The Art of Religion

Leave a comment

RastaIf you take a train along the Raritan Valley Line en route to New York City, you will see many of the less highly regarded sights of New Jersey. The properties along the rails are often industrial and neglected. Graffiti abounds. On one particular concrete underpass is a truly monumental graffito reading “Paint the Revolution.” Since I can’t afford to take the train on a regular basis, seeing that prophetic line is a rare occasion for me, and it always casts me in a reflective mood. No doubt injustice has become deeply entrenched in our society where politicians are synonymous with distrust and wealth is carefully corralled by a passing insignificant number of individuals. These thoughts recurred as I was reading about Rasta, the religion that developed in 1930s Jamaica, and is now found throughout the world.

Perhaps the most rewarding aspect of being an editor is exposure to new ideas. Of course, anyone can achieve this by reading, but as a person whose job is to find new books, an editor often has to go beyond passive, to active reading. So it was that, while at Routledge, I came to Darren N. J. Middleton’s Rastafari and the Arts. I immediately fell for it. I’d read about Rasta before, but Middleton’s use of art as a means of exploring the religion was captivating. Now that his book is out, I reacquainted myself with what drew me to the project in the first place. Admittedly, a large part of the draw is the fascination with Rasta itself. While some, perhaps many, would claim that it’s not a religion, Middleton demonstrates pretty clearly that it is, or that it at least has all the hallmarks of one. Moreover, it is a religion profoundly based on the concept of social justice, something that many religions possess in diminishing quantities.

The African diaspora led to the development of several new religions as African thought was forced into a mode of accepting Christianity. Among those many new religions, Rasta stands out for its association with a particular musical style, reggae. Of course reggae can be secular, but one of the many insightful observations of Rastafari and the Arts is that the global spread of Rasta often begins as music travels. While reggae is generally identified by its musical style, it is also noted for having a heavy dose of social consciousness. People who’ve been oppressed, no matter what their race, often express their victimhood in their arts. Not particularly numerous, and certainly not politically powerful, Rasta has been painting its own revolution. That revolution is associated with peace and love, and, in a way almost unique among belief systems, its music.

Music Alone

4 Comments

Thinking back to our days in Edinburgh, I had a song come to mind. I could remember only a word or two, but the tune and the cadence were still there. Not a singer, nor even a hummer, the best I could do was ask my wife if she remembered the song based on the two words I could recall. Amazingly, she did. When I went to download it on iTunes, I learned that it isn’t available in the US. Probably copyright laws—these can be quite bizarre. Music has a way of staying with you and one of the songs unforgettable to those of us growing up in the ‘60s is Don McLean’s “American Pie.” In a recent Bloomberg View piece, Stephen L. Carter, a professor at Yale, laments the fact that McLean’s original notes for the song are going up for bids and, after five decades of guessing, we may finally learn what the cryptic lyrics mean. Or will we?

AmericanPie

A colleague of mine used to say, “words don’t have meanings, they have usages.” In the literary technique known as reader-response criticism, it is the reader who has the final say in what a passage “means.” An author may intend one thing, but who is the author to control the meme once it’s out? (You can see why some biblical students get upset by such things since the same thing applies, even if the author is God.) While I’m not po-mo enough to accept this completely, it has introduced an edge of caution to my reading. After all, if an author is dead (ahem) we can’t question him or her to find out what they meant. Even if they remember. “American Pie” is notable for its lyrics with religious imagery which, fairly clearly, are not really religious. Or are they?

Carter laments the coming unveiling. The mystery will be gone. Don McLean, the ultimate one-hit wonder, will walk away with the goods yet again. I have no doubt that there will be analyses and hermeneutical disquisitions. The learned will claim that we finally have the answers. I’m not so sure. What if the “Father, Son, and Holy Ghost” turn out to be Buddy Holly, Big Bopper, and Richie Valens? What does that mean? Perhaps Don McLean, like any old prophet, was merely a vehicle for a message received from elsewhere. The questions go back in an endless regression, and no answer will ever be final. We all know the song is about “the day the music died.” As the old camp song says, “music alone shall live, never to die.” And as I sit here trying to remember how a song I last heard two decades ago goes, I’m pretty sure that the camp song is right, whatever it means.

