Imagine Thanksgiving

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Although mildly jetlagged and slightly incoherent, a promise is a promise, so I took my family to Manhattan to see (the upper half of) the Macy’s Thanksgiving Day Parade. Commercial and flashy, it is difficult to conceive of a more American expression of holiday wonder. It kicks off the secular Christmas season and the parade forms the background noise to many a feast preparation in the United States. Not living in the city proper, there are limits to how early public transportation can get one into town, so by the time we reached the Upper West Side, the crowds were pretty intense. We met our friends at West 72nd Street and tried to see the floats and balloons over the heads of a sea of humanity; if you could glimpse the flashing tip of a tuba, we counted that as seeing a marching band. The weather was cool but nice and in the dense crowd I kept my hands shoved in pockets, not always sure they were my own pockets, and waited for the next tall or hovering parade feature. In-between times I stared at the building to our left until a friend informed me that it was the Dakota. The site of John Lennon’s slaying and the exterior used in Rosemary’s Baby, where, presciently, a murder victim was laid out on the sidewalk not far from where Lennon fell. Suddenly the parade took on a profundity that betrayed the levity of the gas-filled characters floating by.

Mark David Chapman, a delusional, born again Christian, had spent many hours waiting about where we were suspended in the crowd. Thinking himself Holden Caulfield of the Catcher in the Rye, he murdered Lennon creating a saint and a demon simultaneously. Perhaps John Lennon’s ashes are still floating about Central Park, and as we walked through, the exterior of the Teutonic Dakota took on a haunting quality. Lennon was a lover and a protestor and an experimenter, and scenes from Rosemary’s Baby of Satanists smoking cigars also hung in the air. The shop window displays on Fifth Avenue drew great crowds, but as we drifted toward 51st Street, we decided to stop into Saint Patrick’s Cathedral, along with the surging mass of the faithful.

Cathedrals are best enjoyed in quiet solitude. Nevertheless, we followed the pilgrims through the long nave, stopping to glance at the numerous chapels with statues along the way, each with a collection box, securely locked, asking for donations. And people say Christmas is commercial! Want to pray through your favorite saint? Please deposit a quarter. Preferably two. Or more. Their budget in candles alone would support many a smaller church throughout the nation. Advent begins this weekend, so the crèche was set up at the front with life-sized figures of the usual players: holy family, shepherds, wise men. And collection box. There was no baby Jesus and when my daughter asked why I said, pointing to the collection box, apparently they were saving up to purchase one. Keeping Christ in Christmas? Indeed. All those bronze, life-size Pope head statues can’t be cheap. John Lennon was cremated and his ashes scattered, leaving no trace. Popes are cast in bronze. Yes, John Lennon was wealthy, and once quipped that the Beatles were more popular than Jesus. What is the truth of the matter? Looking at the façade of the Dakota, I know where I would rather light a candle.

The Shawshank Reversal

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You go away for a few days and look what happens to the neighborhood. With the Bible scholars safely out of town, a South Carolina woman used two hollowed out Bibles to smuggle weapons and drugs to a friend in prison. According to a story in the New Jersey Star-Ledger, the eviscerated Bibles contained knives, a cell phone, ecstasy and cocaine. Bibles often act as metaphors, and in this case the image of trouble coming in the form of a sacred book is poignant. No one thinks to suspect a Bible (well, Stephen King did), so conservative and clean-cut. What lies inside, however, is seldom closely examined. What is found there often defies biblical scholars and prison guards.

The Bible, as an icon, is spotless in the public eye. You can place a hand atop its venerable cover and, magically, you won’t be able to lie. You can heft it aloft and demons will flee in fright. You can even use it to measure chastity. (Back in my college there was a four-feet-six-inches rule. Men in women’s dorm rooms during brief, allotted visiting hours could sit next to their sweeties, but they had to keep all four feet on the ground and remain six inches apart—a distance, we were told—that could be filled by placing a Bible between the lovers. And the door had to be kept open, just in case.) The book has become the deity. Placing God between the desires of lovers is a metaphor ripe for the picking.

