Category Archives: factions

On Football, the First Amendment and the Third Commandment

A couple years ago, we were ironically at McDonald’s on a Sunday morning, in a picking grain on the sabbath capacity, and while we were waiting, and whichever news channel was on (why must restaurants ruin people’s digestion with “news”? I wish they’d just play Boomerang or something that all ages could enjoy without stress or ideology), the anchoress said, “It’s Sunday, and that means Americans’ thoughts turn to football!”
It made me sad that that statement is so true: Americans’ thoughts on Sunday don’t turn to God.  They turn to football, or golf, or Sunday brunch or sleeping in or going to the movies.

In the City, we need no bells:
Let them waken the suburbs.
I journeyed to the suburbs, and there I was told:
We toil for six days, on the seventh we must motor
To Hindhead, or Maidenhead.
If the weather is foul we stay at home and read the papers.
In industrial districts, there I was told
Of economic laws.
In the pleasant countryside, there it seemed
That the country now is only fit for picnics.
And the Church does not seem to be wanted
In country or in suburbs; and in the town
Only for important weddings.

[….]

And the wind shall say: “Here were decent godless people:
Their only monument the asphalt road
And a thousand lost golf balls.” (T. S. Eliot, Choruses from ‘The Rock’)

This whole NFL/National Anthem thing is thus a bit confusing to me:
1) I hate professional sports, football in particular, both in that I don’t see the point of watching sports and get annoyed when my shows are preempted by sports, but also in that I think it involves way too much money and way too much physical risk.  So the idea of having people lash out against the NFL and hopefully free up Sundays and holidays a bit for other activities makes me kind of hopeful.
2) In addition, though I’m conflicted when it comes to prerecorded TV or going to a restaurant, Western culture is far less respectful of the Lord’s Day today than it was when Eliot wrote those words over 80 years ago.
We’ve come a long way since Eric Lidell in the 1924 Olympics.  Now, we have players who are “controversial” for openly praying during sporting events, and people who schedule their church attendance around football praise him while getting mad at the “irreverence” shown by players who protest the performing of the “National Anthem.”

3) What of the Anthem itself?

Everybody knows the first verse, but here’s verse 3, the source of the controversy:

And where is that band who so vauntingly swore,
That the havoc of war and the battle’s confusion
A home and a Country should leave us no more?
Their blood has wash’d out their foul footstep’s pollution.
No refuge could save the hireling and slave
From the terror of flight or the gloom of the grave,
And the star-spangled banner in triumph doth wave
O’er the land of the free and the home of the brave.

How is it the “land of the free and the home of the brave” if we’re going to hunt down and kill runaway slaves? (And yes I know the historical context was the slaves fighting on the side of the British during the War of 1812).

Long before anyone ever hear of Colin Kaepernick, Ray Charles and others were asking for the “Star Spangled Banner” to be replaced with something like “America the Beautiful” or “God Bless America.”  Besides, it’s also a notoriously difficult song to sing.

So it’s not some sudden new thing that African Americans find the “Star Spangled Banner” offensive, and I think they’re justified in doing so.  Given that “hirelings” would have meant Irish and German Catholics, anyway, I’m inclined to more than sympathize with their objections.

4) Why do we *have* a National Anthem?
Because in 1931, the news circulated that the City Council of Erie, Pennsylvania, was so left-wing they were singing the “Internationale” at their meetings.  The story “went viral,” as we now say, and the Star Spangled Banner was adopted as a National Anthem as a move against Socialism (so for that reason I’m inclined to agree with it).

5) OTOH, why do we put such emphasis on the flag?
In that case, it’s almost the opposite: in the late 1800s, concerned about rising immigration from Ireland and Eastern and Southern Europe, and trying to reunite the country after the Civil War, there was an alliance of Socialists and Protestants who pushed for US nationalism.  They wanted to downplay the Constitution to downplay both Federalism and the First Amendment, so they wrote and promoted the Pledge and veneration of the Flag as a new approach to unifying the country.
All these historical contexts validate another longstanding instinct of mine, which is that if we are to truly honor our military, we should honor the Constitution they vow to uphold, and that includes not forcing people to engage in particular speech or expression with which they disagree. Let’s recall that the early Christians’ refusal to swear an oath to Caesar was one of the major reasons they were persecuted.

6) Then there’s the “taking the knee” thing.  In one of those mind-numbing twists of human behavior, the players are genuflecting because, as Americans, they see subservience as a bad thing, so they are performing a gesture they perceive as a repulsive gesture of subservience to protest a song referring to hunting down and killing their enslaved ancestors.

Why now?  Well, let’s see, it’s only been since 2009 that NFL players have been officially required to stand on the field for the Anthem,  although it was customary before that.  And hmm, why, with more and more attention being paid to African American males, whether legitimate suspects or completely innocent, being shot in the back, might African American males in positions of influence might want to draw attention to a song about killing fleeing “slaves”?