No Beef

Leave a comment

IMG_1932

Burger franchises aren’t always the best option for vegetarians. When you’re traveling, however, choices can be slim. My wife and I recently pulled into a Burger King. They do have a veggie burger, although it is clear that those who prepare them seldom eat them. They must be frozen because they inevitably have that tough edge that comes from microwaving them just a little too long. Anyway, we were sitting down to have a bite, or chew, when a group of three gentlemen in the corner booth caught our attention. They were arguing, in a friendly way, over Christianity. Among the topics of conversation was the age of the earth. (Ten thousand years, at the outside.) Overhearing the conversation, I started to get nervous. I noticed the guy at the table next to them glancing curiously their way.

I glanced around. Other people having conversations about mundane things. Perhaps this is what we’re taught to do. Speak of things that have little depth. We are in a public place. We don’t discuss religion or politics here. But then I reconsidered the situation. If I were to join their discussion I’m sure we would have found little in the way of common ground, but I realized that conversations around religion do have depth. These guys, despite the media’s incessant message that religion is for non-intellectuals, were thinking deeply about topics of ultimate concern. When’s the last time I talked with a colleague about what really matters over lunch?

A blurb in a recent Christian Century mentioned Bob Dylan. It suggested that in a recent interview that he’d intimated that if he hadn’t gone into music, he would likely have studied theology. Likewise, I recalled an interview many years ago with Bruce Springsteen that suggested he might have made a good priest. Listening to the lyrics of many of the songs of these two icons will reveal that depth and public religious discourse many not be so rare as this incident in Burger King seemed to suggest. Maybe the words aren’t always direct. Maybe we speak in metaphors and with guarded asides. Maybe we speak with our actions instead of our words. Many of the most profound conversations we have, when viewed in that light, are like those of three men in a Burger King.

Autumn Music

2 Comments

It is an experience as old as humanity itself. At least humanity that started to realize that age, as remote as it may seem, will always eventually catch up with you. This past weekend was Family Weekend at my daughter’s college. Since her school does things up right, there were a variety of events on offer, one of which was an a cappella group concert. A cappella has come a long way since my college days, with students able to use their voices to sound like a band, professionally mixed, and full of energy. Somehow, I don’t recall that much energy from when I was a student. In any case, the inevitable group doing “oldies” took the stage an opened with a song from 1987. Wait. What? Since when was a song of which I remember the first release an oldie? The kids did a great cover, and I suspect in their minds it was really an old song. I was only 25 when it was given to the world. Can I really be an oldie? Outside the leaves on the trees were brilliant, as if on cue for the tuition payers to have their heartstrings wrung. Trees become their most alluring as they are about to die.

Songs, however, have a way of becoming part of you. Back when we were young(er) and idealistic, my wife had thought to study music therapy. Nashotah House, however, decided to change the career trajectories of an entire family in the name of orthodoxy. One of the things she learned in her classwork, prior to being sent back to the work-a-day world, was that patients suffering from dementia can often sing a song from their youth, even if they can’t speak a word. Music gets into our brains in a way that language learning doesn’t, and when we hear that song we are, to borrow a phrase from Bob Dylan (which another of the groups sang), forever young. It is a beautiful wish, endlessly covered and recovered. Watching those kids on stage, I recalled being on the cusp of adulthood myself. Everything seemed possible then. Then a world that others constructed imposed its constraints on me. My hair began to grow gray even as the leaves lit up yellow and scarlet and fire orange.

DSCN4928

Religion is the business of those who are old. Even as a religion major in college I was classed among those old before my time. We think of the hereafter on our deathbeds, not when we’re twenty. For those who teach their children to ponder eternity at a young age, however, that portal is never far from view. My fellow students were looking ahead to careers in all kinds of fields that would make their fortunes and reputations. My modest attempt to bring a younger generation to a more mature outlook faltered at the hands of Fundamentalists, and it was music that helped me through that terrible shock. Little do we think that that song we like so much is marking us indelibly as a child of our age. Time will not relent. We will be the ones, like the trees, showing our signs of age as our children show us where the future lies. And the attitude of that song from 1987 will be, for any who truly listen, forever young.

