Gods in Spandex

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OurGodsWearSpandexOne thing leads to another. Reading Jeffrey Kripal’s Mutants and Mystics stirred an interest in comic books that I hadn’t felt since before my college days. Often excoriated as puerile, escapist doggerel for pre-pubescent boys, comics have grown to be respected members of adult society. I often wonder what the draw might be. Hollywood has certainly cashed in on it with any number of blockbuster flicks each year coming from the brains of the comic book writers and artists. So I picked up the quirky book by Christopher Knowles and Joseph Michael Linsner entitled Our Gods Wear Spandex: The Secret History of Comic Book Heroes. Reading it was kind of like looking in a mirror that has been buried in dust for a few decades. I hadn’t realized that my tastes in childhood comics was a reflection of a longing for the divine world with healthy doses of science fiction, and even H. P. Lovecraft, thrown in along the way. Knowles ties in a remarkable breadth of material to demonstrate that our superheroes are, in the final analysis, gods. That point may be taken in any number of ways.

The academic world suffers from a fear of respectability. That may seem a strange assertion, but I’ve spent a great deal of my life among academics and I know that many of them are insecure and tentative. Does all this reading, writing, and analysis ever get read by anybody? Does anybody take me seriously? Academics are haunted types. So when a subject as vulgar as comic books arises, scholars are reluctant to touch it. It might look like we actually enjoy reading the funnies. Still, popular culture has demonstrated an unexpected depth to much that we read in the strip world. As Knowles points out, a deep undercurrent of the occult and esotericism runs through many hero story lines. Several heroes began their lives as classical gods, only to assume the spandex and become incarnate humans with special powers we long to have ourselves. We would fly, if we were given the chance.

Our Gods Wear Spandex may never be viewed as an academic book by most. It has too much visual interest and not enough recondite footnotes. All the same, it is a profound look at what people really desire. We worship gods because of their special powers. If God were one of us with our humiliating weaknesses and limitations, would we ever worship him or her? Of course not. We only seek to appease those who are stronger than we are. Entire governments and ecclesiastical bodies are built on that very principle. Heroes are like us. Mortal, and yet, with something more. They die. But like the gods, they can come back. Reading Knowles it becomes clear just how much religious thought pulses through the veins of the comic book world. We may be grown up and sophisticated. We may have left behind childish things. But when our backs are to the wall, who doesn’t secretly wish they were Wonder Woman or Superman? And maybe that wish is a prayer.

Trouble Feature

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HorrorNoire I must be a glutton for punishment. My fascination with horror films grew more out of enjoying the unsettling mood these movies used to set. That creepy, shadowy world that resembles in such a degree my experience of the everyday world. Like most people I don’t enjoy being scared, and as a pacifist I find violence extremely distasteful. And yet, horror movies. I suppose they serve to remind me that no matter how bad things might seem, they could be worse. This fascination also accompanies reading about scary movies as well. Robin R. Means Coleman’s Horror Noire: Blacks in American Horror Films from the 1890s to Present is a fascinating study of how race perceptions have found expression in horror movies. As Coleman points out, it’s not a pretty picture. I suppose, however, that it could be argued that no one should want to find themselves the subject of a horror film. They tend to be a form of self-punishment, and, psychologically speaking, that makes a lot of sense.

African-American characters, I had noticed, in early horror films are portrayed as easily frightened and their reactions are used for comic effect. I still squirm when I see such representations in early movies: the cultural and racial arrogance rises like bile in the throat. What I hadn’t realized, however, is that the Black role in horror films is frequently tied to religion. Coleman makes this clear—from early films centering on African-American issues to Caucasian efforts to portray Blacks, religion is often the vehicle. Black films make a strong use of Christian themes, while White films not infrequently present Africans as purveyors of voodoo or some mysterious, and dangerous religion. This is a fascinating trend and it shows mixed perceptions of how religion is understood. Christians who dismiss the “superstition” of other faiths should have no fear of “false gods.” Yet it makes for great horror fare.