Few can forget the scene in The Shawshank Redemption when Warden Norton opens Andy Dufresne’s Bible to find the rock-hammer-shaped hole cut out of the pages. The Bible had set Dufresne free. And it did so unwittingly. The Bible’s message, in the film, was intended to keep prisoners in a state of submission, but human interest brought the Bible much closer to its noble purpose of setting the prisoner free. The Bible has been a privileged book throughout American history, and even before. In England it used to be chained to the lecterns of churches to prevent it from being privately studied. Its great power, however, lays not within the manipulation it excuses, but in the human spirit that finds liberation through, and sometimes despite, the famous black book.

Old Myth

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The Greek gods are in the ascendant again. They seldom disappear completely, but the big movie studios have rediscovered the special effects boon that only gods can deliver. When I first began to teach my Mythology course at Montclair State University, the Clash of the Titans remake and Percy Jackson: The Lightning Thief were both released just as the class was getting underway. It seemed like interest had been lost since the original Clash of the Titans back in 1981 when I was still a student. Special effects then meant Ray Harryhausen. Now they are measured in terabytes and whatever is larger than that. So Immortals was released recently, but I haven’t seen it yet. Picking up on the sometimes forgotten hero Theseus, the Athenian answer to Hercules, the movie promises to bring the divine into the theater.

In the spate of movies showing gods, America is not yet ready for a movie featuring Yahweh. Oh, certainly there have been films where the god of Israel has loomed very large behind the scenes, but with a prohibition of making images—no paparazzi need apply—it seems unlikely that we’ll see a special effects extravaganza featuring the Almighty. Besides, few Americans have reconciled themselves with the mythic nature of many Bible stories. As politicians and televangelists insist, these stories are fact, not entertainment. GCI Yahweh always stops at the somewhat comic George Burns or Morgan Freeman figures. Charleton Heston, where have you gone? Yahweh of the Bible is a gun-toting, hard-talking, pestilence-slinging, American-style deity. And action is where it counts.

Critics say Immortals suffers on the side of story-line at the expense of gore and action. A factor that is often overlooked, however, is mythology’s inherent mutability. “The Classics,” as we grandly call them, do not derive from a super-Scripture of literalist myths. Each writer told his (less often, her) story in his (her) own way. Although there were those who took such stories literally, as Socrates will silently confess, I suspect not a few knew these were stories told to make a point. There is no right way to tell a myth. From Harryhausen’s Jason and the Argonauts to Disney’s Hercules to Singh’s Immortals, mythology transcends the mere mortals telling it. This is the greatest shame of the modern world—we have traded the beauty of myth for a paltry handful of literalism approaches to religion. And the literary (and cinematic) world is much the poorer for it.

Theseus looking for immortality

Master Cat

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Okay, so I’ll confess having gone to see Puss in Boots yesterday. The movie had been getting good reviews and I’ll admit to really liking the first Shrek movie. The second Shrek movie, with Puss’s debut, was not bad. After that something changed. Anyway, it looks to be an intense week ahead, and I needed a little mindless release. Often on this blog, I mention horror movies and how fear ties into the concept of religion. Since working at Routledge—a publisher noted for its many books on religion and film—I’ve taken a renewed interest in finding the religious imagery in many different genres of movies. This is something I regularly undertook as a religion major in college and beyond, but it is an area of renewed interest in my mature years. So it was off to the theater.

One aspect of Puss in Boots, however, proved a distraction to me. The character of Humpty Dumpty scrambled in my mind with the same off-color image of the egg man in Jasper Fforde’s The Big Over Easy, a book I read this summer and blogged about earlier. In both stories, the egg was not what he seemed to be. A foodstuff with a decidedly darker side. In both stories, however, Humpty Dumpty was somehow vindicated, more a victim than a perpetrator of crime. It is not always easy to be a good egg. In Puss in Boots, however, this is where the religious imagery came in. The fractured fairytale storyline has Puss and Humpty (and Kitty Softpaws) growing a giant beanstalk and stealing the golden goose’s gosling. This is part of a twisted effort at revenge by Humpty; a kind of egg’s Benedict Arnold moment. Well, this is a children’s movie, so nobody is really bad. Humpty repents and sacrifices his own life to save the town. When he falls to his death, a golden egg is revealed inside. Mother Goose flies the golden Humpty up to the castle in the sky, disappearing in a blaze of heavenly sunlight. Life after death, the eternal reward. Heaven, Hollywood style.

