Z War to End

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World_War_Z_posterWorld War Z is playing in theaters and I haven’t even had time to stock up on water and canned goods. Zombies are everywhere. And we can’t say that we didn’t see them coming. As movie critic Stephen Whitty points out, there are over 900 movies featuring zombies and the vast majority of them are recent productions. Major news corporations have been analyzing this undead interest for a few years now. No doubt the zombie is a populist monster, but why does it have such a potent effect on the modern imagination? Stepping back from the screen a minute, I think perhaps an answer is very obvious.

We live in an essentially programmed society. Philosophically we believe in free will, but economically much of our lives are predetermined. Among the happiest years—speaking strictly from the point of view of what I have been required to do for work—of my life were those of adjunct teaching. I had finally broken into the realm of the major university, and I had class after class of students who wanted to learn. Many disparage undergraduates. I never did. They come to college with what they have been taught, and that teaching comes at the behest of a society that informs them college is all about money. Who needs to really learn to not split infinitives? Or reason out that even if you know that Genesis 1-3 is a myth that evolution is not about religion at all? Who needs to learn to think when your boss will not want criticism? Do what you’re told. Be a good citizen. Be a zombie.

Our children are not stupid. I had many intelligent conversations with many bright young people at our state universities. I learned from them, and I hope they learned from me. The voice of the adjunct instructor, however, is nowhere near the decibel level of higher earnings. Is not the price of being a zombie worth having an adequate home, crippling debt, and access to wifi? The zombie, after all, is the antipode to the life of the mind. Zombies are, by definition, mindless. They carry around a carcass that does only what, in the classical sense, it is told to do. And so, if I loved that bohemian life so much, why did I hypocritically leave it? I have a family that requires healthcare. I have a child to support through college. I have a retirement fund that will not support a modest lifestyle for more than a single year. Yes, I too am a zombie. World War Z is indeed already here.

Supergod

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ManofSteelThis weekend the most-seen UFO in the skies was the Man of Steel. I didn’t see the new Superman movie, partly because, I suppose, of my own inadequacy issues. Also partly because I’ve always had trouble warming up to Superman. He’s just got too much going for him. Don’t get me wrong—I love heroes. But heroes are vulnerable. In fact, their vulnerability is the key to their strength. Superman, truly threatened only by kryptonite, is maybe just a little too perfect. A little too… messianic? So it would seem, according to CNN’s Belief Blog. According to a post by Eric Marrapodi, Warner Brothers is pushing hard on the Christian imagery of Man of Steel, encouraging church discussion groups, and even providing a study packet of Jesusesque tropes to discuss with the faithful. All this for a hero dreamed up by a couple of Jewish kids in the 1930s.

A telling observation appears somewhere in the middle of the article, where Ted Baehr is quoted as saying “I think it’s a very good thing that Hollywood is paying attention to the Christian marketplace.” Did you catch it? Christian marketplace? No surprises here, really. Christianity has “been good” to many who advocate the prosperity gospel—god wants the good to be rich. And since I haven’t been able to walk through Times Square for two weeks without seeing the Man of Steel, larger than life, flying off of massive billboards into the crowds of tourists and locals, I have no doubt the movie did very well over the weekend. Some may have even had their faith restored. Others will have had their pockets lined.

A few years back I was asked to present a program for adult education for a church in Princeton. They wanted someone to talk about religion and movies, and this is something I’d often addressed in my classes. I selected movies to discuss that were not “religious”—no films premised on religious characters or situations—and had no difficulty filling an hour with example after example. Movie makers have long known the benefits of movies based on Christian concepts. Self-sacrifice, redemption, and resurrection permeate the movie industry. This is a Christian culture. The parallels between Superman and Jesus have long been noted by critics of religious imagery in both films and comic books. And those who make films have also realized that Christianity is more than just a belief system. Indeed, it is a marketplace. And with enough money, even a regular mortal can bend steel.