7) What of the First Amendment?  A popular notion-depending upon whose side is at the center of the First Amendment issue in question–is that the First Amendment only applies to the Federal government and not to one’s employment status.  To a certain extent, I’d agree. But this also presumes people have a choice about their employment status.  It is one thing to look at an athlete who makes millions of dollars for playing a game or an actor who gets millions of dollars to play pretend and say, “You are paid to entertain me, and I am not entertained by your behavior. So I am not going to buy your product.”
A few years ago, we said of the “wedding cake” controversy, “What if Nazis wanted a liberal baker to make a cake?”  Well, now liberals are trying to get actual Nazis who get photographed at rallies fired from their jobs.  They’re refusing to perform for Trump or members of his administration, flat out telling Trump supporters they don’t want their business, etc.
If we don’t want someone like Tim Tebow fired for genuflecting in prayer, why do we want someone like Colin Kaepernick fire for genuflecting in protest?
There is a difference between telling a business, “I’m not going to give you business because I disagree with you,” or “I’m going to support your business because I agree with you,” and suing the business or asking the government to fine the business for some perceived “civil rights violation.”

8) Still, should the first Amendment protect employees’ speech?  Before disability, I could accept that, as an employee, and as someone trying to feed my family, I should refrain from certain kinds of speech.  But that seems different than requiring an employee to actively violate his or her conscience.  What about the right to pray or read the Bible in one’s cubicle?  To have political or religious signage on one’s vehicle?  What about after-hours?  There’s a list that circulates the Internet of requirements for teachers 100 years ago, and they were expected to adhere to various behavioral standards even in their off hours that today we might consider draconian, yet many contemporary contracts or “ethics courses” say the same.  I worked for employers who said, for example, that their “harassment policy” extended to one’s private life. That if an employee was out in public, and a coworker or client overheard an offensive conversation, the employee could still potentially be sued or fired for it!

9) Lastly, does protesting a requirement as a civilian, in a country that is supposedly founded on freedom of speech, to sing a particular song or say a particular pledge or revere a flag honor or dishonor the troops who’ve sacrificed and died to uphold the Constitution?  I’d argue that mandatory expression is a greater dishonor to the troops.

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“Is it the End or the Beginning?” David Lynch and George Lucas, Pt 3 (of 3?)

I have had more thoughts about the mystery of Twin Peaks the show itself, but I wanted to explore another thought I’ve been having all season, regarding the nature of “art” versus “entertainment,” and the tension of the “artist”/”entertainer.”

david-lynchSteve Granitzf

It is one thing to consider oneself an “artist” and produce work to express oneself and whatnot, without concern for profit.  Even so, if you’re going to “express yourself,” you still need to use symbols that people understand.   On the other end of the scale is the “entertainer,” who uses talent strictly to amuse audiences and make money.  There is little reason to look on each other with mutual disdain.  But most creative types, whether artists, writers, musicians, or filmmakers, operate somewhere in between, and when one operates in a mass market context, there is a certain contract at work between creator and audience.  A few weeks ago, I found a blog that a younger viewer wrote several years ago, discussing how Lynch was known for completely rejecting the principle that he owed anything to audiences, and while some say that makes him a “great” director, this lady argued (and I’d agree) that that ultimately makes him a bad director.

In the 1980s, give or take, there were four great young cartoonists who often get compared to one another in terms of their impact and the extent to which they followed Charles Schulz as role models: Jim Davis, Berkeley Breathed, Gary Larson and Bill Watterson.  Davis is often used by critics, fans and other cartoonists alike as the embodiment of a “sell-out”: he embraced commercialism and licensing early on.  While Charles Schulz took years before he began licensing Peanuts and allowing the animated spin-offs, which he carefully supervised, Davis recognized Garfield as a cash cow (cash cat) and cashed in, maintaining a similar legal control to that which Schulz enjoyed but generally allowing a great deal of flexibility..  On the other extreme was Watterson: who introduced the world to Calvin and Hobbes in 1985, consistently refused merchandising or animation, and suddenly retired after 10 years, saying he’d said all he needed to say and becoming something of a reputed recluse (though those who know him say he just kept such anonymity in his career that no one knows who he is when he’s out and about), occasionally popping up for guest stints at other comics or writing a public message here and there.

 

Somewhere in between is Breathed, who has “retired” several times–Bloom County became Outland originally so he could do Sunday’s only and supposedly have more creativity; Outland became Opus as he reverted back to form but still wanted to keep an episodic format.  And a few years ago, he made another comeback, reviving Bloom County as a webcomic posted at his leisure, sometimes in color, sometimes B&W, sometimes a mix, and exploring whatever topics he wants unencumbered by the constraints of syndicates and newspapers.  Breathed, like Davis, embraced, and continues to embrace, merchandising but kept more creative control and, other than one or two outings, has never embraced animation.  He’s also explored screenwriting and children’s literature.

