Hear the Words under the Words

olive-treeSpiritual Sunday

I’m trying not to overreact to the anti-Muslim sentiment blowing through the United States at the moment.  I keep telling myself that there is a core decency to Americans and that most are not stampeded into hysterical hatred by demagogic political and religious leaders.  Although the United States has not always welcomed immigrants and people of other faiths, it has generally proved an open enough society that most have come to see this as home.  Many former Africans, Irish, Italians Chinese, Haitians and Mexicans, many Jews, Mormons, Catholics and Buddhists, have all come to feel that they belong here.  Hopefully Muslims will one day feel this way as well.

In the spirit of opening ourselves to the wisdom of other faiths while acknowledging that we are still in the holy month of Ramadan, I share the following poem by American poet Naomi Shihab Nye, sent to me by reader Farida Bag.  Nye is the daughter of a Palestinian father and American mother and author of the collection Different Ways to Pray.   The Joha that she mentions is a comic figure in Arab lore:


My grandmother’s eyes say Allah is everywhere, even in death.   
When she talks of the orchard and the new olive press,   
when she tells the stories of Joha and his foolish wisdoms,   
He is her first thought, what she really thinks of is His name.
“Answer, if you hear the words under the words—
otherwise it is just a world with a lot of rough edges,   
difficult to get through, and our pockets full of stones.”

Goodness knows, our pockets often feel full of stones these days as we trudge through life, bruising our shins on the world’s rough edges.  We may feel encouraged to keep going if we remember that Allah–or whatever name we choose to ascribe to the holiness that undergirds creation–is everywhere.

 

 

 

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Never Favre from the Madding Crowd

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Favre following a late hit in last year's NFC championship

Sports Saturday

He’s baaaak!  The fabled quarterback who has played more consecutive games than anyone in the history of football, the prima donna who each offseason plays maddening games with the football world about whether or not he’s retiring, the holder of virtually every scoring record who last year had his best season ever, the 40-year-old maestro who plays football with the exuberance of a teenager, has (surprise!) returned to play “one last season” for the Minnesota Vikings. They begged him to return and magnanimously he agreed to take their millions for a final year.  At least he says it will be his final year.

To those football fans who make fun of women’s soap operas, I say look upon the Brett Favre drama–the courtship, the tears, the temper tantrums, the theatrics–and rethink your sense of superiority.

This past January I wrote a farewell to Favre after he lost a brutal National Football Conference championship game to the New Orleans Saints.  I rerun that column today.  If things keep going as they’ve been going, maybe I’ll run it every August for the rest of the decade.  In the post I compare Favre to Ralph Hodgson’s dying bull in the poem “The Bull.”  But maybe I should have quoted instead Mehitabel, the alley cat who is the friend of Archy the cockroach in Don Marquis’ early 20th century New York Sun column.  While she has been knocked around by live, Mehitabel refuses to go down.  ”Tojours gai, toujours gai [always gay],” Mehitabel regularly says.  And also, memorably, “There’s a dance in the old dame yet.”  

Well, there appears to be a dance left in this old dame as well.  Here’s my column from January 26, 2010:

I watched in amazement this past Sunday as 40-year-old Brett Favre, despite being pounded by the defense of the New Orleans Saints in the National Football League’s National Conference championship game, pulled himself off the grass time and time again to keep on playing.  It was an extraordinary chapter in a career that has already proved remarkable.

 

Favre, after all, is playing at a time of life when virtually all players have retired.  Additionally, 2009 was Favre’s best year.  A series of remarkable Favre touchdowns had taken the Vikings to the verge of the Super Bowl and, for the first time in his career, Favre was avoiding stupid interceptions, his major flaw. 

At one point, however, the Favre story seemed to have come to an end.  The quarterback was leveled by two players in a play that probably should have drawn a penalty flag.  As he was carried off the field, an old Ralph Hodgson poem, The Bull, came to my mind. 

The poems is a morbid account of an aged bull whose glory days are behind him and who has been rejected by the herd:

See an old unhappy bull,
Sick in soul and body both,
Slouching in the undergrowth
Of the forest beautiful,
Banished from the herd he led,
Bulls and cows a thousand head.