Whatever Happened to Whimsy?

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American Gothic is one of my favorite paintings. I’ve never seen the original, and I know of no other paintings that Grant Wood produced, although I’m sure there are some. The mood in what has been called “the most famous American painting” is unsettled. There’s something not quite right here. When one of my authors wanted to use the image on a book cover, it led to quite a bit of serious discussion. I was a bit surprised by the negative impressions—not of the painting, but of its use on a serious academic book. The discussion seemed to turn on money rather than on wit and whimsy. I confess to being a dreamer, and I admit that the aspects of life that truly inspire me are never financial. When I crave wealth it is so that I might free up some time for creativity. That’s not the way business works.

Sometimes I feel a stranger in my own country. The unquestioned triumph of unbridled capitalism means that you can go from city to city to city and not really be able to tell much of a difference. If you want to buy a bit of tubing or a piece of wood, it’s Home Depot or Lowe’s for you. Office supplies—Office Max or Staples are your only choices. If you want to buy intelligent books, well, you’re just plumb out of luck unless you go to Amazon. The big financial corporations have won. Just admit it. Every time I visit my hometown I come away depressed at all the vacant stores and lost hopes of the small businesses that offered something just a little different. Something to tickle my fancy. Something to tempt me to wonder. Something with a tinge of American Gothic.

AmGoth

The messages we receive from every angle echo Madonna’s hit song, “Material Girl.” Only this includes all genders. Reductionistic materialism tells us that we’re just proteins walking. Mind is an illusion. Soul is a myth. I work a job where the money I’m paid is transferred electronically and if I want to see some of it in paper form I face a robotic ATM rather than a human face. I went to the mall last night and wept. Call it a mid-life crisis if you will. Say nostalgia has no place in a forward-looking society. I just want a few more options besides the plastic, the smart-chipped, and the sterile. The world needs more whimsy. Maybe that’s why I insisted on American Gothic on the cover of the first book I put under contract.

Sweet Morality

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CharlieandtheChocolateFactory When I saw Willy Wonka and the Chocolate Factory as a child, I had never heard of Roald Dahl. Although I enjoyed the movie, it was never a favorite. Like any kid I liked candy, but I’ve seldom been motivated by sweets. I discovered Roald Dahl when my daughter was young, and read for the first time his somewhat more disturbing original version of the story. Tim Burton has a reputation for going back to the roots of beloved childhood characters and revealing their darker sides. When his Charlie and the Chocolate Factory came out in 2005, the appeal went beyond sweets, for this was a modern, if sinister, morality play. While rewatching the movie recently a number of what should’ve been obvious religious motifs suggested themselves. The first came when Charlie Bucket is shown in the main chocolate processing room reaching for a candy apple. Violet Beauregarde steps in and snatches the apple from the tree in a defiantly Evesque move. She later receives her punishment by being transformed into a fruit.

Augustus Gloop receives a strange, chocolatey baptism is what might otherwise be the waters of life. After all, the Oompa-Loompas are shown bowing down in worship to a cocoa bean in a flashback. When Veruca Salt attempts to catch one of Willy Wonka’s nut-sorting squirrels, in a rather disturbing scene reminiscent of Ben, the squirrels pin her down and carry her to the garbage chute. She is carried in classic cruciform style, emphasizing the martyrdom she receives at the hands of her indulgent father. Even Mike Teavee undergoes a kind of resurrection after being atomized and projected into a television.

A friend once told me that the characters in the film represent various deadly sins. Augustus Gloop easily falls into gluttony, and Violet Beauregarde is an emblem of pride. Veruca Salt clearly represents greed, and Mike Teavee is full of wrath. Willy Wonka is part devil and part god in the film, doling out just punishment in a seemingly unfeeling way, while rewarding the few instances of virtue. Deprivation forges virtue in Charlie Bucket demonstrating how clearly the movie is in the realm of a morality play. With its horror film tropes and forays into the truly strange, Charlie and the Chocolate Factory is an example of how morality persists even in the vision of those often considered completely secular. Without it the movie becomes just another excuse to overindulge in sweets.

