Recognition

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I was reading the account of the Transfiguration the other day, the way that you do, when a thought occurred to me. How did Pete, Jim, and John know that Moses was there? Yes, Elijah came along too, but the Bible physically describes Elijah. They at least knew what he wore. But Moses lived some thousand years before and the Good Book says nothing about what he looked like or his clothes. Fashions didn’t change so quickly back then. When they did it was often because an invading army from another nation was living in your town. If you wanted to blend in you’d start dressing like a Persian. Or an Assyrian. Otherwise people tended to have a set of clothes that might help identify them at a distance. But holy Moses…

One of the commandments he handed down declared images to be prohibited. There were no pictures made of Moses, no portraits. Our view of Moses comes from sources like Michelangelo and the Charlton Heston character based on Michelangelo’s vision. The inner circle of disciples could presumably make some educated guesses—Moses would be bearded, but so would most men. Beyond that, how do you recognize someone who’s been dead for over a millennium and for whom no images or recordings were ever made? Peter was so confused he suggested camping out on the mountain in housing with private booths. Was it something Moses said that gave him away?

Photo credit: Jörg Bittner Unna, Wikimedia Commons

Or did he have a shiny face and/or horns? The Hebrew Bible’s a bit unclear on the point. Horns, far from being a symbol of the Devil in those days, were a sign of divinity. All the gods were wearing them. Call it divine fashion. Uncomfortable with the implications, later readers decided the Hebrew word meant something like “shining” or “glowing.” That fits in well with the Transfiguration theme, but horns had been signs of power and authority for millennia. Rewriting history, however, has become the fashion of this day. Picture the scene: four men on a mountain top, a bright cloud comes down and engulfs them. Now there are six, a holy half-dozen. Moses, tradition said, had been translated to Heaven. Same was true of Elijah. But also Enoch. Of the three only Enoch has no recorded words in canonical scripture. Then suddenly the mountaintop experience is over and the apostles have to face another Monday. At least they’d had a glimpse of Moses and apparently had no doubt of who he was.

I’m No Legend

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First there was The Last Man on Earth with that rare, disappointing performance by Vincent Price. Then there was The Omega Man, putting Charlton Heston into the role that fit him better than Moses. Finally, returning to the original title, I Am Legend featured Will Smith as Robert Neville. Having watched all three movies, I knew I should have read Richard Matheson’s short novel first. After all, it was a vampire story, and who doesn’t feel utterly alone once in a while? I finally decided to make an honest man of myself. It occurred to me as I started to read that I didn’t know how this story would end. All I had ever seen were cinematic treatments—and who writes anything serious about genre fiction? Still, I needed to know.

Last Man

Matheson was one of the writers who had caught Rod Serling’s attention on the Twilight Zone. Having read some of his short stories I could see why. Not knowing the ending, some of them can actually be scary. I Am Legend isn’t exactly frightening. It is, however, thought-provoking and sad. Matheson, a New Jersey native, wasn’t among the most literary of writers. Nevertheless, he conveys some deeply disturbing images of humanity in this particular novel. After all (spoiler alert!) Robert Neville is the evil one. He has been killing vampires with a cold calculation, no matter whether they are living or undead (good or bad). Who has a right to kill whom depends on your point of view.

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In I Am Legend, Matheson makes it clear that Neville, the last man alive, is an atheist. The problem, as it usually is, is theodicy. How could a god allow such a massive tragedy to strike not only himself, but the entire world? After the vampire virus had spread, Neville finds himself dragged into an evangelistic meeting by terrified survivors who had turned to religion to make sense of their tragedy. Neville escapes as quickly as he can. The movie versions tend to ignore this poignant aspect of the narrative. After all, the audience watching must sympathize with Neville or the whole draw of the movie is off. In a nation where atheists are trusted about as much as vampires, it seems that Matheson left us a parable as well as a legend.

