Dappled Links

Since my post on native plants, I’ve delved deeper (ha) into gardening. I found a kindred spirit in this essay: Memory and Plants. Thomas Rainer’s blog takes garden talk to a more literary level than most: “But the gardener understands the cruelty of April. The derivation of the word April can be traced as far back as Varro, where the etymology, omnia aperit, literally “it opens everything” may be a reference to the opening of flowers and trees . . . . For the last few weeks I have been a witness to the openings of seeds. Birth is an act of violence. These dry brown seeds burst into life, ripping off their skins, splitting cotyledons, thrusting root into ground and stem to sky. Sometimes I lean in, expecting to hear the cries and wails of these infants.” I have been going back and reading his archives. Good stuff here, here, and here. I have been puzzled by my sudden interest in native plant gardening, but I realize it probably owes something to Hopkins and his adoration of inscape and “thisness,” for instance: “The bluebells in your hand baffle you with their inscape, made to every sense. If you draw your fingers through them they are lodged and struggle with a shock of wet heads; the long stalks rub and click and flatten to a fan on one another like your fingers themselves would when you passed the palms hard across one another, making a brittle rub and jostle like the noise of a hurdle strained by leaning against; then there is the faint honey smell and in the mouth the sweet gum when you bite them.”

From the TLS, Rediscovering Regina Derieva. A poet I’d never heard of, she was Russian, Jewish, and Catholic.

From Aeon, Freedom from Food. Much has been written about America’s tormented relationship with food, but this article, and the other articles I’ve read about Soylent, attract comments from a subculture that has reduced our food anxieties to their most Gnostic roots: “For me, it’s not the time taken, because I don’t take that much care about eating, only over doing it, it’s how disgusting eating is, considering the end result. It’s just awful to have to continue eating to sustain this body, which disintegrates in the end anyway. OK, that’s too negative, but I still find eating gross, and I over do it, substituting eating rather than addressing the things I need to address.” Most people won’t want to abandon food for a futuristic vitamin gruel, but most of us do harbor an unhealthy concept or two. Recently I’ve been battling the idea that no matter what I’m doing, I could be doing something more productive – if I’m blogging I could be doing the dishes, and if I’m doing the dishes I could be blogging. It’s pernicious and “wasting” time on planning and cooking some elaborate recipe helps me be rid of it.

A book trailer for Heather King’s new memoir. And here, more memories of her mother.

Saturday Links

Signs of the budding Catholic literary renaissance keep popping up. In the nine years since we started Dappled Things, it has been very exciting to see how quickly things seem to be picking up steam. The National Catholic Register just posted an article in which I’m quoted, discussing the growing number of literary prizes offered for Catholic literature. For those of you who are interested, we remind you that we are currently accepting submissions both to our fiction and nonfiction prizes, each paying multiple cash prizes of up to $500.

Meanwhile, Dana Gioia has organized what looks to be the kickoff conference for a new era of Catholic literature, titled the The Future of the Catholic Literary Imagination. We’ve briefly mentioned this event before, but the more details we learn, the better it looks. The conference is drawing some of the most renowned authors in the United States, including Gioia himself as well as others such as Alice  McDermott, Ron Hansen, Julia Alvarez, Kevin Starr, and Tobias Wolff. The conference will be held at the University of Southern California and will include sessions ranging from “The Jesuit Imagination in Literature” to “Latino Catholic Writers.” Our own Meredith Wise and Joshua Hren will participate in various sessions, including one titled “Catholic Literati: The New Generation.” There will even be special sections for high school attendees, where students will get to workshop with writers like Hansen, Gioia, and McDermott. Mark your calendars.

On a different note, Gabriel Garcia Marquez is finally getting some money of his own. Colombia, seems to have a knack for honoring writers in its currency. The country already features the poet Jose Asuncion Silva in one of its bills—including he full text of his poem “Nocturno”—as well as novelist Jorge Isaacs, author of Maria, the premier work of 19th century Colombian Romanticism. Now, the Colombian congress has just approved a law to feature the recently deceased Nobel Prize winning author in one of its future bills. Its about time someone devoted some money to the arts!

“Thank You for the Light” by F. Scott Fitzgerald, at the New Yorker.