In the course of the poem, the bull thinks back to his youth, as I found myself thinking back to Favre’s early days.  He awakes, however, to see the vultures circling overhead:

Pity him, this dupe of dream,
Leader of the herd again
Only in his daft old brain,
Once again the bull supreme
And bull enough to bear the part
Only in his tameless heart.

Pity him that he must wake;
Even now the swarm of flies
Blackening his bloodshot eyes
Bursts and blusters round the lake,
Scattered from the feast half-fed,
By great shadows overhead.

And the dreamer turns away
From his visionary herds
And his splendid yesterday,
Turns to meet the loathly birds
Flocking round him from the skies,
Waiting for the flesh that dies.

If this sounds melodramatic, well, Favre invites melodrama.  He is incapable of doing anything halfway. 

My pessimism was premature, however.  Favre dragged himself back on the field and proceeded to take his team to the cusp of victory.  Suddenly he seemed to be Beowulf, heroically fighting the dragon of old age.  At the end of the game, only a few yards separated his super reliable kicker from a comfortable, game-winning field goal try.  Favre only had to make one last play.

And then a final twist turned the epic into tragedy.  In a position to run the few yards needed, or even to dump the ball off to a nearby receiver, Favre instead reverted to his old bad habits and threw across the body (a no-no) and into traffic.   The ball was intercepted, the game went to overtime, and Favre never saw the ball again as the Saints won on the first possession of the extra period.

Though the throw broke the hearts of long-suffering Minnesota Viking fans, however, it actually makes Favre interesting.  He is like those tragic heroes whose flaws make them seem human.

Favre has the most touchdowns in football history but also the most interceptions.  He inspires and he infuriates.  He provides us with a far more fascinating narrative than does the man who will probably one day surpass him in touchdowns, Indianapolis Colts quarterback Peyton Manning.  Unlike Favre, Manning will be playing in the upcoming Super Bowl.

A cerebral player, Manning would never throw a pass like Favre threw, and he would have calculated just how many yards were needed and the best way to achieve them. Favre is the brilliant athlete who operates instinctively and doesn’t bother to study his opposition (or even to train all that much), with the result that he is capable of both brilliant and boneheaded plays.  Manning, by contrast, is the thinker who sees football as a chess match.  He looks at the board before him, notes how defenses are attacking him, and then proceeds to carve them up. When he makes mistakes, he learns from them.

I remember reading an article many years ago about how Shakespeare’s successful characters are ones that we don’t have much affection for—say, his Henry V, the brilliant general of Agincourt.  The heroes we remember vividly are those who end up failing, whether Hamlet, Romeo, or Macbeth.  Manning is a Henry V, the admired general who will lead us on to victory.  Favre is the flawed king who will get us all killed.  But oh what a story it will be.

 

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Thru Zombie Flix, Our Kids Fight Back

Night of the Living DeadNight of the Living Dead        

Film Friday

Many of my students are fans of zombie movies (of all things).  The genre has, in fact, taken off in recent years—a sure sign that one can never predict which symbol systems are going to grip our minds from one moment to the next (and why movie making will always have an artistic component, no matter how formulaic is tries to become). So what does this genre tells us about ourselves?  What does it mean?

Although I suppose the 1931 Frankenstein could be seen as a zombie movie, current zombie movies can be traced back to George Romero’s Night of the Living Dead—”the greatest movie ever to come out of Pittsburgh,” as someone once quipped.  In that film, radiation (it’s always radiation) starts raising corpses from the dead, and these proceed to attack and feast upon the living. 

The film was noteworthy for a number of reasons, including it’s unsentimental handling of its African American hero.  He manages to organize a group of people against a zombie attack and to survive the night, only then to be mistaken for a zombie himself the following morning and shot by a good ol’ boy vigilante.

The film came out during the nightmare year of 1968, which saw Vietnam’s Tet offensive, the assassinations of Martin Luther King and Bobby Kennedy, race riots in Washington, the worker-student uprising in France, the Soviet suppression of the Prague Spring, riots during the Democratic National Convention, and the election of Richard Nixon.   The film marked a new milestone in the history of horror because suddenly the horror seemed to strike from within rather than from without.  No longer were creatures from the Black Lagoon and invaders from Mars attacking us.  Suddenly it was our own family members.

