The Dangerous Power of Libraries

Trinity College Library in Dublin

Wednesday 

I’m currently chairing Sewanee’s Friends of the Library committee, an organization committed to raising money for library projects and arranging a series of lectures and presentations. (I have given two card-playing presentations for the series, one on Speculation as it is played in Jane Austen’s Mansfield Park and the other on Ombre from Alexander Pope’s Rape of the Lock.) We recently gave a framed and beautifully lettered copy of the following poem to two members who are rotating off the committee.

Written by Paul Hamilton Engle, once Iowa’s poet laureate, “Library” reminds us how powerful books can be, which is one reason public and school libraries are under assault by the MAGA at the moment. I love how Engle moves between seeing books as social dynamite and books as a comfort in terrible times. Of course, Engle is talking about all books, not just literature, but his observations apply to poems, plays and stories as well:

Library
(written on the 50th Anniversary Reunion of the Coe College Class of 1931)

Fire burns the trembling hand.
Cold freezes the fire fingers.
Rock breaks the unbending bone.

But books can grasp you by the throat and kill.

Go to a library, listen.  You can hear
The books inside their bindings breathe aloud.
Hear reckless phrases howling from their type,
Hear jokes tickling you ear like a fine feather,
Hear screams of rage, delight, and agony.

Some books have brutal teeth that snap and bite,
Collared like dogs we lead them on a tight leash.

Passions of men and women cry
Out of silence from that printed page.

Some books, soft as a hand, caress your hand.

Beware the library, its books are sticks
Of dangerous dynamite that men have dropped.
When they explode, governments disappear.

Some covers hold ideas like live steam–
Open them, they shatter your live face.

The mind is a gun shooting at history.
than a rocket’s fuel–
The sky’s the limit in a fury of fire.

Libraries are alive, walls tremble, books
bounce on their shelves.  In terrible times
Enter, your life comforted by their lives.

To demonstrate my agreement, here’s a passage from my book Better Living through Literature, released yesterday:

[W]hen English teachers play it safe, they risk underplaying literature’s fierce urgency and its ability to speak directly to our life struggles. Taming literature down to a boring irrelevancy leaves its potential untapped. Students go unchallenged in ways that could lead to real and exhilarating growth.

This is why it’s useful to acquaint ourselves with stories of literature stepping up to the plate during tough times, often in the most unexpected of ways. Who could have predicted a Somali political prisoner falling in love with Anna Karenina or a kidnapped Pakistani girl turning to Little Women?Who could foresee Iranian women, banished from universities by fundamentalist mullahs, recognizing themselves in the character of Vladimir Nabokov’s Dolores Haze? (In Reading Lolita in Tehran, Azar Nafisi reports that her students related to how Dolores is trapped in an older man’s fantasies.)

And then there are the South African freedom fighters who, when imprisoned by the apartheid regime, found purchase in the words of various Shakespeare characters. Nelson Mandela responded to Julius Caesar’s “Cowards die many times before their deaths;  / The valiant never taste of death but once”; his confidant Walter Sisulu saw himself in Shylock: “Still have I borne it with a patient shrug / For sufferance is the badge of all our tribe”; and future Parliament member Billy Nair saw a kindred soul in Caliban: “This island’s mine, by Sycorax my mother / Which thou tak’st from me.” Why limit literature instruction to rhyme and meter when you could be preparing your students for life?

When I come across stories of people attacking and sometimes banning works of literature, I think of a scene from the Lawrence Kasdan film Grand Canyon (1991). Danny Glover, in the role of auto mechanic, is confronted by a gun-wielding gang leader while attempting to help stranded motorist Kevin Kline. Asked by the man whether he respects him or not, Glover replies, “You ain’t got the gun, we ain’t having this conversation.” These contentious conversations about literature are happening because literature wields the power of a loaded gun.

Literature is like Aslan as he is described by Mr. Beaver in C.S. Lewis’s Lion, the Witch, and the Wardrobe. When Lucy asks whether he is safe, Mr. Beaver replies,

Safe? Who said anything about safe? ‘Course he isn’t safe. But he’s good. He’s the King, I tell you.

Elsewhere Mr. Beaver says, “He’s wild, you know. Not like a tame lion.”

Poems, plays, stories. Not safe. Not tame. But good.

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On Literature’s Transformational Power

Tuesday

So the day has arrived that I have been working towards for the past 10 years: Better Living through Literature: How Books Change Lives and (Sometimes) History (Quoir, 2024) has just been released to the world. You can order a copy by going here.

Although I’ve been actively working on the book for just over a decade, its roots go far deeper. All my life I have been fascinated by people’s book choices, in large part because it was wonderful to find kindred souls. As a child, for instance, I loved that the Bastable kids (in the Edith Nesbit series) were enthralled with Kipling’s Jungle Books and that David Copperfield lost himself in Tom Jones and that Tom Sawyer sought to reenact The Count of Monte Cristo. I would have been smitten with Roald Dahl’s Matilda had it been written when I was a child

As I grew older, I realized you could get special insight into people by learning about their favorite books. That’s why, in this endeavor, I delve into why Plato loved The Odyssey, Aristotle Oedipus, Sir Philip Sidney The Aeneid, Karl Marx Robinson Crusoe, Sigmund Freud Hamlet, W.E.B. Du Bois The Three Musketeers, Sandra Gilbert and Susan Gubar Jane Eyre, and on and on. And of course, from the very beginning of my teaching career I was interested in why my students responded as they did to the books in their lives, whether read in class or out. Better Living through Literature is the culmination of this life-long fascination.

