Showing posts with label commentary. Show all posts
Showing posts with label commentary. Show all posts

Wednesday, May 28, 2014

‘No Way To Prevent This,’ Says Only Nation Where This Regularly Happens

From The Onion, America's Finest News Source, some seriously edgy satire on the UCSB shootings last Friday. But here is the real point of the piece: America is "a nation where over half of the world’s deadliest mass shootings have occurred in the past 50 years and whose citizens are 20 times more likely to die of gun violence than those of other developed nations."

And this:
At press time, residents of the only economically advanced nation in the world where roughly two mass shootings have occurred every month for the past five years were referring to themselves and their situation as “helpless.”
That's not funny, and yet no one talks very much about that - other than to lament that isolated, unstable, young men with weapons are increasingly likely to shoot a whole lot of people before committing suicide by cop.

Perhaps the reason Americans are 20 times more likely to die of gun violence than in other developed nations is because we have a national fetish for guns that no other developed country possesses. No matter how many of the slaughters take place, the fetishists of the NRA will never allow gun restrictions to become law.

‘No Way To Prevent This,’ Says Only Nation Where This Regularly Happens

ISSUE 50•21 • May 27, 2014


ISLA VISTA, CA—In the days following a violent rampage in southern California in which a lone attacker killed seven individuals, including himself, and seriously injured over a dozen others, citizens living in the only country where this kind of mass killing routinely occurs reportedly concluded Tuesday that there was no way to prevent the massacre from taking place. “This was a terrible tragedy, but sometimes these things just happen and there’s nothing anyone can do to stop them,” said North Carolina resident Samuel Wipper, echoing sentiments expressed by tens of millions of individuals who reside in a nation where over half of the world’s deadliest mass shootings have occurred in the past 50 years and whose citizens are 20 times more likely to die of gun violence than those of other developed nations. “It’s a shame, but what can we do? There really wasn’t anything that was going to keep this guy from snapping and killing a lot of people if that’s what he really wanted.” At press time, residents of the only economically advanced nation in the world where roughly two mass shootings have occurred every month for the past five years were referring to themselves and their situation as “helpless.”

Monday, September 30, 2013

Reviewing the Final Episode of Breaking Bad

[WARNING: Spoiler alert - if you have not seen the finale do not read this post.]

NOTE: This post also appears at my other blog, The Masculine Heart.

As the music played and the camera panned away from Walt's body, I felt a kind of relief, as though I had been holding my breath for five seasons waiting for the conclusion that was inevitable at the beginning of the show.

And still I am haunted (as much as one can be by a television show) by the vagueness of Jesse's fate. He was, for many reasons, my favorite character on the show. Perhaps I identified with his troubled family background and retreat into drug use (all too familiar in my youth), or I saw in him the path not taken when I decided to get my act together, quit the drugs, and go back to school.

More than that, Jesse was the heart of the show in many ways. He FELT the things the happened, the killings, the manipulations, the torture. Walt was able to compartmentalize it all, rationalize it all, but not Jesse - he was tormented by the things that happened, the things he nonetheless participated in. If Walt was the brain, Jesse was the heart.

I want a whole new series, set two years after this finale, with Jesse as the central character, possibly raising Brock as a single father now that Andrea was killed. I won't get that wish. But I like to think that is the path Jesse took following his primal scream of freedom, loss, suffering, frustration, relief, and maybe even happiness that he survived.

I liked the finale. How about you?

Here are several of the multitude of morning-after evaluations of the most talked about series finale in years.

Two from Salon:

Was the “Breaking Bad” ending too neat?

The show's finale was well-received, but some critics wonder if it was true to the characters and the show 
By Prachi Gupta

Was the  

AMC’s epic crime drama “Breaking Bad” has come to its bloody end, and so far, reception from television critics has been overwhelmingly positive — good news for show creator Vince Gilligan, who had predicted that it would be “polarizing.” On “Talking Bad,” which aired immediately following the finale, Gilligan said that unlike “The Sopranos,” “Breaking Bad’s” finale episode, “Felina,” needed to tie up lose ends. “This show was intended all along to be very finite. It’s a story that starts at A and ends at Z, as it were. It’s a very closed-ended thing.” 