Monsters Incorporated

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Monsters

Monsters. What’s not to like? With a title so innocuous and limited US marketing, this 2010 British indie film only just came to my attention. I hadn’t even heard anything about it as I sat down to view it. The premise of invading aliens is as old as H. G. Wells, if not earlier, but this is a film without over-the-top CGI and a very human story. Showing far more tension than bloodshed, Andrew and Samantha, their Anglo names very prominent, are caught in alien-infested northern Mexico. Somewhat predictably, Samantha has a rich daddy who happens to be Andrew’s boss, but the couple has to find their way back to the United States as giant insectoid-octopi rampage through the night, destroying just about anything they can get their tentacles on. So far it sounds like standard Saturday-afternoon fare. As Andrew and Samantha reached the Rio Grande, however, overlooking the huge wall the US government built to keep out the aliens, I realized what the film is really about.

During the Bush years, shortly after the Berlin Wall had come down, a new wall was snaking its way along the Mexican border. America had become weary of “Give me your tired, your poor.” This was the land of opportunity, instead, for the chosen few. Never mind that we know that many of the jobs most of us don’t want are gratefully accepted by those who may not be technically legal in this country. Never mind that we deny social justice, in many ways, to those who make our lifestyle possible. Andrew and Samantha face the massive wall that says, “keep out.”

Of course, they make it back to Texas. They discover, however, that the aliens have breeched the walls as well. And they really pose no threat beyond wanting to draw strength from the abundant light-sources of a power-hungry world. The film’s ending is a bit ambiguous, but then again, the plight of the alien generally is. I watched the film with no expectation beyond a bit of sci-fi action to help give me the energy to make it through another week of work. Instead I saw a brash American coming to a deeper sense of humanity while standing in a church where hundreds were mourning their dead. The death of one small girl was as much a tragedy of as the breeching of the borders. Until humanity prevails over artificial borders, there will indeed be monsters. Were that they were only giant insectoid-octopi.

Mr. Hubbard’s Legacy

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churchofscientology As a child just discovering the joys of reading in the early 1970s, I found science fiction captivating. We were poor, and our town had no library, so I’d buy my books on Saturday trips to Goodwill. In other words, you take what you can get. I recall buying a book by a guy named L. Ron Hubbard. I don’t remember the title or the story, but I recall my surprise when, as a religion major some years later, I learned that this same sci-fi author had started a new religion. Scientology was not something you’d likely encounter in a poverty-stricken, sub-Appalachian town in rural Pennsylvania, and with no Internet it wasn’t so easy to learn about such things even if you had. We did have TV, though, and we watched Welcome Back Kotter (Risky Business was a little too risky). When I discovered that John Travolta (“Vinnie” as we thought of him) was a Scientologist, I was curious. But only to a degree. When I first taught World Religions and spent a few years researching the Scopes Trial for a book I never had the chance to write, I became very interested in American religions. They don’t come much more American than Scientology (and Latter-Day Saints).

As soon as Hugh B. Urban’s book The Church of Scientology: A History of a New Religion appeared, it immediately went onto my reading list. Like most interested laity, I’d found it difficult to trust much of what I’d read on the Church of Scientology from media sources. Now I had a reliable guide! Even better, Urban frames his study around a question that pervades this blog: who gets to decide what is a religion? As Urban deftly points out, it is odd that government agencies are often those tasked with a job more fitting for those of us who’ve studied religion with the rigor that a physicist devotes to quarks and neutrinos. Some of us have parsed religious texts to bare bones and then dug up the skeletons beneath and examined their ossified remains as well. The world doesn’t take religion studies too seriously, however.