I see a certain parallel at work in the directorial careers of George Lucas and David Lynch.  Both are known as young directors who showed promise straight out of film school in the 70s.  Both are known for exploring New Age/Neo-Gnostic/Pseudo-Eastern mysticism/philosophy in their works.  Indeed, David Lynch was almost the director of Return of the Jedi.  However, many critics and fans might balk at the comparison, since Lucas is to Lynch as Davis is to Watterson.  My own critique of my own analogy would be that Watterson at least made a creation that people could understand beyond a select subgroup of a subgroup that probably all share the same MBTI type.

Lucas made his name, and his fortune, very early on as a master of licensing.  In  his initial agreement with 20th Century Fox, in fact, he got himself licensing rights that the studio didn’t think were worth anything–few movies before Star Wars were adapted into toys, or had hit soundtracks or had spin-off novels and comic books.  Much like the older office product and computer companies that passed on Apple and Microsoft, Fox passed on the merchandizing rights to one of the first true blockbusters, making Lucas a billionaire.

However, the success of Star Wars came from collaboration: Gary Kurtz, Lawrence Kasdan, and studio executives took Lucas’s initial ideas and shaped them into the franchise as we know it.  A few years back, the earliest known script was adapted into a comic book series called The Star Wars, and showed Lucas’s original treatment to be far closer to a blend of the original trilogy and what became The Phantom Menace.

Many years ago, I read an observation somewhere online that “Ewoks were the first sign of genius turned to insanity.”  Except maybe Lucas always was insane–it was the collaboration and “studio interference” that made him look like a genius.  The more power he achieved, the more autonomy he achieved as a producer and director, and the more audiences rejected his “vision.”

On the other side is Lynch, who was never that commercially successful but directed a few slightly more mainstream pictures like Dune and The Elephant Man (if one can call either of those mainstream), while producing “arthouse” films (few of which I’ve seen or been able to make it all the way through without significant muting and FFing).

Lucas used his financial empire to free himself from “studio interference.”  Lynch used his “artistic reputation” and “devoted fanbase” to somehow con studio after studio into funding his projects until a series of commercial failures made him more or less go into retirement, and when CBS/Showtime came knocking about reviving Twin Peaks after fans demanded a follow up to “I’ll see you again in 25 years,” he notoriously fought for more money and more time to “tell his story,” then didn’t tell much story at all.

So “Lynchians” tell us that Twin Peaks would have been a much better show if the network hadn’t interfered with “Lynch’s vision.”  Supposedly, Lynch and Frost never intended for Laura Palmer’s killer to be revealed, though they always intended for it to be her father, though it’s also unclear if they ever had any intention or understanding of how long the show would last.  Many people blame the sharp ratings decline in the latter part of Season 2 on the fact that Lynch had little to do with it, but some of the writers and directors involved with the show at that point say they were still following his orders on a lot of things.  However, as some have pointed out, the show’s creators made a huge error in not building enough interest in the ensemble. Laura Palmer was supposed to be a MacGuffin, but she ended up being the only character most people cared about.  If they had to use the “unsolved murder” conceit to keep people tuning in, they weren’t doing a very good job.

Ironically, though it was months from our perspective, on the show’s timeline, with every episode corresponding to approximately a day, the murder of Laura Palmer was solved in little lesson than a month.  Given how long murders and disappearances often go unsolved in real life, particularly headline grabbing cases like JonBenet Ramsey, a month was relatively fast, and the notion of the unsolved crime–which other shows handled with slightly more success later–was an interesting spin.

Merely doing something “different” does not make something “art.” Indeed, T. S. Eliot, to whom I just yesterday compared Lynch and have done in the past, argues that art requires doing something different in the bounds of what’s come before.  A lot of what seems “weird” or “different” in Eliot is that he’s writing of modern urban life the way the Romantics wrote of country life or of the past.  He twists traditional metaphors and uses fragments of literary quotations and allusions he expects his readers to be familiar with.  To the extent that he works, Lynch does some of that, but more often than not he seems to turn conventional techniques so far upside down as to be unrecognizable.

But as I’ve argued many times, much of what makes Twin Peaks is hyper-realism.  The oft-maligned storyline of Ben Horne thinking he’s a Confederate general is a slightly exaggerated depiction of what happens in real life: when white American men feel defeated by society, they relive the Civil War.