* * *

In the end, Walt won


Whether he was a hero or a villain, Walter White got nearly everything he ever wanted
By Neil Drumming



“When I pop the trunk, hit the deck.” — The Beatnuts, “Reign of the Tec”

Last night, we witnessed the end of AMC’s “Breaking Bad.” I’d been dreading that moment for a week and not just because I am a faithful disciple of the program and hate to see it disappear from my Sunday ritual. I was dreading the finale because I knew that as soon as the credits rolled I would have to craft some sort of coherent and cohesive reaction to something that had taken me years to consume and would likely take days if not weeks to digest.

 * * * * *

Two from Rolling Stone:

Lessons of the 'Breaking Bad' Series Finale

Five takeaways from the last episode of a modern saga



By Scott Neumyer
September 30, 2013

Breaking Bad premiered its first episode on AMC in January 2008. Five years, five seasons and 62 episodes later, one of the greatest television dramas of all time came to an end last night as Vince Gilligan's landmark series took its final, bloody bow. In a TV landscape that has, in recent years, found it difficult to satisfyingly wrap up beloved shows in a way that hits the right emotional notes while also tying up loose ends, Breaking Bad's final episode may prove to be one of the most fulfilling and well-made farewells ever. And while we're sure to keep "Felina" on our DVRs for repeated close inspection of the episode over the next few weeks, here are a few quick takeaways.

* * *

'Breaking Bad' Finale Recap: Heisenberg Certainty Principle

Like Walter White's meth, the finale's formula was flawless – but is that a good thing?

September 30, 2013 
Jesse Pinkman built the perfect box. He sawed it off, sanded it down, hammered it together, smoothed it out, and carried it away with all the pride of a first-time father. This is the fantasy-memory he retreated to when reality became too broken for him to face at last – the one time in his life when he felt he accomplished exactly what he set out to do, the one time he made everything fit.

For better or for worse, that box is Breaking Bad.


* * * * *

From Vulture:
Walter White (Bryan Cranston) - Breaking Bad _ Season 5, Episode 16 - Photo Credit: Ursula Coyote/AMC
"Strike, Shadow, strike! And see his good deeds springing from the wound, to sow the world with life immortal!" Charles Dickens, A Christmas Carol

"Hello, Carol."

That is, if I'm not mistaken, the first line in the final eight-episode stretch of Breaking Bad, uttered at the end of the prologue in "Blood Money." We heard the name of that previously unmet neighbor, Carol, again in "Felina." The episode's title is an anagram for "finale" as well as a reference to The Girl in Marty Robbins's classic "El Paso," whose lyrics are echoed in this chapter's Western-ballad-like tale of an outlaw dying an outlaw's death. In a phone conversation between Skyler and Marie about Walt's return to Albuquerque, series creator Vince Gilligan, who wrote and directed this series ender, repeated her name and even had Skyler situate her geographically. "Hello, Carol": or hello, Carol. As in A Christmas Carol.

* * * * *

From NPR:



Bryan Cranston wrapped up his run Sunday night as Walter White in Breaking Bad.
Breaking Bad creator Vince Gilligan signaled in interviews leading up to Sunday night's series finale that those who craved some redemption for Walter White were the ones most likely to leave happy.

"We feel it's a satisfying ending," Gilligan told Entertainment Weekly. "Walt ends things more or less on his own terms."

For Gilligan, those things were self-evidently connected: the satisfaction of the ending and the degree to which the terms of that ending are set by Walt. And that's probably true for broad segments of the show's legions of fans who continued to root for Walt at some elemental level, or least to root for him to become root-able again.

Tuesday, January 22, 2013

David Brooks on President Obama's Inaugural Speech


If you have not yet read or seen the President Obama's 2013 Inaugural Speech from Monday, you can watch it below or read it here.


There has been a lot said about this speech, much of which demonstrates that President Obama's desire to create more unity, a "We, the People" foundation for his second term, is not likely to get very far - liberals mostly applaud the speech and conservatives largely reject it.