Urban’s book, well written and solidly researched, maintains that rarest of academic feats: objectivity. When approaching a religion, particularly a controversial one, emotions are easily engaged and objectivity is challenged. While confessing that he isn’t a Scientologist, Urban lets the historical facts speak for themselves. He doesn’t try to belittle those he studies, but he doesn’t coddle either. Reading his fascinating account, many questions are raised about the rights of religions and the role that secrecy plays. And we know that Urban is only skating across the surface of a deep and mysterious pond here. Sitting in my room with a yellowed, used copy of some L. Ron Hubbard pulp fiction story in my hands, I would’ve never guessed, as a child, what I was really holding.

To Obey the Scout Law

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Society’s prurient interests have been on display again with the intense media blitz concerning Boy Scouts of America and the fraught issue of sexual orientation. As is to be expected, certain religious bodies have sounded the final trump once again as they frenetically posture against equality. The story is so old it is difficult to see how it counts as news. When I saw that the Church of Jesus Christ of Latter-Day Saints (the oldest sponsor of Boy Scouts and the denomination with the highest numbers) had made a statement about the issue, I almost didn’t even click on the link. We already know the official stance of such conservative groups, right? So I was genuinely surprised when I saw the note. This Mormon Church has no problem with the admission of homosexual boys since, and rightly so for a youth organization, the members are expected to behave according to the code of conduct. That code forbids sexual relationships, no matter a boy’s orientation, no matter with whom.

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We all know that ideals are seldom observed. We should lead by example. I spent my high school years deeply involved in the feeder program for future clergy in a major Christian denomination (the one with the second highest number of Scouts). The youth programs frequently involved having hundreds of youths together for multi-day events. Chaperoned, of course. But kids with active hormones are about the most clever creatures on the planet. I frequently heard that opportunities to find some time alone with your favorite “spiritual advisor” were not difficult to arrange. And when I enrolled in a program to study for the ministry officially, I learned that the name seminary was somehow overly appropriate. Codes of conduct exist for a reason, and those who hold to them reward the trust of adults who institute them. Society can’t operate without such rules. What happens in reality, however, is a different matter. Anyone who reads the headlines can see that.

I applaud the Mormon Church’s stance on this issue. The Boy Scouts is a social organization with nary a merit badge for sexual knowledge or experience (at least not in the Handbooks I’ve seen). Those matters, as with adults, are private. Religious groups often act as if admitting admitted homosexuals somehow changes the Jamboree into a Woodstock. The problem is with the imagination of puritan adults. The solution to the anxiety is rather simple. For those concerned, volunteer to lead a troop. Attend a meeting. See what actually goes on. The fact is, kids will be kids, and making rules to satisfy uptight adults will not change that. Many groups could learn from the Mormons here: Scouting is not about sex. It takes the imagination of adults to make it so. Boys, as the saying goes, will be boys.

God has Left the Theater

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When teaching religion at the University of Wisconsin Oshkosh, I realized that an effective way to engage students was through popular culture. I could assign them just about any choice of movie and have them look for the religious themes of whatever class in it for a short paper. Of course, most went for the low-hanging fruit, over my teaching years, and I eventually had to ban movies with obvious religious themes or premises. One of those movies was Bruce Almighty. In a fit of nostalgia, I recently rewatched it. Never a big Jim Carrie fan, I nevertheless always enjoyed Bruce Almighty—it was such an improvement over those truly dreadful Oh, God! movies that were so popular in the late 70’s and early 80’s. I never found George Burns funny, and he made for an awfully feeble God. Everyone was buzzing in the new millennium when God was portrayed by a black man, Morgan Freeman. Still, we await a director who dares cast a female God. Patriarchy runs deep.