Behind the Exodus

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Over this past week two of my friends/colleagues were quoted in major media outlets about Exodus: Gods and Kings. Being merely a blogger with nearly two decades of teaching Hebrew Bible means, naturally, that I have nothing valuable to say. Nevertheless, I would meekly venture to make my own observations and cast them out there into the world-wide web and see what happens. I haven’t seen the movie since it only opens tomorrow. I already know it is only loosely based on the Bible. Still, I wonder at the talking heads who constantly declare the Bible to be irrelevant to a throughly modern world. Okay, so I realize that this is about money, but Manhattan is often seen to be one of the more sophisticated cultural landmarks in the country. This summer I couldn’t walk more than a book or two without being inundated with Noah posters. Now I am finding the same with Exodus paraphernalia. If we try to put the Bible away, it seems, it will come to find us.

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The Bible, relevant or not, is full of great baseline stories. Even in a secular society we can see the appeal of Noah and his menagerie to young children who are so fascinated with animals. We decorate youngsters’ sleepwear and toys with elephants and lions and giraffes (interestingly not mentioning that these are primarily African animals) aboard an ark with an unfailingly cheerful Noah. Now we have another classic—the great liberation story (also set in Africa) of a people held in bondage being released by divine command. We are a post-Christian society, according to the pundits, so who this divine one is remains an open question. The idea that one people is kept oppressed by another people, however, is presented as unequivocally wrong. Moses rides out on a horse, weapons in hand. Are we not focusing on the larger point yet?

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This latest love affair with the Bible as a source of great cinematography will not last forever. It will surely ebb away until only a few old blog posts might remain to remind us there was a time when Holy Writ inspired screen writers and directors. Nevertheless, the Bible bides its time. Back in the days when I used to teach Hebrew Bible Hollywood didn’t do too much to help out. Students had to slog through pages of picture-less Bibles to get the gist of the what God had in mind. The results may not be the same from those comfy seats in movie theaters, but a future generation will come to see Charlton Heston as a white man who loved guns being overcome by a newer generation of producers and directors who know there is a larger story here. Of course, I’m only a blogger with no credentials. Still I know what I see on the streets of the city.

Omega Alpha

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The-Omega-Man-Poster Perhaps out of a warped—perverse even—sense of self-punishment, I watched The Omega Man. Being unemployed will make you react that way. I have a pretty high tolerance for theatrical assault, as my regular readers will know. For those of you with less self-destructive penchants, The Omega Man was the second cinematic adaptation of Richard Matheson’s novel, I Am Legend. The first movie version, The Last Man on Earth, was released in 1964, starring Vincent Price. The most recent version, borrowing the novel’s name and starring Will Smith, is the third and best attempt so far. In any case, The Omega Man opens with Charlton Heston thinking he’s the last man alive, and even that doesn’t stop him from taking his shirt off at every opportunity. That I could tolerate, however, had the movie not strayed from what I thought was its central premise—that Robert Neville was alone with a city full of vampires. Although Vincent Price did not, uncharacteristically, make a convincing last man alive, the earliest version at least retained the vampires. The Omega Man, perhaps in the spirit of 1971, substituted them for religious fanatics.

The substitution didn’t bother me so much, but the religious fanatics were pathetically acted. Leibowitzian, anti-progress monks, hating the science that led to the nuclear holocaust that made them photophobic night dwellers, they snack on sardines and graham crackers, but only come out at night to kill scientists. Well, only one, since Neville seems to be, uh, the last man on earth. They accuse him of making the wheel and using technology as they run around in off-the-rack children’s Halloween costumes acting otherwise infantile while Heston strikes dramatic poses, grimacing with a variety of machine guns in hand, as he simply shoots them. That’s not the way the world’s supposed to end. The vampires have become a religious society doing everything short of handing out tracts on the corner. Well, maybe it is the end of the world after all.

