Pentecost in Narnia

Edmund amongst the stone statues in The Lion, the Witch, and the Wardrobe

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Sunday

“Narnia on the Mountain” is the theme of our Vacation Bible School this year. For old fuddy-duddies like me, the high point will be the adult lectures: former Sewanee Dean of the College Brown Patterson will recount studying with Lewis, my wife Julia is interested in Lewis’s relationship with Joy Davidman (she sees them as a power couple), and retired Sewanee English professor John Gatta will explore how Lewis became a leading Christian apologist. For the kids, however, we have a far different program.

A refrigerator box will be turned into a magical wardrobe, Mr. Tumnus will host a tea party, Father Christmas will pay a visit (complete with sleighbells), the Wicked Witch will hand out Turkish delight, and a game of freeze tag will include stone animal statues (donated lawn ornaments).

As we celebrate Pentecost this weekend, I combed through The Lion, the Witch and the Wardrobe to see if I could find any allusions to the Holy Spirit descending in tongues of flame. To my delight, I discovered the Lewis does indeed capture the joy of the Pentecostal moment.

For a reminder, here’s Luke’s account of the event:

When the day of Pentecost had come, the disciples were all together in one place. And suddenly from heaven there came a sound like the rush of a violent wind, and it filled the entire house where they were sitting. Divided tongues, as of fire, appeared among them, and a tongue rested on each of them. All of them were filled with the Holy Spirit and began to speak in other languages, as the Spirit gave them ability.

In the novel, of course, there’s a blood sacrifice as the White Witch slays Aslan, who has voluntarily surrendered himself to atone for Edmund’s guilt. Lucy and Susan, standing in for Mary Magdalene, are rewarded for their vigil with a direct encounter with the risen lion the following morning. Aslan’s breath assures them that he is indeed alive:

“You’re not—not a—?” asked Susan in a shaky voice. She couldn’t bring herself to say the word ghost.

Aslan stooped his golden head and licked her forehead. The warmth of his breath and a rich sort of smell that seemed to hang about his hair came all over her.

The Pentecostal moment comes a little later when the girls accompany Aslan to the White Witch’s castle and watch as he frees the animals that she has turned to stone. The Witch’s realm of ice is Lewis’s wasteland vision, a bleak midwinter in which (to draw from Christine Rossetti) frosty winds make moan while Earth stands “hard as iron, water like a stone.” Or as Mr. Beaver puts it, “Always winter and never Christmas.” The castle is bereft of life, as Edmund discovers upon his initial visit:

As he got into the middle of [the courtyard] he saw that there were dozens of statues all about—standing here and there rather as the pieces stand on a chess board when it is halfway through the game. There were stone satyrs, and stone wolves, and bears and foxes and cat-a-mountains of stone. There were lovely stone shapes that looked like women but who were really the spirits of trees. There was the great shape of a centaur and a winged horse and a long lithe creature that Edmund took to be a dragon. They all looked so strange standing there perfectly lifelike and also perfectly still, in the bright cold moonlight, that it was eerie work crossing the courtyard.

Aslan’s holy breath (to borrow from T.S. Eliot’s Waste Land) breeds life out of this dead land:

[Aslan] bounded up to the stone lion and breathed on him. Then without waiting a moment he whisked round—almost as if he had been a cat chasing its tail—and breathed also on the stone dwarf, which (as you remember) was standing a few feet from the lion with his back to it. Then he pounced on a tall stone Dryad which stood beyond the dwarf, turned rapidly aside to deal with a stone rabbit on his right, and rushed on to two centaurs. 

What follows is Lewis’s version of the Pentecostal flames:

I expect you’ve seen someone put a lighted match to a bit of newspaper which is propped up in a grate against an unlit fire. And for a second nothing seems to have happened; and then you notice a tiny streak of flame creeping along the edge of the newspaper. It was like that now. For a second after Aslan had breathed upon him the stone lion looked just the same. Then a tiny streak of gold began to run along his white marble back—then it spread—then the color seemed to lick all over him as the flame licks all over a bit of paper—then, while his hindquarters were still obviously stone the lion shook his mane and all the heavy, stony folds rippled into living hair. Then he opened a great red mouth, warm and living, and gave a prodigious yawn. And now his hind legs had come to life. He lifted one of them and scratched himself. 

In Luke’s account of the first Pentecost, skeptical witnesses sneer as the disciples begin to speak in tongues, claiming, “They are filled with new wine.” Lucy and Susan, however, are filled with genuine wonder at the magical moment that unfolds before them:

Of course the children’s eyes turned to follow the lion; but the sight they saw was so wonderful that they soon forgot about him. Everywhere the statues were coming to life. The courtyard looked no longer like a museum; it looked more like a zoo. Creatures were running after Aslan and dancing round him till he was almost hidden in the crowd. Instead of all that deadly white the courtyard was now a blaze of colors; glossy chestnut sides of centaurs, indigo horns of unicorns, dazzling plumage of birds, ruddy-brown of foxes, dogs, and satyrs, yellow stockings and crimson hoods of dwarfs; and the birch-girls in silver, and the beech-girls in fresh, transparent green, and the larch-girls in green so bright that it was almost yellow.

As far as speaking in tongues, a cacophony of languages characterizes both Pentecosts. Here’s the one described by Luke:

Now there were devout Jews from every nation under heaven living in Jerusalem. And at this sound the crowd gathered and was bewildered, because each one heard them speaking in the native language of each. Amazed and astonished, they asked, “Are not all these who are speaking Galileans? And how is it that we hear, each of us, in our own native language? Parthians, Medes, Elamites, and residents of Mesopotamia, Judea and Cappadocia, Pontus and Asia, Phrygia and Pamphylia, Egypt and the parts of Libya belonging to Cyrene, and visitors from Rome, both Jews and proselytes, Cretans and Arabs– in our own languages we hear them speaking about God’s deeds of power.” 