However, one of the best commentaries came this morning from the New York Times op-ed columnist David Brooks. As his interests have shifted more and more toward social sciences (he reads a LOT in the realms of psychology, neuroscience, and social psychology), his columns have become thoughtful and nuanced (with some notable exceptions), and this one exemplifies that tendency in him.

The Collective Turn

By DAVID BROOKS
Published: January 21, 2013

The best Inaugural Addresses make an argument for something. President Obama’s second one, which surely has to rank among the best of the past half-century, makes an argument for a pragmatic and patriotic progressivism.

His critics have sometimes accused him of being an outsider, but Obama wove his vision from deep strands in the nation’s past. He told an American story that began with the Declaration and then touched upon the railroad legislation, the Progressive Era, the New Deal, the highway legislation, the Great Society, Seneca Falls, Selma and Stonewall.

Turning to the present, Obama argued that America has to change its approach if it wants to continue its progress. Modern problems like globalization, technological change, widening inequality and wage stagnation compel us to take new collective measures if we’re to pursue the old goals of equality and opportunity.

Obama wasn’t explicit about why we have failed to meet these challenges. But his critique was implicit. There has been too much “me” — too much individualism and narcissism, too much retreating into the private sphere. There hasn’t been enough “us,” not enough communal action for the common good.

The president then described some of the places where collective action is necessary: to address global warming, to fortify the middle class, to defend Medicare and Social Security, to guarantee equal pay for women and equal rights for gays and lesbians.

During his first term, Obama was inhibited by his desire to be postpartisan, by the need to not offend the Republicans with whom he was negotiating. Now he is liberated. Now he has picked a team and put his liberalism on full display. He argued for it in a way that was unapologetic. Those who agree, those who disagree and those of us who partly agree now have to raise our game. We have to engage his core narrative and his core arguments for a collective turn.

I am not a liberal like Obama, so I was struck by what he left out in his tour through American history. I, too, would celebrate Seneca Falls, Selma and Stonewall, but I’d also mention Wall Street, State Street, Menlo Park and Silicon Valley. I’d emphasize that America has prospered because we have a decentralizing genius.

When Europeans nationalized their religions, we decentralized and produced a great flowering of entrepreneurial denominations. When Europe organized state universities, our diverse communities organized private universities. When Europeans invested in national welfare states, American localities invested in human capital.

America’s greatest innovations and commercial blessings were unforeseen by those at the national headquarters. They emerged, bottom up, from tinkerers and business outsiders who could never have attracted the attention of a president or some public-private investment commission.

I would have been more respectful of this decentralizing genius than Obama was, more nervous about dismissing it for the sake of collective action, more concerned that centralization will lead to stultification, as it has in every other historic instance.

I also think Obama misunderstands this moment. The Progressive Era, New Deal and Great Society laws were enacted when America was still a young and growing nation. They were enacted in a nation that was vibrant, raw, underinstitutionalized and needed taming.

We are no longer that nation. We are now a mature nation with an aging population. Far from being underinstitutionalized, we are bogged down with a bloated political system, a tangled tax code, a byzantine legal code and a crushing debt.

The task of reinvigorating a mature nation is fundamentally different than the task of civilizing a young and boisterous one. It does require some collective action: investing in human capital. But, in other areas, it also involves stripping away — streamlining the special interest sinecures that have built up over the years and liberating private daring.

Reinvigorating a mature nation means using government to give people the tools to compete, but then opening up a wide field so they do so raucously and creatively. It means spending more here but deregulating more there. It means facing the fact that we do have to choose between the current benefits to seniors and investments in our future, and that to pretend we don’t face that choice, as Obama did, is effectively to sacrifice the future to the past.

Obama made his case beautifully. He came across as a prudent, nonpopulist progressive. But I’m not sure he rescrambled the debate. We still have one party that talks the language of government and one that talks the language of the market. We have no party that is comfortable with civil society, no party that understands the ways government and the market can both crush and nurture community, no party with new ideas about how these things might blend together.

But at least the debate is started. Maybe that new wind will come.