Nevertheless, the other part of it is that Lynch creates a world that operates according to the principles of his belief system, and that’s where people say “It’s weird.”  David Bowie’s Philip Jeffries getting reincarnated as a coffee percolator seems strange, but is that any stranger than a dead person getting reincarnated as a carpenter ant, or as the fish that Pete Martell found in his teapot? Is Philip Jeffries the fish in the teapot?  Shirley Maclaine got criticized by people who speak fondly of their jumbled pop understanding of Hinduism and Buddhism for saying that Holocaust victims were being punished for sins they committed in past lives, but that’s what karma is, according to Hinduism.  Similarly, Lynch is drawing from a lot of disparate non-Western ideas that are collectively Gnosticism, and when viewers balk, I think they’re balking at the inherent flaws of the Gnostic world view when presented without the usual corporate filters.

What most people find appealing in Star Wars and Twin Peaks is the extent to which, by authentically expressing the Gnostic worldview, they express the rays of Truth in Gnostic/New Age/Neo-Platonic/Buddhist thinking.  Where they start to get uncomfortable is precisely where those worldviews diverge from Christianity.

This is another parallel of art and liturgy.  It’s said that traditional liturgies can be reverent when said by sinners because they were written by Saints, but the Ordinary Form is only referent when offered by Saints because it was written by committee.  In the arts, committees can take bad ideas and make them into better art, or they can take good ideas and make them into bad art.  Artistic freedom only creates true success if the artist is, if not necessarily a Saint or even a Christian, he or she at leawst tries to operate with Truth.

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“Is it the End or the Beginning?” A Tale of Three Artists: Eliot, Lynch and Koontz, Pt 2 of 3

…With a mandatory touch of C. S. Lewis.
[SPOILERS for both Twin Peaks and some recent Koontz novels; usual warning]

My previous post addressed the series finale of Twin Peaks as such (given the age of the creators, the time it took to make this season, and the 18 hours spent supposedly telling this story that could have been told in half the time, it likely is the series finale).

I addressed Lewis’s argument that we should not read too much into a work of fiction that isn’t there, and suggested that Lynch’s point is to criticize his own fans, and TV/movie viewers in general, for doing the same.  He essentially says, “This is all just a fantasy.  Stop making more of it than it is.  These aren’t real people.”

Now, some thoughts on the whole “David Lynch is an artist” “argument” and the notion of “fans’ expectations.”  To this, I bring in Lewis’s criticism of the view that a poet could just say “I’m a poet,” and that makes his view of poetry superior to the view of “non-poets.”

It annoys me when I take my kids to a museum to learn about art and the curator says, “Well, art can be whatever you want.”  No, it can’t.  It has to have rules.  It has to express something.  If a person writes the word “appeal” and means “apple,” that expresses something different.  If a person draws a picture, it has to be something the viewer can understand before it can convey any message.  Most modernism and postmodernism is just the Emperor’s New Clothes: everyone saying “It’s genius! He’s a genius!  It’s amazing!” and dismissing anyone who disagrees as an uncultured buffoon because the “art” is not about expressing something so much as providing an avenue to elitism: a tendency Lewis saw in Eliot and condemned among the intelligentsia in “Lilies that Fester.”

When an entertainer/artist has a long and relatively successful career, he inevitably changes.  Either he gets “more commercial” or “more artistic.”  Either he gains confidence in putting more of his worldview into his work or perhaps he changes/matures in it.  Thus, I often speak of the three camps of Eliot fans: those who prefer the “Prufrock/Waste-Land Era,” those who prefer the “Four Quartets Era,” and those who see them as a continuum.  When I taught literature, I would point out how two writers can use very similar situations with slight differences to demonstrate their worldviews.   Flannery O’Connor and Edgar Allen Poe, for example, can use a similar circumstance to show hope and despair, respectively.

MIKE’s line on Twin Peaks: the Return: “Is it past or is it future?” recalls the famous line from Four Quartets: “In my end is my beginning.”  To the secular reader, Four Quartets is a meditation on time and destiny, while the Christian reader sees Four Quartets as Lord of the Rings: a sophisticated Christian epic deeper than a mere allegory.

Others have pointed out the parallels between Twin Peaks and Four Quartets, and someone even captured this screenshot:
1501756741-ts-eliot

To date, I’ve read Brother Odd and Odd Thomas, and have started Forever Odd.  My wife has read many Koontz novels and told me about them, as well as interviews, discussion groups, Amazon reviews, etc., and speaks of how many “longtime Koontz fans” are disappointed by more overtly books like the Odd Thomas series and Innocence, even though the titles should be huge spoilers.
From a Catholic perspective, Saint Odd and Innocence have the happiest endings a story possibly could, like every C. S. Lewis novel.  From the perspective of someone expecting a classic horror story or a classic romance story, however, they’re disappointing.

“David Lynch fans” look at Twin Peaks: the Return and say “It’s genius,” like the Emperor’s subjects in Andersen’s fairy tale, or the snobs at Lewis’s proverbial cherry party, because they don’t want to be counted among the philistines who “don’t get it.”  Some, however, admit they don’t get it, that it should be different from a “typical Lynch movie,” or even that it is different in the wrong way from one.