Despite their low-brow reputation, horror films are among the most successful genre of movies. Many people find them cathartic, I would guess. It is uncomfortable, however, to be faced with how race self-perception is embedded in such films. Like any artistic effort, movies reflect the values of those who write, produce, and direct them. At the same time they reinforce or even channel the expectations of the viewing public. Reading Coleman’s study, I was given a glimpse of the perception of one of my favorite genres from the perspective of “outsiders.” It is not always a comfortable place to be. Horror movies sometimes showcase terrors more frightful than the special effects and improbable beasts flashed upon the big screen. The realities of our own past can be the worst of monsters.

Pope Springs Eternal

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All channels lead to Rome. In a world where Christians lament their public influence, we can’t seem to get enough of the pageantry, the mystery, and the stylish drama of electing a pope. The secrecy is key. If cardinal debates were held in an open forum, by cardinals in business suits, the media would have trouble covering its yawns. In a conclave deep within the classical architecture of Rome, privileged men in expensive gowns meet and whisper in hushed tones until a puff of smoke rises though a sacred chimney and the world either hitches its collective breath or sighs in deep contentment. No wonder the election of a pope is such a big deal for Protestant and Catholic alike.

We would be mistaken, however, to limit such docu-drama to Rome. Religions, from the earliest institutionalization of their practices, used drama and showmanship to add to the draw of the sacred. Ancient Mesopotamians and Egyptians kept statues of deities hidden away in the deepest recesses of temples, and brought them out periodically to great public fanfare. The laity would watch in astonishment as an actual god was paraded among them—the popemobile had yet to be invented—and lapse back into ordinary time as the sacred statue was swallowed once again in the darkness of its great house. Even the aniconic Israelites maintained ceremony and mystery, for they had an invisible god who raised all kinds of questions in the naturally curious human mind.

The papacy is, after all, a recognized authority structure. Some nations recognize the Vatican as a sovereign state, a little bit of the City of God among the Rome of Humanity. For the time being at least, the Roman Catholics outnumber any other branch of Christianity. It is the most successful trader in the marketplace of religious commodities among Christian consumers. Its draw has always been tied closely to a sense of mystery and awe. There is a magic to the mass that the televangelist sermon splashed on the big screen somehow lacks. It is old and arcane. Few believe in its literal transubstantiation, and yet it stands as the outward and visible sign of a deeply occluded reality that takes place behind closed doors. Men in red, debating on the virtues of a new CEO for the vicar of Christ. No wonder all channels are tuned to Rome.

From presidencia.gov.ar, via Wikimedia Commons

From presidencia.gov.ar, via Wikimedia Commons

Real Life Zombies

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In recent months Binghamton University has been on my mind. Binghamton has a number of videos available on YouTube which I find to be entertaining and even, sometimes, very funny. I like Bing’s style. Even though I catch myself laughing once in a while, I know that Binghamton takes higher education seriously. I watched a recent, 17 minute talk on a vital topic. It is located here, and I would recommend that you watch it too. Don’t worry, I’ll wait.

Back? Okay. The situation raised here is one that makes me shudder. Few things are as debilitating and vulnerable as an uneducated populace. Both religious and political forces have made great efforts to prevent certain orthodoxies from being challenged by what they term, as an obvious swear-word, “higher education.” The fact is, folks, higher education is nothing more than an attempt to get people—often young people—to learn how to think critically. That last word is a stumbling block sometimes. Any number of people will suppose that critical thinking is the same as criticism. It isn’t. Critical thought is the ability to approach a problem—any problem—rationally. To respond with the best that our minds have taught us to do, rather than with knee-jerk reactions. Yes, emotion and jerking knees have important places in the world, but they only work well if they are accompanied by the ability to think critically.

The video makes it pretty clear that the ability to think is rapidly eroding in our culture. Perhaps not quite zombie apocalypse, but not comfortably far from it. The death of Borders was blamed on its inability to get into the electronics markets by various pundits. I disagree. Borders fell victim to a culture that has lost the joy of challenging reading. We like spoon-feeding (otherwise much of the internet is difficult to explain). In order to exercise our brains, we have to use them to read hard things. Like my high school coach used to say, if you don’t use your muscles they’ll atrophy. Looking at my mid-section, I can see that his words were true. What Coach didn’t warn us about, though, is that the same holds true for the mind. The unchallenged intellect is a dull one. This is a threat far more insidious than any Communism, or liberalism ever was. It is the dummification of America. We are a nation that loves zombies. We are also a nation in danger of becoming them as well. Fight the zombie apocalypse—read a book. And like that baseball bat you use to swing at the undead, the harder it is, the better.