Friday, September 07, 2012

New David Cronenberg Film - Cosmopolis

David Cronenberg has a new film out (released August 19th in the U.S., earlier in Europe) called Cosmopolis - starring Robert Pattinson (don't let this put you off - Cronenberg gets great performances from mediocre actors). It also features Juliette Binoche, and that is always a good thing - as well as the talented Paul Giamatti. The film is based on a novel by Don Delillo.

cover art

Cosmopolis


Director: David Cronenberg

Cast: Robert Pattinson, Juliette Binoche, Sarah Gadon, Jay Baruchel, Mathieu Amalric, Kevin Durand, Paul Giamatti, Samantha Morton

(Entertainment One; US theatrical: 17 Aug 2012 (Limited release); UK theatrical: 5 Oct 2012 (General release); 2012)

Here are three reviews - from the Acceler8tor, Pop Matters, and Esquire.

Cronenberg’s Cosmopolis: The Quantified Life Is Not Worth Living

By R.U. Sirius

August 28, 2012


Eric Packer (played by Robert Pattison) — reigning master of the universe of unencumbered digital financial trading — spends most of his disastrous day in the back of a limo determined to make it across New York City in the midst of traffic chaos caused by a presidential motorcade, to get a haircut, but not, as we will discover, any haircut.

Impeccably dressed, physically perfect, emotionally smooth, and despite a series of sexual encounters during this single day with beautiful female subordinates — Packer’s world, until today, is nothing but data.

At the beginning of the film, we see massive data flows zipping around a small computer screen operated by a hacker employee, and we understand that his world of unfailing predictions based on this data has been disrupted by an error that threatens him with massive financial losses.  But Packer, despite the seeming practicality of the bad day he is facing, is more interested in his existential situation.  He’s having a crisis of meaning and of feeling.

As he and his driver make their way through NYC’s jammed streets, various courtiers slip into his limo to talk about some aspect of his business situation only to be peppered by stark questions that tilt away from business and lean towards meaning.  And yet, his quasi-philosophical inquiries  are all oriented towards calculation as opposed to insight (and how many of our singularitarian friends would acknowledge that a distinction exists).  Packer is in the vanguard of his generations’ and our culture’s reorientation from lived to statistical experience.

The film hinges on two particular events.  Event one: Packer’s previously unfailing prediction machine has failed to predict a crisis in the yuan. Event two: Packer’s daily medical examination turns up a peculiar (and contextually funny) problem that I won’t spoil for you… but both problems revolve around the incursion of irregularity into his smooth world.

Here we have the Quantified Life at its apotheosis.  Even in the midst of sexual encounters, there are conversations that seek information about the nature of the business and sexual relationships and — during the peak of one sex scene — his female partner reports on her successful jogging routine and provides a statistical particular about her fat-to-muscle ratio.

In mixed reviews, much has been made of Cronenberg taking on Wall Street capitalism (and let’s remember that all this is based on the critically underrated DeLillo 2003 novel of the same name) in a biting satire that’s not at all a comedy. There is that. But the critics miss the larger undercurrent, which should have clarified for them during the last scene (and I will spare you any further spoilers).  Several shocking scenes (yes, this is Cronenberg), including the finale, bring home for us that Packer is seeking some experience — any experience — that is not quantifiable.  Whether he finds it or not, I’ll leave for you to sort out.

Oscar Wilde famously said of his countrymen, “They know the price of everything and the value of nothing.”  But he was thinking of craggy old industrialists who actually traded in things. For Packer, price and value are both de-prioritized by the ersatz bliss of those baptized in dataflow.  It’s a cold but pleasurably high, until something unsmooth, like a poor person or a bodily peculiarity, makes an unpredicted intervention.

* * * * * * *

Patter

The first thing you notice is that the limo isn’t moving. At the beginning of David Cronenberg’s Cosmopolis, the luxury vehicle bearing Eric Packer (Robert Pattinson), a billionaire financial manager of some sort, is stuck in traffic. He’s on his way to get a haircut on the other side of Manhattan, a trip he insists on taking despite warnings from his bodyguard Torval (Kevin Durand) that it will be nightmarish.

Even though the car does transport Eric to a series of stops, interior shots deny the audience a sense of true forward motion. When the limo pushes forward, the images of the city we see through the windows look fake, and familiar New York background noise falls silent: no honking horns, no engine vibrations, hardly any sound at all, except the voices of Eric and whoever hitches a ride with him along the way.