Knockin’ Where?

Leave a comment

KnockinOnHeavensDoorFor a while, when I was with Routledge, I tried to kick-start the old series Biblical Limits. I didn’t initiate the series, but it had been cutting edge at the time, and one thing biblical scholars seldom get to claim is that particular adjectival phrase. Alas, my enthusiasm wasn’t contagious and the series never moved ahead. Recently I decided to read Roland Boer’s Knockin’ on Heaven’s Door: The Bible and Popular Culture. Little did I realize that it would be a book that would make such a literal fit for the symbolic nature of my blog title. This is a book that my internet savvy would declare NSFW: not safe for work. Boer explores the sex and violence that are really rather pronounced in the biblical text, but which are often sublimated into object lessons for the faithful. We hear that such books as Song of Songs are allegories since they can’t possibly be about real people really attracted to each other. Would God sanction such things, well, after Genesis 1, I mean?

Post-modern readings of the Bible like to place the obvious before the reader. There is, no doubt, some over-reading going on here, but there is plentiful insight as well. A number of places I stopped and thought, I could use that, were I still teaching. Popular culture isn’t just movies and video games. There is a very human element to culture. Indeed, culture would not exist without such a thing as human interest. Boer explores everything from David’s carnal interests to Alfred Hitchcock’s morbid ones. McDonalds to Ezekiel in Guns-n-Roses. This is not the usual finding Christology in E.T. This is more like the bad boy’s Bible.

If the Bible cannot be made applicable to a constantly changing culture, then it becomes irrelevant. Many object to Boer’s bold treatment, but I believe that unless we can move beyond our concerns with J, E, D, P, R, Q, and double, or triple-redactions, we’re going to lose readers from page one. Knockin’ on Heaven’s Door is a page-turner. You can sit on the bus and have people think you’re reading about the Bible when in reality, a chapter on pornography may have you blushing madly. It brings to mind Odysseus in Polyphemus’s cave. But then, blind giants may be the most dangerous of all.

Lola Lolita

Leave a comment

LolitaAs a father, Vladimir Nabokov’s Lolita is difficult to read. With Banned Book Week upon us, however, and with my wife suggesting I read Reading Lolita in Tehran, I figured I’d better read Lolita in New Jersey first. It’s not the kind of book you want to be seen reading on the bus. As is well known, the novel is written from the sympathetic point of view of a pedophile. It is distinctly creepy and yet also strangely sincere. Effacing the distinctions between love and lust and healthy and ill psyches, the story draws you into the life of a single-minded Humbert Humbert and his twelve-year-old obsession. I had been prepared for the end of the story, having seen Stanley Kubrick’s cinematic version some years ago, still, this tale distresses. Banned books take us to places we’d rather not be, and cause us to linger there. This is part of their secret appeal. These authors are honest enough to make us question assumptions. You have floated out of sight of land.

Lolita, through euphony, if not something more, reminds me of “Lola.” The Kink’s hit. I first heard “Lola” while I was in seminary, although it had been released a decade and a half earlier (I tend to run a little behind the times). When I listen to songs I pay attention to the lyrics, and I was disturbed to find that “Lola” was a catchy tune with a (to me, at the time) disturbing message. I confessed to a friend that I liked the song, but wasn’t sure that I should. We ban songs just as we ban books, because they bring us to a place where we question what we thought we knew. In my case, it often doesn’t take much. My friend Dave gave sage advice not to overthink the whole thing. If you like a song, you like a song. Let the music play on.

“You say you’re afraid for children,” Ellen Hopkins’s second stanza of “Manifesto” begins. (I confess to following a different scansion of the poem, call it poetic license.) I believe, however, our fear is for ourselves. We know that we could have a monster lurking inside. Lolita does not encourage pedophilia. Like many social crimes, pedophilia is the manifestation of an illness that some people, like sociopaths, unfortunately suffer. The lack of empathy for others is a frightening thing indeed. It makes for some of the scariest movies, and headlines, that I have ever seen. We do ourselves no favors, however, by pretending it doesn’t exist. I know little of the life of Nabokov, but I know that he died in Montreux. I know that he could afford to live there at least in part because of the royalties from Lolita, a novel whose manuscript he had once attempted to burn. And I know that in Montreux “some stupid with a flare gun,” well, you know the rest.