Movies often serve as a source for and reflection of social values. Thus watchdog groups keep a close eye on what the silver screen reveals. Puss in Boots passes the test on highlighting the redemption theme. Although he is still a wanted criminal by the end, Puss (as well as Humpty) achieves redemption by making good on all the wrongs he committed against society. Almost sermonizing at points, the movie is another example of how mainstream media ends up on the side of traditional values. A deeper truth, however, may lurk beneath the celluloid. The true hero here is the Spanish Puss rather than the Angelo Humpty (and decidedly red-necked Jack and Jill). The religion it underwrites is, naturally, the civil religion expected by American audiences. Just maybe there is an awareness of social justice here as well.

The original

Bull Shot

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Sitting on an idling bus in the Lincoln Tunnel, I supposed I was too far underground for an epiphany to hit me. Then, on the way to Third Avenue it descended on me. I was passing one of the countless gift shops of Midtown when I saw it—a miniature replica of the Wall Street Charging Bull statue. Golden calves come in all sizes and shapes and when they grow up they may be very aggressive. Deadly even. Movie makers have long recognized the deep symbolism of the golden calf. And not just Cecil B. DeMille. Dogma, perhaps the most notorious of the anti-religion, religious films, centers around Mooby, a cartoon network golden calf, for one of its subplots. Even Bruce Almighty has the eponymous Bruce leaning back against the statue of a golden calf as he enjoys his new success in his new house, empty of all personal satisfaction. The list could go on. And of course, Wall Street.

What is it that makes us believe that gold leads to happiness? We all want it, if we are willing to look into the mirror with any semblance of honesty. Maybe we don’t want to be filthy rich, but who doesn’t really want to just kick up their heels and let their lucre do the work for them? Enter the “Prosperity Gospelers”—God wants it for you. Even if you demure and lower your eyes coyly, wealth will find you. And like that idol on Wall Street, calves grow up to be bulls. The horns of the dilemma are almost too literal. For a fulfilling life, give it all away. Like a misdeed long past, still unatoned, that bull follows you. You can’t escape a charging bull.

The episode of the golden calf in Exodus 32 is one of the more disturbing scenarios in Holy Writ. Moses, alone wreathed in the glory of the Almighty keeps forty days of silence and, tellingly, the clergy construct a golden calf. Probably an image of Yahweh. The next morning, “the people sat down to eat and to drink, and rose up to play.” Until distant Moses returns home. The calf is burned and ground down to dust, the people drink it, and the Levites kill three thousand of their compatriots. Prequel to Jonestown? “For Moses had said, Consecrate yourselves today to the LORD, even every man upon his son, and upon his brother; that he may bestow upon you a blessing this day.” The killing of their neighbors is their ordination. A blessing bestowed upon those who would worship the golden calf. That 7000-pound charging bull will follow you, even into the tunnels and tabernacles. When the golden calf is loose, no one is safe.

Bull comes in all sizes

Bonfire of Vanity

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“Remember, remember the fifth of November, the gunpowder, treason and plot…” V for Vendetta is movie that gets me every time. It is not that I want to see venerated buildings destroyed, but I do want change. Very badly. When visiting Occupy Wall Street last week, I saw protestors wearing Guy Fawkes masks, made popular by the movie V for Vendetta. Verily, I had to smile. We may remember the Gunpowder Plot and how the victorious forces of the monarchy stopped Guy Fawkes just in time, but how often do we remind ourselves that the story revolves around religious liberty? Finding their religion outlawed, Guy Fawkes and his co-conspirators tried, in a very unorthodox way, to make a very valid point: conscience cannot be legislated. Indeed, in the movie, the political powers claim that it is “Godlessness” that has led to the villainy, the decline of society. In fact, however, it is that the vices of the rich and powerful have turned them against their voiceless commoners; vanity has led to this dystopic future.

Once more we find ourselves at vespers on Bonfire Night with wealth firmly in place, political, religious, and economic powers secure. And many cold, hungry, and without a vestige of hope. I’m not sure there is a solution to this problem, but if religion has taught any lesson of value at all, it is that we must try. We must venture to make the situation better. Even those who wallow in the status quo want growth and development, albeit for themselves, claiming it only a venial sin. If the human race is not to go extinct, ossified before its computer screens, iPhones, and televisions, we must use our voices. We must stand, and it is vital that we stand together.