The fascination went further, however. I wasn’t only interested in why people loved (or in some instances, hated) certain books but if and how these books had changed them. I became aware as early as 11 that books could be transformative: that’s when Huckleberry Finn and To Kill a Mockingbird helped me negotiate our community’s desegregation battles. It made sense, therefore, that I would go on to examine what the great thinkers had to say about the matter. As the synopsis on the back of the book reads,

For 2500 years people have been debating how literature changes lives, and versions of those debates continue today in classrooms, school and library boardrooms, and state legislatures. The life-transforming potential of books caught the attention of Dante, Cervantes, Jane Austen, Percy Shelley, and many others…Contending that reading is sometimes like playing with dynamite, Robin Bates brings the issues alive with compelling accounts of stories and poems upending individual lives and sometimes history itself.

From as far back as I can rememberm poems, stories and plays have had (to quote W.B. Yeats) “all my thought and love.” Better Living through Literature grows out of that love. I am honored to be able to share that love with you in book form.

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The Green Knight’s Lesson: Love Life

Illus. from Sir Gawain and the Green Knight


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Monday

I was reading Maria Popova’s reflective and always stimulating weekly essay in The Marginalian yesterday when I came across something that reminded me of a powerful passage in Sir Gawain and the Green Knight. Memories came flooding back as that passage meant a lot to me when I was mourning my oldest son 25 years ago.

Popova is citing an essay by paleontologist, philosopher of science, and poet Loren Eiseley, who in his 1969 collection The Unexpected Universe observes that venturing into space and landing on the moon “is meaningless unless it coincides with a certain interior expansion.” The inward world, Eiseley writes, “can be more volatile and mobile, more terrible and impoverished, yet withal more ennobling in its self-consciousness, than the universe that gave it birth.”

To make his point, Eiseley tells about an accident that led to a life-altering realization. Popova describes the accident:

Walking to his office afternoon, deep in thought while working on a book, Eiseley trips on a street drain, crashes violently onto the curb, and finds himself face-down on the sidewalk in a pool of his own blood. In the delirium of disorientation and pain, he looks at the vermillion liquid in the sunshine and suddenly sees life itself, suddenly feels all the tenderness one feels for the miracle of life whenever one is fully feeling.

Knowing that the blood he is seeing is made of millions of cells, phagocytes, and platelets, Eiseley writes that,

for the first time in my mortal existence, [I] did not see these creatures as odd objects under the microscope. Instead, an echo of the force that moved them came up from the deep well of my being and flooded through the shaken circuits of my brain. I was they — their galaxy, their creation. For the first time, I loved them consciously, even as I was plucked up and away by willing hands.

Sir Gawain and the Green Knight, as I read it, is about a man who doesn’t fully value his life until he finds himself in a situation like Eiseley’s. In the story, Gawain has been challenged to a beheading contest by a Green Man figure from Celtic mythology: first he cuts off the Green Knight’s head and then, in a year’s time, the Green Knight gets to return the blow. Being essentially a vegetation god, the Green Knight has survived the ordeal, and Gawain knows only too well that he won’t be so fortunate.

But the Green Knight isn’t interested in Gawain’s death. Rather, he wants Gawain to acknowledge that he cares about his life. Gawain thinks that such caring is unmanly. After all, he is a Christian knight and believes he shouldn’t fear death. The nature god considers this an affront.

I have a theory that the poem, coming as it did a few decades (or maybe just a few years) after the Black Plague ravaged Europe, was written to reconcile audiences with Life, which had proved to be spectacularly unreliable. (Europe lost a third of its population!) Perhaps people, suffering from PTSD, figured that downplaying the preciousness of life was a kind of mental insurance against death. If you focus on the next world rather than caring about this one, dying (so the psychological reasoning goes) won’t hurt so much.

Initially Gawain think he can shrug off the fate that awaits him. “Good men can but try,” he says as he goes off to meet up with the Green Knight. Then, throughout the poem, the Green Knight attempts to lure him back to a lust for life. Gawain faces sexual temptation from the knight’s consort (which he resists) and he is given opportunities to turn back. In the end, however, Gawain shows up for his rendezvous with death and rests his head on the chopping block.

Twice the Green Knight feints with his axe, pointing out that Gawain’s flinch means that he cares to some extent about his life. Then this happens, leading to an experience similar to Eiseley’s:

[The Green Knight] gathered up the grim ax and guided it well:
Let the barb at the blade’s end brush the bare throat;
He hammered down hard, yet harmed him no whit
Save a scratch on one side, that severed the skin;
The end of the hooked edge entered the flesh,
And a little blood lightly leapt to the earth.
And when the man beheld his own blood bright on the snow,
He sprang a spear’s length with feet spread wide,
Seized his high helm, and set it on his head,
Shoved before his shoulders the shield at his back,
Bares his trusty blade, and boldly he speaks
Not since he was a babe born of his mother
Was he once in this world one-half so blithe…
(Trans. Marie Borroff)

When he sees his blood, which lets him know he is still alive, Gawain feels an immense joy–which is what the Green Knight has been trying to get him to see all along. Life is to be embraced.