Psalm 151b

1 Comment

sinead-oconnor-take-me-to-churchI can’t claim to know much about Sinéad O’Connor. When she did her Saturday Night Live act a few years back, I remember the outrage among several Nashotah House students muttering unholy threats. Not that they were Catholic, having *ahem* celibacy issues, but they objected to a picture of Pope John Paul II, known colloquially as “J2P2,” being torn up. This symbolic gesture lost her, on campus anyway, about a dozen fans. I had nearly forgotten the Irish bardess when my wife sent me an NPR story on her recent song, “Take Me to Church.” I was immediately struck by the lyrics that, to this old Psalter reader, sounded very much like a Psalm. The lyrics, while some will certainly disagree, resonant very strongly with the self-confession that permeates the hymnal of ancient Israel. Not that O’Connor has suddenly become a proper Catholic, but she has entered the band of David.

Many popular artists over the years, I would contend, have struck that familiar chord. Anyone who reads the Psalms at face value will find it hard to miss the angst of the writer who tries to do right only to find that s/he needs someone to “take them to church.” Music is the confessional of the soul. Psalms can be a most secular book. The way some biblical scholars like to explain it is that the Torah and the prophets are God speaking to (read “commanding”) people, and Psalms are the opportunity of people to speak their mind to the divine. This might explain the otherwise inexcusable anger that pours out in invective which, if we’re honest, we’ll have to admit to having felt from time to time.

The line we draw sharply between sacred and secular is attenuated in the Psalms. In fact, it is in any honest religion. When religions present themselves as strictly lived as if people could be truly righteous while others should be excluded, trouble is on the horizon. Pictures get torn up, and the “faithful” grow angry. I know few who would argue that humans are perfect just the way we are, yet, for the most part, we try to do what is right. The standards any religion proffers are too high, and we are bound to fail. Perhaps the saving grace, if I may borrow a bit of religious language, is that even the secular can write effective psalms along the way.

Singing the Truth

Leave a comment

Attending a local high school choral concert recently, I arrived late. That’s fairly common since the bus from New York is often quite tardy—arriving forty minutes after the scheduled time is pretty standard. In any case, I joined the concert already in progress. One of the first pieces I heard was “Operator,” a number based on an old Manhattan Transfer song. Since my wife grew up liking the group, I recognized the song and yet it felt strange to have Jesus mentioned repeatedly in a public school setting. Music, by its very nature, however, often contains religious sentiments. The Doobie Brothers had, in the early 1970s—the height of a hedonistic age—done very well with a cover of “Jesus is Just Alright.” Jesus, after all, had been declared a superstar a couple of years before. I used to tell my students that the musical impulse is linked with the appearance of religion in very early human culture. Still, disestablishment reigns.

I know that a large Jewish population makes up a significant demographic at the school, and I often think about how the cultural supersessionism of Christianity must feel. Much of what became Christianity has deep roots in Judaism, and even Jesus was Jewish. Can a song be just a song? After a while Randall Thompson’s “The Last Words of David” was performed. No offense there, since the Hebrew Bible is recognized by both Jews and Christians. But what of those of other faiths? Don’t get me wrong—our high school has an excellent music program. I was just wondering how the music might be perceived in a multicultural world. We have Muslim and Hindu students, as well as secular. Is this just counted as mythology to them? The selection of music teachers would be far more restricted if all music associated with religious words or themes were jettisoned.

Affaire_de_Bizoton_1864

These were the kinds of thoughts milling about my head when the last song from a religious tradition came up: “Wangol.” This is a Vodou song. I was pleased and amazed that the “last word” went to an underrepresented religious group. True enough, Vodou grew out of Christianity’s interaction with traditional African religions, but it demonstrates just how eclectic both American religious culture and high school music concerts can be. Choosing the music for a secular choral concert in a multicultural setting must be a trying experience every single time. When we lived in Wisconsin, most concerts were unabashedly Christian in orientation. This is hardly surprising, I suppose, since choral music itself is often composed to express religious sentiments. New Jersey is a different world. I left the auditorium musing that Vodou is just alright with me, and just as plausible as calling Jesus on the telephone.