They don't write them like that anymore

They don’t write them like that anymore

Animal Mentalism

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SciAmScience is how we know things. Most things, at least. One of the fundamental aspects of human life not yet grasped by the great empirical method is creativity. We generally have an idea how it works, but, like so much of human experience, it is difficult to describe precisely. When I saw this month’s Scientific American fronting with the headline “Evolution of Creativity”—two of my favorite topics—I knew I’d have to read it. The article by Heather Pringle zeroes in on the archaeology of very early human history. Before modern human, actually. I’d been telling students for years that the development of such traits as artistic representation, burial, music, and an awareness of some forces “out there” could be found tens of thousands of years ago. These, I suggested, marked the beginnings of religious sensibilities. I’d be willing to go even farther, however, and suggest that we share some of these traits with our fellow creatures. Religion may have a biological basis. That’s not where Pringle is going, however, and she addresses not religion, but creativity.

Pringle suggests that evidence for human technology—modest though it may be—stretches back further than the 40K epoch that seemed to house an explosion of human innovation. She shows how sophisticated knowledge of the environment and corresponding innovations were occurring 77,000 years ago, and even earlier. Some of it stretches back before Homo sapiens; stone weapons may be as early as Homo heidelbergensis and kindling fire as early as Homo erectus. Even our Australopithicene cousins seem to have been happily knapping stones two-and-a-half million years ago. The evidence, at the moment, seems to end there. I wonder, however, how far back cognitive development goes. We tend to underestimate the thinking abilities of animals, despite our constant surprise at how smart they seem to be. How very human! How very male, to assume that everything else is here for our use and pleasure.

Scientists often come upon with astonishment ideas that creative folks have been pondering for centuries. Science must be careful—that is one of its limitations. Creativity, the phenomenon Pringle explores, contains, in the words of Lyn Wadley’s team in Science, chemistry and alchemy. Creativity, like religion, isn’t afraid of magic. No doubt, some scientists will claim that true intelligence only begins with humanity. Looking at the way we treat each other, sometimes I doubt that it begins even there. If there is any hope for us, I would humbly suggest, it will come in the form of creativity. It is that very alchemy that keeps me coming back to science, and science will teach us, eventually, that animals are creative too. When we place ourselves among them, we will have created a world.

The Computer of Dr. Caligari

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TheAtlanticTo be human is to be ethical. Not always in the best way, unfortunately. Nevertheless, our moral sensors are pretty much constantly running as we try our best to make the right moral decisions. This thought occurred to me while reading Jonathan Cohn’s article, “The Robot Will See You Now,” in this month’s The Atlantic. Having been a sideline watcher of FIRST Robotics for about four years now, I have heard countless stories of how robots perform some surgeries more efficiently than clumsy humans can. Cohn’s article starts off with the impressive potential of IBM’s Watson to sort through millions and millions of bits of data—far beyond any human capacity—and make more informed recommendations about medical treatments. After all, Watson won on Jeopardy!, so we know “he”’s smart. But he isn’t really a he at all. Still, in our reductionist world where humans are just “soft machines” computers and robots should be quite capable of helping us heal. To survive longer.

I am a veteran of Saturday afternoon science fiction movies and weekday episodes of Star Trek and Battlestar Galactica (original series, both). The present is starting to feel like that impossible future I watched as a starry-eyed child. But what of Dr. McCoy? I remember literally cheering (something I haven’t done much in recent decades) when DeForest Kelley’s name appeared on the opening credits of Star Trek when season three began. Bones was always one of my favorite characters—the doctor who didn’t trust the machines upon which he relied so heavily. He was a down-to-earth country doctor, who seemed to feel out of touch with the human (and occasional alien) element with machines interposed between them. Medicine is, after all, a very personal thing. Our bodies are our souls. I know; scientists tell us we have no souls. Embodiment studies, however, suggest otherwise. That robot coming at me with needles and scalpels may know how to heal me, but does it have my best interests at heart? Where is its heart? Its soul?