And now for Lewis’s account:

And instead of the deadly silence the whole place rang with the sound of happy roarings, brayings, yelpings, barkings, squealings, cooings, neighings, stampings, shouts, hurrahs, songs and laughter.

Mr. Beaver, early in the novel, channels the prophet Isaiah as he predicts this moment:

Wrong will be right, when Aslan comes in sight,
At the sound of his roar, sorrows will be no more,
When he bares his teeth, winter meets its death
And when he shakes his mane, we shall have spring again.

With the defeat of the White Witch, Aslan’s kingdom has come, on earth as it is in heaven. Hallelujah!

Note: In The Magician’s Book: A Skeptic’s Adventures in Narnia, journalist Laura Miller talks about becoming disillusioned when she discovered that her beloved Narnia can be read as a Christian allegory. She hated that Lewis might be secretly attempting to convert her. But she came to realize that Lewis, while certainly shaped by his Christian beliefs, is not preaching but rather capturing the excitement he finds in the resurrection story. And besides, he is no doctrinaire Christian as he sprinkles his Narnia books liberally with figures from pagan mythology (including wood nymphs, winged horses, centaurs, and satyrs). He’s in love with what Yeats called “the circus animals” of fantasy.

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René Girard on What Lit Can Teach Us

René Girard

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Friday

I have been hearing a lot about the philosophical anthropologist René Girard over the past few years. Rebecca Adams, a close friend who edited my forthcoming book, is a Girard scholar who talks about him frequently with me, and Patty, a reader who regularly comments on my blog posts, has forwarded me a Cynthia Haven article on Girard that appeared in the Free Beacon. So he’s due a blog post here.

Girard is most noted for his theory of mimetic (imitative) desire: the desires that make up who we are are determined, not by our own autonomous selves, but by other people. We desire what they desire. Why he warrants a blog post here is because he says he owes his major insights to literature.

In fact, while he writes as a philosopher or anthropologist, Rebecca tells me he sees literature as providing deeper knowledge into the nature of reality than philosophy or anthropology or any other academic discourse. At one point he has written, “Only the great writers succeed in painting these mechanisms faithfully, without falsifying them: we have here a system of relationships that paradoxically, or rather not paradoxically at all, has less variability the greater a writer is.” Among the authors he has turned to are Aeschylus, Sophocles, Euripides, Shakespeare, Cervantes, Balzac, Flaubert, Dostoevsky, and Proust—and I’m just naming a few of them.

I first became aware of mimetic desire when I was a young parent and was watching my son Justin, then a toddler, play with Ann Finkelstein, the daughter of our best friends in grad school. Although each had a toy, each would become envious of the other’s toy. We used to say that Ann had sprinkled her toy with “magic Annie dust,” which turned it into an object of desire. Of course, Justin was doing his own sprinkling, and I recall only once when the two of them got into perfect sync, exchanging their toys back and forth as each toy acquired its special aura. It was far more common for a squabble to break out.

This squabbling is at the heart of Girard’s anthropology, As Haven explains, our imitative cravings inspire

covetousness and competition as we come to desire what others cannot or will not share. This creates conflict. Even as we insist that we are ineradicably different, we become more alike as we fight—using the same weapons, trading the same insults, inflicting the same injuries against the demonized “other.” 

To keep these conflicts from tearing everything apart, societies settle upon a scapegoat, which “brings a sense of resolution and expiation.” Haven mentions as examples the Salem witches and the Chinese intellectuals in Mao’s cultural revolution. And or course there’s the Holocaust.

For literary examples, Haven notes, Girard points to “Tolstoy’s Anna Karenina, Hawthorne’s Hester Prynne, Hugo’s Jean Valjean, and Shakespeare’s Julius Caesar. (‘Let us be sacrificers, but not butchers,’ Brutus says, before the cabal slaughters their idol.).”

When discussing these ideas with Rebecca, I mentioned Ursula LeGuin’s short story “The Ones Who Walk Away from Omela,” to which Rebecca replied that it had been the subject of her first article on Girard. In that story, which LeGuin calls a thought experiment, the author asks us to imagine a utopian society in which there is perfect harmony. But because such a society seems fanciful the author must add one essential ingredient: a scapegoat. Once she does, the society becomes more realistic.

The scapegoat in her story is an imprisoned and maltreated child:

[T]he child, who has not always lived in the tool room, and can remember sunlight and its mother’s voice, sometimes speaks. “I will be good, ” it says. “Please let me out. I will be good!” They never answer. The child used to scream for help at night, and cry a good deal, but now it only makes a kind of whining, “eh-haa, eh-haa,” and it speaks less and less often. It is so thin there are no calves to its legs; its belly protrudes; it lives on a half-bowl of corn meal and grease a day. It is naked. Its buttocks and thighs are a mass of festered sores, as it sits in its own excrement continually.

Everyone in Omelas understands that

the happiness of their friendships, the health of their children, the wisdom of their scholars, the skill of their makers, even the abundance of their harvest and the kindly weathers of their skies, depend wholly on this child’s abominable misery.

As Girard sees it, scapegoating is at the core of the violence and wars that characterize human history. We shift our internal conflicts to a scapegoat, who then suffers from the attacks we would otherwise direct against each other. I remember the conservative operative, I can’t remember who, who after the Soviet Union fell apart said his party would have to find a new enemy. For a while it was Muslims, then immigrants, and currently it appears to be Democrats.