Hotel Nowhere

2 Comments

HotelCalifornia1977. I was in junior high school and I wore my hair long. I hadn’t yet donned the cross that I carried through my high school years with a constant fear of Hell on my back, but I did listen to the radio. The haunting song “Hotel California,” by the Eagles, scared me. There was something lurking there—something undefined and yet compelling. Cults were in the news, and after the People’s Temple suicide a year later, we were all pretty well convinced that the song was based on fact of some sort. Religious analysts concluded that the song referred to everything from the Antichrist (“they just can’t kill the beast”) to a New Religious Movement that had taken over a western mission (“we haven’t had that spirit here since 1969”). Members of the Eagles, when asked, said their intentions were to expose the darkness of the music industry as idealistic hippies came of age and realized, yes, it’s just business. Still, I shivered.

Nashotah House used to be on the frontier. Although it is only 30 miles from Milwaukee, it could still feel terribly isolated less than two decades after the Eagles had flown. Indeed, there were sotto voce suggestions that “Hotel California” should be the official seminary hymn. “You can check out any time you like, but you can never leave.” The nights could be very dark in the Wisconsin woods, and for those attuned to some of the more honest aspects of a religion based on exclusion this didn’t seem too far to stretch. “Hotel California” came forcefully back to mind reading about Oneiric Hotel in Wired. (Mentioning Wired makes me look smart.) The Oneiric Hotel is a lucid-dreaming device by artist Julijonas Urbonas, the kind of thing Wired finds newsworthy. The story mentions that Urbonas’s previous project—called Euthanasia Coaster—was designed to kill its passengers.

Now my mind checks into Bates Motel. I know Psycho is set in Arizona, but the desert southwest is terra incognita to an easterner, and besides, it’s just a metaphor. It looks like California to me. I saw Psycho as a college student, and was rather afraid to watch it while at Nashotah House. Indeed, the night I moved to campus I found a dog-eared script from a play about a murderous maid at the seminary left on my coffee table. “This could be Heaven or this could be Hell.” Psycho, it is asserted, was based on the macabre case of sociopathic killer Ed Gein who had roamed these self-same woods of Wisconsin, and who had died less than a decade earlier just down the road in Madison. There was, I knew, a psychiatric hospital just across the small lake that the campus bordered. We don’t call them cults anymore, but we all know what we’re talking about. There are indeed places that you can never check out, even if you leave.

Lost Supper

Leave a comment

Culture, for better or worse, involves a deep connection to religion. No matter how secular we suppose the world to be, profound connections to belief surface in the most unlikely places. Time magazine’s culture section this past week has a brief blurb on “Burger Blunders.” Having been a vegetarian for a decade-and-a-half, this short story might not have caught my interest had my wife not pointed out “the Ghost,” a burger offered by Kuma’s Corner, a heavy-metal band-themed bar in Chicago. “The Ghost” comes with an unconsecrated communion wafer on top, and this has raised some spirits, according to Time’s culture team. Even Protestants recognize the power of the symbol of the wafer, even if they can’t accept transubstantiation. In Catholic belief, however, prior to consecration the sliver of bread is just that—a bit of pressed wheat product. The wafer came to be preferred because it was more easily contained than the crumbs of a regular piece of consecrated bread.

Communion, or the Eucharist, is a ritual meal based on the Jewish Passover. According to the Gospels, it was during the “last supper,” a Passover seder, that Jesus instituted the ritual. Early Christians ate together, and, recalling the symbolism, gave special prominence to the bread and wine. Bread, however, produces crumbs. When theology got ahold of bread it became a sacred object, after it was properly consecrated. It was believed (is still believed by some) to be very powerful in that state since it had become the actual body of Christ during the ritual. Wafers, technically unleavened bread, had many advantages to the emerging theological sensitivities. Portion control, symmetry, and virtually no crumbs. I’ve attended many masses, and the extreme care for particle control is everywhere from ciborium to patten to sacred linens that cover the altar like a liturgical table cloth. They are all accessories to the containment of broken bread.