It is difficult to portray loneliness effectively. Those of us who’ve been there know it intimately, and somehow Charlton Heston has too much fun with it. Even Vincent Price had trouble making it look convincing (I mean, who still uses a saucer when having their coffee and wears a tie after the apocalypse?). Will Smith at least showed a man occasionally breaking down in tears. Charlton Heston doesn’t cry. And he doesn’t shy away from god-like delusions. When he finds the other survivors (or they find him), we learn that Neville has been attempting to cure the religion virus. Dutch says, “Christ, you could save the world.” Neville doesn’t deny the obvious messianization of his mission. In fact, pseudo-crucified on a piece of modern art, Neville receives a spear-thrust to the chest, and dies in cruciform posture in a pool of his own blood. His blood that has the antibodies to save the world. Sound familiar? For all the blood, the vampires are gone. And when I feel that the world is against me, I want to see vampires.

Rachel Weeping

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“In Rama was there a voice heard, lamentation, and weeping, and great mourning, Rachel weeping for her children, and would not be comforted, because they are not.” I just can’t get it out of my head. The tragedy of Newtown, Connecticut is the madness of Herod repeated over and over again. I stand outside my daughter’s room and weep as she sleeps, terrified of what we’ve become. For the right of one person to own guns, twenty-eight are dead. The balance of power is way off-kilter, like a fishing vessel in a perfect storm. Those who protest are those who are unarmed who wish to remain that way. The bravado of the NRA says, “I would protect them, if I were there.” If I were there. I would feel no safer. Where was the NRA in Stockton, California, Iowa City, Iowa, Jonesboro, Arkansas, Littleton, Colorado, Red Lake, Minnesota, Nickel Mines, Pennsylvania, Blacksburg, Virginia, DeKalb, Illinois, Oakland, California, or Newtown, Connecticut? Polishing their rifles in readiness, no doubt.

The time has come to put an end to easy access to guns. Life was more civilized in the days of the flintlock and musket—at least people had time to react or flee before another shot was loaded. Instead we tell people they will be safer if they can squeeze off forty-one shots before that crazy idiot shoots another. Drop to your knees and beg for mercy, you’ll be safer. While you’re down there, say one for a nation that loves its firearms more than its children.

Days like this it feels like God has us in his sights. The longer I ponder this the blacker my thoughts grow. We may blame the madman, but it is society that allows this to happen. Herod was king, and even the mother of God fled. But what of those left behind in Bethlehem? They paid the price for a man in love with power. I see a man in a cage, being sprayed by an upright ape holding a firehose. The man is one of the most vocal supporters of the NRA, but now he is the inferior being. “It’s a madhouse!” he cries. Yes, Mr. Heston, it is a madhouse indeed. Only those aren’t apes outside the cage, and those are firehoses in their hands. On further reflection, perhaps they are truly apes. Rachel is weeping for her children, while Herod reloads.

Slaughter of the innocents, 2.0

Slaughter of the innocents, 2.0

Zongfu’s Ark

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While riding the elevator up to work last week, I glanced at the little LCD screen that plays single-page news stories for those who only have the seconds in an elevator to catch up in what is happening outside the world of commerce. That’s where the really creative stuff occurs. The picture on the screen appeared to be a large, orange, smashed ping-pong ball. I caught the words “Noah’s Ark” in the caption before the busy screen flashed onto a new and more pertinent story, such as who is winning what in the Olympics. I remembered the odd image when I got home and tried an Internet search and discovered only a small bit of information. This ark is in China, which may account for the lack of full coverage. Here in God’s own America, stories that potentially validate biblical myths are sure to attract readers and/or watchers, so there must be more to the story than I can find.

The details I’ve been able to locate note that Yang Zongfu, a Chinese inventor, designed an improvement on Noah’s ark. His ark is a sphere and really doesn’t have much room for animals beyond the occasional tapeworm or wayward spider. “Noah’s Ark of China” is a six-ton ball that costs nearly a quarter of a million dollars to build. Five people can live for ten months inside, sheltered from heat, impact, and, of course, water. Like a latter day bomb shelter, this is the place you would go to survive a disaster. The odd number of survivors, however, made me wonder about the repopulating of the earth part. Even in the Bible God made sure that instead of any individuals the ark was populated with couples. The more I thought about attempting to survive in a world with only four other people, the more frightened I became.