Haven, writing for a conservative publication, points out that liberals do their own scapegoating, using cancel culture to shame people publicly or shut down discourse. I have also had a conservative reader accuse me of Trump Derangement Syndrome, as though I was turning him into a scapegoat. While I acknowledge that liberals are not immune from the dynamic, in our defense I would argue that Trump’s scapegoating is far more damaging: he built up a devoted fan base by scapegoating first Barack Obama (through his birther conspiracy) and then immigrants. Liberals are less likely than Trump supporters to pick up an automatic rifle and start gunning down members of a scapegoated demographic.

But putting aside which side is worse, it’s certainly true that the dynamic described by Girard has played a major role in human history. It’s a pessimistic way of looking at human beings, who in his view are wired such that violence and scapegoating are inevitable. I therefore find it exciting to talk with Rebecca, who is in the Girard Wikipedia entry for proposing what she calls “loving mimesis.” If we imitate negative desiring, she asks, why can’t we similarly imitate positive desiring? As the Wikipedia entry puts it, “If beneficial imitation is possible, then it is no longer necessary for cultures to be born by means of scapegoating; they could just as well be born through healthy emulation.”

Haven explores a couple of instances of beneficial mimesis. Mimesis is how we learn and how lovers love, she says, in the latter case “trading compliments and promises that escalate and increase their mutual affection.” A literary instance is the balcony scene where Romeo woos Juliet, with “their language escalat[ing] euphorically as they goad each other’s love (to the point of parody, Girard thought).” 

I think I would use other literary examples, especially those in which a character experiences a transcendent breakthrough, such as Scrooge or Silas Marner or Jean Valjean or Ivan Ilych. And the great inspiration for all these figures is Jesus, the scapegoat/sacrificial lamb who turned the tables on violence by forgiving those who persecuted him.

Scapegoat violence certainly grabs our attention, but that’s not the only narrative in town.

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To Be Trump’s VP, Leap and Creep


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Thursday

Kevin McCarthy, the former Speaker of the House who has sometimes sabotaged his standing with Republicans by telling uncomfortable truths about Donald Trump, recently noted that Trump has turned his vice president decision into a version of his hit television show Celebrity Apprentice. Always one to milk every drop out of such a situation, Trump will probably keep the showing going until July’s Republican convention.

The situation has me thinking of a different show, one described in Book I of Gulliver’s Travels. There, competing for colored threads that allegorically represent the Orders of the Garter, the Bath, and the Thistle, Lilliputian courtiers debase themselves before the emperor. Here’s Jonathan Swift’s description:

There is likewise another diversion, which is only shown before the emperor and empress, and first minister, upon particular occasions. The emperor lays on the table three fine silken threads of six inches long; one is blue, the other red, and the third green. These threads are proposed as prizes for those persons whom the emperor has a mind to distinguish by a peculiar mark of his favor. The ceremony is performed in his majesty’s great chamber of state, where the candidates are to undergo a trial of dexterity very different from the former [tightrope walking], and such as I have not observed the least resemblance of in any other country of the new or old world. The emperor holds a stick in his hands, both ends parallel to the horizon, while the candidates advancing, one by one, sometimes leap over the stick, sometimes creep under it, backward and forward, several times, according as the stick is advanced or depressed. Sometimes the emperor holds one end of the stick, and his first minister the other; sometimes the minister has it entirely to himself. Whoever performs his part with most agility, and holds out the longest in leaping and creeping, is rewarded with the blue-colored silk; the red is given to the next, and the green to the third, which they all wear girt twice round about the middle; and you see few great persons about this court who are not adorned with one of these girdles.

I found descriptions of the various orders on Wikipedia. The Order of the Garter, which dates back to 1348, is the most senior order of knighthood in the British honors system. The Order of the Bath, which evokes the medieval knighting ceremonies, was invented by George I (the Lilliputian Emperor in this allegory) in 1725, only a year before Gulliver’s Travels was written. James II, meanwhile, established the Order of the Thistle 40 years earlier. It was an honor he bestowed on 16 lords and ladies and, while he claimed he was reviving an earlier tradition, he probably invented the whole thing out of whole cloth.

In short, the honors were cheap incentives designed to keep courtiers “leaping and creeping” in obeisance. The “first minister” mentioned by Gulliver is Prime Minister Robert Walpole, a genius at political gamesmanship.

Note: While Walpole was excoriated by such writers as Swift, Alexander Pope, Henry Fielding and (for a while) Samuel Johnson for his political machinations, some now consider him to have been England’s greatest prime minister.

Whether or not Trump is a political genius, he certainly knows how to get GOP politicians to leap and creep. Molly Jong-Fast provides a list in a Vanity Fair article:

–Florida’s Sen. Marco Rubio—once derided by Trump as “Little Marco”—claimed on ABC that Trump has a “legitimate” claim to complete presidential immunity;

–North Dakota Governor Doug Burgum says that the New York hush money case is simply about a “business filing error”;

–Ohio senator J.D. Vance says that, unlike Mike Pence, he would have sent the 2020 election back to the states;

–South Carolina Sen. Tim Scott is one of many who refuse to say they will accept the 2024 election results if Trump loses;

–New York Rep. Elise Stefanik refers to those imprisoned for storming the Capitol on January 6, 2021 as “hostages” and says she will accept election results only “if they’re constitutional”—which is to say “constitutional as defined by Trump”;

–Texas Rep. Byron York is similarly slippery. For him, as apparently for Vance, it is up to Republican legislatures to determine whether the election is fair.

Of course, the litmus test for entering the veepstakes is whether or not you are willing to say that the 2020 election was rigged. As Jong-Fast puts it,

 Openly lying about an election, despite a mountain of evidence proving otherwise, is a way for these men [and women] to prove their fealty—as though they’re trapped in an Orwell novel, mindlessly repeating the party line logic of 2+2=5.