Última_Cena_-_Da_Vinci_5

Communion wafers, however, when unconsecrated are just bread (if even that). They are not made palatable as snacks, but are more easily available online than basic gears or recordings of your favorite musical. Heavy metal has always enjoyed its blasphemous image as one of the most in-your-face counter-cultures possible. It is also profoundly religious. (Note, I am not saying that heavy metal is Christian or even Judeo-Christian, but it does participate deeply in religious symbolism.) If robbed of its shock-value, it is just loud noise. By association, however, many people mistake the wafer itself for what it represents. Without the added ingredient of consecrations, however, the liturgical churches tend to say it’s just bread. If you’ve ever eaten it, you’ll know that that assertion requires faith sufficient to move a Big Mac.

Fair Country?

3 Comments

One of the lesser known Bruce Springsteen songs is “County Fair.” I hadn’t heard the song until I purchased The Essential Bruce Springsteen some years back when you actually had to buy a disc to get the music. Not a rock-n-roll anthem, it is a quiet, poignant song about the existential pleasures of a county fair. My daughter has been a 4-H member for six years and we’ve annually attended our county fair-the largest free fair east of the Mississippi, it is said-each of those years. In a good year 10,000 people will wander through, looking at farm animals that seem so foreign in our urban lives and which most people only recognize covered in gravy or some glaze. They see the exotic animals and pets so cute that they should be illegal. Like a fledgling college campus there are Arts and Sciences tents. Model planes, model trains, and model automobiles. To a sophisticated adult this might seem like pretty mind-numbing stuff, but I never fail to leave feeling inspired. I play “County Fair” religiously before heading out the door. Yesterday saw the close of the sixty-fifth Somerset County 4-H Fair, and despite the periodic showers, people seemed to be enjoying themselves.

Under the commercial tent stands the Gideons’ table. Each year the fair is literally littered with free Bibles. I noticed with interest that the sign, which had originally read “Free Testaments” had been redacted to “Free New Testaments.” I tried to imagine the conversations, or confrontations that led to such a change. I can’t say for certain, but I suspect Hebrew Bible professors are not among the higher demographics of fair attendees. Most of the colleagues I know would never confront a poor Gideonite about ambiguously handing out New Testaments. I did, however, experience a kind of existential downgrade here. Christians used to declare, doctrinally at least, that the “testaments” were equal. Sure, when you’re standing on the George Washington Bridge trying to decide whether or not to jump, there’s some parts of the older testament that you’d probably be better off not reading. Nevertheless, doesn’t the rule book say the two are part of a whole?

IMG_0922

Nationally, as I well know, there are fewer “Old Testament” jobs than “New Testament.” But that slick little book the Gideons hand out feels a lot more streamlined than the bulky full edition. And I also realize that walking around a relaxing event like a county fair, seeking the most innocent kinds of fun imaginable, that a Bible in your hip pocket is probably overkill. There seems to be no devil lurking here among the sheep and the goats. Feet damp from the rain, under a cloudy, August nighttime sky, sitting in the car my daughter reflects on how this is her last fair as a 4-H member. I wish there were some twinkling stars overhead to make this a storybook ending. But all I’ve got is a truncated Bible in my pocket, and it is missing my favorite part.

Christian Rocks

1 Comment

ViolFemsSitting in traffic outside the Lincoln Tunnel, I see that the Violent Femmes are coming to town. The billboard sends my mind spiraling back to college, when the Violent Femmes had released their debut album. Not that I ever listened to it (then), but in the fervently evangelical atmosphere of Grove City College, many students rooted and grubbed for any whiff of esoteric Christianity in a culture on the—pardon the genre-switch—highway to Hell. Rumors abounded that the Femmes were covert Christians, just like another up-and-coming band called U2. Not only the Femmes were violent—reaction to such Christianizing assertions was as well. I remember one of the dorm-mates in my housing group getting into a shouting match that U2 was not a Christian group and slamming his door to sulk, literally for hours. This was important stuff. We were Christians in an underground world.