“An idea can change the world,” V tells Evey near the beginning of the film. Once the leaders of the government take military control, the freedom of expression is soon vanquished. Books are not to be found, visual art is considered dangerous. Questioning those in power is the very stuff of treason. In my short time I have seen us coming dangerously close to that mentality and calling it visionary. When people are afraid they will close in around the virile leadership of guns and violence. But fear may be vanquished in another way. When we recognize that we are part of something greater, when we relinquish what is “rightfully” ours to help others, when we join in that great collective called humanity, fear itself will vanish. It is not just vaunted Wall Street that must be occupied. No buildings have to vacillate and fall. We must Occupy our Minds, for rage as they might, the wealthy and powerful cannot control a venerated idea. “Remember, remember, the fifth of November…”

Villain or visionary?

All Saints

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The movies of Guillermo del Toro, despite their success, must be watched with an astutely analytical eye. Although my movie watching runs a few years behind at best, a recent viewing of Pan’s Labyrinth left me feeling a little hollow and very reflective. The gruesome story is well told, and the fantasy world, even at the end, is hardly believable. Like most films that deal with disturbing issues, religious concepts are not far from the surface, or sometimes, the depths. In this case, the distinctly Christian trope of self-sacrifice opens a portal to a mystical world where a God-like father sits on a shining throne. But is it real? We are warned from the very first scene that this will not end well for young Ofelia, that “heaven” is but a fantasy seen through the hopeful eyes of a dying child. Even the faun (“Pan” of the English title) wears horns that suggest to modern minds the slightly diabolical, although he is in the service of the mystical king. I was so conflicted by end that I was glad the next day was a workday.

It is not difficult to notice that the heroes of the film are the female characters. Even the good men are generally ineffectual, but the strength of Ofelia and Mercedes bear the weight of showing any hope at all. Captain Vidal betrays his name of “life giver” time and again unless life is understood as unremitting pain and torture. Even the end of the film is set up as someone having to pay the price; the king demands innocent blood—will it be Ofelia or her baby brother? Of course, the girl must pay the price. In an interesting interpretation of the sacrifice of the only child, the daughter here becomes the savior.

Fantasy often has the power to heal. This is a key aspect that it shares with religion. Scientists have sought in vain a mechanism that would explain the brain’s remarkable ability to heal the body under conditions of belief. At times we’re reduced to name-calling, suggesting that somebody’s got something up their sleeve. After all, could a disreputable character like Rasputin really hold the key to physical wholesomeness (to say nothing of moral rectitude)? And yet, there are those who are made well by the most unlikely means.

The peoples of northern Europe believed that the veil between this world and the next was severely effaced at this time of year. Darkness is more prevalent than light. Pan’s Labyrinth begins and ends in darkness, and even the daylight—when it briefly occurs—is subdued. With Halloween behind us, the most veracious season of the year
lies ahead. Let us hope that this labyrinth contains fantasy.

Zombie Reality

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The origins of zombies notwithstanding, they are the autumnal monster of choice in a post-modern society. They are the symbol of secular resurrection—no faith commitment is required, no pristine, moral lifestyle. Resurrection happens to you by accident, a chemical, a disease, cosmic radiation—whatever the cause it is not divine. And the zombie is fair game for the release of violent aggression; already dead, there is no moral imperative to keep them alive and well. Each year the mass of zombie walks increases where children and adults alike become the living dead for a day. Macabre? Indeed. It seems that the very word “macabre” may have come into English from Hebrew. Hebrew words are based (mostly) on triliteral roots, words with three unchanging consonants. The Classical Hebrew word for “grave” is based on the root q-b-r. The prefixed m is often the preposition “from.” Macabre, morphed through Latin and French, could go back to the root meaning “from the grave.” Literally, the source of zombies.

Resurrection is among the most poignant of human hopes. Religions often assure us that death is not final, but we can never know that this side of the veil. Those we love go away, we hope, to a better place than this. It is no surprise that the largest zombie walk in the country is in Asbury Park. We can imagine better. Why can’t God?