BruceAlmighty

One of the features that movies portraying God run up against is showing a believable omnipotence. The powers granted to mortals always seem so petty. Theodicy is always raised in these kinds of movies—why people suffer if God is good and all powerful—and since movies rely on directors and writers rather than theologians, they often leave the answer at the doorstep of free will. Human suffering is our own fault. In our society we can’t have a movie that actually pins the blame back on the divine, because that wouldn’t be funny. And movies where people meet God are almost always comedies. But Bruce Almighty is actually a bit more sophisticated than it seems at first. That is best seen in the outtakes perhaps, where Morgan Freeman seems to care more about people than George Burns did. Of course, my memory on the older movies is hazy. They were considered slightly blasphemous three-and-a-half decades ago. Today they seem tame.

OhGod

Why do movies with God in the cast rake it in at the box office? A couple of reasons suggest themselves. As humans, we like to place ourselves in the role of the divine to consider what we would do with unlimited power. Who wouldn’t, like Bruce Nolan, at least include their own satisfaction in the package? I think, however, there is a deeper, more serious reason. We do genuinely wonder about God’s motivation. Most of us don’t have the training to know how to grapple with the often incomprehensible arguments that theologians make. Even when we do, they still make no sense. Our movie gods appeal to us because they are so terribly Freudian—made in the human image. We can’t conceive of a god who’s not like us, so we at least make the situation funny. If we can’t achieve omnipotence, at least we can hope for a few laughs.

Iconic Book

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A recent Associated Press story celebrated the achievement of Phillip Patterson. In an age when we just can’t get enough technology, when we live with, sleep with, and dream of electronically generated reality, Mr. Patterson was feted for his arcane accomplishment. Decidedly low tech, at that. After four years Phillip Patterson has finished copying a book, word-for-word. I don’t even have to mention which book, because we already know it can only be the book that Americans recognize without reading. It is the iconic book. The holy book. Sometimes working up to 14 hours a day on the quest, according to AP, Patterson was not undertaking a spiritual journey here. He was simply wanting to learn about the book. If it had been any other book, it would hardly have been newsworthy.

An iconic book (photo by David Ball)

An iconic book (photo by David Ball)

I have recently been introduced to the concept of the iconic book. A colleague of mine kindly shared the idea during a campus visit. He and I happen to share advanced training in reading the same book, but, as he pointed out, it is the book and not its contents that our society recognizes. This is what makes it an iconic book. When we go to court we are asked to place our hands upon it and swear—something the book itself would doubtlessly consider some form of idolatry. We use it for inaugurating the highest officials in our land. We see it laid out in public places and private homes. We consider harming or disrespecting it to be an act of sacrilege. To us, it is more than paper, ink, leather and glue.

The dedication of Phillip Patterson ought to be celebrated. As he noted, to learn more about a book, you have to be willing to dig deeply. Look at every single word. Not that such treatment is fashionable. In a society enamored of power, we prefer the power of the iconic book over its often troubling content. It is certainly much easier trumpeting it than reading it. As I listen to the debates about public policy, the endless attempts to legislate morality, I ponder how little people actually read Mr. Patterson’s book. That’s what makes his accomplishment so remarkable. In producing an iconic book, a book that I don’t need to name because anyone might figure out what it is, our protagonist actually read it. In this age of technology, that is an accomplishment to be celebrated indeed.

Divine Election

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Jesus, it seems, has given up appearing on tortillas and hedgerows to start endorsing political candidates. Of course, this is not really new news. Rick Santorum, Herman Cain, Rick Perry, and now Anna Pierre, candidate for mayor of North Miami, all claimed their campaigns were endorsed by the Almighty. Seems that God isn’t that great at picking winners. Anna Pierre, according to a story on NBC, came in last in the polls. Is it any surprise? Jesus always did have a soft spot for the underdog.

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American culture is an odd mix of secular and religious. We seem to want it both ways. Citizens like to believe that they are autonomous in their daily lives, free to choose their non-religious professions and pass-times, and on Sunday God takes over for an hour or two. Charged up on religious conviction, we want society to become more sacred, less trashy. But we still want to watch Fox at night. This disconnect has long fascinated me. No matter how many times God loses the election, a new crop of candidates will spring up with divine endorsements. The electorate, at least a significant part of it, will mindlessly follow along. Perhaps we prefer to believe in a deity whose hand is too short to save. Perhaps omnipotence is best left to boasts rather than belief.