And then Jong-Fast all but borrows from Swift as she sums up the current situation:

When you take a step back here, it’s easy to see how Trump’s veepstakes resemble a kind of extremist political audition, in which the most ass-kissing, reality-refuting contender has the best chance of becoming the former president’s second.

In other words, don’t click on any articles about possible vice presidential candidates until July, which is when Trump will make his selection.

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Alice Munro, R.I.P.

Alice Munro

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Wednesday

I’m reposting this essay, written ten years ago, on the occasion of the Nobel Prize-winning Canadian author Alice Munro, who died yesterday. Novelists generally get all the glory, certainly from the Nobel committee, with short story specialists regarded as poor cousins. But Munro, whom I compare to Chekhov, was an exception. Her stories are so sensitive, nuanced, and well-crafted that she built a fan base of discriminating readers.

Reprinted from August 22, 2014

My book discussion group met last night to discuss Alice Munro’s Dear Life, and for the first time I took a close look at our most recent Nobel laureate. Like the other members of the group, I saw my life in the author’s short stories.

Having recently spent time reading book after book to my grandson, I was immediately captivated by her description of reading to children:

The problem was that once she finished Christopher Robin, Katy wanted it started again, immediately. During the first reading she had been quiet, but now she began chiming in with ends of lines. Next time she chanted word for word though still not ready to try it by herself. Greta could imagine this being an annoyance to people once the dome car filled up. Children Katy’s age had no problem with monotony. In fact they embraced it, diving into it and wrapping the familiar words round their tongues as if they were a candy that could last forever.

As my reading group discussed the book, we came to see that this relationship with monotony isn’t confined to children. Or rather, there seem to be two contradictory tendencies at work in Munro’s fiction: monotony provides a reassuring security and monotony threatens to suffocate. Some characters thrash around in this dull monotony and even try to sabotage lives that appear prosperous and stable. Others have made their peace with monotony, ratcheting down what they demand of life.

One member of the group mentioned an essay by Margaret Atwood on national identities that we had discussed a while back. Atwood says that while America’s national story is about conquering the frontier, the Canadian national story involves simply surviving. We see the survival motif working itself out in the Canadian Munro. Sometimes people have lowered their expectations so as not to be hurt. In “Pride” a man with a hairlip is thrown off balance when a woman finds herself attracted to him and goes through some sad but comic twists to keep their cordial relationship from becoming intimate. In “Amundsen” a doctor suddenly and unexpected decides suddenly not to marry a woman as they are walking toward the courthouse. In “Train” a returning war veteran slips in and out of various people’s lives, his leaving seemingly timed to the rise of imminent intimacy.

Munro gives us insight into how she herself must have been taught to toe the line in “Night,” one of the autobiographical stories that conclude the collection. Note the contrast between the unimaginative father and the very imaginative child:

If you live long enough as a parent nowadays, you discover that you have made mistakes you didn’t bother to know about along with the ones you do know about all too well. You are somewhat humbled at heart, sometimes disgusted with yourself. I don’t think my father felt anything like this. I do know that if I had ever taxed him, with his use on me of the razor strap or his belt, he might have said something about like or lumping it. Those strappings, then, would have stayed in his mind, if they stayed at all, as no more than the necessary and adequate curbing of a mouthy child’s imagining that she could rule the roost.

“You thought you were too smart,” was what he might have given as his reason for the punishments, and indeed you heard that often in those times, with the smartness figuring as an obnoxious imp that had to have the same sass beaten out of him. Otherwise there was the risk of him growing up thinking he was smart. Or her, as the case might be.

The interesting twist in “Night” is that the child needs this father’s steadiness to recover from recurring insomnia accompanied by dark thoughts of murdering her sister. One night she meets her father sitting on the porch following one of her nocturnal ramblings and finds it immensely comforting that he expresses no alarm at her thoughts. By his simply taking them in stride’” – “Then he said not to worry. He said, ‘People have those kinds of thoughts sometimes.’” – she is able to start sleeping again.

Munro reminds me a lot of Chekhov. Women in her stories act out without ever being sure of what they want. Men are offered relief from loneliness but turn it down because their routine lives seem safer. Children carry around holes in their hearts from tragedies that have happened—the death of a sibling or of a beloved babysitter—and never face up to their grief. Acknowledging deep feelings would render them vulnerable and they fear they wouldn’t be able to survive.

Munro neither condemns nor applauds these responses but sympathetically describes them. She is like the woman in “Dolly” who temporarily goes off the rails and writes her longtime partner an unforgivable letter. Returning to him before he gets the letter, she is simultaneously relieved and exasperated by his readiness to tear it up without reading it once it arrives:

What a mix of rage and admiration I could feel at his being willing to do that. It went back through our whole life together.

The final paragraph in the book gets at this ambivalence from another angle:

I did not go home for my mother’s last illness or for her funeral. I had two small children and nobody in Vancouver to leave them with. We could barely have afforded the trip, and my husband had a contempt for formal behavior, but why blame it on him? I felt the same. We say of some things that they can’t be forgiven, or that we will never forgive ourselves. But we do—we do it all the time.

Returning home for the funeral seems an extravagant gesture, putting one’s survival at risk. Should we nevertheless regret not doing it? Is it good that we then forgive ourselves since doing so is a way of keeping on? As always, these are open questions with Munro. She acknowledges human complexity so deeply that she refuses to settle upon a final judgment.

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Does Clockwork Orange Describe Us?

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Tuesday

A few weeks ago Hullabaloo blogger Tom Sullivan wondered whether novelist Anthony Burgess has proved prescient with his novel A Clockwork Orange (1962). Are parts of America being conditioned by Russian authoritarianism?

Sullivan was responding to a Washington Post article about how “Red states Threaten Librarians with Prison,” something we couldn’t have imagined happening a few years ago. It took me a moment to understand Sullivan’s point. Then I recalled my own experience reading Anthony Burgess’s Clockwork Orange in college.