According to Wade Davis, there is a powder that vodoun priests use to zombify a person. This involuntary treatment does not actually prolong life, nor does it really resurrect the dead. It is, like many religious treatments, a show of faith. In The Serpent and the Rainbow Davis describes how psychosomatic attacks span the globe. All they require is belief. If a person believes in curses or the evil eye, the results can be physical and fatal. We create our own reality. Over the weekend I watched What the Bleep Do We Know? again. I sometimes showed this movie to my classes. Here physicists and gurus together affirm that we create our own reality moment by moment.

Zombies have migrated from the realm of religion to secular society. It is hard to imagine our modern world without them. They are cut from the same cloth as All Souls Day, reminding us of our mortality and suggesting that there might be something more. It is a reality we create ourselves.

Serpents, Rainbows, and Black Pearls

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Riding on a bus with a bunch of coughing commuters may not be the best setting for reading about poisons and zombies. I am also aware that Wade Davis has come into criticism by some of his professional colleagues and that the movie based on his book, The Serpent and the Rainbow, may have led to an aneurism or two among scholars of Haiti. Nevertheless, Borders was closing down and a copy of the book remained on the shelf for an insanely low price, and October would soon be upon us. This past week I read Davis’ intriguing account of his experience with real-life zombies and the fascinating religion of vodoun. A number of issues were raised by his account, not least of which is that the feared religion of “voodoo” is a direct result of the evils of African slavery that brought indigenous gods into the realm of Christianity, and mixed them vigorously. My first “exposure” to vodoun was in the old James Bond movie, Live and Let Die. It terrified me as a child, and even with rational eyes, I’m not sure I fare much better as an adult.

No matter what one thinks of Wade Davis and his work, The Serpent and the Rainbow is a fascinating work. One of the most interesting aspects Davis raises is the continuing issue of defining death. Premature burial may sounds like the hysteria of a Poe-induced nightmare, but, as Davis shows, most methods of measuring death are susceptible to being fooled. Those who are termed “zombies,” in the vodoun sense of the word, are people declared dead by medical professionals, yet who are later found, after their burials, very much alive. Many readers will find this difficult to accept, but it is a phenomenon that goes back to Seabrook’s swashbuckling adventures of early last century and even before. If Davis is to be believed, it is thoroughly documented.

Paradigm shifts are seldom welcomed. We prefer to live within the comfort of the universe in which we grew up. Science and religion agree on this point—things are not what they seem. Zombies in the Walking Dead sense do not exist despite the fact that they are the kind most popularly known. We like them because they can’t hurt us; they lurch through the streets of our nightmares and our zombie walks, but they are not real. It could be, however, that our understanding of our world is woefully incomplete. Confronted with that which challenges our tidy universe, whether it be quantum physics or Haitian religion, we must consider the benefits of a mind kept open to the possibilities. Do vodoun priests in the hidden shadows of the Caribbean enslave the living dead? Disney answered with a resounding yes in Pirates of the Caribbean, but then, in Hollywood it is sometimes preferable to have the zombies in front of the screen.

Haunted Purgatory

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Halloween season is a time for both pagans and evangelicals alike to tremble. Our usual local “haunted house” for charity being closed this year, my family went to the local haunted farm last night. In a nation where few of us grow up on farms, the agricultural world is already a foreign environment. And corn is a scary plant when it dries out, especially at night. The Creepy Hollow part of the farm tour was a long, rambling stumble through a corn field where costumed actors jump out at you or just as ominously shake the cornstalks as you walk by in the dark. Senses that we have long ignored leap to full attention, scanning for any possible fright. At nearly a mile long, this haunted trail was pretty intense, and I’ll admit to being glad to have seen the open field at the end. One of the props along the way was a haunted church. As I’ve noted before, religion and fear often stride hand-in-hand.

Earlier in the day, my wife had pointed out an article in the Huffington Post about the dilemma many evangelicals face when their kids want to celebrate Halloween. A holiday of Catholic and pagan origins (both feared equally by the truly staunch evangelical), Halloween is a season of dangerous influences. In response, some groups have started their own “Hell Houses” designed to show kids the horrors of Hell as they walk through a putatively non-fiction version of fear. The intention seems clear enough, although a little odd for a religion that claims to be based on love. The Hell Houses are part of an alternative holiday called “Jesus Ween” and people are encouraged to give out Bibles rather than candy. At least they got the scary book part right.

