even wish? subtlety and refinement—are signs of civilization. Some of us were taught to leave name-calling on the playground. I am profoundly saddened when politicians believe they are the best America has to offer when in reality they reveal themselves coarse, vulgar bullies. Enter Chris Christie.

In a public venue on Wednesday New Jersey’s governor called the chief budget officer for the Office of Legislative Services, “idiot,” “jerk,” and “numbnuts.” Here’s where we see Tea Party values incarnate. Belittling others, especially in a public forum, reveals a nature that should make all civilized civilians hang their heads in a surfeit of collective shame. America has come to this? Admiring bullies and slashing and burning services for those who need a little communal support? And he has been posturing for a vice presidential nomination. And angels will be smoking cigarettes in the wings. A President/Vice-President who says “numbnuts?” America deserves far better than this. Where is Michael when we need him?

Take that, you #!@&$!

Children Shall Lead Them

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One of the perks of moving to New Jersey was landing in a town with strong support for the arts. Every time I attend a middle or high school concert, I consider how the old image of painful evenings of parents patiently pretending to enjoy the music has ended. The kids in this town could be professionals. If I close my eyes, I forget they’re all under nineteen. Last night at a school concert one of the pieces was “Always Look on the Bright Side of Life,” Eric Idle’s chestnut from the Life of Brian (now featured, I hear tell, in Spamalot). I first saw the Life of Brian with some trepidation while in seminary—I had been sounded warned that it was a profane movie, making fun of Jesus. Considering that all the actual references to Jesus in the movie are quite positive, I eventually realized what all the fuss was about. The movie doesn’t make fun of Jesus, it does, however, show the laughable nature of those who follow a religion blindly. This, I gather, was the real root of the problem.

Next to this fun piece, the concert also included several pieces taken from originally sacred contexts such as Mozart’s Dies Irae and settings of Veni, Sancte Spiritus and Ave Maria. Spirituals, likewise, are a perennial favorite. Performed along next to these pieces of religious origin were also decidely secular pieces such as “Scarborough Fair” and the Beatles’ “Hello, Goodbye.” In concert the sacred and profane blend beautifully. Perhaps there is a paradigm hidden in plain sight here. Religions need not be defensive and unbelievers need not attack them. The world is surely big enough for differences of opinion.

Music has a power that sometimes frightens me. I don’t often address it in my blog because of how much it affects me. Theorists often note that music is part of nearly every religion ever invented—we know that something special is going on when we hear it. And music has the ability to move large groups of people simultaneously. I’ve not attended many professional concerts (the last one was Alice Cooper in Atlantic City back in 2008), but no matter how secular the artist the experience is profoundly spiritual. I’m not sure I can adequately define what that means, but when it is felt there is no mistaking it. So maybe that’s why school concerts have such power. It seems that schools that support the arts also tend to have excellent academic records as well. The truth is hidden in plain sight.

Avengers and Gods

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The Marvel Comics Universe is a complex blend of juvenile and adult themes. At the suggestion of one of my readers (thanks, Erika!) and the urging of my family, we went to see The Avengers this weekend. Having grown up in my own complex circumstances (first of all, fundamentalist—therefore not prone to too much secular material, and secondly, of humble means—therefore not prone to too much material material), I was aware of only some of the group. I’d read Hulk, Iron Man, and Thor comics, and I knew who Captain America was, but I never realized they’d teamed up, along with Black Widow and Hawkeye, to form the Avengers. I guess I just missed that part. The amazing integration of gods, performance-enhanced humans, and technocrats, makes for a fascinating consideration of the boundaries of good and evil.

This became clear when Captain America first encounters Thor in the film and is told he is a god. His response, straight from Tea Party rhetoric, is “There’s only one God, ma’am, and he doesn’t dress like that.” Clearly a man from the early twentieth century would have expectations of Yahweh’s dress code. It would be a white robe, no doubt, but as the gods Thor and Loki duke it out, Yahweh is nowhere to be seen. The movie also toys with the concept of immortality. Dr. Banner, under the guise of the Hulk, is unkillable. In a poignant moment he admits having attempted suicide, but his alter-ego proved indestructible. The cheer of the audience was palpable when Loki tells the green guy, “I’m a god and I won’t be bullied by—” only to be divinely thrashed by the Hulk who responds with the word, “Demigod.”

Over the past several years I’ve noticed that hero movies have begun to declare Gotterdammerung, the twilight of the gods. No longer are supernatural beings the ones who rule humanity. Heroes are now in charge of their own destinies. And yet, that old time religion is still present. As Tony Stark is about to attack one of the wickedly cool flying leviathans he asks Jarvis “Are you familiar with the story of Jonah?” I wondered just how many in the theater got the reference—how many, like Captain America at the comment of flying monkeys, got the joke? When the movie was over, and I was convinced I wouldn’t have to go to work on Monday (I was sure my building was one of those destroyed in the mayhem), I pondered the resolution. The gods took their dispute to Asgard, out of the realm of humans. This was, after all, a dispute between deities. And humans, as so often happens in such scenarios, were simply caught in the middle.

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I first became aware of The Town Hall, I have to admit, through the Christopher Guest mockumentary A Mighty Wind. In the movie, three aging folk groups are brought together for a concert in Town Hall to honor the memory of one of their early promoters. When I began to walk past Town Hall on my way to work, I grew curious about its history. This curiosity was piqued by the scriptural quotation engraved on the façade: “Ye shall know the truth and the truth shall set you free.” New York City is an architect’s smorgasbord and I am often intrigued by the little gems I spy here and there. I discovered that The Town Hall was originally a political venue built by The League for Political Education, an organization sorely needed now. Built because of the need for a public space to discuss the Nineteenth Amendment (which the League supported), Town Hall was originally a venue to keep the public informed.

The Nineteenth Amendment—which the Tea Party seems to have overlooked, along with much of what we recognize as democracy—was drafted by Susan B. Anthony and Elizabeth Cady Stanton. It took congress only four decades to ratify it. Women were finally given the right to vote. Stanton was noted for her suffrage activities, including the production of The Woman’s Bible. The idea that an entire half of the human race should share the rights of the other half seems to have required a building erected to educate the public. Of course, there were moments when even The Town Hall couldn’t bear the words spoken on stage, as when Margaret Sanger was arrested for speaking about contraception there in 1921. I suspect there were Tea Partiers in the audience.

The same stage also provided a venue for Edna St. Vincent Millay to have her poetry reading breakthrough. Richard Strauss and Sergei Rachmaninoff performed there, as did any number of other greats. Truth may take many forms. Certainly human equality is as basic a truth as can be found. Art and poetry are equally as parsimonious, in the formal sense of the word. These things that we value are the very aspects of culture that the Tea Party would like to curtail. Thankfully there have been believers in the truth in the past who have been willing to construct monuments to sanity. And I can’t help but think that there would be even more of them if we still had a League for Political Education to help promote the truth. Without it, as it says in stone, we can never be truly free.