Better health care is certainly much to be desired. But in a country where our lawmakers continually debate whether the poorest should have access to Watson and his ilk, I wonder where ethics has gone. Robot doctors, I’m sure, will not accept patients with no insurance. Does not compute. Having gone without health insurance myself for several years, despite holding advanced degrees, I know that if I’d had a health crisis I’d have been rightly ranked down there with the blue collar folk that I consider kin. You see, to be human is to be ethical. That doesn’t mean we’ll always make the right decisions. It’s a safe bet that Watson can play the odds mighty finely. And the soulless machine may be making the decisions about who lives and who does not. Now that I have insurance again, when I’m on that cold slab I may have a shot at seeing a robot doctor. If that ever happens, I’m going to hope that Dr. McCoy is at least standing in the corner, and that those waiting outside the comfortable walls of affluence will somehow enter Watson’s scientific calculations with me.

Wrongful Resurrection

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Re-Animator

H. P. Lovecraft was a tortured man. An atheist, he saw the inevitable dilemma of human life. We want to live forever, but even the short time we have is full of suffering. Almost Buddhist in his sensibilities, Lovecraft also knew the hubris of trying to reach too far. I was reminded of that when I recently watched Stuart Gordon’s Re-Animator. Like most of Lovecraft’s stories, the translation to film is difficult. The angst and haunting lie far too deeply embedded in the original stories to show, even with the finest acting, with any degree of verisimilitude. And the tales have to be padded out to get to that magic 85-minute mark. Nevertheless, there is something of their master still in them.

Re-Animator is based on Lovecraft’s short story, “Herbert West—Reanimator.” West discovers the secret to bringing the dead back to life. In the movie version, the result is unremitting chaos. The dead are somewhat zombie-like until Dr. Carl Hill, very freshly dead, retains his consciousness and begins his insidious plan to create a cohort of more proper zombies to do his will. Like Gordon’s other interpretation of Lovecraft, the eerily moody Dagon, there is a little too much blood-lust for my liking, but a point is being made, so I watch on. The point is very much at the heart of Lovecraft’s personal dilemma. We want to live forever, despite the pain and disappointments of the life we know. Life is optimistically resilient that way.

Lovecraft died a painful, natural death at the age of 46. His writings never demanded much attention during his life—thus seems to be the fate of many of the truly original. In the 76 years since his death he’s gained an enviable following. He might almost be said to have achieved a kind of immortality. A safe immortality. As he knew in life, resurrection is a double-edged sword. We may be reluctant to give up the only life that we (most of us, anyway) have consciously known, but have we really considered the implications of going beyond the line that nature has drawn for every living thing ever animated? Our technology keeps us alive in bodies that only continue their inexorable march toward the grave.

Am I sounding a bit bleak? Blame it on the rain. Immortality, in any belief system, only comes at a great cost. H. P. Lovecraft knew that and took the risk in spite of it.

Gods and Goliath

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EyreAffairNot only gods are proficient at creating worlds. Writers, as readers know, are the creators of worlds too. I first discovered Jasper Fforde via a friend’s recommendation. With the depressing demise of bookstores, however, I end up picking up whichever one happens to be on the shelf. Not that this is a bad thing, but I find myself in a melancholy cast when I think of all the joy that is not being had by avoiding reading. It’s all rather hollow, wouldn’t you agree, Mr. Eliot? All of which is to say Jasper Fforde’s The Eyre Affair was great fun. As usual when I read fiction, I kept an eye out for how religion appeared in this alternate world—most fiction that ignores religion completely somehow seems to be less realistic than Fforde’s fantastic tale. In the world of Thursday Next, the churches are dedicated to GSD, the Global Standard Deity. As one of the characters explains, the GSD is a combination of all religions intended to stop religious wars. It’s a great idea on paper, but religions are prone to wars as sparks fly upward.