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Barack and Huck, Babo, Hamlet, etc.

obama-read1

I’m fascinated by the way that literature has helped shape and guide different American president, a subject I’ve written about in the past.  Thus I was thrilled to stumble across a Barack Obama reading list compiled shortly after his inauguration.  I don’t know how I missed it.

According to the website The Curious Autodidact (great name), McNally Jackson Booksellers in New York City assembled a display of books that Obama read during his twenties (although some are more recent than that).  The bookstore apparently drew on Obama’s two autobiographies as well as interviews.  I became aware of the list after seeing a February 2009 C-Span panel discussion, aired again recently.  The panel members were trying to figure out what the books tell us about the president.

I only saw snippets of the program, but one analysis that caught my attention is how Obama’s life at one point may have seemed like Hamlet’s, thereby explaining the presence of Shakespeare’s tragedy on his list.

After all, as a boy Obama was living in a deeply confusing family situation.  His father had been replaced by another man in the affections of his mother, and she herself seemed to push her son aside as she sent him to live with her parents as she worked in Indoneisia.  The panelist also noted that Obama may have related to Hamlet’s identity confusion and felt some of Hamlet’s ambivalent feelings about his absent but demanding father. 

In a very cursory manner, I’ve gone through the list seeing if I can figure out why these particular books made are there. The entire list appears at the end of this post.

One caveat: any one of Obama’s encounters with the books on the list could be an entire post in itself.  I would have to know more about the specifics of that particular reading experience.  This quick glance is just to spur discussion.  Please chime in with your own thoughts about how you think this work or that may have impacted the president.  I’ll proceed alphabetically:

The Adventures of Huckleberry Finn by Mark Twain – I could imagine Obama relating to Huck’s traveling and to Huck’s penchant for disguises.  (In Dreams of My Father, Obama talks about taking on different personae when he was growing up, not at all unusual for blacks operating in a mostly white society.)  I imagine he would also have related to Huck finding a cause to stand up for.  Additionally, Obama may have seen, in the irresponsible Finn, his own irresponsible father and imagined, in Jim, the ideal father he himself did not have.  Of course, Obama’s vision of whites and blacks getting along is at the heart of both the book and Obama’s life.

All the King’s Men by Robert Penn Warren – Warren’s novel is one of the great political novels.  I can imagine Obama relating to Jack Burden, who is, all at the same time, a cerebral historian, an idealist, a populist, and a pragmatist who acknowledges that sometimes politics is a dirty business. Burden, like Obama, also has deep father issues.  (Then again, what guy doesn’t?)

The Autobiography of Malcolm X  - One doesn’t need to read between the lines for this one: Obama sees in Malcolm X a black activist who wants to empower oppressed African Americans so that they will step into their potential.

Bartleby the Scrivener andBenito Cereno by Herman Melville – I’m not sure what Obama would see in the “I’d prefer not to” Bartleby.  But in Babo and the other slaves who have taken over Benito Cereno’s ship while pretending they are still captive, he would see black men doing a complicated dance to present an acceptable face to the outside world.  Actually, now that I think about it, there are conservative detractors who would accuse of Obama of doing just this: pretending to be accommodating whereas in actuality he’s engaged in a revolution and trying to take over the ship.

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Back in the Day, We Parsed Sentences

grammar

How many mistakes can you catch?

Time was when grammar was king in the public schools.  It didn’t seem to matter whether a student’s writing was interesting but whether it was correct.  Then came the “process writing movement” and (in the lower grades) the “creative spelling movement.”  The design was to unlock the writing energies that were being stifled by an overemphasis on rules.  Winston Churchill may have claimed that diagramming sentences at Eton provided the foundation for his great speeches, but in the 1970’s many teachers found themselves not with Churchills but with students paralyzed by writer’s bloc.

Flash ahead a generation or two and you will find little emphasis placed on grammar in North American schools (with the exception of foreign language instruction).  Not having had grammar pounded into them as students, young teachers no longer think in these terms.  In the following column Jason Blake, a Canadian teaching English in Slovenia, discusses his mixed feelings about this.  Please let us know about your own stories and your reactions to this development.