While the New Yorker paywall is still down, you may want to check out “Thank You for the Light,” a previously unpublished short-short story of Fitzgerald’s. Though he wasn’t practicing for most of his career, the fiction of F. Scott Fitzgerald occasionally shows gleams and glimmers of his Catholic upbringing and early devotion. (The short story “Absolution” is one example, which has elements that are Catholic in sensibility if not in drift; there’s another about a young woman who faints during Eucharistic Adoration, though I can’t remember the title now. Daniel McInerny further unpacks the extent of Fitzgerald’s Catholicity here.)

While “Thank You for the Light” has a hint of the surreal and maybe of gentle miracle-story parody about it, it’s also strangely reverent. When Fitzgerald first submitted it to the New Yorker in 1936, the editors who rejected it are said to have called the story “absolutely out of the question . . . unlike the kind of thing we associate with him and really too fantastic.” For a certain type of reader, those words may function as a backhanded endorsement. I thought the piece would have been right at home in the pages of Dappled Things. If you read the story, do let us know what you think in the comments.

(photo: pre-Vatican II interior of the Cathedral of the Immaculate Conception in Kansas City, MO, the setting of the second half of “Thank You for the Light”)

The George W. Hunt Prize

At the Washington Post today, emerging Catholic writers take note: the George W. Hunt Prize announced today will be offering $25,000 to “the finest literary work of Roman Catholic intelligence and imagination.” The prize is co-sponsored by America magazine and the Saint Thomas More Chapel at Yale University. To be eligible, writers must be working in the English language and be under 45 years of age. There’s no word on the Post article about when submissions will be accepted or how to submit, so watch for an update with details.

Source, Summit, Sempiterna

“You never cease to gather a people to yourself, so that from the rising of the sun to its setting a pure sacrifice may be offered to your name.”

This line from Eucharistic Prayer III leveled me just the other day at mass–so much so that I (perhaps inappropriately) leaned over to my 6-year old son and whispered, “did you just hear that? Imagine . . . every moment of every day there’s a mass going on somewhere. How awesome is that!?” It happened to be his feast day (feast of the archangels). I couldn’t help but look in awe at the ceiling of our University chapel, painted with seraphim and cherubim, and ringed with the communion of saints. The eternal praise of God on their lips. It stunned me to think that this liturgy at once stops, reverses, and accelerates time in its very performance. The moment of elevation makes present the Lord’s infant body raised by Mary from the manger for the adoring shepherds’ feasting eyes, the Lord’s paschal body raised by his own hands at the last supper, the Lord’s battered body raised by the Romans on the cross, the Lord’s lifeless body raised by the power of the Spirit from the tomb, the Lord’s blessed body raised to heaven 40 days later, the Lord’s mystical body the Church raised from the blood of the martyrs and raised from the graves on the last day. The strange realization hit me that, my wife, children, mother-in-law, and all the others cobbled together at this mystery and in this space praise the Trinity with all other faithful on earth now just as truly as we do with John who worshiped through the revelation given on Patmos, or even with the prophet Isaiah, who heard the sanctus sanctus sanctus with his own ears and tasted the burning, cleansing presence of the Lord God of Hosts on his lips! Yes, this moment, this host elevated unites me to all worship in spirit and truth that has come before, but even stranger is the thought that I am somehow present to all the masses yet to come.

In pondering how this might be so, a short story by Evelyn Waugh flashed into my mind. Waugh’s “Out of Depth” masterfully illustrates the constancy yet transcendence of the liturgy. The liturgy as sticking-point is increasingly necessary amidst a throwaway culture, facebook feeds a speedreader can’t keep up with, memes that die in a day, and videos that go viral and are forgotten in five minutes (#unmemorable). Waugh tells the tale of Rip, a wealthy, well-connected, and shallow Englishman who finds himself, drunk, dazed, and (at the hands of a magician) deported from his own age and into the London of 500 years to come. A mental haze hovers over Rip as he wanders through the formerly familiar alien landscape. Taken prisoner by the white savages, Rip attempts to wake himself from what he believes is a dream. Communication with the natives of this new “Lunnon” proves a near impossibility, despite the linguistic similarities. The African “bosses,” who come and take Rip from the village, bring him to a learned man, whose thick accent baffles the attempt to communicate to Rip by reading Shakespeare. This moment strikes particularly strong chord. The plain language of English does not transcend time; even the seemingly timeless classic of Shakespeare seems of little use to bridge the intellectual, emotional, psychic gap for Rip. Something else, however, will do just that. Rather than paraphrase the moment of insight, let me allow Waugh to speak for himself:

         “And then later–how much later he could not tell–something that was new and yet ageless. The word “Mission” painted on a board; a black man dressed as a Dominican friar . . . and a growing clearness. Rip knew that out of strangeness, there had come into being something familiar; a shape in chaos. Something was being done that Rip knew; something that twenty-five centuries had not altered; of his own childhood which survived the age of the world. In a log-build church at the coast town he was squatting among a native congregation; some of them in cast-off uniforms; the women had shapeless, convent-sewn frocks; all round him dishevelled white men were staring ahead with vague, uncomprehending eyes, to the end of the room where two candles burned. The priest turned towards them his bland, black face.

‘Ite, missa est.’ “

In Waugh’s imagination, even 500 years from now, when African Dominicans will be re-evangelizing the savage British Isles, the one immutable rock that weathers any storm, the one ever-glowing beacon that cuts through the haze of confusion and the vanity of time is the Lord’s sacrifice made once for all–the source, the summit, the sempiterna, the Eucharist.

The Apocalypse According to Doctor Who

Dr Who

The Doctor Who Christmas Special was recently made available via online streaming to those of us who do not have access to the BBC on our televisions. I’ve been thinking about it for a month now and cannot stop.  The episode, entitled “The Time of the Doctor” marks the transition from Matt Smith’s Doctor to Peter Capaldi’s Doctor.

The goodbye scene is… well, let’s just say that because I already knew it was coming I was able to adequately prepare my emotions:

I may have cried a little

 

Oh my, when the bowtie hits the floor…

Doctor Who has a densely packed mythology that underlies the events leading up to the regeneration (the Doctor occasionally regenerates and is subsequently played by a new actor. This is the secret to keeping a show going for decade after decade after decade…). It would be well nigh impossible to unpack all of the background, but there are abundant theological themes throughout for us to muse upon. I have always thought that we ought to “read” Doctor Who in the same way we might read Tolkien’s Lord of the Rings. This is to say, not as a straightforward retelling of another story with silly characters and magic but rather as a fairy tale that is implicitly Catholic-shaped simply because it assumes the presence of a greater reality of beauty and goodness. Now, I have no idea if the writers of Doctor Who are even the tiniest bit religious, but they certainly have created a world in which virtues and destiny and good and evil have meaning. Their stories are highly mythopoetic and dense with symbol.

Edith Stein writes in Science of the Cross,

“every genuine work of art is a symbol…that is, it comes from that infinite fullness of meaning into which every bit of human knowledge is projected to grasp something positive and speak of it. It does so in such a manner, in fact, that it mysteriously suggests the whole fullness of meaning , which for all human knowledge is inexhaustible. Understood this way, all genuine art is revelation and all artistic creation is sacred service.”

A world in which everything means something is a world that is highly charged with the Divine presence. Nothing is merely a true to life “adult” recounting of grim facts. No gritty, dour, post-modern drama, here. This is why science fiction in general and Doctor Who in specific are so wonderful; it hasn’t given up telling stories. The Doctor may or may not be a Christ figure (I think probably not), but his actions always have resounding significance. He is very old and very wise, a true hero, journeying through a noble world in which nature is shot through with grace. Our lives are lived with precisely the same significance. Each day is a heroic journey, and at our best we make of ourselves a gift for those we love. All of our actions have eternal significance.

The Christmas special finds the Doctor, appropriately enough, in a town called Christmas where snow is always on the ground and the truth is always told. All of the ancient enemies of the Doctor and his species the Time Lords have gathered here in response to a mysterious question beamed out to all time and space. It is a question: Tell us your name, doctor…who? The enquirers turn out to be the long lost Time Lords, speaking through a crack to another universe. To answer and speak his name, forbidden to all, unlocks the door to allow the Time Lords back to their rightful place in this universe, but for the new world to come on the one we have now must die. To answer doctor who? brings on apocalypse as The Silence, Daleks, Cyber Men, and Weeping Angels are all eager for a final battle to push back the new world and destroy the Time Lords forever. Under these circumstances, the Doctor is and must remain unknowable. The question remains unanswered.