The divine approval of a candidate has become so hackneyed that it has become almost the starting point for political contests. Where do you go after you’ve invoked the highest trump in the deck? Whose word means more than the Lord’s? In the heat of the campaign when policies and platforms just don’t sway the masses, who else can you trust? Often those who play such tactics consider those of us on the liberal side of the spectrum to be cynical. Theirs is religion in the service of the higher good, apparently. We wouldn’t want to be thought of as cynical, now, would we? Otherwise we might note that although Jesus may save, it seems that he certainly can’t vote.

Holding out for a Hero

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Over at Religion Link, a story about superheroes and spirituality was posted recently. I guess it should’ve been clearer to me as a child with his head in the clouds that the superheroes buzzing around up there were really gods. Well, in an ultra-thou-shalt-have-no-other-gods setting, that wasn’t really a possibility my young mind could even comprehend. They were just guys (almost always) with super powers. In the Bible they would have been miracle workers. I dared not think of Samson in the same thought as the Incredible Hulk. Heroes, after all, are about wish-fulfillment. We all want to be more than we are—I can imagine a better me (speaking strictly for myself), so why not present that self in the form of a hero? The Greeks, and before them the Mesopotamians did it. Heracles was a Europeanized Gilgamesh, perhaps through the mediation of a Levantine Melqart, after all.

Gods or heroes?

Gods or heroes?

The brief article on Religion Link points out that young people identify with gods in popular culture more than a God in the pew. A veteran of many, many hours in church, I think I can understand that. What adults say is going on in the service is arcane and not prone to any empirical verification. What child sitting in church hasn’t wanted to be home watching real superheroes fight evil on television instead? The movies of the past decade or so have shown us flawed gods. Heroes with troubles. These are the gods for the twenty-first century. Omnipotence isn’t all that it’s cracked up to be.

Scholars of religion are beginning to pay serious attention to superheroes. Books are beginning to appear offering analyses of these god-men, and a few god-women, among us. Funnily enough, some people find them more believable than the traditional gods. Perhaps that is the draw of heroes from the very beginning. Gilgamesh, after all, is asking the very human questions we still ask today. Where can I find a true companion? Why can’t it last forever? Why must we die? To find the answer Gilgamesh is sent off on an impossible task. He has fought monsters, he has defied the very gods. And when he finds the plant that offers a kind of immortality, it is stolen away by a snake. The story clearly influenced the tale of Eve and Adam in Eden. It has also inspired the more recent incarnations of superheroes, and we are beginning to realize that they often fly in the face of the divine.

Running to Stand Still

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“You have faith, Professor Barnhardt?” Klaatu asks the scientist in the classic The Day the Earth Stood Still. Barnhardt demurs, stating that curiosity is what makes good science, not faith. But sometimes I wonder if the professor or if the alien is correct. Science fiction was young in 1951, and Robert Wise would go on to give us such diverse fare as West Side Story, The Haunting, The Sound of Music, and the first Star Trek movie. Still, The Day the Earth Stood Still has always been my favorite movie that he directed. In 1951 quite a bit could be assumed about America’s religious sensibilities. Yes, diversity had been part of the mix from the very beginning, but the view of America as a “Christian nation,” although not in any way official, was not seriously challenged in those days. This shows through clearly in the movie. Although the opening sequence is intended to be a Klaatu eye-view of descending to earth in his space ship, it is reminiscent of the stock “creation” imagery that would become so familiar to those of us who watched Bible movies. It is a God’s eye-view as well.