Of course, some of us knew that Gordon Gano clearly betrayed the influence of Larry Norman in his voicing. And there were rumors and rumors of rumors that the Violent Femmes were coming out with a Christian album, despite the popularity of “Blister in the Sun,” the homage to masturbation that raised the group to stardom. This rumor turned out to be partially true, as Hallowed Ground took on spiritual themes, a little bit country, a little bit soul. There was some tension in the group as Gano’s lyrics began to suggest something more overtly Christian. All of this was going on long before I discovered the Femmes. At Nashotah House I taught a guest lecture on Christian themes in rock music. I researched the Violent Femmes and found that I liked their sound. They made the cut for the lecture.

In a culture as deeply steeped in the Bible as ours, it is difficult to avoid Christian imagery altogether. The Femmes were from Milwaukee (not far from Nashotah House, as the raptor flies), the heartland where beats the pulse of unadulterated religiosity. Even Iron Maiden, after all, had released the platinum album The Number of the Beast. And David Buckna points out in a recent MuseMash post, that even Ozzy Osbourne has some religious aptitude. (I always thought there was more going on in “Iron Man” than meets the ear.) This may all be chalked up to cultural Christianity—there need not be too much conviction here. Those who feel oppressed, however, huddled together in their evangelical college dorms, will always suspect that there is something more beneath the surface that makes even the “Prince of Darkness” the bearer of light.

No Song for Old Men

2 Comments

Succoth in Waukesha, Wisconsin. A pillar of the local synagogue had invited me to come to his booth with some of my seminary students to let them celebrate an ancient tradition and talk to a Jewish believer about it. We were all having a good time, and someone mentioned Leonard Cohen’s song “Hallelujah.” One of the seminarians, brash as always, spoke up and admired “Rufus Wainwright’s cover in the movie Shrek.” Although I’d corrected many students before, I let this faux pas ride. Music is very personal to me, and the cover played in the movie Shrek was John Cale’s version, although the soundtrack substituted Rufus Wainwright’s cover of John Cale’s cover. And this student was far too young to have appreciated the Velvet Underground. I was a little surprised, then, when my wife pointed me to a CNN story this week about the thriving popularity of the song. Instead of putting my paltry words out there on CNN for all the world to see, I decided to address them here, to my private audience.

Velvet_Underground_and_Nico

Leonard Cohen has been described as a man who writes songs with a prayerbook in one hand and a picture of a naked lady in the other. He has spent time in monasteries and his lyrics have a very serious edge to them. What the many self-proclaimed experts commenting on CNN seem to have missed is that Cohen’s song is a song for old men looking backward. Yes, it is rife with biblical imagery, but no, it is not a religious song. Not in the sense that it is often used today. John Cale got that. When I hear his early work with Lou Reed or even his first cover of “Hallelujah” that managed to capture something even Cohen hadn’t (no mean feat, that), I can hear the aging Cale casting a glance back to the same place that Cohen saw. We are all aging and we all remember the vitality of those years when possibilities seemed endless. No, it takes decades for a hallelujah to become broken. All the versions by popular artists trying to breathe soul into a tragedy have missed the point. It’s a cold and it’s a broken hallelujah.

I only listen to this song when I’m alone, preferably with John Cale. When Leonard Cohen sent him the lyrics there were 15 pages of them. The CNN report cites the 75 or 80 verses that Cohen wrote. That’s because the song is a life. The biblical images of the song first captured my attention, but I also realized that it was a song about something that’s gone and that’s never coming back. Not for guys my age. Not for guys who can still remember being eighteen and feeling like life hadn’t even begun yet. Now I look back over five decades. I hear “Heroin” seeping from my brother’s room, somehow knowing the dissonant chords would stay with me for the rest of my life, although I have never personally used drugs. There is a longing there, a longing for something that life offers maybe once, for a few short years. Age and inevitability catch up with everyone, and breathy young artists think they’re chic when they cover a song that is meant for old men who remember what glory used to feel like. Only those with experienced ears can really hear Leonard Cohen’s hallelujah.

Where is it?