These guys are super scary and violent. Really.

The Doctor has seen all of this before, this planet with the town called Christmas. He has journeyed here many years in the future and stood at the foot of his grave. This is where he dies for the last time. No more regenerations. It is predestined.

In such conditions, his only victory is to keep the villagers of Christmas safe. And this he does for hundreds of years, steadfastly refusing to say his name out loud but also steadfastly refusing to abandon these innocent people to the monsters at the edge of town, drawn in by the mysterious question like moths to a flame. The Doctor forestalls the apocalypse, but experiences a long, slow apocalypse of another sort. This one is personal, and he knows that it only ends with his own death. Is this a picture of a sacrificial Christ figure? A tragic hero? A simple, confused man unsure how to make a big decision? Perhaps all of these, but I would say that he is most clearly a saint. A sometimes flawed yet entirely virtuous martyr for the good of those he loves.

In the end, a miracle is granted. It is occasioned by life energy (or whatever the fancy, sci fi name of the sparkly blue stuff is) being sent through the crack from the other Time Lords. This is most certainly a graced moment, a pure gift from those who love him. Without it his regeneration will not take place and the last Time Lord will have fulfilled his predestined death, the way of all creatures. With renewed energy, though, instead of the final end there is a regeneration. The viewer never has it spelled out, but obviously the future that the Doctor had seen is not so set in stone. His grave will not be here after all.

However, this regeneration is not cheap grace. There is most certainly still a death. The transition from one face to another is not a mere change in appearance, a new face on the same essential personality. The old Doctor is gone. He dies and undergoes the transfiguration of the grave and new life.

“Goodbye, Raggedy Man,” bids a vision of his faithful friend. Indeed, goodbye. We are all breath on a mirror and we fade away so quickly. We have but a short time to become saints. In this life is much that is difficult and suffering and goodbyes. The heroic journey must always end in a death, and yet, grace is lingering, drifting along through a crack in the universe waiting for us to inhale.

 

On motherhood, art, and dying to self.

Of all the advice people love to give to young mothers, some of the most prolific is on how to be patient with small children, certainly a necessary skill. Yet the state of mind required for happiness at home with small children isn’t really patience, as such. It’s a kind of flow that transcends patience: an attentiveness to and delight in minutiae that others don’t seem to notice. It’s something like the state of mind required for watching the film Into Great Silence—or for living in a monastery. It is a Theresian “little way” of detachment from goals of one’s own, as the time when those goals might have been achieved slips irretrievably away. It is the patience of the surfer of the waves of boredom, as described by David Foster Wallace:

“Bliss—a second-by-second joy and gratitude at the gift of being alive, conscious—lies on the other side of crushing, crushing boredom. Pay close attention to the most tedious thing you can find (Tax Returns, Televised Golf) and, in waves, a boredom like you’ve never known will wash over you and just about kill you. Ride these out and it’s like stepping from black and white into color. Like water after days in the desert. Instant bliss in every atom.”[1]

Thank God that the bliss lies on the other side, as experience has shown me that it does. And thank God this sort of endurance test is also required of writers, or I would never have encountered it before embarking on motherhood. Women with little or no such previous experience must also fight their way through boredom’s waves, and I think from hearing some of their stories that an unprepared person tends to fare worse when first plunked down inside five rooms with a tiny being whose need-based behaviors can’t be disciplined, scheduled, or predicted, and who depends entirely on her body for nourishment. Even for the experienced, the brain goes begging. When not well supplied with its own nourishment, it can wander into some dark and dry deserts.

While I am gone from what most people consider high-pressure environments, still the habit of internalized pressure is not gone from me. (“Wherever you go, there you are,” right?) I’m impatient for success, in heaven and on earth, and I do not know whether success will come. Not knowing scares me, but more and more the experience of meeting the daily tasks and accepting the daily gifts is peeling away this fear, baring me ribbon by ribbon to the air like the potato I am. It is stripping off not the desire for excellence, but the desire for validation.