However, I’d say Lynch is conveying a message.  He’s conveying the message he wants to convey, and that’s why some people dismissively say “It’s existentialism,” because it is.  To the existentialist, life is ultimately despair, and you piece it together by enjoying cherry pies and chocolate bunnies.  It is “about the bunny,” Lynch would answer Lucy.   To the Platonist and Hindus, we’re all spirits in another realm controlling bodies that are essentially avatars, reliving our lives till we get them right.  This is one possible interpretation of the tulpas in Twin Peaks.  Another is that the finale shows the “Balance in the Force.” Whether they’re all dream-selves of the same dreamer, or reincarnations/avatars of the same being in the Red Room, or something else, the lesson that evil is inevitable and needs to be balanced, not stopped, is in keeping with the Dualistic worldview of Gnosticism/Platonism/Hinduism-Buddhism/New Age/etc.

There is something Catholic in the notion that we can’t “destroy” evil.  We can’t have a magic fist that bashes the Devil into smithereens.  We can’t go back and undo the evil of the past without destroying the future because the past dictates the future.   Once Barry Allen saves his mother, the cosmos can never be completely the same, even if he goes back to let her die again, and Barry has to live in the personal hell of knowing how many times he’s changed everyone’s lives.  This seems to be the almost-tacked on lesson of Twin Peaks, not because Cooper needs to learn it but the viewer does.

Koontz gives us a similar blend of horror, mystery, humor and romance with the lesson that all this misery points to Heaven.  As Chesterton would say, Lynch gives us the gargoyles–with fragments of the Temple.  Koontz gives us the gothic cathedral.  Both draw from Eliot, and both get in their long time fans the same polarized reactions as Eliot did.

Twin Peaks: Is it the End or the Beginning? Pt 1 of 3

[SPOILER ALERT: If you haven’t watched Episode 18 of Twin Peaks: The Return, and intend to do so, stop at 17; if you have watched 18, or don’t care about spoilers, proceed]

T. S. Eliot and C. S. Lewis had Part 18two great published arguments: Eliot’s response to Lewis’s Preface of Paradose Lost (and Lewis’s reply), and their similar exchange over Hamlet.
In the former case, Eliot took the stance that only poets are qualified to analyze poetry.  Lewis attacked this self-justifying elitism.  In the latter case, Lewis expressed disagreement with criticism that treats a work of fiction as something real: the title of the essay is “Hamlet: the Prince or the Poem.”  Shakespeare critics debate Hamlet’s psychology, what he’s studying school and other details extraneous to the text as if he were a real person.

Now that Twin Peaks is (presumably) over, many are saying it’s probably the most sophisticated troll/prank in history.  25+ years and 18 hours of sitting through catatonic insurance salesmen, musical sequences, bizarre CGI sequences and people driving in the dark mixed in about 8 hours of actual story to be left scratching our heads.

Some are saying David Lynch is a genius.  Some are saying those people and Lynch are idiots.  Some are saying Lynch is an evil genius.  The latter group are probably right.

Somewhere in the original run of Twin Peaks, Cooper says something like “Do you ever feel like you’re in a dream?”  In Fire Walk With Me, Philip Jeffries says, “We’re all living in a dream,” a quote Cooper reiterates in Episode 17 of The Return.  The question has been posed other places in season 3/The Return.  When some of us speculated that the finale would turn out to be a dream, or something of the sort, some people said “David Lynch is too much of a genius to do something so cliche.”

Well, he did.

And now people are still insisting he’s a genius.  “It’s existentialism,” some say.  “Well, existentialism leads to suicide,” I say.  [More on that later].

So what happened?

The Return features the return not only of the original cast but some of Lynch’s favorite actors.  One of Lynch’s favorite movies is Sunset Boulevard, to which he makes frequent allusions/easter eggs, such as the name of Agent Gordon Cole, or the presence of the street sign in Mulholland Drive, a movie named after a street in LA known for being the home of wannabe stars as Sunset is known as known as the home of established stars.

Lynch originally created Mulholland Drive as a television pilot, and said it was supposed to be a Twin Peaks spinoff, telling the story of Audrey Horne after the explosion.  In a reverse of Twin Peaks, which was shot as a movie with a hasty ending in case the series wasn’t picked up, and the ending was cut out and recut as a dream on the show, Mulholland Drive was shot as a pilot and then re-edited as a standalone movie with a hasty ending.

Either way, Lynch said to think of it as how Twin Peaks was supposed to end, so especially when Audrey “wakes up” in Episode 16 (never to be heard from again), it was predictable that The Return would end in a similar fashion to Mulholland Drive: the hero is a different person, in a different reality, with memories of the idyllic world we just spent most of the story becoming familiar with.  There are mobster brothers, weird assassins, etc.  Mulholland Drive, like Sunset Boulevard, is a commentary on the film industry and its audience.  Twin Peaks may be seen as a commentary on television and its audiences.