This is old school ark building.

Our lives are intricately inter-connected. Most of you reading these words will never have met me, yet here we are, sharing the same cyber-head-space. Movies like I Am Legend make it seem that a single man, whether Vincent Price, Charlton Heston, or Will Smith, could survive for a great length of time alone. This is pure science fiction. With the exception of Vincent Price, I doubt that any of our omega men could have successfully planted and raised a garden, let alone survived more than a few weeks. We need each other. The picture of Yang Zongfu popping triumphantly from his ark fills my head with a strange vision. A post-apocalyptic world in which the toxic runoff of our irradiated rivers will have a jumble of orange balls at their deltas and a bunch of confused, somewhat nauseous millionaires inside. As I stare out over this valley of dry balls, I think to myself, Who’s winning ping-pong at the Olympics?

Digging Deeper

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

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

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

Fall of the Planet of the Apes

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Perhaps it is being under the influence of a head-cold that just won’t go away, or perhaps something deeper, I decided to watch Rise of the Planet of the Apes. Raised in a fundamentalist household, I was enamored of Planet of the Apes (the original one) and watched it and all its sequels repeatedly back before VCRs made owning such chestnuts possible. Perhaps it was that taste of forbidden fruit—evolution—that left such an exotic buzz in my head, or perhaps it was the unforgettable climax. The message that we’ve done this to ourselves. I once even missed seeing a high school friend after several years’ absence on a visit home because an all-day Planet of the Apes marathon was airing on TV. Perhaps it was the subtlety, the Rod Serling feel to it, or the deep level of empathy it evoked, for whatever reason, that original movie remains one of my personal favorites. In Rupert Wyatt’s slick new backstory, something was missing.

The CGI of Rise of the Planet of the Apes is pretty remarkable, except for the occasional jerkiness of violent scenes intended to pump up the testosterone. The subtle emotions visible in Caesar’s every glance conveyed the sense that animals share rights to this planet with us. I’ve been reading about animal intelligence again, and it saddens me that we’ve reached this far in our development only to continue the fiction that homo sapiens are unique among the tree of life. It’s not much of a tree when one of the branches is not and never has been attached. Our animal cousins have much to teach us, and perhaps that’s why I keep returning to Planet of the Apes, despite Charlton Heston. Even the new movie makes several nods to the original with naming the main family Rodman, Caesar building a three-dimensional puzzle of the statue of liberty only halfway complete, calling his mother “Bright Eyes,” spraying Caesar with a hose in his cage and calling the primate center a madhouse, and the cheesy repetition of “Take your stinking paws off me you damn dirty ape!” It simply can’t rise to the level set by the writing of Rod Serling and Michael Wilson.

The box-office success of the film tells us something about ourselves. Ironically, and perhaps intentionally, Wyatt’s version neuters the evolution. The apes don’t rise from an unspeakably long evolutionary track from us, but we create them with the nemesis of twenty-first century humans, the virus. Caesar and his friends are genetically engineered by humans, and God has nothing to do with it. In the original, a theological subtlety lingered as a religious court of orangutans condemned Taylor for religious reasons. His claim of human primacy was heresy to primate sensibilities. The new version takes itself too seriously for that. We can’t jangle the evolution keys anymore because of our own national schizophrenia concerning the raw power of nature. Just when we think we’ve evolved beyond petty superstition masquerading as righteousness, yet another state attempts to guillotine the entire scientific enterprise. It’s a sure thing that if the apes don’t get us, we’ll take care of it ourselves. That was the message already in 1968.

Declining Prophets

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Prophets aren’t what they used to be. Was a time when you had to be real to make an impression on the world. The historical evidence for Moses is slim. So slim, in fact, that it can’t be seen. As a child learning that the Bible contained no mistakes (it does) and no contradictions (too many to count), there was never any doubt of Moses’ historicity. Charlton Heston’s iconic portrayal of the man who wouldn’t be king left little room for doubt in pliable young minds. Not bad for a man who probably never lived.