I will know this deceitful desire is gone when I can accept my limitations in the way described by Caryll Houselander, when I can

stop striving to reach a goal that means becoming something the world admires, but which is not really worthwhile, [and] instead . . . realize the things that really do contribute to our happiness. . . . the things that satisfy our deeper instincts: to be at home, to make things with our hands, to have time to see and wonder at the beauty of the earth, to love and to be loved. . . . To work for real human happiness implies unworldliness, the kind of unworldliness that is usually a characteristic of artists, who—in spite of glaring faults—prefer to be poor, so that they may be able to make things of real beauty as they conceive it, rather than to suit themselves to the tastes and standards of the world.[2]

As a mother and an artist, I am grateful for the space and peace to pursue these deeper instincts daily. One minute motherhood will seem like the limiting condition on art; the next it will appear as the only hope for preserving the bliss on the flip side of boredom that is art’s necessary prerequisite. I would never have had the opportunity to rediscover this characteristic bliss of childhood and preserve it into adulthood, if not for my creaturehood as a woman and my re-creation as a mother. At times this cycle is breaking me completely, but only in order to rebuild me. There is reason to be grateful for this.

 

Connotations of “culture.”

As my friend measures the flour into the starter, a little clump of dough in a clean green-labeled Kalamata olive jar, she gives me instructions on how to replicate what she’s doing. “Every time you go to bake, feed it and divide it. Put half in your batch and half in a jar, and put the jar back in the fridge.” This will let the bacterial culture responsible for raising my bread divide and thrive.

How long does it last, I ask her. “Your lifetime,” she says. “Of course it can get too funky to be repaired, and then you’ll have to start over. But if you take good care of it and are lucky—” She shrugs: who knows how long?

That morning we had attended Mass together at a parish perched on the edge of a wild American river: in a crumbling Midwestern town, between railroad tracks and factories, a miniature Italianate church all newly renovated in local steel and stone. Its German glass windows and Italian marble altars, lovingly tended, gleam like jewels. Here again: replication, growth, nourishment—culture. Dividing and thriving.

Our children, too, thrive without our fully knowing how. Some are babies, others have grown tall; the tall ones sit together in the grass and chatter. “We are robins,” they say; “we are building our nests.” Who are they becoming? Who knows who they will be?

While we watch them, we sit and talk. It takes patience and a certain habit of being to approach other minds in a different mood from your own and turn that encounter, in the moment, into an exchange that is fruitful for all parties. It isn’t exactly art, or if it is, it’s a type of performance art, once pursued by the sort of people who used to be known as “cultivated.” I don’t excel at it; many writers don’t; more often our successes in building culture are achieved alone, trying to reach others who are also alone, trying to build a bridge. But sometimes not. Sometimes there is a small victory: a synthesis.

“[The Kingdom of heaven] is like to leaven, which a woman took and hid in three measures of meal, till the whole was leavened. . . . [It] is as if a man should cast seed into the earth, And should sleep, and rise, night and day, and the seed should spring, and grow up whilst he knoweth not. For the earth of itself bringeth forth fruit, first the blade, then the ear, afterwards the full corn in the ear.” (Luke 13:21; Mark 4:26-28)

St Helena and the Triumph of the Cross

Today, September 14, is the Feast of the Triumph of the Cross, celebrated on the day that it is believed that St Helena discovered the remains of Christ’s cross in the Holy Land.

Wrap your head around that for a minute. Today, centuries ago, a woman, who happened to be the mother of the Holy Roman Emperor and who later was declared a saint, actually found the remains of the Cross on which Jesus, the Son of God, was crucified and died for our sins.

St Helena, from the Wedding Church at Cana

St Helena, from the Wedding Church at Cana

Ok, so some people are sure to argue that it mightn’t have been exactly September 14th when she found the cross . . . fine. Shoot. I’m sure some people will argue she didn’t find it at all. Whatever. For the record, I believe that she did find Jesus’ Cross in the ditch where his executioners threw it. I believe that that ditch is today in the chapel that bears her name in the Church of the Holy Sepulchre in Jerusalem, and it very well could have been September 14th.

The Chapel of St Helena lies in the bowels of the Church of the Holy Sepulchre in Jerusalem, down a flight of stairs marked by crosses from hundreds of pilgrims over the centuries. In the corner is a small slab of marble, placed over the spot where it is believe St Helena found the Cross.