In an unrelated yet relevant story, Time projects that the seven billionth person will be born on October 31. I remember when there were just four billion of us, and my teachers began pointing out the stresses we place on our environment. Of course, those who co-opt the identity of being “pro-life” advocate for as many of our species as possible—less for God to pour out love, but better to populate Hell, apparently. The Roman Catholics share this petard with the evangelical camp, as Monty Python made famously clear in The Meaning of Life. We have overcome (largely) nature’s control on our expansion, and as Halloween, or Jesus Ween, races nearer, we have less to fear from chainsaw-wielding maniacs than we do from Bible-bearing clones who claim it is divine mandate to stress our own planet to death.

Step in Time

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Magical blingdom

Mary Poppins is one of my wife’s favorite childhood movies. I first saw it in college and, being a parent, have seen it many times since then. Now when I walk through Times Square I see it is playing at the New Amsterdam Theater, and if I time it right I can hear bits of the musical on my way to the Port Authority after work. As is normal in the universe according to Disney, nothing is really ever seriously wrong in the London of 1910. Troublesome children are doing nothing more than chasing a kite and attempting to connect with an emotionally distant father. Even when he loses his job, Banks merely suffers an inverted umbrella and a punched hat. Joblessness lasts for only a day. Everybody sings. When we watched the movie again recently I considered how such an escape is healthy for those of us accustomed to a somewhat harsher adult existence. Joblessness is often long-term and desperation reeks as we find ourselves distanced from that which defines our existence.

Mary Poppins represents a divine figure in the Disney universe. She comes down from the heavens during a troubled period of history, judiciously utilizes a bit of magic, and heals the broken-hearted. When things go bad, Mary Poppins is there to make them right again, even on her day off. She shows the cold-hearted world of business that there is a better way. Who would you rather be—George Banks or the Bird Lady? Who is happier?

“All around the cathedral, the saints and apostles,” saintly Mary sings, “look down as she sells her wares. And although you can’t see it, you know they are smiling each time someone shows that he cares.” Where are the saints and apostles of Wall Street? Instead the optimistic view of humanity plays itself out on Broadway where the intensity of humankind spans from homeless beggar to movie star. Fantasy is underrated. Our minds have evolved the capacity to allow us to escape the realities of suffering, disappointment, and angst. When a week of trouble and turmoil has held us in its grip, we may still escape to the magical kingdom of our choice to find bread and circuses. Mary Poppins does not condemn the greed of Mr. Dawes and the rich die laughing. It is difficult not to like Mary Poppins, the angelic symbol of care that doesn’t disrupt the system. And Disney will see no end to its place among the wealthiest families on earth. It is a small world, after all.

Cenobic Marvels

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Among the most explicitly religious of horror movies, Clive Barker’s Hellraiser series exploits biblical themes and tropes to blur distinctions between sacred and sacrilege. Not a fan of gratuitous gore, I began watching the series after reading Douglas Cowan’s Sacred Terror. Cowan utilizes this particular series to illustrate how deeply the religious mythology may reach, awaiting the fourth installment before finally having an explanation. Curious, I have been making my way through slowly. October seems a good time to consider the unsettling aspects of human nature, so I watched the third installment, Hell on Earth, this weekend.

Funnily, I do not find Pinhead particularly evil. Perhaps that is the intent. His eyes seem too kind to be a true villain. As the leader of the demonic Cenobites, he leads the curious down the path of exploration to ultimate destruction and, appropriately enough, Hell. The Hell presented throughout the films, however, is the true desire of the victims. They stumble upon a puzzle box, but when it is opened the curious find themselves trapped. The very use of monastic ideals as emblematic of Hell is surely a commentary on the futility of self-inflicted means of grace. Does not the flagellant at some level enjoy the pain? Where is the religious value in that? In Hellraiser III, Joanne runs to a Catholic church for help with Pinhead in pursuit. As any horror fan knows, the church is never a haven against evil. Pinhead makes himself a parody of the crucifixion while a helpless priest tries to defend God.