This lack of sound exists whether the windows are open or closed—as Eric does when he has sex with his longtime mistress Didi (Juliette Binoche). It underscores a sense of fakeness for much of the film, as well as the metaphorical allusion of the drive: Eric is going nowhere. The world comes to him in his limo-shaped box: business, sex, even regular prostate exams from his doctor.

Cosmopolis never breaks from Eric’s point of view (Pattinson is in every scene), following him as exits the vehicle, as when he takes meals with his wife Elise (Sarah Gadon). They might be described as “estranged” if they ever looked to be more than cordial strangers in the first place. They speak to each other, as most of the characters in the movie do, in dialogue that is by turns witty, elusive, and theatrical. The writerly quality reminds us that Cronenberg’s screenplay adapts a Don DeLillo novel, making some narrative tweaks while maintaining much of the original dialogue.

The elevated patter, combined with the financial-world setting, at first seems to signal that Cosmopolis is a departure for the director, both from his creepy sci-fi horror days and his recent collaborations with Viggo Mortensen. But as the movie presses on, it feels more of a piece with Cronenberg’s oeuvre, unnerving and darkly funny. Eric’s semi-mobile fortress is tricked out with a number of touch-screens, their numbers constantly scrolling through his peripheral vision, and his various business associates talk in elevated, obtuse terms—Vija (Samantha Morton) drops by the car to talk about “cyber-capital”—that give the film an eerie science fiction-like quality.

From these otherworldly touches and a constructed New York City that only vaguely resembles the real thing, Cosmopolis builds surprising tension from what is essentially a 24-to-36-hour car ride (time is hard to measure here, another subtle source of anxiety). It is by no means a traditional thriller, but Cronenberg evokes a sense of dread, exacerbated by occasional, unpredictable bursts of violence. By the movie’s final stretch, Eric finds himself drawing a gun and walking down an icky greenish brown hallway that’s more recognizably Cronenbergian than his antiseptic white limo.

As usual, Cronenberg shows masterful control, starting with Pattinson. He uses the actor’s morose flatness to great effect. Playing a hollow, amoral human being, Pattinson is more hauntingly vampiric here than in any of his Twilight ventures, an impression emphasized by his occasional stumbles over DeLillo’s words.

Some audience members will stumble there, too. An hour and 48 minutes is a long time to listen to actors, however talented, speak in more or less the same narcotizing tones, dotted with zingy turns of phrase and stagy variations on phrases like “This is true” and “I know this.” The artifice can seem showboaty, an odd fit with Cronenberg’s precise, repetitive framing. But the film is premised on contrasts, especially between such verbal gobbledygook and the social unrest just outside Eric’s bunker on wheels; he’s bedeviled by an ongoing anti-capitalism protest, whose participants use dead rats as mascots, a backdrop drawn from DeLillo’s 2003 text that here feels vague and unnecessarily allusive.

But, just when the movie threatens to find a dead end in so much metaphor, Paul Giamatti turns up to bring it home. Playing Benno Levin, an unhinged man with a connection to Packer, he dominates the movie’s final stretch, which moves further from the limo’s comforts, down that greenish Cronenberg hallway. The car’s literal forward momentum stops, but the film’s keeps crawling toward an ending both poetic and inevitable—and, yeah, a little theatrical, too. Cronenberg and DeLillo’s clinical remove gives way to showmanship after all.

6 Stars

* * * * * * *

Cosmopolis: This Is How Capitalism Ends



Intentionally or not, movies in the past year or so have set about tackling the questions of Occupy Wall Street and/or our general economic gloom. The Dark Knight Rises pitted Batman's Have against Bane's Have-Not, the conclusion of which was... well, no one's quite sure about that. Margin Call dramatized a day in the lives of investment bankers who talk like Wall Street Journal op-eds. Spike Lee, to no one's particular surprise, has sketched the effects of our growing economic inequality on a Brooklyn neighborhood in Red Hook Summer. And in next month's Arbitrage, Richard Gere, in the grand tradition of actors giving moral complexity to assholes, will play a hedge-funder who's basically Bernie Madoff. They all take a cue from Wall Street, the movie that made wariness of investment bankers a social norm and now looks all the more naive for it.