3 Comments

When I step outside to pick up the morning newspaper, I always look at the sky. I think this is a very early evolutionary trick. It may be because there was a time when primates were smaller and birds of prey larger, or it may be because some big cats like to drop on prey from trees. It may be simply that we don’t like to get wet, especially unexpectedly. For whatever reason, the sky is a source of endless fascination. Helen T. Gray, in a piece written for the Kansas City Star yesterday, ponders the place of Heaven in the space age. 80 percent of Americans report believing in Heaven, she points out, and she describes how Heaven has shifted from an improbably physical place to a transdimensional or neurologically embedded place. We, as a people, believe that there must be a better place than this. No matter where we locate it, Heaven is always a decided improvement on this place where too many people suffer too much and all of us suffer some of the time.

I once considered astronomy for a career. My high school, built in the fretful days of the Cold War, had an actual planetarium as the space race was burning over the red line. I took a high school class in astronomy and when I got to college I followed it up with an undergraduate course in the same. While I enjoyed learning about all the strangeness of space, it soon became clear that astronomy was simply another word for mathematics; the class involved intensive equations stressing a regularity that Metamucil would be proud to claim. And, of course, since we live on a sphere every direction is up. The belief in a better place is nothing if not resilient. It survived the knowledge that “up there” is either nowhere or everywhere, depending on your point of view. Most theologians after Galileo’s day finally admitted that. When I go for the paper, I still look to the sky, however.

In Hebrew the word translated “heaven” is the same word that is translated as “sky.” The Hebrew Bible knows no separate place called Heaven, but the latest parts do indicate a life restored after death. I wonder if Rick Nowels and Ellen Shipley might not have gotten it right when they wrote the song that would help solidify Belinda Carlisle’s solo career. Maybe Heaven is a place where love prevails. Not just the erotic love of pop music, but the love that sees not a Muslim, an African, a Hindu, or an Oriental, but human beings. That stranger experiences those same feelings, hopes, aspirations that all of us do. He or she should not be left shivering, hungry on the street corner begging for quarters to buy his or her next meal. If it’s clear outside I linger as I gaze at early morning stars and planets, feeling deep yearnings I can’t hope to express. No, Heaven may not be a Mormon planet where you get to become God after you die (ahem). Heaven is not a mansion in the clouds (I’m sure some satellite would’ve picked it up by now). Heaven is not where I get to go and you don’t. Heaven is here and now, but we all have to work for it.

Year of Poe

2 Comments

Apart from sharing a “middle” name, I would never dare compare myself to Edgar Allan Poe. Yes, I dabble in the literary arts, but every acolyte recognizes a true priest when he sees one. So as my train pulled into Boston, a city that has deep emotional resonances for me, I decided to stop and see where Edgar Allan Poe was born. The actual site is now a parking structure, an unexpected parallel between our emerging universes. All of my childhood homes, with one exception, are now parking lots. Standing at the foot of the memorial plaque near Emerson College, I reflected on my Poe year. I visited his college room at the University of Virginia in February, his one-time apartment in Philadelphia in March, his burial site in Baltimore in August, and now his birthplace. Not in any chronological order, but a voyage of discovery nevertheless.

This is the essence of pilgrimage. It is not rational and not really practical, but it is something people do. With religious intensity. I am in Boston as part of my secular job, but the city has sacred associations for me. I met my wife here, and that single event has changed my entire life. Boston will always be the place where something extraordinary happened to me. Poe did not like Boston, but for me it is the eternal city. Even the places with negative associations stake claims upon us. Over the weekend a friend posted a picture online taken before combat forced his evacuation from Vietnam many years ago. I kept coming back to that picture throughout the day. Lingering. Staring. Even though I’d never been there, it was like place had the ability to haunt those who’d even dared to look.

Poe and my friend are both writers who’ve drawn me into their worlds. What better way is there to learn that the universe is indeed infinite? Looking out my window at a Kenmore Square I recognize only by the giant Citgo sign that shed its garish light on many an evocative student night, I realize even eternal cities change. The last time I was in South Station I was saying goodbye to the woman I hoped, but did not know, would become my wife. Almost as if on cue, ” Lola” by the Kinks spills out of a local store as the Citgo sign flickers to life over the scene of my coming of age. In Boston I will always be twenty-three, wars will be long over, and Poe will remain alive forever.