Somewhat later in the novel Thursday encounters a crucifix-wearing vampire. Fooled by the sigil, she almost becomes a victim to the blood-sucker. When Thursday points out the supposed impossibility of a vampire wearing a crucifix, he replies, “Do you really suppose Christianity has a monopoly on people like me?” Although Fforde can be a great comic writer, some of his quips are quite profound. Indeed—does Christianity have the only vampires? All religions have their monsters, whether that’s what the author meant (score one for reader-response theory). The truth is the truth, no matter whether intentional or not.

The idealized world of The Eyre Affair is one in which religion has become universal. The great military conglomerate in the book is called Goliath not because of the Bible but because of its size and apparent strength. It is brought to its knees, however, by Thursday—a female David, if you will. In practical terms, throughout the book the military is much more powerful that the church of GSD. Perhaps that’s because people are afraid. Religion, which once upon a time allayed fears, has now become one of their main generators. “Nothing frightens me more than religion at my door,” John Cale once sang. In this rich complexity the reader is invited to bask as Jasper Fforde works his magic. Do yourself a favor and pick up one of his books. Before it is too late. You might find yourself learning a thing or two about religion. I did.

No Play-Thing

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Childs_PlayPossession. It’s one of the scariest concepts in the religious arsenal. The idea that a person could be taken over by a different entity and surrender his or her selfhood to a malevolent saboteur is frightening indeed. Horror films have been deft at exploiting this. As a college student I was slow to watch the latest horror flicks. Some I’m only now beginning to find. Over the weekend I watched Child’s Play for the first time. Like most people who have some sense of popular culture I knew that Chucky was an evil doll, but I never really knew the backstory. Despite the utterly untenable hypothesis of the movie, it still manages to be scary in our CGI world, despite the bogus lightning. The frightening part comes from what is an admittedly creepy doll in the first place becoming possessed by a religious serial killer. Charles Lee Ray, named after three infamous assassins, displays facility with a religion that some identify as voodou, although that association comes primarily from the voodoo doll that Chucky uses to dispatch his mentor.

At least Child’s Play makes the effort to explain what forces exist that might bring plastic and stuffing to life. In true horror fashion, it is not the Christian god, but forces that are somehow more powerful, more malevolent. It would hardly behoove the maker of all the universe to inhabit a Cabbage Patch knockoff. The Lakeshore Strangler has been in training to cheat death and remain alive forever. He takes lessons from a mystical character whose religion is referred to only obliquely, yet whose efficacy is obvious in the malevolent toy. Willful suspension of belief is necessary to make this resurrection story plausible, but that disbelief must include belief in religious powers. The horns of this self-same dilemma hoist all religious believers in a scientific world.

Chucky is participating in one of the oldest of all religious traditions—death avoidance. Some of the earliest evidence that we have showing that hominids were developing religious sensibilities is the burial of the dead. There is really no reason to bury if we are only carrion like every other meat-based product. Whether it is out of fear or reverence, we turn to religion to assure us that there’s something more. It may not be scientific, but that’s largely the point. For many even today, a concluding scientific postscript leaves a body cold. Time for a leap of faith. Horror films are often decried as lowbrow and unsophisticated. Chucky, however, like many mythic monsters, is rapping his inhuman fingers on the door of religion. Specifically resurrection. Although in this case, it might be best to keep that door firmly closed.

True Heroes

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supergirls As a guy with a healthy sense of the weird,it strikes me as odd that rational people can suppose that we’ve solved all of life’s great mysteries. As a student of biology, chemistry, and physics in high school—and a reader of non-technical aspects of the same throughout my adulthood—it always seemed that there was an undefinable “something more.” Reading Jeffrey Kripal’s Mutants and Mystics led me to an interest in comic books. As a child I did not have many of them since we didn’t have much money to spend on luxuries. The few I had, however, were read and reread and reread, assaulting my imagination with endless possibilities, many of which defied everything I was to learn of biology, chemistry, and physics. My interest in feminism and new-found appreciation of the proto-graphic novel, led me to read Mike Madrid’s The Supergirls: Fashion, Feminism, Fantasy, and the History of Comic Book Heroines. As a boy surrounded with brothers, I clearly knew which comic books were for males. Madrid’s book delves into this super-hero world with the question of why females have always struggled to be taken seriously in this fantasy land.