Christ-like, Klaatu descends to earth to bring a message of peace, but also an apocalyptic threat, from the powers beyond. He is capable of miracles, such as the eponymous day the earth stood still—the ultimate in non-violent protest because hospitals and airplanes still have power and nobody is harmed. In his human incarnation Klaatu not so subtly takes the name Carpenter, making the corollary clear. In case you missed that, however, he is killed, resurrected and in the end ascends to heaven. Klaatu becomes the prototype of the messianic alien, a figure we would see in guises from ET to Starman. Believers in ancient astronauts or not, the makers of our space movies know that God is an alien.

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The Day the Earth Stood Still came early on in the Cold War. The obviousness of distrust in the Soviet Union is placed in the mouths and knowing glances of various characters. Some even suspect that Klaatu is a Russian rather than a spaceman. Sputnik was still six years in the future, but the atomic bomb was already in the past. We had learned to destroy ourselves before we had learned how to escape the only planet we have. Klaatu delivers his final homily not to politicians, but to scientists of all races (and, unspoken, creeds). Seated on folding chairs in the outdoors, as if at a revival meeting, they listen as Klaatu tells them the decision of how to live is up to us, but Gort, a kind of avenging angel, is always overhead. The invocation that can save humanity, however, is given to the female lead Helen Benson. She alone knows the sacred words “Klaatu barada nikto.” Amen.

Duck and Cover

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Although it is the twenty-first century, I’ve never had cable television. From my youngest days watching muddy black-and-white that sometimes revolved in a dizzying array up and down the screen, I’ve always considered television as a basic, constitutional right. You shouldn’t have to pay for it. Not far from New York City, even before digital boxes were required, analogue signals were so weak and unreliable that I just gave up on television all together. Except when I stay in a hotel. After a day out doing whatever a family does when not at home, we’ll stumble into a hotel room and flip on the TV. I am amazed at home many uncouth, self-made individual reality shows are on. Last hotel stay, I watched a show about heavily bearded guys in the Yukon trying to catch some lampreys so the dogs wouldn’t starve that winter. When they were about to shoot a moose, I switched channels to watch a family of over-fed, heavily bearded bayou store owners making turtle soup and sipping it from the very shell of the martyred terrapin. Manhattan felt like a slap in the face Monday morning.

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All of this is preamble to the fact that I’ve never watched Duck Dynasty, a show featured in this week’s Time magazine. Another heavily bearded family (I’ve had a beard since 1988 and it hasn’t landed me a reality show yet; how about Unemployed PhDs in the Land of Prayer?), now rich off of making duck calls and a reality show, are apparently one of the highest rated programs on the binary airwaves. The article, by Belinda Luscombe, makes the point that the Robertson family is a born-again clan whose religion is almost as important to them as shooting ducks. She notes that patriarch Phil grew up in extremely humble circumstances, and that his faith in the Lord doesn’t waver. People across the country are fascinated. The ducks, I presume, are nervous.

I am fascinated by this national obsession with hard-time, simple folk. From Ice Road Truckers to Dirty Jobs (not done dirt cheap), this country of sitting-behind-a-desk-staring-at-a-numbing-computer-screen culture is hungry for the authentic. The lived existence of those who face difficult times and get out of them with homespun ingenuity. The duck hunters whistle all the way to the bank. I grew up in humble circumstances, and to my recollection it was anything but glamorous. I’ve never seen Duck Dynasty, but Luscombe’s article reveals the hidden demon in the room as Phil Robertson laments his children building bigger houses and moving away from the Sears and Roebuck-toilet paper ways of his youth. The internet doesn’t help you much when you’re in the outhouse and the last catalogue arrived a decade ago. I wonder what would happen if more of us led meaningful lives. Would we still need the television to remind us that out there, far from the urban centers that define our civilization, godly duck hunters haunt the swamps of Louisiana? Would we even need television at all?