By Jason Blake, University of Ljubljana, Department of English

For me, the line of the 2008 presidential race went to John McCain: “I’m past the age when I can claim the noun ‘kid,’ no matter what adjective precedes it…” This is not a political post, so I’ll skip the rest of McCain’s quip. The words just sounded so old-fashioned, almost quaint.

That noun and adjective were dropped so smoothly immediately showed McCain to be of a different era, an era in which they taught grammar at school. A younger politician that used terms like this would sound affected, or like a geeky linguist. Obama’s advisors surely tell him, “Never, ever mention the dative case in a State of the Union address!” Actually, it’s possible that not-yet-fifty Obama would have to search for the grammatical terms to describe whereof he speaketh. Formal school grammar was phased out years ago in most of North America.

If you have questions about the do’s and don’ts of comma placement before a relative clause, bounce it off any pensioner with at least a grade school education. My mother, a primary school teacher, once floored me with the line: “Kids don’t have to parse anymore, and that’s a problem!” She was out of the room before I could ask for clarifications, so I had to run to the dictionary.

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Art Has “No Direct Influence” on Destiny

Polish poet Zbigniew HerbertPolish poet, essayist Zbigniew Herbert

I was channel surfing last night and saw an old C-Span episode (from 2003, I believe) discussing William Styron’s Confessions of Nat Turner.  The author was present (he died in 2006), and I was interested in his contention that his book was all but banned by African American Studies programs because he, a white man, had presumed to write in the voice of a black slave.

I don’t know if his charges are true but his comments took me back to a time when many leftists resorted to lazy ideological attacks on certain controversial works rather than engage substantively with them.  Now such lazy attacks are more likely to come from the right but, left or right, the demand that works abandon nuance and subtlety and toe a party line represents the death of both art and critical thinking. 

It’s not that literature can’t be read through a political lens.  As is no doubt clear from this website, my own liberal leanings guide any number of my interpretations. But I’m also aware that the work, when it is good, is always bigger and more complex than my politics.   For that matter, it’s bigger and more complex than the author’s politics.

It’s not that art is apolitical.  It’s just that art has an aversion to the kind of one-dimensional thinking that often presides in politics.

For related reasons, art doesn’t have a direct impact on world affairs.  I came across an eloquent statement to this effect by Polish poet and essayist Zbigniew Herbert, whose recent book of essays is reviewed here by Patrick Kurp.  (Krup runs a website wonderfully entitled Anecdotal Evidence: A blog about the intersection of books and life, which I’ve added to my blogroll.)  Here is Herbert’s quotation:

History does not know a single example of art or an artist anywhere ever exerting a direct influence on the world’s destiny – and from this sad truth follows the conclusion that we should be modest, conscious of our limited role and strength.

Kurp observes:

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Christian Nazis Seeking to Be Cleansed

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I learned this past summer how, following the Holocaust, a number of former Nazis were able to embrace Christianity without their churches expecting them to repent.  It sounds as though some of these men were able to feel cleansed of their sins without doing much in the way of serious soul searching.  The issue raises troubling religious, ethical, and psychological questions.  A particularly grim sonnet by Gerard Manley Hopkins, sent to me by Ugandan reader Farida Bag on another matter, gives us a powerful perspective on the matter.

I became aware of this particular history thanks to the St. Mary’s College Faculty Writing Group, which I organize each year so that members of our faculty can offer each other feedback on our scholarship.  Katharina VanKellenbach, a very smart member of our Religious Studies Department, has been working for the past nine years on a book about Christianity and Nazism.

The book has been shaped by access that Katharina got to letters written from prison and, in several cases, of accounts by prison chaplains about the Nazis they were counseling.  Some of the material deals with men who were executed.  Katharina’s findings are disturbing for those of us who consider ourselves Christian.  We see how malleable the religion can become in the hands of those unwilling to face up to heinous crimes—and also how malleable it can become in the hands of the churchmen who administer to them.