For a closer look at the Church of the Holy Sepulchre and the Chapel of St Helena, and to learn about how she managed to build one church over both the site of Jesus’ crucifixion and resurrection, check out the final episode of The Faithful Traveler in the Holy Land, embedded at the end of this post. This beautiful video, produced by the Franciscan Media Center, also shows you the Chapel of St Helena at the Church of the Holy Sepulchre, and explains how the finding of the Cross is celebrated on May 7th in the Holy Land. This video shows how, on September 14th, the relics of the Cross are shown to the congregation.

Now, let’s talk about how absolutely amazing this whole Feast is, shall we? And how very much we need it today, three days after the 13th anniversary of the horrific events in New York City one bright and sunny morning, and as any number of horrific and soul-sucking events are taking place, many of which are done, falsely of course, in the name of God.

I need to believe in the Triumph of the Cross. I bet my entire life on it. Don’t you?

IMG_0573

I think back to the Holy Land in 2011, when we were filming the Faithful Traveler in the Holy Land, and were walking the dark streets of Jerusalem along the Via Dolorosa (the Way of the Cross). What do we say at the beginning of every station?

“We adore you, Oh Christ, and we praise you, because by Your Holy Cross, You have redeemed the world.”

By Your Holy Cross, You have redeemed the world.

Fulton Sheen, in his amazing book Life of Christ, writes:

The story of every human life begins with birth and ends with death. In the Person of Christ, however, it was His death that was first and His life that was last. The scripture describes Him as “the Lamb slain as it were, from the beginning of the world.” He was slain in intention by the first sin and rebellion against God. It was not so much that His birth cast a shadow on His life and thus led to His death; it was rather that the Cross was first, and cast its shadow back to His birth. His has been the only life in the world that was ever lived backward. As the flower in the crannied wall tells the poet of nature, and as the atom is the miniature of the solar system, so too, His birth tells the mystery of the gibbet. He went from the known to the known, from the reason of His coming manifested by His name “Jesus” or “Savior” to the fulfillment of His coming, namely, His death on the Cross.

A baby with the shadow of the Cross on his forehead. His whole life it was there—His destiny. His purpose. And the means of our redemption.

Heinrich Hoffmann’s haunting image, “Christ in Gethsemane” hangs in my bedroom, and I look at it every morning as I awake and every night before I go to sleep.

Christ in the Garden of GethsemaneHeinrich Hofmann, 1890

Heinrich Hoffmanns “Christ in Gethsemane”, my favorite image of Jesus in the Garden

As a child, the idea that Jesus would have been alone in the Garden, suffering so much that he sweat blood, haunted me. I would often tell God that, if I had been there, I would have stayed awake! Yesiree! Years later, I read that Jesus sweat blood because at that moment, the sins of all of mankind, from Adam until the end of the world were placed before him, so that He might choose to do the thing for which he came and redeem us all, or to give up. I later read somewhere that when He asked His Heavenly Father to take the cup from him, He was thinking about the lukewarm souls—the people who could have cared less about what He was about to suffer for them. But then, when I found out that I could be there with Him in the Garden, and pray for Him and console Him today! Even as I sit in my office looking out of my window! Well, prayer and Holy Hours took on a life for me.

The Triumph of the Cross took place some 2014 years ago, one day on a hill outside of the walls of Jerusalem. And it continues to take place every single moment of every day since. The Cross will always triumph, no matter what goes on around us.

That gives me strength. That gives me hope.

My parish recently replaced an image of Jesus Resurrected with a beautiful statue of Jesus, dead on the Cross. I know that there are some people who think the sight of Jesus dead on the Cross is depressing, and they find the Resurrection so much more hopeful. I’m not one of those people.

StPhilipCrucifix

New crucifix at my parish

I LOVE the Cross.

Why?

Well, for one thing, it’s my future. It’s your future, too. In fact, Jesus very clearly promised it to all of us, if we want to follow Him, that is.

Then Jesus said to his disciples, “Whoever wishes to come after me must deny himself, take up his cross, and follow me. For whoever wishes to save his life will lose it, but whoever loses his life for my sake will find it.” –Matthew 16:24-25

Sure, the implication is that Resurrection and happiness in Heaven will follow, but first comes the Cross, baby. Better get used to it.