In the summer following Justin’s death, I sensed that Sir Gawain had something special to tell me, although I wasn’t at first sure what it was. After I had read it over multiple times, I came to realize that it framed what I was seeing as I looked out my study window at the woods that bordered our lot. I started viewing, with a kind of awe, how nature never stops asserting itself. That year we had a prodigal summer (to borrow Barbara Kingsolver’s phrase), and the grass, catbrier, bushes, and trees kept up their never-ending greening. It may have been a season of death for me, but it was not so for them.

When we feel that life has let us down, as many did in the 14th century and as I did after Justin drowned, our response should not be to turn our backs on it. Rather, we must embrace it all the more fiercely, holding it against our bones (to quote Mary Oliver) and seeing it as the gift that it is.

I have tried to live my life that way ever since.

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Akhmatova’s Response to Despair

Ana Akhmatova

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Sunday

Victoria Jones at Art and Theology alerted me to this Ana Akhmatova poem. It’s all the more powerful when you realize that the Russian poet lived through two world wars, the Bolshevik Revolution, and the Stalin regime. She saw her first husband executed by the Soviet police, her common law second husband die in the Gulag, and her son get imprisoned there as well. Yet she passed up opportunities to emigrate, choosing instead to stay and report on what she witnessed.

In other words, when she writes that “Death’s great black wing scrapes the air” and that “Misery gnaws to the bone,” she knows what she’s talking about. And yet, there’s a reason why we do not despair. Cherry blossoms and a sky that glitters with new galaxies remind us that there is more to life than suffering. This miraculous world comes “so close to the ruined, dirty houses.”

The deepest part of ourselves knows this. The knowledge has been “wild in our breast for centuries.”

Everything is plundered, betrayed, sold,
Death’s great black wing scrapes the air,
Misery gnaws to the bone.
Why then do we not despair?

By day, from the surrounding woods,
cherries blow summer into town;
at night the deep transparent skies
glitter with new galaxies.

And the miraculous comes so close
to the ruined, dirty houses—
something not known to anyone at all,
but wild in our breast for centuries.

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Tana French, a Writer for Our Time

Tana French, Irish mystery writer

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Friday

In recent months I have been riveted by the mystery novels of Ireland’s Tana French, so much so that I scrutinized my responses to figure out why. I’ve concluded that it has to do with my anxieties over Trumpism.

Allow me to explain. The best mystery novels are much more than whodunits. Doyle in his Sherlock Holmes stories, for instance, tapped into the anxieties that Londoners were feeling about the chaos of urban living. Holmes descends from his cozy apartment into the streets, encounters a murder and a number of seemingly unrelated clues, and then returns to that apartment to explain to Watson the pattern connecting the clues. The new world may initially seem to defy our attempts to make sense of it but we are reassured by the end.

The Tana French novels have their own pattern. In all the ones I have read (spoilers ahead), the killer comes from a tight-knit community that he or she is afraid of losing. This fear is the motive for the violence that ensues. Although the outside forces that threaten the community may be bad, they are not as corrupt as those within.

Trump, of course, has risen to political prominence by playing on White America’s fear that “invaders” are desecrating its idealized vision of itself as Mayfield in the 1957-63 sitcom Leave it to Beaver. These invaders are variously seen as people of color, Muslims, Jews, LGBTQ+ folk, and even Democrats. Trump’s favorite poem—maybe the only poem he knows—captures the danger he sees:

On her way to work one morning
Down the path alongside the lake
A tender-hearted woman saw a poor half-frozen snake
His pretty colored skin had been all frosted with the dew
“Oh well,” she cried, “I’ll take you in and I’ll take care of you”
Now she clutched him to her bosom, “You’re so beautiful,” she cried
“But if I hadn’t brought you in by now you might have died”
Now she stroked his pretty skin and then she kissed and held him tight
But instead of saying thanks, that snake gave her a vicious bite
“I saved you,” cried that woman
“And you’ve bitten me, even why?
And you know your bite is poisonous and now I’m gonna die”
“Oh, shut up, silly woman,” said that reptile with a grin
“Now you knew darn well I was a snake before you brought me in.”

With Trump, of course, every attack is an inadvertent confession. While he and his fans think the poem is about brown-skinned people that we have allowed into the country, the real snake has been Trump himself. The nation took him into its highest office and he responded with a vicious bite.

Now look at the pattern in French’s novels.

In The Likeness, a tightly knit group of college friends—they’re almost incestuous–is infiltrated by an impostor, who wins their trust but whom they then kill when it turns out that she plans to betray them.

In The Faithful Place, the narrator seeks to escape his suffocating family and his suffocating community with his girlfriend, only to have her disappear on him. Years later he learns that she was killed by his brother, who resented how the narrator was leaving him to take care of the family.

In The Secret Place, a girl who is in love with her friendship group kills a boy that she sees threatening their unity.

In The Trespasser, the killer turns out to be in the police unit that is investigating a murder. In this instance, the tight community is the police force, and the rookie cops investigating it must confront the corruption of their superiors.