Lovecraft in the Woods

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CabinintheWoodsYou know the basic plot: five college students—always an uneven mix of genders—travel to a remote cabin in the woods during a break. Extreme bloodshed ensues. The Evil Dead? Cabin Fever? Blair Witch Project 2? This time it was The Cabin in the Woods. With the exception of Cabin Fever, all of these films have a religious origin for the horror unleashed on our protagonists, with varying degrees of seriousness. The premise of getting away into the woods is overtly sexual in nature, often with the added vice of drinking or drug use far from the eyes of watchful society. Something inevitably goes terribly wrong. Were they a tad less graphic, most of these movies could pass for morality plays in their adherence to the convention, made obvious in The Cabin in the Woods, that the virgin is the sole survivor. Of course, this is done with tongue deeply embedded in cheek. Joss Whedon, who brought us Thor and The Avengers, knows all about gods, and they are the driving motivation behind the evil lurking in this contrived cabin in an artificial wood.

In this parody of the splatter film, the blood of the archetypal teens is collected to appease a Lovecraftian pantheon of unseen “ancient ones.” These are the gods of old, hidden deep beneath the earth in a slumber, placated by the ritual sacrifice of the whore, the athlete, the scholar, the fool, and the virgin. The sacrifice is orchestrated by techie priests who wear white shirts and lab coats, in a hermetically sealed laboratory under the cabin where they are set to unleash any variety of monsters on the kids, leading to their gruesome demise. First the protagonists must “sin”—not a difficult prospect, given the arrangements—and be punished. If the ritual fails, the world ends when the “evil, giant gods” are released; echoes of Cthulhu are rife.

Horror movies offer more than scares. If done well, they provide catharsis as well—a kind of celluloid redemption. Writers and directors, however, have moved toward self-parody to distort the horror film into a kind of comedy. Even as early as The Evil Dead, the humor is evident. Joss Whedon, however, effectively wields the evil gods, just as in The Avengers. Deities are revered less for their goodness than for their sheer power. H. P. Lovecraft, an atheist, gave us the old gods. Hollywood has run with them. Instead of catharsis, viewers are left with an undefined unease—something is not quite right with this universe that has been created. Gods, whether holy or horribly profane, demand much of humanity. The response may be abject devotion or laughter. The sins remain the same as human vices of old. It is the gods that have been transformed.

Heavy Metal

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“I drive my car, it is a witness. My license plate, it states my business.” Only the hardcore may be able to place this quote from Daniel Amos’s impressive 1984 album Vox Humana. Even when I moved away from Christian rock after college, I kept Daniel Amos in my head—this is truly inspired artistry. Pop culture and religion courses have become a standard offering in religion departments over the past few years. We are, even as secular as we may be, a very religious society. When my daughter’s high school music program went off on its biannual concert tour, this year they headed south. On the itinerary: Dollywood. I came near to Gatlinburg, Tennessee on the trip I made to South Carolina to see my father for the final time, but I did not stop. I am told, however, that Dollywood is something to see. In one of the gift shops, my daughter snapped a couple of photos for my blog that draw all these disparate thoughts together.

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What we put on our cars is what we want the world to know about us without ever seeing us. This makes cars a perfect evangelistic tool for both the shy and the aggressive. The car becomes a tract. A statement that this vehicle is driven by an evangelical. I’m not sure it makes me feel any safer on the road. How many times have I been rudely cut off in traffic only to find a Jesus fish winking at me from the bumper of the offending car? Sometimes swallowing a Darwin amphibian. Religion speaks more loudly behind the wheel than it does from the pew. In the stress of traffic, what do we really believe?

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Cars are also the ultimate tools of self-assertion. Human beings, with little natural armor or predatory equipment, surround themselves with metal and accelerate themselves at velocities that nature never intended. We feel godlike behind the wheel. That metal box in front of us, driving too slowly, or having just pulled some stupid maneuver, is not a person. It is a thing. And those who choose to declare their faith on that object are under constant judgment. Well I know the evangelistic pressure to witness—fundamentalists are expert at manipulating guilt. Put these plates on your car and the world will know what you really are. But be careful. It’s not how you say, but how you play that will express what you truly believe.