Horror films are a remarkably successful genre. At least one aspect of the appeal is the unabashed use of religion. Conditioned by the old films such as Dracula, the early twentieth century taught us that the church kept us safe—crucifixes always used to work against vampires! By the end of the century that vision had shifted. The church of the early twentieth century was a preserve of male power, a place where men made the rules and abused the rules and no one questioned them. As the century progressed, we became wiser. And more vulnerable. By the dawn of the new millennium, when such movies as Hellraiser III were being filmed, the security of the cloister had itself become a source of fear. October is the season of reflection on the transience of summer and ease. Perhaps it is also the season to reflect on how our perceptions of religion are ever shifting as winter wends its way toward us once again. And Mr. Barker will be standing there to remind us that we each create our own Hell.

Always Against Us

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In one of the coolest homework assignments ever, my daughter was supposed to watch The Matrix. Her digital electronics class makes constant reference to the movie, so her teacher decided that in order to “get it,” those who hadn’t seen the movie should watch it. I know the film has many nay-sayers and some of the acting may not attain the highest standards, but it remains among my favorite movies. At Nashotah House, early in the dawning millennium, many students watched the film religiously. One student had it on his laptop and a small knot of his classmates would gather around just about every morning to watch before my class began. I was a bit put off by the claims that it was a “New Testament allegory,” but I have come to realize that without resurrection, the film industry in this country would be dead. American audiences (especially) crave the possibility of coming back. And even though I’m as much a sucker for a good love story as the next guy, that resurrection scene isn’t the highlight of the movie. Not by a long shot.

The Matrix has always been one of my favorites because of the basic premise: what if the world is not real? I’ve been plagued by that question for about as long as I can remember. When, in my first philosophy class, I learned about naïve realism, my worldview shifted. Who’s to say what’s real? And if someone decides to shoot me to shut me up, the lights might go out, but will there be anything left behind? Not that I believe I’m a source of energy for evil robot overlords (I get too easily chilled to believe that), but I often think about the tenuousness of it all. Our reality changes when we fall asleep, and each day we assume that a continuity is the same as the essence of our existence. There’s no way to check it, however, and I’m not entirely convinced. That’s why I like The Matrix so much. Someone else understands my deep fear that none of this is real.

The moment when Neo refuses to leave, but turns to fight Agent Smith, Trinity asks Morpheus what is happening. Morpheus responds, “He’s beginning to believe!” That line always gets me. The idea that something out there actually tips the balance on the side of good creates a longing so deep that it hurts. When I wake up the next morning, however, I see the headlines bring more suffering, more status quo ante-Christ. The last thing I want to see on the front page is Chris Christie’s face first thing in the morning. It can be a very cruel world. In one of Morgan Freeman’s Through the Wormhole episodes, a scientist suggests that a Matrix-like world may match our reality. God, the scientist suggests, may be a programmer and has coded us to live in a virtual world. The tapping of my fingers is just an algorithm. I’m not yet beginning to believe that. But if I ever do I’ll be forced to conclude that our programming deity has either a wicked sense of humor, or is just plain wicked.

Buying Salvation

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October is upon us. The telltale signs are all there: trees just starting to turn, gray skies that hide an intangible menace, a coolness in the air, and Halloween stores sprouting like mushrooms. Halloween is a holiday with incredible sales appeal, I suspect, because people are still, at some level, very afraid. We evolved into who we are from a long history of being prey as well as predators. Fear governs many of our interactions in social settings, although we prefer to call it more abstract names such as “rule of law” or “peer pressure.” Deep down, we are afraid. Halloween allows us to wear that fear on our sleeves. And it isn’t just the Celts who made this confession; Día de los Muertos developed independently, giving us a different flavor of the same emotion. Savvy marketers know that where a human concern lies, there will be the purse-strings also.

