Category Archives: Uncategorized

On the Fear of Trick or Treating:

As far as “secular” Halloween/Trick or Treat, I have always appreciated it as a means of building community. I remember when I was a kid, being amazed at how there was this one day a year where, ironically, people *weren’t* afraid of each other, and we were saying hello to our neighbors, not just going up to their doors and getting candy but stopping for a moment to say hello. I remember this lady inviting us in to tour her “haunted house” setup. Being Mr. Social Anxiety, I wasn’t scared at all, of the strange situation or the display, just impressed by the gesture of hospitality.
Just a few years later, everyone was suddenly living in fear of alleged Halloween poisoning….
Cut to this year: cars.

Not just “driving to another neighborhood and parking,” but driving from house to house, including cars from our own neighborhood.

Our kids, the “unsocialized” homeschoolers, the “autistics,” go up to houses, say “Trick or Treat”, “Happy Halloween,” and “Thank you.” Wait patiently for other kids to have their turn.

Car or truck piles up. Kids pour out. Don’t say anything. If they *do* say anything, their parents tell them not to. Hardly anyone smiling. It’s like some kind of automated process. No walking. No community. It might as well be practice for putting on a mask and robbing someone.
People probably spend more on gasoline than they “get” in candy, for what? Hardly the “experience.” They don’t take the time to enjoy the experience, and it’s not like anyone has time to even see the costumes, if the kids are wearing them at all (and anyone can make an effort to at least be mildly creative–our son didn’t want to wear a costume, but at least wore a jacket and carried a stuffed Pokemon so he could say he was a Pokemon trainer).
I had to split up from the family to keep Frank from tugging, and it ended up being just another walk except having to dodge more people and and cars, and having the occasional moment of joy when a little kid said, “Look, Mommy! A man in a chair with a doggy!” Oh, wait “Don’t stare.”
Advertisements

Don’t participate in Trick or Treating because it might encourage Satanism

And don’t participate in the Thanksgiving because it encourages gluttony.
And gift-giving at Christmas encourages greed and covetousness.
And Valentine’s Day encourages lust and adultery.
And St. Patrick’s Day encourages drunkenness.
And Federal holidays encourage violence and xenophobia.

goodnewstotreasure5c385bd16216414f26e51909c83b8d71-matthew-mouths

DACA and AL: if you do it long enough it’s OK

First, as I’ve said many times, I think the GOP should propose a law with a path for citizenship for illegal aliens and personhood/citizenship for the unborn.

Second, usual caveat that “I voted for Castle,” and I have no particular opinion of Steven Bannon, one way or the other.

However, I would like to present a few scenarios for your consideration:
1) A school says “We think plagiarism is bad.  A first offense is a failure of the assignment.  A second offense is a failure of the course.  A third offense is expulsion.  Oh, but if you’ve been plagiarizing for 4 years of school, and we find out a month before graduation, you’ll be allowed to graduate with those who have been working hard.”
2) A man loses his job.  He decides that applying for disability/unemployment, Medicaid, etc., is too difficult and/or demeaning and would require too  long a wait so he starts stealing for a living (i.e., Fun with Dick and Jane).  He steals for years.  His children grow up learning to steal with him.  He gets caught after years of stealing.  Do we let him off because he’s been doing it so long and because his children are involved?
3) A family jump the fence of a rich Hollywood celebrity or a bishop and declare themselves residents of his home.  Technically, per Catholic Social Teaching, there is a greater obligation for the celebrity or the bishop to share his residence than for a country to allow open immigration–and in the latter case, try emigrating to the Vatican and see how that works out.

This is the struggle I have with the concept of “amnesty” for illegal immigrants and their families.  I used to take a stronger pro- stance, but then legal immigrants or second/third generation Mexican-Americans whose relatives came here illegally convinced me that it’s an injustice to those who work hard to come here.

And the same is true of the controversy around Amoris Laetitiae: if you point out it’s a double insult to the victims of adultery who already suffer from “no fault” divorce and rubber-stamp annulments.  It’s like saying, “If you’ve sinned long enough, you’re OK,” on this narrow group of sins, but would the same reasoning apply to a serial killer or a racist or a thief?