I finally got around to reading Bruce Feiler’s America’s Prophet: How the Story of Moses Shaped America. Initially I found the book difficult because I started it the day after finishing Kent Nerburn’s The Wolf at Twilight. There seemed a disingenuousness to America’s development that had been built on oppression. The retelling of sacred histories can be quite diverse. Nevertheless, Feiler’s book is well researched and compellingly written. Beginning with Columbus and coming up through the first years of the twenty-first century, Feiler shows again and again how Moses is lurking in the shadows of some of America’s grandest monuments to self.

Moses is the liberator who lays down the law. As such, nearly all the great political leaders in America’s Bible-saturated history have been compared to him. The funny thing about the actual Moses is that history’s chroniclers somehow failed to mention him. He does not appear in the annals of Egypt, where, according to Exodus, he was the near equal of Ramesses II. He is not mentioned by the political watchers among the other great powers of ancient western Asia. The Bible is all he’s got. Political commentators in early America, however, were not worried about whether he existed or not. The Bible says he did and that’s good enough.

Feiler builds a compelling case for Moses standing behind American figures and institutions. He also seems to be aware that Moses may never have walked the earth. An avenue he doesn’t explore is how entire national identities can be built on myths. Mythology gives us the meaning by which we live. Some times that mythology will include historical personages. Other times the myth must stand on its own. Moses may be one of the latter. Does it matter that Moses does not appear in history? No. He has already left his imprint, as Feiler ably demonstrates, on Columbus, the Pilgrims, George Washington, the Liberty Bell, Abraham Lincoln, the Underground Railroad, the Statue of Liberty, Martin Luther King, Jr., and even—God help us!—George W. Bush. Anyone capable of pounding a Bible loudly enough will eventually make the ranks, it seems. Ahistorical Moses has accomplished in his sleep more than historical people can ever attain. Amazing what you can achieve, real or not, with mythology on your side.

Zombie Friday

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New Jersey is known for its zombies. Last October Asbury Park gained admission to the Guinness Book of World Records for the largest zombie walk (exception is made, of course, for daily life in Washington, DC). The movie zombie, in its now classic form, was reborn in western Pennsylvania, but New Jersey is the place where strange afterlives appear to gravitate. Yesterday Stephen Finley was sentenced. Finley, a mortician, had been convicted of selling the healthy organs of his dead customers to earn a little extra on the side. Given that the governor, Chris Christie, might rival Vlad the Impaler in his zeal for chopping, this really does not surprise me at all. Is it not the ultimate triumph of the free market to consider human beings commodities to be packaged, used up, repackaged and resold? Moral rectitude is on the side of the strong arm.

As someone who has been on the receiving end of the chop more than once, and reduced to a zombie-like state of perpetual job-insecurity, I think I know how the undead feel. Not having a place in the normal world of the living, but not quite dead, the zombie wanders about looking to feed on brains. This idea of brain-lust seems to stem from the cult classic The Return of the Living Dead, although, not being a film specialist, I would welcome correction on this point. Nevertheless, like the modern zombie I hail from western Pennsylvania and nothing satisfies me like a good brain (metaphorically, of course).

The idea of harvesting the organs of the powerless dead also suggests the endlessly referenced Soylent Green. Here the staunch NRA promoter Charlton Heston fights against the establishment that is turning (spoiler alert) people into Soylent Green, the ultimate solution to food shortages! For, after all, are people not just commodities? America’s thirst for zombies reflects our growing sense of victimization: the zombie is primarily a creature without a will, brought back by powers beyond its control. In the original vodun context the zombie was a source of cheap labor. Is it any surprise that West African slaves brought the concept to the New World with them? Today, of course, those with the cash may simply purchase the organs they desire, cutting out the middle man and going straight to the source.