In The Hunter, a former Chicago police detective thinks he has found, in a seemingly idyllic Irish community, respite from a life of chasing murderers. Against his will, however, he is persuaded to investigate a disappearance and learns that his folksy neighbors—fearful that one of their own is bringing in a big city drug gang—have killed the man. The detective discovers who the killers are but decides not to expose them in order to preserve the community.

The Searcher, which involves the same detective, has a version of the same plot. Once again one of the community’s own brings in a crook, with whose aid he hopes to scam everyone out of their savings. The crook ends up dead and the local who brought him in is suspected of the murder and flees. The real murderer, another of the townspeople, is again allowed to escape justice.

I haven’t yet read In the Woods, Broken Harbor, or The Witch Elm.

In some ways, Tana French reminds me of Faulkner, describing a tight knit world that appears increasingly corrupt the deeper you look. That is how many of us were feeling about an America that could elect and possibly reelect Trump. As long as Americans seemed likely to propel this snake to the White House, French’s ambiance fit my prevailing mood.

Things don’t seem so dark at the moment. But, like French’s courageous and honest detectives, we need to keep fighting if we want a different ending.

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The Pope’s Extraordinary Defense of Lit

Pope Francis

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Thursday

My jaw dropped recently after receiving word from two friends, Scott Lee and Valerie Hotchkiss, that the pope has passionately and intelligently endorsed literature. Given the Catholic Church’s long and dark history of banning books, I initially wondered whether this was another Francis apology tour for past church misbehavior.

Francis may indeed have past church book bans in mind, but his letter goes far beyond any apology. Rather, he sees literature as absolutely essential to our spiritual, intellectual, and physical well-being. The letter is one of the most extraordinary defenses I have encountered, up there with those of Sir Philip Sidney and Percy Shelley.

To look at the Vatican’s dark past for a moment, here a list of some of the works that have have, over the centuries, appeared on its Index Librorum Prohibitorum or Index of Prohibited Books:

–Dante, The Divine Comedy (partially redacted)
–Boccaccio, The Decameron
—John Milton, Paradise Lost
–Daniel Defoe, The Political History of the Devil
–Jean Jacques Rousseau, La Nouvelle Éloise
–all of Honoré de Balzac’s Human Comedy novels
–Stendahl, The Red and the Black
–Victor Hugo, Les Misérables and Notre Dame de Paris
–Alexander Dumas, The Count of Monte Cristo
–Gustave Flaubert, Madame Bovary  and Salambo
–all of Émile Zola’s work (with Nana singled out)
–all of André Gide’s work
–all of Jean Paul Sartre’s work
–all of Alberto Moravia’s work
–Nicolai Kazantzakis, The Last Temptation of Christ

Francis begins by saying that he wrote his letter originally to point out how literature can contribute to “the path of personal maturity” for Catholic priests but adds that “this subject also applies to the formation of all those engaged in pastoral work, indeed of all Christians.” You can read the letter in its entirety here, but I have pulled out some of the highlights. I quote Francis directly because he articulates his points so well:

–In moments of weariness, anger, disappointment or failure, when prayer itself does not help us find inner serenity, a good book can help us weather the storm until we find peace of mind. Time spent reading may well open up new interior spaces that help us to avoid becoming trapped by a few obsessive thoughts that can stand in the way of our personal growth.

–A book demands greater personal engagement on the part of its reader [than audio-visual media]. Readers in some sense rewrite a text, enlarging its scope through their imagination, creating a whole world by bringing into play their skills, their memory, their dreams and their personal history, with all its drama and symbolism. In this way, what emerges is a text quite different from the one the author intended to write. A literary work is thus a living and ever-fruitful text, always capable of speaking in different ways and producing an original synthesis on the part of each of its readers. In our reading, we are enriched by what we receive from the author and this allows us in turn to grow inwardly, so that each new work we read will renew and expand our worldview.

–I would agree with the observation of one theologian that “literature… originates in the most irreducible core of the person, that mysterious level [of their being]… Literature is life, conscious of itself, that reaches its full self-expression through the use of all the conceptual resources of language.”

–Literature…has to do, in one way or another, with our deepest desires in this life, for on a profound level literature engages our concrete existence, with its innate tensions, desires and meaningful experiences.

–In the end, our hearts always seek something greater, and individuals will find their own way in literature. I, for my part, love the tragedians, because we can all embrace their works as our own, as expressions of our own personal drama. In weeping for the fate of their characters, we are essentially weeping for ourselves, for our own emptiness, shortcomings and loneliness. Naturally, I am not asking you to read the same things that I did. Everyone will find books that speak to their own lives and become authentic companions for their journey. There is nothing more counterproductive than reading something out of a sense of duty, making considerable effort simply because others have said it is essential. On the contrary, while always being open to guidance, we should select our reading with an open mind, a willingness to be surprised, a certain flexibility and readiness to learn, trying to discover what we need at every point of our lives.

–How can we reach the core of cultures ancient and new if we are unfamiliar with, disregard or dismiss their symbols, messages, artistic expressions and the stories with which they have captured and evoked their loftiest ideals and aspirations, as well as their deepest sufferings, fears and passions? How can we speak to the hearts of men and women if we ignore, set aside or fail to appreciate the “stories” by which they sought to express and lay bare the drama of their lived experience in novels and poems?