Many of the characters explored in Supergirls were heroines I’d never encountered before. Madrid’s analysis often appears spot-on as he traces their histories through the decades as they mirror, and occasionally lead, society’s expectations of what women should be. The one that I had no trouble recognizing was Wonder Woman. And the reason for that was she used to have a TV show. Not mentioned by Madrid was the mighty Isis, also a heroine from television. She began as a character opposite Captain Marvel, and did not have her origin in a comic book. Isis was, of course, an ancient goddess, and as I learned from Supergirls, Wonder Woman was not far behind. The way that women could be as strong as men was to be divine. For human females, life was much rougher.

Wonder Woman, Madrid notes, was one of the Trinity of early, lasting comic book heroes. Superman, Batman, and Wonder Woman are cast as the Father, Son, and Holy Ghost, respectively. Like her theological counterpart, Wonder Woman is the most amorphous, least understood of the three. Her career and persona change over time, almost losing any kind of supernatural ability. Her origin story, however, began as a helper of oppressed women everywhere. Today we see Superman and Batman on the big screen, but Wonder Woman has fallen behind. Despite great strides, our society still isn’t ready to accept rescue of men at the hands of a woman. More’s the pity, because we clearly see the mess that masculine leadership has spawned. Mike Madrid has discovered a secret identity for our old foe, sexism. And it might take the world of comic books to help us see clearly that which mainstream analysis still denies.

Call it the Blues

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BluesBrothers

Coming back to The Blues Brothers after a couple of decades proved to be a kind of personal enlightenment. Of course I remembered “We’re on a mission from God,” as a catch-phrase, but in the intervening years I’d forgotten what that mission was. The movie is, as it were, backstory for the Saturday Night Live sketch in that show’s halcyon days. Watching the movie as an adult I was astonished at how positively religion is portrayed. Jake and Elwood’s mission is to save their childhood Catholic orphanage. Although there are a few laughs at the expense of religion, the movie as a whole is a redemption story with a surprising lack of irony. Released from prison where he was doing time for trying to do the right thing, Jake has an authentic religious experience and from that point on, the mission is unquestioned. In a self-sacrificial move that lands the whole band in prison, the Blues Brothers pay the taxes owed and save the orphanage. They are doing time for saving poor children.

I reflected on how, since 1980, it has become difficult to find mainstream movies that are so positive toward religious values. Not coincidentally, the 1980s saw the tragic Reagan years when religion and politics blended to the permanent detriment of religion being taken seriously. Since that time the cynicism has grown considerably. We are constantly reminded of it as conservative pundits force “Christianity” into a more and more reactionary mode, condemning all that reason has finally released from the dark ages. This is religion which thrives in the darkness of ignorance and fear. And it has coopted the very definition of religion itself. It is hard to imagine a “mission from God” being taken half as seriously today as it was when Jake and Elwood, although personally irreverent, nevertheless take the ethical call so seriously.

Today the “mission from God” is to protect one’s personal investments. Shut out those who require special consideration or those whose lifestyle differs from that which is putatively biblical. Anyone who dares step out of line is, in this enlightened era, condemned to the outer darkness. The Blues Brothers always wore dark glasses. While initially a branding gimmick, even this has symbolic value in the public view of religion. After all, Roman Catholic Sister Mary Stigmata gives them a sound thrashing for their profane language. But they find the truth in a black, evangelical service. There is a tolerance here—the neo-Nazis end up buried in their own grave—that has since vanished. The dark glasses hide something vital. The only time they are removed in the movie is to deceive. I wonder, I just wonder if with the glasses removed Jake saw a future for which the only prudent response was to hide once again.

