Leftovers

It looks like I forgot to click “publish” yesterday, so my blog post never appeared.  With apologies for doubling up, I need to complete the trilogy today.  So here goes…

Unlike All Saints Day, which, we were told, was a day of obligation, All Souls Day, today, was not.  It was kind of a leftovers day.  Ironically, it developed into Día de Muertos—the Day of the Dead—along with Halloween and All Saints.  Yes, there are many who declare, and rightly so, that Día de Muertos is something different.  It is and it isn’t.  Cultures around the world have always felt that at this point in the year something odd was going on.  The carnal summer was becoming the spiritual autumn.  Thoughts of those who’d died come back.  So it is a three-day celebration—not officially recognized in the United States (it would interfere with business, which is, as we all know, a thing not to be imagined)—has become a commercial boon.

Still, not being among the saints, I have to wonder if the leftovers—All Souls—are somehow second-class citizens in the afterlife.  Does the social stratification we experience daily here carryover to there?  The view of Heaven among the poor is generally one of comfort and equality.  Fairness, which is in very short supply down here, will finally see the end of the moral arc of the universe, to borrow from a departed sage, bend toward justice.  And sharply.  The idea is ancient and powerful.  Primates of other species don’t object to having leaders.  They do, however, reject leaders who abuse power.  And so it is that we’ve evolved beyond that.  Civilization teaches us our place.

The Day of the Dead has become commercial, along with Halloween.  Why not stretch out the profits, which, after all, come from the leftovers?  There is a capitalist vision of Heaven, you see, and it is one we see working out on earth these days.  Those with money take power and use their money to buy more power that in turn leads to more money for them.  We call it “making a living.”  Those who are wise, however, recognize something deeper in Día de Muertos.  It is the time when we welcome family home, indeed, when family becomes more important than job, or status, or power.  It is a very human, if supernatural, holiday.  All Souls, it seems, has received less than its fair share of attention.  The Day of the Dead, in its own way, warms up those leftovers.

Southern Turn

In America’s ever roving commercial eye, Día de Muertos has become an extension of Halloween.  Retailers have realized that people will spend a lot on their fear, and the autumnal holidays delve into that primal territory.  Since the Day of the Dead, being a mix of indigenous Mexican religions and the Catholic celebration of All Souls’ Day, comes two days after Halloween why not blur them together with greenbacks?  So capitalist thinking goes.  While certainly not free of monied interests, the Disney/Pixar movie Coco has the virtue of addressing Día de Muertos as the separate holiday that it is.  A form of ancestor worship—a religion extremely common around the world—the thought-world of the film shares in common with Tim Burton’s Corpse Bride this idea that the afterlife is colorful, if not joyous.

I realize I’m jumping the gun here, but I just saw Coco for the first time over the weekend.  Not just a culturally sensitive treatment of an indigenous holiday, it is also a celebration of music.  In a very real sense, music is life in the film, and even the dead continue to thrive in its presence.  Again, the connection with Corpse Bride suggests itself.  The key difference, from a religionist’s point of view, is that Coco is based on, to an extent, actual religious traditions.  An irony of this is that, together with the worship of Santa Muerte, the focus on death sometimes makes the Catholic Church nervous.  Focus should be on resurrection, not death.  But what if death isn’t seen as evil?  Where is thy sting?  This can be a real challenge when your organization is offering escape from death.

The fear of death is natural enough.  It’s the ultimate unknown.  It fuels both religion and horror.  In that sense films like Coco that show a joyful aspect of the hereafter do an end-run around traditions that base their wares on ways to avoid the consequences of death.  Hell becomes a threat to be avoided—the forgotten dead in Coco face annihilation, a fate that Héctor notes comes to everyone eventually.  Eternal torment isn’t in the picture.  I have to wonder if this view doesn’t present a form of salvation that is unwelcome among rival religions.  Although Catholics don’t have the hostility toward Halloween that many Evangelicals display, there is a challenge of rival faiths here.  Stores have already begun offering this year’s Halloween wares, and increasingly among them are Day of the Dead decorations.  The holidays are quite distinct, although related, and movies like Coco suggest what we fear may be more a matter of perspective than of the decree of an angry deity.