–From a practical point of view, many scientists argue that the habit of reading has numerous positive effects on people’s lives, helping them to acquire a wider vocabulary and thus develop broader intellectual abilities. It also stimulates their imagination and creativity, enabling them to learn to tell their stories in richer and more expressive ways. It also improves their ability to concentrate, reduces levels of cognitive decline, and calms stress and anxiety.

–Even more, reading prepares us to understand and thus deal with various situations that arise in life. In reading, we immerse ourselves in the thoughts, concerns, tragedies, dangers and fears of characters who in the end overcome life’s challenges. Perhaps too, in following a story to the end, we gain insights that will later prove helpful in our own lives.

–When I think of literature, I am reminded of what the great Argentinean writer Jorge Luis Borges used to tell his students, namely that the most important thing is simply to read, to enter into direct contact with literature, to immerse oneself in the living text in front of us, rather than to fixate on ideas and critical comments. Borges explained this idea to his students by saying that at first they may understand very little of what they are reading, but in any case they are hearing “another person’s voice”. This is a definition of literature that I like very much: listening to another person’s voice. We must never forget how dangerous it is to stop listening to the voice of other people when they challenge us! We immediately fall into self-isolation; we enter into a kind of “spiritual deafness”, which has a negative effect on our relationship with ourselves and our relationship with God, no matter how much theology or psychology we may have studied….This approach to literature, which makes us sensitive to the mystery of other persons, teaches us how to touch their hearts.

–T.S. Eliot, the poet whose poetry and essays, reflecting his Christian faith, have an outstanding place in modern literature, perceptively described today’s religious crisis as that of a widespread emotional incapacity. If we are to believe this diagnosis, the problem for faith today is not primarily that of believing more or believing less with regard to particular doctrines. Rather, it is the inability of so many of our contemporaries to be profoundly moved in the face of God, his creation and other human beings. Here we see the importance of working to healing and enrich our responsiveness. On returning from my Apostolic Journey to Japan, I was asked what I thought the West has to learn from the East. My response was, “I think that the West lacks a bit of poetry”. 

–What profit, then, does a priest gain from contact with literature? Why is it necessary to consider and promote the reading of great novels as an important element in priestly paideia?… Let us try to answer these questions by listening to what the German theologian [Karl Rhaner] has to tell us. For Rahner, the words of the poet are full of nostalgia, as it were, they are like “gates into infinity, gates into the incomprehensible. They call upon that which has no name. They stretch out to what cannot be grasped.” Poetry “does not itself give the infinite, it does not bring and contain the infinite.” That is the task of the word of God and, as Rahner goes on to say, “the poetic word calls upon the word of God.” For Christians, the Word is God, and all our human words bear traces of an intrinsic longing for God, a tending towards that Word. It can be said that the truly poetic word participates analogically in the Word of God, as the Letter to the Hebrews clearly states (cf. Heb 4:12-13).

–As far as content is concerned, we should realize that literature is like “a telescope”, to use a well-known image of Marcel Proust. As such, it is pointed at beings and things, and enables us to realize “the immense distance” that separates the totality of human experience from our perception of it. “Literature can also be compared to a photo lab, where pictures of life can be processed in order to bring out their contours and nuances. This is what literature is ‘for’: it helps us to ‘develop’ the picture of life,” to challenge us about its meaning, and, in a word, to experience life as it is.

–In terms of the use of language, reading a literary text places us in the position of “seeing through the eyes of others,” thus gaining a breadth of perspective that broadens our humanity. We develop an imaginative empathy that enables us to identify with how others see, experience and respond to reality. Without such empathy, there can be no solidarity, sharing, compassion, mercy. In reading we discover that our feelings are not simply our own, they are universal, and so even the most destitute person does not feel alone.

–In reading about violence, narrowness or frailty on the part of others, we have an opportunity to reflect on our own experiences of these realities. By opening up to the reader a broader view of the grandeur and misery of human experience, literature teaches us patience in trying to understand others, humility in approaching complex situations, meekness in our judgement of individuals and sensitivity to our human condition. Judgement is certainly needed, but we must never forget its limited scope. Judgement must never issue in a death sentence, eliminating persons or suppressing our humanity for the sake of a soulless absolutizing of the law.

–The wisdom born of literature instils in the reader greater perspective, a sense of limits, the ability to value experience over cognitive and critical thinking, and to embrace a poverty that brings extraordinary riches. By acknowledging the futility and perhaps even the impossibility of reducing the mystery of the world and humanity to a dualistic polarity of true vs false or right vs wrong, the reader accepts the responsibility of passing judgement, not as a means of domination, but rather as an impetus towards greater listening. And at the same time, a readiness to partake in the extraordinary richness of a history which is due to the presence of the Spirit, but is also given as a grace, an unpredictable and incomprehensible event that does not depend on human activity, but redefines our humanity in terms of hope for salvation.

At one point in his letter, Francis  worries about what happens when literature is seen as non-essential. He is talking about the education of seminarians, but his observation extends to everyone. Dismissing literature as a frill, he contends, “can lead to the serious intellectual and spiritual impoverishment of future priests, who will be deprived of that privileged access which literature grants to the very heart of human culture and, more specifically, to the heart of every individual.”