Peculiar Mythology

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Peregrine Confession: I love books like Ransom Riggs’ Miss Peregrine’s Home for Peculiar Children. Ambiguity in fiction is under-appreciated at times. Of course, I’m not formally trained in fictional literature outside the confines of ancient mythology, but I do know what I like. This wondrous story of paranormal children in an alternate universe could almost have been drawn from Celtic mythology, and indeed Riggs provides a mythology to explain how things got this way. And every mythology is a kind of religion. In this world there are peculiars—not far removed from real life, for those willing to accept it—who have unusual powers. Miss Peregrine’s home, one where the children are under the guardianship of ymbrynes, houses those with special gifts. Some ymbrynes, however, wanted their godlike powers to make them into actual gods and in addition to causing the Siberian explosion, gave birth to hollowgasts, a kind of living damnation monster. “Rather than becoming gods, they had transformed themselves into devils.” Sounds a touch like Lucifer’s fall, n’est-ce pas?

It might be supposed by cynical readers of this blog that I select my reading based on the potential for finding religion in fiction. If that is true it is so only on a subconscious level, I assure you. I read about religion for many hours every day and I taught the subject for nearly two decades. When I turn to fiction it is generally for escape. I have found, however, that there is hardly any escape from religion. When I find it in fiction, therefore, I ponder some of its implications. Religion is so much a part of our lives that it can’t help working its way into popular culture. Maybe I just see it everywhere. That doesn’t mean that it’s not really there. But back to our story…

Hollowgasts, like Ugaritic devourers (sorry, couldn’t help myself), are powerful hungry. They must constantly feed their voracious appetites. Their favorite food, which actually transforms them a slight step back toward humanity, is the blood of peculiars. Blood is their salvation. The depth of this idea trickles down to the very roots of religion itself. Transformation is not possible without somebody paying the cost. Religion is bloody business. I won’t throw any plot spoilers in because I want to encourage you to read this strangely moving book. I will say that it is a strikingly well executed mythology for a world where God is not present, but where monsters and peculiars both partake in their own kind of divinity. And the strange photographs are real.

Real World Ethics

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Do yourself a favor. Spend five minutes watching this video:

(note: the video has been removed and a “family friendly” version is here: Kai)

Although it has a whiff of the apocryphal about it, I choose to believe that Kai is really who he claims to be. I don’t know what actually happened here, but this is ethics divorced from armchair pundits and congressional committees. Sometimes you see something and know it’s just wrong. Most of us wring our hands and await some authority figure to sort it out. When Kai met someone claiming to be Jesus, he was willing to be “the Antichrist” to save innocent people with no regard for himself. I am very impressed.

No, vigilantism is wrong. In fact, I wouldn’t trust a who coven of Republicans to ever arrive at so parsimonious a solution as Kai. He saw evil, he confronted it. I don’t know the backstory here, but I know that I feel a lot less threatened by the street people I see nearly every day than I do by those hiding away in limousines. Ethics is all about figuring out what is right. Kai has his head on straight here. If he could go back in time to stop “Jesus” reincarnated from harming an innocent bystander, he would. No regrets, no questions.

I have watched, and personally experienced, religious leaders intricately plotting how to ruin the life of their neighbors to maximum effect. I have read about politicians who shamelessly increase their earnings while knowing that some of their constituency live in poverty and persistent hunger. I have seen a president declare a war to fulfill a personal vendetta. And I have seen Kai lifting a hatchet to save a person he didn’t know.

There will certainly be those who would condemn such quick thinking and right action as immoral. For those who object from a Christian outlook I would remind them of Dietrich Bonhoeffer, one of the darlings of the Evangelical world. Bonhoeffer was hanged by the Nazis because he did what he knew to be right. Even though his bomb plot failed to kill Hitler, Bonhoeffer knew what Kai knows—those who sit around and watch evil happen as just as guilty as those who perpetrate it. And that’s like trying to surf when the ocean’s at a dead calm.

Secular Oaths

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“I do solemnly swear that I will faithfully execute the Office of President of the United States,” so begins the story. With President Obama’s second inauguration so fresh in the public mind, an article in the Sunday New Jersey Star-Ledger raised the question of using Bibles for taking this secular oath. As A. James Rudin points out, not every president has laid a hand on the Bible to take the oath—John Quincy Adams preferred a law book to do the job. Rudin points out that commentators have started to question the practice of using any religious book for taking a vow for a government position. As I read this article I had to pause for a thought. It was the particular turn of phrase “the Bible, and by implication all other religious writings,” that stopped me at this brain crossing.