In The Passion of the Christ, one of the thieves who are crucified alongside Jesus yells out to him, “Why do you embrace your cross, you fool?!”

We’re all called to embrace our crosses, whatever they may be. And the awesome thing about it is that the cross is not just a symbol of God’s love for us, but it is an embrace from God to us.

Early Christians would pray,

O cross, you are the glorious sign of our victory. Through your power may we share in the triumph of Christ Jesus.

IMG_3590

Crucifix from the Irish chapel at the National Shrine of the Immaculate Conception in Washington, DC

Let us continue those prayers ourselves, today and every day as we struggle through this pilgrimage of life. And when your eyes rest on a crucifix or a cross, remember this:

For God so loved the world that he gave his only Son,
so that everyone who believes in him might not perish
but might have eternal life.
For God did not send his Son into the world to condemn the world,
but that the world might be saved through him.

–John 3:16-17

Diana von Glahn is the co-producer (along with husband, David), writer, editor, and host of The Faithful Traveler, a travel series on EWTN, that explores the art, architecture, history and doctrine behind Catholic churches, shrines and places of pilgrimage throughout the world. She is the author of The Mini Book of Saints. She blogs here twice a month, at SpiritualDirection.com, and on her own website, and can be found on FacebookTwitterInstagramPinterest, and Google+. Her first series, The Faithful Traveler in the US: East Coast Shrines, and her second series, The Faithful Traveler in the Holy Land, can both be seen on EWTN (check listings) and on her website, where she also sells DVDs of both programs. She is organizing a pilgrimage to the Holy Land in April 2014, and will be journeying to Portugal this October to film her new series, The Faithful Traveler in Portugal.

Beha’s Arts & Entertainments, (re)visited.

In my previous post on Christopher Beha, I was excited to hear that he had a new novel out (Arts & Entertainments) but hadn’t yet read it. Having corrected the omission, I can confirm the novel’s affinity with some of Waugh’s earlier work. A Handful of Dust comes particularly to mind, concerned as both novels are with the pressures that tear down a dream of idyllic family happiness, including marital infidelity (though the infidelity in A&E is mainly fictional for the sake of the camera). Neither novel is entirely satire, since as the New York Times reviewer aptly pointed out, it’s all but impossible to satirize a culture that comes so completely pre-self-satirized as either the Bright Young Things or the Real Housewives. For A Handful of Dust, critic Gene Kellogg* suggests the term “apologue” rather than “satire” — in his use of the term, this is a story in which “the emotions aroused in the reader come not from sympathy for the characters but from assent to the statement made by the action.” This seems a fitting description for A&E as well; we’re meant to view its characters with a certain amount of detachment, not so much to feel deeply for their various absurd plights as to reflect on what the bare possibility of such plights means for our society. Yet sympathy for the characters is far from impossible here, either. Both Beha and Waugh succeed in humanizing a subculture that is often viewed as totally frivolous. The novels’ humor balances their darkness, and their awareness of that darkness keeps any frivolity from spiraling out of control.

More can and must be said, but I’ll leave the big themes to the big guns. The Millions review shouldn’t be missed, nor Beha’s own interview about the novel at Harper’s. Do note Beha’s remarks at the end about religion and realism, which resonate with the recent discussion amongst Elie, Wolfe, and Gioia about faith in fiction.

Attentive readers of the novel will also pick up on Beha’s sly, subtle yet thrilling shout-out to J.F. Powers in Moody’s late monologue, as Moody describes his transition from ex-seminarian to reality TV producer. We’ve already visited that “retreat house in Minnesota run by the Order of St. Clement” where Moody discovered his gift for getting people to reveal their inner lives on film. (The Clementines don’t exist; they were created by Powers for his novel Morte D’Urban, which itself wrestles with questions of appearance vs. reality, the ways in which personal integrity is compromised by striving for image, and to what degree the real self can truly survive its constant friction with the masks we present to others. Major, major intertextuality win here.)

 

* in his The Vital Tradition, which looks at the rise of the Catholic novel in France, England, and America over a period of roughly 200 years.