It was as Sullivan describes: one is subtly conditioned as one reads the novel. Throughout, protagonist Alex uses a Russian-based teen slang called Nadsat, which Burgess has declined to translate. That doesn’t matter, however, as one senses what the words mean, even if one doesn’t know for sure. I still remember how, when reading the book in college, this rhetorical strategy got me to bond with the narrator Alex in unsettling ways. As Burgess observes,

The novel was to be an exercise in linguistic programming, with the exoticisms gradually clarified by context: I would resist to the limit any publisher’s demand that a glossary be provided. A glossary would disrupt the program and nullify the brainwashing.

To give you a taste of the experience, here’s Burgess’s opening:

“What’s is going to be then, eh?”

There was me, that is Alex, and my three droogs, that is Pete, Georgie, and Dim. Dim being really dim, and we sat in the Korova Milkbar making up our rassoodocks what to do with the evening, a flip dark chill winter bastard though dry. The Korova Milkbar was a milk-plus mesto, and you may, O my brothers, have forgotten what these mestos were like, things changing so skorry these days and everybody very quick to forget, newspapers not being read much neither. Well, what they sold there was milk plus something else.  They had no license for selling liquor, but there was no law yet against prodding some of the new vesches which they used to put into the old moloko, so you could peet it with vellocet or synthemesc or drencrom or one of two other veshches which would give you a nice quiet horrorshow fifteen minutes admiring Bog And All His Holy Angels and Saints in your left shoe with lights bursting all over your mozg. Or you could peet milk with knives in it, as we used to say, and this would sharpen you up and make you ready for a bit of dirty twenty-to-one, and that was what we were peeting this evening I’m starting off the story with.

And here’s what Alex and his gang members—excuse me, his droogs–do for fun.

Our pockets were full of deng, so there was no real need from the point of view of crasting any more pretty polly to tolchock some old veck in an alley and viddy him swim in his blood while we counted the takings and divided by four, nor to do the ultra-violent on some shivering starry grey-haired ptitsa in a shop and go smecking off with the till’s guts. But, as they say, money isn’t everything.

After various acts of violence, including a rape that ends in murder, Alex is captured and imprisoned. Thanks to an aversion therapy process known as “the Ludovico Technique,” he transitions from nihilistic thug to conditioned lab rat who gets sick whenever he witnesses or even thinks about violence. At the end of the novel—or at least, the end of the novel as it originally appeared—the government deprograms him back to his original thug self, only this time it does so in order to exploit his thuggery for its own purposes.

It so happens that Burgess wanted the novel to end differently and wrote a last chapter in which Alex becomes tired of his formerly violent ways and contemplates settling down and starting a family (although he predicts that his kids will be even more violent than he was). The original publisher pressured him to drop this chapter while, in his movie version, Stanley Kubrick ignored it. As a result, there’s no counter in the book or movie to what appears a celebration of “ultra-violence.”

It is because of the publisher’s decision that readers (including Kubrick) interpreted the novel as glamorizing  violence. After all, Alex’s flashy rhetoric and uninhibited behavior have more vibrancy than any of the governmental institutions or civilized norms responsible for maintaining social order.

The idea of the government using thuggery for its own purposes brings to mind Donald Trump encouraging the Proud Boys and other violent groups to attack the Capitol on January 6. Meanwhile, he continues to ramp up his incendiary threats in campaign rallies, insisting that only a rigged election will keep him from winning in 2024. (In a recent New Jersey rally he even lionized Al Capone and Hannibal Lecter.) For its part, the GOP has long endorsed unregulated access to firearms and celebrated such vigilante killers as George Zimmerman, Kyle Rittenhouse, and the Arizona rancher who shot a migrant.

The two extremes we witness in the book—someone conditioned to follow orders and someone running wild in the streets—are not as contradictory as it may seem, at least when it comes to fascist logic. I think of Hitler’s Night of the Long Knives (1934), where he consolidated power by having the Gestapo extrajudicially execute his rowdier followers. (They killed 85 in the initial purge and perhaps as many as a thousand in the subsequent weeks.) I could well imagine a reelected Trump, were he to gain control over the military, using it to crack down on undisciplined groups like the Proud Boys and the Oath Keepers and perhaps on Steve Bannon as well. Using Nazi Germany as a model, street stormtroopers are useful in the early stages of a fascist takeover but a liability when they alienate potential allies in the business and military communities.

In his article, Sullivan must acknowledge that, in one way, Clockwork Orange describes the opposite of what we are seeing. About the library bans, which for the most part target LGBTQ+ authors and authors of color, he writes,

The bans are a Republican reverse-Ludovico Technique aimed not at forcing children to read but Brezhnev Era censorship designed by right-thinking “patriots” hoping to prevent children’s exposure to ideas they deem wrong-thinking.

Still, conditioning young people, as Hitler did with the Nazi Youth, is a key agenda for the authoritarian right.

If we readers can be conditioned through Burgess’s use of Nadsat, we have a chance to see just how susceptible we are to manipulation. In fact, it’s a shock in the final chapter (the chapter dropped by the publisher) when we encounter one of Alex’s former droogs speaking standard English and his new wife giggling at Alex’s use of the old lingo. It’s like having been in a cult and then emerging to realize there’s another reality out there. If we don’t emerge from Burgess’s linguistic brainwashing —and neither the early edition of the novel or the film encourage us to—we remain with the impression that there’s something magnet about Alex. Fascists thrive off of such glamor.

GOP Rep. Mike Turner, chair of the House Intelligence Committee, recently warned that “Russian propaganda has taken hold among some of his House Republican colleagues and is even ‘being uttered on the House floor.’” His comments seconded what GOP Rep. Michael McCaul, Chair of the House Foreign Affairs Committee, said a couple of days earlier about Russian propaganda taking root among the GOP. Such conditioning is captured in the popular MAGA tee-shirt, “I’d rather be Russian than a Democrat.”