He also talks about his own teaching experiences in Argentina. When he encountered students who wanted to read the contemporary poet Garcia Lorca rather than the canonical El Cid, he decided to discuss Lorca in class while having the students read El Cid at home. In the process, he discovered that discussing the contemporary poet led his students to appreciate the older one.

I can’t say much more in response to Francis’s letter than a loud “Amen!”

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Harris as Potter, Biden as Dumbledore

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Wednesday

One of the loveliest aspects of the large Kamala Harris rallies is the periodic chants of “We love you, Joe.” They are testimony to the deep affection that Democrats have for the current president, including many who were pressuring him to step down. We are so unaccustomed in politics to seeing selflessness win out over ego—of people putting the welfare of the community over themselves—that it seemed miraculous when it happened. Joseph Robinette Biden deserves much of the credit for the Democrats’ smooth transition to Harris.

I’ve written about how the transition taps into the Fisher King archetype. But there’s another mythic narrative at work as well, one which J.K. Rowling uses in the conclusion of the Harry Potter series.

In The Deathly Hallows, Harry Potter gives up his life in order to defeat Voldemort. Having received a final message from a dying Snape, Harry realizes what he must do to defeat his archenemy. Voldemort has issued an ultimatum—if Harry does not meet him at a designated time in the Forbidden Forest, Voldemort will “punish every last man, woman , and child who has tried to conceal you from me”—and Harry realizes he must surrender to save them:

Lying with his face pressed into the dusty carpet of the office where he had once thought he was learning the secrets of ciry, Harry understood at last that he was not supposed to survive. His job was to walk calmly into Death’s welcoming arms.

There’s more at work here than merely offering himself up as a sacrificial lamb. In a complicated plot twist that confuses even Harry Potter fans, Harry carries within him a fragment of Voldemort’s soul. (I’ll have more to say about the political applicability of this symbolism.) Therefore, when Voldemort thinks he is killing Harry, he is actually killing his own soul. And because Harry is one of the remaining horcruxes that Voldemort uses to stay alive, the dark lord renders himself vulnerable to defeat at the very moment when he thinks he has vanquished his foe.

I suspect you can see where I’m going with this. By choosing selflessness over ego and by designating a dynamic woman of color as his successor, Biden unleashed a positive energy that is buoying the Democrats. While the dynamic Harris and her vice-presidential pick Tim Walz certainly bring their own energy, Biden created the narrative.

His selfless decision has utterly flummoxed Trump, who is flailing at the moment and may not recover. After all, according to his understanding of the universe, people do not willingly surrender power. What Dumbledore says to Harry in the limbo world to which he has gone after Voldemort “kills” him applies equally to the past president:  

He was more afraid than you were that night, Harry. You had accepted, even embraced, the possibility of death, something Lord Voldemort has never been able to do. Your courage won. Your wand overpowered his.

During his time in this limbo world, Harry sees the fragment of the Voldemort soul that he has been carrying, the fragment that Voldemort blasted with his wand. Think of it as Trump’s own inner self:

[Harry] recoiled. He had spotted the thing that was making the noises. It had the form of a small, naked child, curled on the ground, its skin raw and rough, flayed-looking, and it lay shuddering under a seat where it had been left, unwanted, stuffed out of sight, struggling for breath.

This figure fits the image that psychologist Mary Trump gives of her uncle. Much about Trump can be explained by the emotional neglect he suffered when he was growing up, she writes:

When Donald was a young child, his mother, my grandmother, was very ill. For about a year, starting when Donald was two and a half, he didn’t have a primary caregiver because she was physically and emotionally unavailable to him. There was nobody there to do the essential parenting that children at that extremely crucial developmental period need. Toddlers need to be seen; they need to be soothed. He didn’t get any of that, not only because my grandmother wasn’t there for him, but because the person who replaced her, my grandfather, was a straight up textbook sociopath.

The result is the whimpering, thumping man who for four years was our president and who is striving to become so again. When Harry and Dumbledore look down at the figure, however, Dumbledore tells his protégé to look toward the future:

Do not pity the dead, Harry. Pity the living, and above all, those who live without love. By returning, you may ensure that fewer souls are maimed, fewer families are torn apart. If that seems to you a worthy goal, then we say good-bye for the present.

My parallel with Election 2024 breaks down a little here because, of course, it is not Biden who returns to battle Voldemort but a successor. Biden in this scenario is more Obi-Wan Kenobe giving himself up so that Luke Skywalker can triumph. So shift gears for a moment and think of Biden as Dumbledore and Harris as Harry. Imagine Harris squaring off in a final confrontation with the dark lord, the two circling with wands out.

At first glance, it appears that Harry doesn’t have a chance. After all, Voldemort is wielding the Elder Wand, which like Tolkien’s Ring of Power is the ultimate weapon. To obtain it, Voldemort has killed ruthlessly.

Harry, however, has access to a deeper magic. He has seen in Dumbledore what Harris has seen in Biden, that love of others is more powerful than authoritarian power trips. He informs Voldemort of this in their faceoff:

“I know things you don’t know, Tom Riddle (Voldemort’s human name). I know lots of important things that you don’t. Want to hear some, before you make another big mistake…”

“Is it love again?” said Voldemort, his snake’s face jeering. “Dumbledore’s favorite solution, love, which he claimed conquered death, although love did not stop him falling from the tower and breaking like an old wax work?”…

“Yes Dumbledore’s dead,” said Harry calmly, “but you didn’t have him killed. He chose his own manner of dying…”

That manner of dying, it so happens, ultimately leads to Harry becoming the master of the Elder Wand, just as Biden’s symbolic death led to the ascendency of a woman of African-Asian descent. When Voldemort tries to use the wand against him, therefore, the curse rebounds, killing Voldemort instead. The wand meanwhile finds its way into Harry’s hand.