Thankfully, then, there is David Cronenberg. From Videodrome to Crash to A History of Violence, the director has never felt the need to seriously address the real-world concerns of the day, or even adhere to conventional narrative logic. (Holly Hunter wrecks her car, then masturbates? Why not?) His new movie, Cosmopolis, is a great send-up of our economic anxiety. It's true that the characters talk endlessly, as they do in Don DeLillo's 2003 book, but none of it amounts to much. It's empty banter, a parody of boardroom jargon. Robert Pattinson as an even less likable Bud Fox type named Eric Packer (the actor's flat, charmless American accent has never been better suited to a role) asks his employees inane questions they can't possibly hope to answer, like "Why are airports called airports?" They refuse to respond out of fear they'll lose his respect.

All the talk avoids the real subject, which for Cronenberg is never far from death. As Pattinson's Eric loses his personal fortune over the course of a day, his life becomes a series of escalating body-horror gags. There are two security threats against him, one of which turns out to be a literal pie in the face. The best joke, though, is a scene in which he receives a prostate exam while discussing the yuan. (For Cronenberg, that's "sexual tension.") By the end, Eric has become so disillusioned with himself that he sees violence as a way out. He shoots a hole through his hand just so that he can "feel something."
Movies are very bad at explaining our national problems to us (see: any film by Michael Moore). At their best, they can only make those problems more vivid. Cosmopolis takes an unremarkable proposal, that our economic system is hurtling toward chaos, to its logical conclusion. (The opening shot of a Pollock-style drip painting in the making is a sign of what's to come.) It's effective for all the reasons, as propaganda, it's not: It's messy and goofy and unsettling. It has no clear answers, not even in the brilliant final scene, a confrontation between Pattinson's Eric and a disgruntled former employee played by Paul Giamatti, the central question of which seems to be, Why do some people accumulate massive amounts of wealth, while others are left to go broke and die? The scene ends, instead, with a loaded gun.

Our own Wall Street becomes more absurd with every day's headlines. It's unclear if anyone really understands it, including the Wall Streeters themselves, though a lot of producers seem to want to try very hard. Cronenberg's outright refusal to negotiate with realism, his fervent imagination, may be the more appropriate impulse. To get to the heart of a spectacle, sometimes, requires more spectacle.


Wednesday, August 08, 2012

Rolling Stone - Tom Waits' Big Reveal: New Clip for 'Hell Broke Luce"


If you are on the Tom Waits mailing list, you have been getting some intriguing images over the last couple of days promising a "big reveal" Tuesday morning - and the reveal was a new and very cool/strange (would you expect any less) video for the song "Hell Broke Luce," from the 2011 Bad As Me album.

Rolling Stone posted the video and some background to go with it.


Singer dropped vague hints about video over the past week


By Rolling Stone

August 7, 2012

What a build-up: Tom Waits has spent the past week dropping hints about an announcement he had planned for today, and the Web was thick with speculation: Could it be a tour? New music? A concert cruise? Nope. Turns out it was the release of a new video for "Hell Broke Luce," a scabrous, blackly comic anti-war song from last year's Bad As Me. The clip was the source of various surreal images posted on Waits' website last week, depicting the singer sporting an eyepatch and a scimitar, underwater flanked by boxy sharks (that turn out to be submarines) and poking an oversized spoon at a roaring fire.

Directed by Matt Mahurin, the video is as gritty as the song, as Waits pulls a small house through an arid, blasted landscape; over the ocean while surrounded by warring flotillas; and under water, trailed by boxy shark submarines.

Waits addressed the speculation over his clues in a statement: "As most of you guessed, it’s a tour . . . a tour de force!" The singer said he and Kathleen Brennan, his wife and songwriting partner, envisioned the song as "an enlightened drill sergeant yelling the hard truths of war to a brand new batch of recruits. The video grew from the gnawing image of a soldier pulling his home, through a battlefield, at the end of a rope. I think you will agree, it's uplifting and fun."