A number of GOP members appear to be channeling Vladimir Putin, including Georgia Rep. Marjorie Taylor Greene, Ohio Sen. J.D. Vance, Missouri Sen. Josh Hawley, and New York Rep. Elise Stefanik. The violence that is always at the back of authoritarian thinking provides them with a special thrill.

The problem is not only on the right. We are seeing some leftwing protesters directly parroting Hamas slogans and calling for the destruction of Israel. They too get a high from the prospect of lashing out. Conditioning can affect ideologues of all stripes.

So what are we to think about a book that enacts the conditioning process? I worry that literature that speaks only to the gut and not to the head is potentially dangerous. In fact, it was this fear that led Burgess to disavow his novel. While doing a good job at depicting the attractions of juvenile delinquent culture, he doesn’t provide the reader with a powerful counter perspective from which to assess it. His last chapter was meant to provide that counter perspective but the publishers were right that it lacks the juice of the earlier chapters.

A better novel would have found a more compelling way to show the soul-draining emptiness of Alex’s destructive energies. Shakespeare is a master at providing such a three-dimensional perspective, and Tolstoy, Dostoyevsky and Faulkner do a pretty good job as well. That’s the difference between great literature and lesser literature.

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Trump, Stormy, and The Waste Land

Stormy Daniels and Donald Trump


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Monday

As I read Stormy Daniels’s account of her sexual encounter with Donald Trump—how she just stared at the ceiling as he did his business—I couldn’t help but think of T.S. Eliot’s description of the secretary and the “small house agent’s clerk” in The Waste Land. Both are equally empty and desolate. Here’s the story Eliot tells:

At the violet hour, when the eyes and back
Turn upward from the desk, when the human engine waits
Like a taxi throbbing waiting,
I Tiresias, though blind, throbbing between two lives,
Old man with wrinkled female breasts, can see
At the violet hour, the evening hour that strives
Homeward, and brings the sailor home from sea,
The typist home at teatime, clears her breakfast, lights
Her stove, and lays out food in tins.
Out of the window perilously spread
Her drying combinations touched by the sun’s last rays,
On the divan are piled (at night her bed)
Stockings, slippers, camisoles, and stays.
I Tiresias, old man with wrinkled dugs
Perceived the scene, and foretold the rest—
I too awaited the expected guest.
He, the young man carbuncular, arrives,
A small house agent’s clerk, with one bold stare,
One of the low on whom assurance sits
As a silk hat on a Bradford millionaire.
The time is now propitious, as he guesses,
The meal is ended, she is bored and tired,
Endeavors to engage her in caresses
Which still are unreproved, if undesired.
Flushed and decided, he assaults at once;
Exploring hands encounter no defence;
His vanity requires no response,
And makes a welcome of indifference.
(And I Tiresias have foresuffered all
Enacted on this same divan or bed;
I who have sat by Thebes below the wall
And walked among the lowest of the dead.)
Bestows one final patronizing kiss,
And gropes his way, finding the stairs unlit . . .
She turns and looks a moment in the glass,
Hardly aware of her departed lover;
Her brain allows one half-formed thought to pass:
‘Well now that’s done: and I’m glad it’s over.’
When lovely woman stoops to folly and
Paces about her room again, alone,
She smooths her hair with automatic hand,
And puts a record on the gramophone.

Eliot has taken on the persona of Tiresias, the world-weary seer from Greek mythology who has seen it all. In this instance, he witnesses a loveless tryst, which is different from the Daniels-Trump episode mainly in that Daniels thought she had been invited to Trump’s penthouse apartment for dinner. As Daniels tells it, once she saw Trump undressed and blocking the door, she gave in and allowed him to have his way with her. After it was over, she left as quickly as she could.

In Eliot’s poem, by contrast, the affair occurs in the woman’s apartment. Also, she at least gets supper. It’s unclear how consensual the sex is because we don’t know if there has been pressure at the office (assuming she works for the man). Given that his caresses are “unreproved, if undesired,” it sounds like she too surrenders to the power dynamic. It’s certainly the case that the reactions of both women are the same: “Well now that’s done: and I’m glad it’s over.”

The “young man carbuncular” (pimply?) is a dead ringer for Trump in his narcissism. He doesn’t notice much about the woman because he’s so caught up in himself. “Flushed and decided, he assaults at once,” we are told and, “his vanity requires no response,/ And makes a welcome of indifference.” While Trump, unlike the clerk, actually is as rich as “a Bradford millionaire,” Eliot’s scathing put-down of the clerk’s sense of entitlement fits the former president to a tee.

The sordidness of the scene matches what we are learning from the New York trial. Recall that what set Trump’s hush money payments in motion was the need to save his campaign following the remarks caught on the Access Hollywood tape (“”I don’t even wait [to kiss a woman]. And when you’re a star, they let you do it. You can do anything. … Grab ’em by the pussy. You can do anything”). Witnesses are informing us that many were convinced that, if Stormy Daniels’s account had gone public, the GOP would have replaced Trump on the ballot. Though we have become numbed to his outrageous behavior since the 2016 campaign, at the time his future hung in the balance. Therefore he paid for the story to be hushed up (along with his affair with Karen McDougall) and then falsified business records to hide the payments—which is to say, to hide his election interference.

In the poem, Eliot laments the decline of high heroic ideals, with Teiresias–who once witnessed the Oedipus tragedy and spoke to Odysseus in the underworld—now reduced to reporting on an illicit sex scene. In our own unheroic times, the Founders must be turning in their graves to see the kind of man their republic elected to the presidency once, with the possibility of doing it again.