Washington's_Inauguration

Anyone who has taken time to study the phenomenon of religion seriously (admittedly not a large cohort) has stumbled upon the blue whale in the room: what exactly is religion? We all know, but nobody really knows. Many scientists equate religion with superstition and claim that we are evolving out of it, but we still seem preternaturally powerfully attached to it, if that’s the case. While religious writings have been around for ages, the idea of a sacred book seems to have its origins in the societal reception of the Bible. There are older religious books, but the Bible seems to have defined the category. What’s running rampant in my mind is where the line is drawn between a religious and a secular book. For some, it would seem, Fifty Shades of Grey, or Twilight would fall into that category. Some thinner, more glossy and heavily illustrated literature favored by teenaged boys might also qualify. What makes a book religious?

In current understanding, religion is a matter of belief. Not all religions insist on belief, but in the United States, in any case, it’s not properly religion without it. In our secular society belief is atomized into millions of varieties, even within the same religious family. Step outside the church, synagogue, or mosque, and the sheer varieties of religious experience would make even William James blush. “All other religious writings.” Those might include just about every pen stroke on paper (or electron on whatever it is that I’m typing this into). Those of us who venture to write know that at some level it is a sacred activity. I would swear it with my hand on my dissertation. (At graduation at Nashotah House students are hit on the head with a Bible. Perhaps this might be more appropriate to swearings in?) We lay our hands on that which is sacred, otherwise there’s no vow involved. Whether it be Bible, law book, or saucy literature, we pledge on it because all books are religious, regardless of definition.

Poe

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PoeSilvermanOn his birthday I began reading a biography of Edgar Allan Poe. The last biography of Poe I read, I’m embarrassed to admit, was in high school. To me Poe is like music: deeply appreciated and therefore taken in rare doses. The biography this time was Kenneth Silverman’s Edgar A. Poe, A Biography: Mournful and Never-Ending Remembrance. I picked this book up last time I was on the University of Virginia campus, just after I stopped by to gaze wonderingly into Poe’s room. Like most biographies these days, Silverman’s account is hardly a hagiography. Poe was a perfect man only in his embodiment as a man of sorrows. In the days when “writer” was not really a profession, Poe nevertheless recognized what his strengths were and persisted to try to make a living following those assets. A poverty-stricken living much of the time, but an honest one. It is not pleasant to have a hero’s foibles exposed, but Poe was all the more admirable for having been fully human. We have all experienced arrogance and humility in turns. Poe was a man who knew sorrow from his youngest years, and that cloud stayed with him until his death just forty years later. A personal tempest.

Poe, not a conventionally religious man, nevertheless recognized and drew upon religious imagery. In his poem “Ulalume—A Ballad” Astarte’s ghost appears. Astarte remains a goddess poorly understood, but Poe was likely drawing on her association with Venus. She fails, however, to lead to Heaven. Silverman points out how “Ulalume” was followed closely by Eureka, Poe’s only sustained attempt at metaphysics. Poe came to the conclusion that upon death we become part of the all-encompassing God. This daring deduction cost him friends and supporters, but it also led to a rebuttal by a seminary student. Poe’s reply to his criticisms remains apt, as Silverman quotes him, “‘God knows what’—he cared very little what he was called ‘so it be not a “Student of Theology.”’” Amen, Mr. Poe.

Some lives, like those of Job, seem fated to loss and suffering. Yes, there have been those who lost more than Poe, or even Job, but this is no contest to see who might bear the most weight before being driven to his or her knees. Poe felt it deeply and expressed it eloquently. He recognized, as most writers do today, that business models resent an honest voice. Those who sell are often those who pretend. I’m sure that Poe would nevertheless give a wry smile of irony if he knew how multiple editions of his works, long in the public domain, flow from the presses of publishers hoping to make a dollar or two on his now stellar reputation as a writer and, in full recognition of the paradox, a prophet. Like his raven, Poe could see beyond the confines of this world and paid the price for his vision. Obviously he was no student of theology.