Monday, April 16, 2012

Elaine Pagels Reads "The Book of Revelation" as Political Commentary

Jami and I just watched a National Geographic show about the Book of Revelation, one of the strangest and most controversial books of the New Testament. Its authorship is still a bit of mystery according to the show we saw (it's NOT John the Baptist, John the Apostle, nor John of the Gospel), but there is no reason to doubt his name was John.

In her new book, Revelations: Visions, Prophecy, and Politics in the Book of Revelation, Elaine Pagels reads "The Book of Revelation" as political commentary - anti-Roman propaganda.

The Last Trumpet - ‘Revelations,’ by Elaine Pagels

By DALE B. MARTIN
Published: April 6, 2012

Many people mistakenly call the last book of the Christian Bible “Revelations.” It is actually the (one) Revelation to John. Elaine Pagels may be playing on that common error with the title of her latest book, “Revelations,” though in this case it is accurate: she ­places the biblical Book of Revelation in the context of other ancient narratives of visions and prophecy. Her account highlights several prophetic works and visionaries, from Ezekiel to Paul to the ancient sect of prophesying Christians called the Montanists, and others. Pagels also discusses the afterlife of Revelation in the Christianity of late antiquity through the fourth century. Her thesis is that apocalyptic literature — visions, prophecies, predictions of cataclysm — has always carried political ramifications, both revolutionary and reactionary, liberal and conservative, from the very beginning up until today, as seen in conservative iterations of millennial dispensationalism and the hugely popular “Left Behind” series of novels about the end of the world. The apocalyptic is political. 

St. Michael Fighting the Dragon, woodcut by Albrecht Dürer, 1498.

REVELATIONS: Visions, Prophecy, and Politics in the Book of Revelation
By Elaine Pagels
246 pp. Viking. $27.95.

Related: The Bible

“Revelation” is from the Latin translation of the Greek word apocalypsis, which can designate any unveiling or revealing, fantastic or ordinary. Scholars also refer to the document as the Apocalypse of John. And that same Greek word provides the label for all sorts of ancient literature that scholars call “apocalyptic.” The biblical text purports to relate a real vision experienced by an otherwise unknown Jew named John — not the Apostle John, nor the same person as the anonymous author of what we call the Gospel of John. But we have no reason to doubt that his name was really John. It wasn’t an unusual name for a Jew. 

John wrote his vision, prefaced with messages to seven churches in Asia Minor (modern western Turkey), from the island of Patmos in the Aegean Sea. We may imagine John, Pagels suggests, as an old Jew who had lived through the Jewish war with Rome, during which Jerusalem was decimated and the Temple destroyed in the year 70. He may have seen the thousands of Jews killed and thousands of others carried to Rome as slaves. Bitter about the dominating imperial power, he may have wandered through Syria and Asia Minor, along the way meeting other followers of the crucified prophet Jesus, other “cells” of worshipers of the Jewish Messiah who was killed and mysteriously raised from the dead. 

But when he gets to western Asia Minor, he comes across many gentile Christians, quite possibly in churches founded by the now dead Apostle Paul. Unlike John, they seem to be relatively well off. They usually get along fine with their non-Christian neighbors. They may be prospering from the Pax Romana, the “peace” sustained by Roman domination. They are marrying and having children, running their small businesses, ignoring the statues, temples and worship of other gods that surround them. 

For John, this Christian toleration of Rome and its idols is offensive. This is not a benign governmental power. It is the Whore of Babylon, arrogantly destroying the earth. John writes (in this theory) to warn the churches, and he relates his vision to provoke alarm at the Evil Empire. That vision predicts the destruction of Rome by angelic armies, followed by the salvation of faithful disciples of the bloody, horned warrior-lamb Jesus. Those who resist will, in the end, be rewarded.
The Apocalypse, the Revelation to John, has over the centuries been read by many Christians to predict events that might happen in their own time. In the 1980s, journalists discussed President Ronald Reagan’s statements that biblical prophecies might be fulfilled in our days, when other nations would attack Israel and a great war would end with the Second Coming of Christ. But Reagan was just one in a long line bringing John’s prophecy into our times. 