Could it be that Biden’s determination to be president of all Americans—a vision that Harris shares—will win out over Trump’s attempt to demonize those who don’t look and think like him? As I write this, things are looking up.

The difference between how Voldemort sees the Elder Wand and how Dumbledore and Harry see it is also significant for our purposes. Trump, J.D. Vance, and the authors of Project 2025 regard the presidency as the Elder Wand, a means of imposing a Christian nationalist state on all Americans. They have even persuaded our rightwing Supreme Court to grant the president absolute immunity for all “official duties.”

Rather than use this power himself, however, Biden has proposed laws stripping the president of this power. Meanwhile Harry, although himself now possessor of the Elder Wand, gets rid of it at the end. He uses it once—to repair his old wand—and then gives it up. It’s worth noting that he dismisses total power with little more than a shrug:

“That wand’s more trouble than it’s worth,” said Harry “And quite honestly…I’ve had enough trouble for a lifetime.”

I promised you a further observation on the significance of Harry and Voldemort being intertwined so here it is. Biden is not without ego. To run as long and as hard for president as he did would be impossible without it. In other words, although not the narcissist that Trump is, he had that Trumpian element within him. Harry’s development throughout the series is in part an internal struggle with his Voldemort side. Or as Jung would describe it, his shadow side.

I imagine Biden taking Harry’s walk to the Forbidden Forest as he wrestled with whether or not to drop out of the race. Harry almost turns back, and it is only because of supportive voices from his past, including those of his father and mother, that he can continue on. Biden must have been bolstered by his own supportive voices in agreeing to what, at times, felt like a kind of death.

Again, accepting the death of the ego is so far beyond anything Trump could imagine that Biden’s move has left him utterly bewildered. Reality has shifted under his feet and he can’t adjust.

Further thought – As I was rereading the end of Deathly Hollows for this blog entry, I realized how much Rowling has borrowed from C.S. Lewis’s The Lion, the Witch, and the Wardrobe, with Voldemort as the White Witch and Harry as the Christ-figure Aslan. While Biden is no Christ, his self-sacrifice is very much in that spirit. As a devout Catholic, Biden would know the words from John, “For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life.”

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What to Make of a Diminished Month

ovenbird

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Tuesday

August is not a glamor month, what with the heat and the dust and summer coming to an end and school beginning. Perhaps that’s why Robert Frost shines a light on it in “The Oven Bird.” Although August flowers are to spring flowers as one is to ten, he says, the month confronts us with essential life questions. Someone has to address our diminishment, which is where the oven bird comes in.

Feeling somewhat diminished myself (possible heart arrhythmia, a prostate cancer diagnosis), I am heartened that there’s a poet that sings, like the oven bird, to my condition. What am I to make of it all? I’ll let you know when I’ve figured it out.

In the meantime, however, I’m struck once again about how there’s a poem for every occasion.

The Oven Bird

There is a singer everyone has heard,
Loud, a mid-summer and a mid-wood bird.
Who makes the solid tree trunks sound again.
He says that leaves are old and that for flowers
Mid-summer is to spring as one to ten.
He says the early petal-fall is past
When pear and cherry bloom went down in showers
On sunny days a moment overcast;
And comes that other fall we name the fall.
He says the highway dust is over all.
The bird would cease and be as other birds
But that he knows in singing not to sing.
The question that he frames in all but words
Is what to make of a diminished thing.

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Is Trump Set to Inherit the Wind?

Tracy, Morgan and March in Inherit the Wind

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Monday

Watching Donald Trump rage posting while hunkered down in his Florida home, I am reminded of the final scene in Jerome Lawrence and Robert Edwin Lee’s 1955 play about the 1925 Scopes monkey trial, which I read as a high school student. There we see a larger-than-life political figure collapse like a balloon with a slow leak.

Inherit the Wind is loosely based on the prosecution of biology teacher John T. Scopes for teaching Darwinian evolution in a Dayton, Tennessee high school. The main drama involves a clash between three-time presidential candidate and populist politician William Jennings Bryan (Matthew Harrison Brady in the play) and legendary defense lawyer Clarence Darrow (Henry Drummond). Darrow and Scopes lost the case—Scopes was fined $100—but won the publicity war. The verdict, meanwhile, would be overturned on a technicality.

In applying the play to our current political situation, Brady (Bryan) would be Donald Trump, carrying the flag for Christian fundamentalism, whereas Drummond (Darrow) is the Harris/Walz ticket, liberals arguing for science, free speech, and teachers.