It’s not only the young man carbuncular who is groping around in the dark trying to find an exit.

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He Took Us with Him to the Heart of Things

Stained glass in St. James the Greater Catholic Church (Concord NC)

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Ascension Sunday

In celebrating the moment when Jesus ascended into heaven, we come to the next stage of that momentous journey that began with Christmas and Epiphany. If Epiphany represents the moment when people came to realize that divinity can be found within the world—incarnate in a human being—then Ascension shows Christ modeling what it means to step fully into that divinity. As Malcolm Guite puts it in “A Sonnet for Ascension Day,” “We saw him go and yet we were not parted/ He took us with him to the heart of things.”

There may be an echo here of lines from Wordworth’s Tintern Abbey, where the poet talks about the moment when, “with an eye made quiet by the power/ Of harmony, and the deep power of joy, /We see into the life of things.” For contrast purposes, poets writing about the Ascension always dwell upon what it is they are stepping beyond. For John Donne, who is always wrestling with his recalcitrant heart (“Batter my heart, three-personed God”), Ascension washes or burns away our “drossy clay.”

Salute the last, and everlasting day,
Joy at the uprising of this Sun, and Son,
Ye whose true tears, or tribulation
Have purely wash’d, or burnt your drossy clay.

In this, the final lyric in Donne’s seven-sonnet sequence known as “The Crown,” Donne sees Christ paving the way to heaven. “Bright Torch, which shinest, that I the way may see!” he writes.

In his own Ascension poem Henry Vaughan too talks about earthly clay ascending “more quick than light.” He also uses a clothing analogy. “Who will ascend, must be undrest,” he asserts before noting how we have soiled the clothes we were given:

But since he
That brightness soiled,
His garments be
All dark and spoiled,
And here are left as nothing worth,
Till the Refiner’s fire breaks forth.

“He,” in this instance, is Adam, who in his naked innocence was “intimate with Heav’n”:

 Man of old
Within the line
Of Eden could
Like the Sun shine
All naked, innocent and bright,
And intimate with Heav’n, as light

With Christ’s arrival and then with the Ascension, the Fall doesn’t get the last word as “stained man” is made “more white than snow”:

Then comes he!
Whose mighty light
Made his clothes be
Like Heav’n, all bright;
The Fuller, whose pure blood did flow
To make stained man more white than snow.

For his part, Malcolm Guite talks about how “the heart that broke for all the broken-hearted” is now “whole and Heaven-centered.” This Jesus heart “sings in the strength that rises out of weakness,/ Sings through the clouds that veil him from our sight.”

The result is that we, as witnesses, can “sing the waning darkness into light.” Jesus’s light is in us, just as our light is in him, with the barriers between heaven and earth coming down. As Guite explains,

The mystery of this feast is the paradox whereby in one sense Christ “leaves” us and is taken away into Heaven, but in another sense he is given to us and to the world in a new and more universal way. He is no longer located only in one physical space to the exclusion of all others. He is in the Heaven which is at the heart of all things now and is universally accessible to all who call upon Him.

And further:

His humanity is taken into heaven so our humanity belongs there too, and is in a sense already there with him.”  For you have died”, says St. Paul, “and your life is hidden with Christ in God.

Here’s Guite’s sonnet:

A Sonnet for Ascension Day

We saw his light break through the cloud of glory
Whilst we were rooted still in time and place
As earth became a part of Heaven’s story
And heaven opened to his human face.
We saw him go and yet we were not parted
He took us with him to the heart of things
The heart that broke for all the broken-hearted
Is whole and Heaven-centered now, and sings,
Sings in the strength that rises out of weakness,
Sings through the clouds that veil him from our sight,
Whilst we our selves become his clouds of witness
And sing the waning darkness into light,
His light in us, and ours in him concealed,
Which all creation waits to see revealed.

As I’ve been noting recently, John Gatta in Green Gospel: Foundations of Ecotheology observes that “all creation” involves far more than humans. When we open ourselves to God’s bigness, we develop in ways that are beyond human imagining.

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A May Sarton Poem for Mother’s Day

Edvard Munch, Mother and Daughter

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Friday

With Mother’s Day coming up, here’s a May Sarton homage to her own mother. It’s fairly direct reminder that, when we look back, it’s important to dwell upon the good times.

For My Mother
By May Sarton

Once more
I summon you
Out of the past
With poignant love,
You who nourished the poet
And the lover.
I see your gray eyes
Looking out to sea
In those Rockport summers,
Keeping a distance
Within the closeness
Which was never intrusive
Opening out
Into the world.
And what I remember
Is how we laughed
Till we cried
Swept into merriment
Especially when times were hard.
And what I remember
Is how you never stopped creating
And how people sent me
Dresses you had designed
With rich embroidery
In brilliant colors
Because they could not bear
To give them away
Or cast them aside.
I summon you now
Not to think of
The ceaseless battle
With pain and ill health,
The frailty and the anguish.
No, today I remember
The creator,
The lion-hearted.

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Jane Eyre, Teacher of the Month

Eichenberg, woodcut from Jane Eyre

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Thursday

This being Teacher Appreciation Week, I share the classroom experiences of one of literature’s great teacher characters. In Jane Eyre we see a true professional at work.

Commenting on the Lilliputian system of education, Jonathan Swift observes “that parents are the last of all others to be trusted with the education of their own children.” Why certain parents think they can do a better job than skilled professionals says more about them than about our education system. These parents remind me of Blanche Ingram and her sisters who, right in front of Jane, show how badly they treated the governesses who taught them. We are fortunate that, even when suffering similar disrespect, our underpaid and overworked teachers demonstrate the same commitment to their students that Jane does.