The Black Lodge spirits are beings who live off of other people’s fear and suffering, are they just TV viewers?  They manifest as people who could have any face or any name.  They live in trailers and middle class homes.  They sit in leather armchairs.  They live in apartments above convenience stores.  They live in a dark motel.

In that sense,  Lynch seems to agree with Lewis.  In the final scene, Cooper (or the man who thinks he’s Dale Cooper) and Carrie, another Laura, like many a fan over the years, arrive at the infamous white house and knock on the door.  A woman answers.

Her name is Chalfont, and she bought the house from someone named Tremond, and knows nothing of Laura, Sarah or Leland Palmer.  The significance of this is that the lady who answers the door is the real owner of the house.  Thus, the two central characters become the obsessive fans, trying to bring to life the fictional reality they’ve come to love, and Lewis would likely point out that today’s obsessive fans are no different from the people in Shakespeare’s day who would jump on stage and draw their swords or the generations of literary scholars who’ve argued whether Hamlet was really mentally ill or just faking it.

Seen as a dream, we have several clues, like Mulholland: if the ending is the “real world,” the dream world is constructed by “Richard’s” memories of different people and places.  It struck me that the dopplegangers are called “tulpas.”  In Eastern mythology/mysticism, a “tulpa” is basically a parallel self that we encounter in dreams.  So the multiple Coopers, Lauras, Dianes, etc., are tulpas in shared dreams.  “Who is the dreamer?” Monica Bellucci asks Gordon Cole in a dream: Dale the almost naively optimistic, pop Buddhism practicing, coffee and doughnuts loving, Sherlock Holmes lawman; Mr. C., the callous, murderous, sociopathic criminal; and Dougie, the dimwitted, bored, unfaithful husband and father.  We see elements of all three in the “Richard” we encounter in the show’s final half hour.  Are they just the lives he lives in his dreams at night, a kind of Walter Mitty?

Perhaps he’s a real FBI agent tracking down a missing person from decades ago.    More

Or else, The Return is Flashpoint: Cooper, like Barry Allen, changed the entire universe to save one girl’s life.  As soon as he altered the past at the end of Episode 17, I thought, “Wouldn’t BOB just kill Ronette Pulaski, then?  How is BOB going to be stopped? Why not go back a year earlier and save Teresa Banks?”  One action can, as Prufrock muses, “disturb the universe.”

*Or,* as I reflected several years ago, the whole point is Nirvana: Cooper has to “bring balance to the Force,” which does not necessarily mean a Western/Judeo-Christian understanding of the triumph of goodness.  The beings in the Red Room are the souls, which inhabit different bodies in different times, living different lives.

All of these interpretations lead to the same “lesson”: evil can never be completely destroyed, except in our fantasies.  “Dale” spends 25 years in the Black Lodge–if he ever actually leaves.  “Richard” is a middle-aged FBI agent who’s so jaded he shoots some guys for getting rough with a waitress and then puts their guns in a deep fryer, casually pointing out that they might just explode.  Both suffer the consequence of trying to take on evil directly.  There is an inverse Catholic truth to this which I will explore in my next piece, but it says something to the jaded Lynch, disappointed in the poor reception his films or the original series received from audiences.

The outline for Twin Peaks season 3, had it aired in 1991-1992, would have seen Cooper leaving the FBI and settling down in Twin Peaks.  That ending did not happen because

On Cult and Culture

The problem with “Culture Wars” is we don’t know what culture *is*.  If we truly want to win back souls to God and the Natural Law, we must do it through redeeming the culture itself.

Chesterton says that the history of Western civilization is a conflict between three worldviews: the Greco-Roman, Judeo-Christian and atheistic-nihilistic. He illustrates this with a parable of a people on an island who worship the sun. They build a round, mathematically perfect, temple. Over time, they come to understand God as transcendent of Nature and nature as corrupt, dangerous and not quite so perfect as they previously thought. So they add a spire to their temple, pointing to the sky, and gargoyles to the outside to show that the world is dark and scary but there is hope in Heaven. Over time, they lose their faith in God completely and create a temple of complete grotesque to demonstrate it: they take away the spire and replace all the gods and saints with more gargoyles.

Chesterton saw 100 years ago what the Twentieth Century was producing and has produced in spades since.

These threads can be seen in smaller amounts in each major historical period and each particular Western civilization’s history.  Generally, though, the Greeks and Romans produced art and literature which saw both nature and the gods as orderly and beautiful.  Their dramas reflected the need to return to order when civil order was disrupted.

The so-called “Dark Ages” produced literature, art, music and architecture focused entirely on God, and human beings who were flawed in an immoral world.  This was the period of Gothic architecture: terrifying and imposing on the outside; uplifting and glorious inside.