Commercialization of religion—the fancy word is “commodification”—is as close to American religious experience as you can get. We live in a religious marketplace. Various religious groups offer their wares, sometimes obviously, sometimes subtly. Often the underlying motivation is fear—fear of displeasing deity, fear of eternal torment, fear of reincarnation. We are afraid and we don’t know what to do, so we try to buy our way out of it. Other times the Madison Avenue approach works. Consider the Crystal Cathedral, or even the great medieval cathedrals of Europe. These are tourist destinations, architectural marvels that draw us in. The message is still pretty much the same: the deity will get you unless you give back. How better to show respect (that is fear) than erecting a massive, complex, and very expensive edifice to the angry God?

It is simplistic to suggest that religion boils down to fear, but when all the water evaporates, fear is certainly evident among the residue. Next to the overtly commercial holiday of Christmas the most money can be coaxed out of Americans at Halloween. Or consider the appeal of horror movies. Love them or hate them, they will draw in big money at the box office. In a society that sublimates fear and tells its citizens that unimpeded growth is attainable, Halloween is the most parsimonious holiday. Perhaps the most honest, too. A full month before the creepy sight of naked trees and chill breezes that sound like screams whistling through their bare branches, the stores begin to appear. When Halloween is over they will be dormant for eleven months of the year, but like the undead they are never really gone. Only sleeping.

A parable.

Brain Death

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The computer revolution has spoiled some of the wonder associated with old films that had been formerly staged with cheap props and poorly written dialogue. (Well, computer literacy has not always improved the dialogue, in all fairness.) Nowhere is this more apparent in the science-fiction/horror genre where CGI has made the impossible pedestrian. There’s little we’re not capable of believing. Back in the fifties and early sixties when even color film often went over budget, some real groaners emerged. Over the weekend I watched one of the movies at the front of the class for poorly executed. The Brain that Wouldn’t Die, however, is experiencing something of a renaissance with a stage musical coming out next month in New York based on this campy classic. Most horror movies don’t really scare me much, probably due to overexposure. The Brain that Wouldn’t Die, however, creeped me out in an unexpected way. Daring toward exploitation status (the movie was shot in 1959 but not released for three years), the “protagonist” is Dr. Bill Cortner who specializes in transplants. When his girlfriend Jan is decapitated in an automobile accident, Cortner keeps her head alive while seeking a body onto which to transplant it. Ogling over girls in a strip club, or even stalking them from his car while they’re walking down the street, the doctor imagines what features he’d like grafted onto his girlfriend’s still living head.

Campy to a nearly fatal degree, the film is nevertheless disturbing on many levels simultaneously. Although I was born the year the film was released, I was raised to consider both genders as equal. The unadulterated sexism of a man grocery shopping for the body he wants stuck onto his girlfriend’s head was so repellant that I reached for the remote more than once. A bit of overwritten dialogue, however, stayed my hand. Kurt, the obligatorily deformed lab assistant, while arguing with Cortner declares that the human soul is part in the head, yet partially in the heart. By placing a head on another body, the soul is fractured. Now here was a piece of theological finesse unexpected in such a poverty of prose. The question of the location of the soul has long troubled theologians, an inquiry complicated by the growth of biological science. Heart transplants are common today, but the resulting people are in no way monstrous. The amorphous soul, theologians aver, is non-material yet resides within a specific biological entity. Some have even suggested that you can capture its departure by weighing a dying body at the moment of death. Others suggest no soul exists—it is a mere projection of consciousness. Cortner, however, once his eyes have opened the possibilities, can’t look back.

Our social consciousness has grown considerably since the late 1950s. Politicians and Tea Partiers who hold that era up as a paradigm of sanity do so at the price of half the human race. On the outside with the oiled hair, polished shoes, spotless automobiles, society seemed clean cut and orderly. Women, however, were relegated to inferior roles while men made the rules. Life was less complicated then. We knew who was in charge. Or did we? As a species that has evolved via sexual reproduction, it has taken us surprisingly long to realize that both genders are essential to humanity. We still tolerate gender disparity in pay scales, often shored up with the tired excuse that pregnancy and childbirth disrupt “productivity” and therefore female efforts are worth less than male—never changing due to biology. Such trumped-up excuses ring as hollow as a head without a body. Many Neo-Cons will even use the Bible to support it. John Q. Public (always male, please note), they insist, yearns for the “good old days.” The days they desire, however, were days of cheap horror and unrealistic dialogue. If they can watch The Brain that Wouldn’t Die without flinching, our future is bleak indeed.