I’ll admit that bad teachers exist, and in Bronte’s novel we get an instance of one in Lowood School’s Miss Scatcherd, who publicly humiliates the angelic Helen Burns and condemns her “to a dinner of bread and water on the morrow because she had blotted an exercise in copying it out.” Scatcherd, by failing to appreciate Helen’s beautiful mind, prompts Jane to reflect, “Such is the imperfect nature of man! such spots are there on the disc of the clearest planet; and eyes like Miss Scatcherd’s can only see those minute defects, and are blind to the full brightness of the orb.”

So yes, there are those who focus on defects rather than seeing the full student.

But there are more Jane Eyres and Miss Temples than Scatcherds in our school systems. Temple, the principle of Lowood, knows how to be teacher that both Jane and Helen need in their hours of extremity. Fair, kind, empathetic and just, Temple becomes a model for Jane. We go on to see Jane in three teaching situations: at Lowood when she grows up, at Thornfield Hall as governess to Adele, and in a country school as sole teacher.

While Jane has some nationalist prejudices when it comes to Adele (she regards her as a French coquette), she nevertheless takes her teaching duties seriously and the results are good. We know this from an interchange with Rochester regarding Adele’s progress. He has brought his ward a gift (“un cadeau”) and wonders if Jane expects one as well:

“I have examined Adèle, and find you have taken great pains with her: she is not bright, she has no talents; yet in a short time she has made much improvement.”

“Sir, you have now given me my ‘cadeau;’ I am obliged to you: it is the mead teachers most covet—praise of their pupils’ progress.”

When Jane is put in charge of a country schoolroom, she shines yet brighter, even though her task is a daunting one. She describes her situation:

This morning, the village school opened. I had twenty scholars. But three of the number can read: none write or cipher. Several knit, and a few sew a little. They speak with the broadest accent of the district. At present, they and I have a difficulty in understanding each other’s language. Some of them are unmannered, rough, intractable, as well as ignorant…

She adds that others, however, “are docile, have a wish to learn, and evince a disposition that pleases me.” And she reminds herself of a truth that every good teacher knows:

I must not forget that these coarsely clad little peasants are of flesh and blood as good as the scions of gentlest genealogy; and that the germs of native excellence, refinement, intelligence, kind feeling, are as likely to exist in their hearts as in those of the best-born. My duty will be to develop these germs: surely I shall find some happiness in discharging that office.

Jane doesn’t pretend that this is her first choice of occupation. “Much enjoyment I do not expect in the life opening before me,” she admits. After all, she was on the verge of marrying the master of Thornfield Hall. But she resolves to soldier on, reassuring herself that “if I regulate my mind, and exert my powers as I ought, [this will] yield me enough to live on from day to day.”

The teaching episodes, often skipped over in film and television adaptations of Jane Eyre, are critical to her developing a full sense of self. After all, when she was first on the verge of becoming Mrs. Rochester, she all but gave away her power, allowing Rochester to shape her. As she puts it at one point,

My future husband was becoming to me my whole world; and more than the world: almost my hope of heaven. He stood between me and every thought of religion, as an eclipse intervenes between man and the broad sun. I could not, in those days, see God for His creature: of whom I had made an idol.

She leaves because “I care for myself,” and this care involves escaping his influence. Her teaching stint helps her step into her powers, all the more so because challenges her to the max. Sounding like many first-year teachers, the task ahead of her at first seems hopeless:

I continued the labors of the village-school as actively and faithfully as I could. It was truly hard work at first. Some time elapsed before, with all my efforts, I could comprehend my scholars and their nature. Wholly untaught, with faculties quite torpid, they seemed to me hopelessly dull; and, at first sight, all dull alike…

Once education begins to work its wonders, however, she discovers she has underestimated her students. There’s more in them than she first realized:

 There was a difference amongst them as amongst the educated; and when I got to know them, and they me, this difference rapidly developed itself. Their amazement at me, my language, my rules, and ways, once subsided, I found some of these heavy-looking, gaping rustics wake up into sharp-witted girls enough. Many showed themselves obliging, and amiable too; and I discovered amongst them not a few examples of natural politeness, and innate self-respect, as well as of excellent capacity, that won both my goodwill and my admiration.

The students respond to her appreciation:

These soon took a pleasure in doing their work well, in keeping their persons neat, in learning their tasks regularly, in acquiring quiet and orderly manners. The rapidity of their progress, in some instances, was even surprising; and an honest and happy pride I took in it: besides, I began personally to like some of the best girls; and they liked me. I had amongst my scholars several farmers’ daughters: young women grown, almost. These could already read, write, and sew; and to them I taught the elements of grammar, geography, history, and the finer kinds of needlework. I found estimable characters amongst them—characters desirous of information and disposed for improvement—with whom I passed many a pleasant evening hour in their own homes.

To be sure, Jane’s teaching career proves to be of short duration, and eventually she returns to Thornfield to nurse Rochester back to health and become his wife (“Reader, I married him”). Some find this ending dissatisfying.

For instance, in her study of the marriage plot, feminist Rachel Blau DuPlessis complains how, in the 19th century, women were not allowed their own growth novels: they either ended up married or dead. Even in Jane Eyre, she says, whatever growth occurs in the middle of the novel is held of no account by the end as the “hero” dwindles to a married heroine.

To her credit, Bronte changes this in her next novel (spoiler alert). In what looks, until the last pages, like a romance, Villette concludes with Paul Emanuel dying at sea and Lucy Snowe running her own school. Readers, including Bronte’s own father, complained vociferously, causing Bronte to alter the ending—but instead of giving them what they wanted, she shrouded the ending in ambiguity, telling them that it was up to them, not to her, to imagine a “Reader I married him.” Or as she puts it, ”Let them picture union and a happy succeeding life.”

Who needs to be a wife when one can be a teacher?

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