The Renaissance saw a general return to the classical worldview.  The visual arts became less stylized by the rules of iconography and more stylized by a desire to reflect human perfection as understood by the ancients.  Music was made a bit more complicated than the simple, utilitarian chant of the Middle Ages, reflecting the Classical understanding of music as a form of mathematics.  Architecture was not directly classical per se but some Greek aspects were returned to architecture.  The greatest Renaissance writers drew from classical mythology or the rules of classical drama.

Then the 17th century brought a Puritan flair to the visual arts, while music focused on God.  Thus, Bach could say everything he wrote was a prayer–because even instrumental music was understood to express a code that, like a Gothic cathedral, raised the soul up towards God.

The 18th century saw the period we call “classical” or neo-Classical: architecture that was mathematical and balanced, per Greek principles as then understood.  The visual arts, like those of the Renaissance, evoked classical norms.  Pagan imagery began to be revisited.  Music was more strongly mathematical and less otherworldly.

Then came the period we call Romantic.  Interestingly, C. S. Lewis considered Jane Austen as the last truly Western author.   The Romantic (i.e., “of Rome”) period in Protestant Europe involved a quest for the “past,” but it was a blend of the “Past” of paganism as well as the “past” as well as a fascination with Catholicism and the purported tendency of people in “Romance” (i.e., Latinate) countries to engage in lots of adultery and fornication, lending to the terms “Romance” and “Romantic” becoming associated with affairs of the heart rather than a group of cultures.  Interestingly, this is the same time the term “Latin America” was coined as a way to unite French, Spanish and Portuguese colonies against the new United States and the remaining British colonies.
Literature evoked the beauty of nature as well as the quest for God.  It also evoked a fascination with the creepy old buildings, the mysterious Catholic past (now thoroughly ensconced in the Protestant imagination as a form of pagan witchcraft, masquerading as “Christianity”) and thus gave us the term “Gothic” as no longer meaning a style of religious art and architecture coming from Germany but now a form of “Romance” focusing on the grotesque and even macabre.

After the Romantic period there was a general shift towards nihilism, which is what Lewis gets at in “De Descriptione Temporum” when he says the above about Austen.  Someone once said that “music died with Nietzsche’s God.”

Romanticism gave way to “Realism,” which still had a bit of the Gothic hope in its negative portrayal of life, but that quickly gave way to the gargoyles of “Naturalism” in art and literature.  Music came to be atonal and discordant.

This is why simple worldliness of much “contemporary” music, like that of modern art and architecture, is ill-fitting the grandeur of God.  Though the attempt to redeem the modern world has its place, slapping “God” and “morality” onto otherwise postmodern literature and music is like Chesterton’s islanders, after burying their temple in gargoyles, saints and angels on top of the gargoyles rather than getting rid of the gargoyles.

Revisiting Akita

Unity Publishing is probably the best site I’ve found over the years on apparitions, prophecies, etc., analyzing their content in the light of Scripture and Tradition, and emphasizing those that are approved while debunking the clear errors in many false apparitions.  Since 2012 it has seemed increasingly clear that we are living in times many Catholic mystics have warned about.  I’ve mostly sat quietly without comment hoping that what I strongly suspected wasn’t true.  The events of the past few months have made it harder to stay silent.  Since they are fully approved both as an apparition and a message, I thought I’d revisit the appearances of Our Lady in Akita, Japan, from 1973 to 1981.  Here is the Unity Publishing article’s introduction on how solidly approved they are–including Cardinal Ratzinger approving the content of the prophecies and allegedly confirming the Bishop’s theory that the prophecy of Akita is the same as the prophecy of Fatima.

Apparitions Approved – An Urgent Message In 1984, just before retiring at a venerable age, the diocesan Bishop of Niigata, Bishop John Shojiro Ito, in consultation with the Holy See, wrote a pastoral letter in which he recognized as being authentically of the Mother of God, the extraordinary series of events that had taken place from 1973 to 1981 in a little lay convent within his diocese, at Akita, Japan. Cardinal Ratzinger, now Pope Benedict XVI, in June 1988, approved the Akita events as “reliable and worthy of belief”. In fact the Philippine ambassador to the Vatican, in 1998 spoke to Cardinal Ratzinger about Akita and the Cardinal: “personally confirmed to me that these two messages of Fatima and Akita are essentially the same”.

Here is the prophecy:

As I told you, if men do not repent and better themselves, the Father will inflict a terrible punishment on all humanity. It will be a punishment greater than the deluge, such as one will never have seen before. Fire will fall from the sky and will wipe out a great part of humanity, the good as well as the bad, sparing neither priests nor faithful. The survivors will find themselves so desolate that they will envy the dead. The only arms which will remain for you will be the Rosary and the Sign left by my Son. Each day, recite the prayers of the Rosary. With the Rosary, pray for the Pope, the bishops and the priests. The work of the devil will infiltrate even into the Church in such a way that one will see cardinals opposing cardinals, and bishops against other bishops. The priests who venerate me will be scorned and opposed by their Confreres. The Church and altars will be vandalized. The Church will be full of those who accept compromises and the demon will press many priests and consecrated souls to leave the service of the Lord.