While the parallels are hardly exact—unlike Bryan, Trump actually won a presidential contest—what strikes me is how diminished Brady (Bryan) is by the end of the play. He begins an imposing figure, descending upon this small Tennessee town to impose his values. Even though he wins his case, however, he himself has been humiliated on the stand and no longer towers over everyone else. He dreams of giving a grand speech at trial’s end but the judge rules it irrelevant (just as Trump’s Manhattan judge did) and postpones it to after the trial. Here’s the final scene, which begins with Brady objecting to what he regards as a ridiculously small fine:

Brady: Did your Honor say one hundred dollars?
Judge: That is correct. (Trying to get it over with) This seems to conclude the business of the trial.
Brady (thundering) Your Honor, the prosecution takes exception! Where the issues are so titanic, the court must mete out more drastic punishment…To make an example of this transgressor! To show the world—

The trial complete, the Judge invites Bryan to give his speech:

Judge (to public): We beg your attention, please, ladies and gentlemen! Colonel Brady has some remarks to make which I am sure will interest us all! (A few of the faithful fall dutifully silent. But the milling about and the slopping of lemonade continues. Two kids chase each other in and out among the spectators. annoying the perspiring Radio Man. Brady stretches out his arms, in the great attention-getting gesture.)
BRADY My dear friends … ! Your attention, please! (The bugle voice reduces the noise somewhat further. But it is not the eager, anticipatory hush of olden days. Attention is given him, not as the inevitable due of a mighty monarch, but grudgingly and resentfully)

Fellow citizens, and friends of the unseen audience. From the hallowed hills of sacred Sinai, in the days of remote antiquity, came the law which has been our bulwark and our shield. Age upon age. man have looked to the law as they would look to the mountains, whence cometh our strength. And here, here in this –  (The Radio Man approaches Brady nervously.)

Radio Man: Excuse me. Mr. – uh, Colonel Brady; would you … uh … point more in the direction of the enunciator …? 
(The Radio Man pushes Brady bodily toward the microphone. As the orator is maneuvered into position, he seems almost to be an inanimate object, like a huge ornate vase which must be precisely centered on a mantel. In this momentary lull, the audience has slipped away from him again. There’s a backwash of restless shifting and murmuring. Brady’s vanity and cussedness won’t let him give up, even though he realizes this is a sputtering anticlimax. By God, he’ll make them listen!)
Brady (Red-faced, his larynx taut, roaring stridently): As they would look to the mountains whence cometh our strength. And here, here in this courtroom, we have seen vindicated – (A few people leave. He watches them desperately, out of the comer of his eye) We have seen vindicated – 
Radio Man (After an off-stage signal): Ladies and gentlemen, our program director in Chicago advises us that our time here is completed. Harry Y. Esterbrook speaking. We return you now to our studios and “Matinee Musicale.” (He takes the microphone and goes off. This is the final indignity to Brady; he realizes that a great portion of his audience has left him as he watches it go. Brady brandishes his speech, as if it were Excalibur. His eyes start from this head, the voice is a tight, frantic rasp.)
Brady: From the hallowed hills of sacred Sinai … (He freezes. His lips move, but nothing comes out. Paradoxically, his silence brings silence. The orator can hold his audience only by not speaking.)

And then this:

(There seems to be some violent, volcanic upheaval within him. His lower lip quivers, his eyes stare. Very slowly, he seems to be leaning toward the audience. Then, like a figure in a waxworks, toppling from its pedestal, he falls stiffly, face forward…The sheaf of manuscript, clutched in his raised hand, scatters in mid-air. The great words flutter innocuously to the courtroom floor.)

Historically, Bryan died five days after the trial’s completion but in the play he dies at this moment, at which point the journalist in attendance (based on H.L. Mencken) makes some cynical remark. In response, Drummond unexpectedly defends Brady, noting that he was once a great man.

I don’t want to be premature here since Trump could still win the election, but I could well imagine him going out in a similar way. “Not with a bang but a whimper,” as Eliot puts it.

Trump, however, is no Bryan, who once defended midwestern farmers against rapacious east coast banks insistent upon maintaining the gold standard (“You shall not crucify mankind on a cross of gold”). For his part, Trump has never cared about anyone but himself. Rather than invoking “the hallowed hills of sacred Sinai,” he seethes with jealousy at his rival’s crowd sizes and tweets out things like the following:

Has anyone noticed that Kamala CHEATED at the airport? There was nobody at the plane, and she “A.I.’d” it, and showed a massive “crowd” of so-called followers, BUT THEY DIDN’T EXIST! She was turned in by a maintenance worker at the airport when he noticed the fake crowd picture, but there was nobody there, later confirmed by the reflection of the mirror like finish on the Vice Presidential Plane. She’s a CHEATER. She had NOBODY waiting, and the “crowd” looked like 10,000 people! Same thing is happening with her fake “crowds” at her speeches. This is the way the Democrats win Elections, by CHEATING – And they’re even worse at the Ballot Box. She should be disqualified because the creation of a fake image is ELECTION INTERFERENCE. Anyone who does that will cheat at ANYTHING!

[Narrator: “The photos weren’t faked and the crowd sizes were real.”]

A man who desires to command center stage and strike fear in his rivals risks becoming reduced to a weird sideshow. The more panicked Trump becomes, the more likely he is to lose an election to this woman of color—which for him would be the ultimate humiliation.

Or as Solomon puts it in Proverbs (CSB 11:29), “The one who brings ruin on his household will inherit the wind, and a fool will be a slave to someone whose heart is wise.”

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