In the current discussion, there are three issues at play:
1) How best to handle illegal immigration (and this is far too complex an issue, morally or legally). What I do know is that arguments from emotion or “justice” work both ways, and I tend to focus on the injustice towards those who are struggling or have struggled to follow the US’s existing laws that are already more generous than most countries’s immigration laws. I see this as basically the equivalent of “plagiarism is bad but if you’ve been plagiarizing all through school and just got caught right before graduation we won’t expel you.” Just as the “justice” and “mercy” of AL is unmerciful towards the victims of adultery and the children of the first marriage. At the same time, aspects of US law regarding refugees are inconsistent and purely political.
2) Whether the president has the right to legislate via Executive Order, and he doesn’t. Outside of a proper Catholic monarchy, the only way to even remotely protect against corruption and dictatorship is a precisely worded Constitution implemented literally (this is a principle Aristotle understood two and a half millennia ago). Dictators always act in what they think is “justice.”
3) Whether the bishops have “moral authority” to be expressing “moral outrage” over one particular aspect of US immigration policy, particularly on the grounds of a supposed absolute obligation to enforce positive Scriptural law in a particular way. If that is the case, if refusal to “welcome the stranger” regardless of the circumstance is a moral duty, then they should be leading by personal example. Saying that it’s wrong to hop the bishop’s wall and declare yourself a resident of his palace but it’s right to hop the border and declare yourself a resident of another country is hypocrisy.

 

“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

Our Top-Secret Sin by Fr. Theodore from St. Michael’s Abbey

This is Mary, John’s wife posting.  I found this homily exactly the challenge I need to grow in holiness by rooting out the base that is in me, through God’s Grace.

“The mentality just described by St. Francis might be summed up in one sentence: “I’m too weak to practice virtue—at least, not heroically like the saints did—so I’m definitely dispensed from doing so.” Some of us here may be thinking similar thoughts. Despite this presumption, we might still manage to save our own soul, but many others will be lost—those onetime wayward souls whom any given saint manages to drag along with himself to heaven. Even one mortal sin can cost us much peace of mind, yet umpteen souls are lost and our conscience won’t be any worse for the wear, because here below this sin of which we speak will remain buried under a heap of excuses. We wanted to avoid the cross, but in the end we only managed to exchange one cross for another—perhaps even a heavier one. In the process, we forfeited ever so much joy to which the saints are privy both in time and eternity. What shall we say about all this? How about a prayer? Lord, spare us so rude an awakening in purgatory! Save us from our secret sin—and from our top secret sin: ingratitude. Make us thankful in thought, word and deed. Amen.”

The Four Questions 99% of Protestants can’t answer

After a few discussions in the past 24 hours, I am revisiting the Socratic questions that always seem to stymie our separated brethren.

Preface: St. Paul tells us to hold fast to all the Apostle’s teachings, whether by “letter” or “word of mouth” (2 Thess 2:15). Our Lord speaks of the Church having the power to Loose and Bind (Matthew 16:18-19) and frequently speaks of giving us a Church but never speaks of Scriptures as anything other than the Hebrew Scriptures. St. John tells us Jesus said and did many other things that are not recorded in the Bible (21:25). St Peter says that nothing in Scripture is personal interpretation but is to be guided by the Church (2 Peter 1:18-21).
1) So where, in Scripture, is Sola Scriptura? The usual response is some verse about how important Scripture is, but never one that proves it is *exclusive*.
2) Where does the Bible say one must specifically have not just a general foundation for an idea but a specific chapter and verse citation? (Answer, nowhere, since chapters and verses were a Medieval addition and aren’t even consistent among Medieval texts)
3) If one truly believes in “sola Scriptura,” why quote any books or ministers? Is it not really just picking and choosing the Tradition one prefers and calling it Scriptural?
4) Last, but not least, if you are opposed to “secular knowledge,” “images,” etc., what are you doing on the Internet?