“The demon will rage especially against souls consecrated to God. The thought of the loss of so many souls is the cause of my sadness. If sins increase in number and gravity, there will no longer be pardon for them.

 

On Catholics using “Big Words”

If you listen to the MSM, you might have heard how those big meanies at Russia supposedly leaked emails to make poor innocent Hillary Clinton look bad, or how a leaked video of Donald Trump engaging in admittedly repulsive talk should destroy his campaign.
If you get your news on TV, you probably missed that among the latest “dump” of Clinton-related emails by Wikileaks are comments about setting up various front groups to undermine the “backwards” Catholic Church (as C. S. Lewis would say, if you’ve strayed off course from your goal, “backwards” is “progress”), proving that groups like “Catholics United for the Common Good” and other supposedly “moderate” groups that have sprung up in the past decade or so are, as I and others have argued, secular liberal front groups.

Many have asked why Julian Assange isn’t publishing much about Trump.  Well, the big batch that was released this weekend and covered up by discussion of which members of which parties engage in worse violations of the second, sixth and ninth Commandments, also included evidence that another “conspiracy theory” was true: that the Clinton Campaign was behind the Trump campaign all along, to avoid someone like Rand Paul or Marco Rubio getting the nomination.

A third headline that you may have missed if you get your news from Clinton News Network, Nothing But Clinton, All ‘Bout Clinton or Clinton Broadcasting System (the more common acronym for CBS would violate my own broadcasting rules), and the one I’d like to reply to most directly here, concerns a batch of emails between some folks named John Halpin (jhalpin@americanprogress.org), Jennifer Palmieri (JPalmieri@americanprogress.org) and John Podesta (john.podesta@gmail.com).  I’m sure these individuals’ emails are flooded, if not shut down, but I would like to reply to the following statement that’s garnered no small attention in the circles of conservative Catholicism (and, I imagine, counterweighted Trump’s obscenities for some of us  on the fence about whether to vote for Trump or a more conservative third party candidate.  Said Halpin:

[Catholic Conservatism is] an amazing bastardization of the faith. They must be attracted to the systematic thought and severely backwards gender relations and must be totally unaware of Christian democracy.

Apparently, Mr. Halpin is “totally unaware” that “Christian Democracy” is not just an oxymoron but an outright contradiction.

Now, prior to the era of Donald Trump, I’d have pointed out how liberals can’t even communicate amongst themselves without resorting to rough language, but given that that is a perfectly good word abused by abusers of language, what is more of an — adulteration — of the Faith than to try and mask Socialism with Christianity and call it “Christian Democracy”, or to claim the Church has “severely backwards gender relations”?

[Catholic conservatives] can throw around “Thomistic” thought and “subsidiarity” and sound sophisticated because no one knows what the hell they’re talking about.sIt’s an amazing bastardization of the faith. They must be attracted to the systematic thought and severely backwards gender relations and must be totally unaware of Christian democracy.

Well, first off, that’s precisely what we’re talking about–how to avoid going to Hell, which should the secondary concern of every person on the planet (the primary concern being learning how to properly respond in love to the selfless gift of Christ).

Second off, for people who throw around sentences like “postmodern approaches to reevaluating paradigms of patriarchal and Eurocentric hegemonies” to accuse anyone else of using “big words” to “sound smart” would make me laugh if I were physically capable of it anymore.

Third, and most importantly, if “Thomistic” political theory is too complicated for you (for me, St. Thomas Aquinas himself, once you learn the method of properly reading a Summa is about as simple and clear as possible), and if “subsidiarity,” one of the basic principles of Catholic Social Thought, going back at least as far back as Pope Pius XI, and best summarized in the famous dictum of Lord Acton, “power corrupts, and absolute power corrupts absolutely”, is too big a word, on this, the 99th anniversary of the Sun Dancing at Fatima, I would like to offer a far simpler explanation of why I, for one don’t support Socialism, Statism, modern “gender relations” or so-called “Christian democracy”. In the words of Our Lady:

“Russia will spread its errors throughout the world, raising up wars and persecutions against the Church. The good will be martyred, the Holy Father will have much to suffer, and various nations will be annihilated.”

“God is about to punish the world for its crimes, by means of war, famine, and persecutions of the Church and of the Holy Father. To prevent this, I shall come to ask for the Communions of reparation and for the consecration of Russia to My Immaculate Heart … In the end, My Immaculate Heart will triumph. The Holy Father will consecrate Russia to Me, which will be converted, and a period of peace will be granted to the world.”

(See also Miraculous Medal and La Salette Apparitions)