For instance, during the rise and reign of fascism, German churches on the whole did little to stand up to Hitler.  Then, after Germany’s defeat, they played a key role in trying to “put the past behind us.”  As Katharina points out, forgiveness is all very well, but far too many Christian Nazis wanted to be forgiven without ever owning up to their sins, repenting, or doing penance.  Read More »

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Out of Near Death, a Vision of Love

julian-of-norwich

Spiritual Sunday

Thanks to all of you who wrote this past week following the twin blows of my uncle’s death and news of the severity of Alan’s latest cancer diagnosis.  The discussion in response to Thursday’s post about which goes deeper, self or love, brought to the periphery of my mind a catechism in which every answer is “love.”  It took me two days to remember what it was: the concluding paragraph of The Book of Showings by the Medieval mystic Julian of Norwich.

I have written about Julian before and how she has been an aid to a student of mine who has been suffering unceasing and excruciating pain for seven straight years.  Mary Spargo, who will be taking me for a third course this coming fall, woke up one morning with a migraine that has never left.  I urge you to go back and take a look at that post, which you can find here.

To revisit Julian’s history, she was a member of a holy order and experienced an illness that all but killed her.  Indeed, final rites had been administered.  However, she then experienced a deep desire to go on living so that she could love God better and she miraculously recovered.  Her recovery was followed up by a series of sixteen mystical showings (revelations or visions), and she became an anchoress (a spiritual recluse) so that she could spend the rest of her life exploring their meaning.  The Book of Showings emerged after 15 years of reflection and meditation and is one of Western culture’s greatest declarations of the power of love.

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Where Are the Players of Yesteryear?

gas

Sports Saturday

Mais où sont les neiges d’antan? 
                                                 François Villon

There’s not much going on in the sports world at the moment.  Soccer’s World Cup now seems like a dream, the last major golf tournament has been played (with Tiger magic seemingly on indefinite hold), and football, basketball, hockey, and tennis’s U.S. Open await in the future.  So do college athletics, although yesterday I glimpsed our College’s soccer and field hockey teams returning to campus.  Outside of baseball, which seems to move more to the slow rhythms of daily life than to the adrenaline pumping explosiveness of staged events, we are in a dry season.

Come to think of it, maybe that’s why August politics seem to have become so confrontational in recent years.  Maybe it’s because, in the absence of bread and circuses, we look for drama elsewhere.  If that’s the case then, please God, let the football season begin.

Anyway, my father alerted me to an elegiac poem by the late John Updike on what happens after a sports career is over.  Note how it begins with an image of a road abruptly ending.  High school athletes who aren’t going on to college, college athletes who graduated in May and are looking for work, athletes with professional league aspirations who find themselves getting cut during preseason tryouts, all may see themselves in Updike’s poem.  So may anyone else for whom the lug wrenches of life fail to acknowledge the “wild birds” they once had for hands.  

Although we may no longer be players, we will always be dreamers.  Here’s the poem:

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How to Film Austen Heroines Saying Yes

Amanda Root as Anne ElliottAmanda Root as Anne Elliott       

Film Friday

One must show a great deal of sensitivity in how one films a Jane Austen heroine accepting a marriage proposal.  That’s because the author never shows us the acceptances directly.  Although I am generally not a great fan of filmed versions of Jane Austen novels, I have to tip my hat to how some of them film these scenes.

But first a word on Austen’s reticence.  She generally limits herself to saying something like (as you’ll see below), “In what manner he expressed himself, and how he was received, need not be particularly told.” Or, “What did she say? Just what she ought, of course. A lady always does.”

Why does the most emotional moment in the book “need not be particularly told”?  I don’t think Austen is being coy in these scenes.  Rather, it’s that she doesn’t trust herself, or trust language, to do justice to the moment. As she writes of the heroine receiving the proposal in Mansfield Park, “But there was happiness . . . which no description can reach.” 

A word of warning before I continue on. I am going to be discussing the marriage proposals in all six novels and then concluding with my two favorite filmed proposals, which are to be found in Ang Lee’s Sense and Sensibility and the 1995 BBC Persuasion. So if you don’t want to find out what happens in a particular novel, skip the section dealing with it.  I provide subheads as warning.

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