Pagels, the author of “The Gnostic Gospels,” details how Revelation and other apocalyptic writings have frequently urged fear and hatred of ruling powers, if not so often armed revolt. Revelation was originally anti-Roman propaganda. Two centuries earlier, around 164 B.C., a Jew wrote down another series of visions in order to incite resistance against Hellenizing Jewish leaders in Jerusalem and their patron king, Antiochus IV Epiphanes, ruler of the Greco-Syrian Seleucid empire. That book, published in the Old Testament under the pseudonym Daniel, is one of the earliest ancient apocalypses, and it influenced Jewish and Christian literature thereafter. Around A.D. 100, another Jew, not a Christian, recorded his own visions, nowadays known as 4 Ezra, also stoking the fires of anti-Roman hatred and prophesying Rome’s destruction. As Pagels illustrates, apocalyptic visions have been put to political purposes throughout history, down to the armies on both sides of the Civil War, echoed for Northern soldiers in “The Battle Hymn of the Republic” but also inspiring Southern generals. 

One of the significant benefits of Pagels’s book is its demonstration of the unpredictability of apocalyptic politics. Christians in the second and third centuries wrote “hidden” books that promoted a rather quietistic form of scholarly Christianity, more adventurous in its theology and mythology than what was coming to be called “orthodoxy.” Many of the texts discovered in 1945 near Nag Hammadi, Egypt, sometimes called “Gnostic” scriptures, narrate “secret” revelations. Other Christians, who were winning the battle to own the label “orthodox,” used Revelation to oppose Christians they labeled “heretics.” They interpreted the “beast” it describes to be some arch-heretic or Satan as the inventor of heresies. The Whore of Babylon was no longer Rome, but a heretical opponent of orthodoxy. Revelation wasn’t depoliticized. Its politics had shifted. 

Once the empire had a Christian patron in Constantine, the meaning of Revelation changed again. For Constantine, after his own “vision,” he himself was the conquering ruler for good, and the “dragon” of Revelation referred not only to Satan but also to Constantine’s human rivals for the throne. Constantine later took heretics, schismatics within the church and eventually even Jews to be the embodiment of the Evil One. Revelation had not lost its political power, but its political use had changed. 

Pagels’s book does contain a few minor historical mistakes. The apostate Jew Alexander, who rose to high political office in Egypt, was not the uncle of the Jewish philosopher Philo, but his nephew. Galatia is the name of a region, not a city. More important, Pagels sometimes makes ancient people and concepts too familiar to us. It is anachronistic, I believe, to portray the appeals for toleration made by Tertullian, a second-century Christian, or by Jews earlier, as anything like the Enlightenment principle of the separation of politics and religion. That is to take distinctly modern ideas into the ancient world, where they don’t belong. 

But such missteps do nothing to mar the story Pagels tells. The meaning of the Apocalypse is ever malleable and ready to hand for whatever crisis one confronts. That is one lesson of Pagels’s book. Another is that we all should be vigilant to keep some of us from using the vision for violence against others. 

~ Dale B. Martin’s latest book, “New Testament History and Literature,” has just been published.

Sunday, September 18, 2011

Maureen Dowd - Egghead and Blockheads


When in doubt, I'm going to choose the egghead - the egghead is at least smart enough to learn something new, or to learn from mistakes. I don't know when ignorance and stupidity became a virtue for the GOP, but it's sad to see a field of candidates all struggling to be dumber than the rest.

Here are two excerpts from an excellent editorial by Maureen Dowd in the New York Times.
At the cusp of the 2012 race, we have a classic cultural collision between a skinny Eastern egghead lawyer who’s inept in Washington gunfights and a pistol-totin’, lethal-injectin’, square-shouldered cowboy who has no patience for book learnin’.


Rick Perry, from the West Texas town of Paint Creek, is no John Wayne, even though he has a ton of executions notched on his belt. But he wears a pair of cowboy boots with the legend “Liberty” stitched on one. (As in freedom, not Valance.) He plays up the effete-versus-mesquite stereotypes in his second-grade textbook of a manifesto, “Fed Up!”


Trashing Massachusetts, he writes: “They passed state-run health care, they have sanctioned gay marriage, and they elected Ted Kennedy, John Kerry, and Barney Frank repeatedly — even after actually knowing about them and what they believe! Texans, on the other hand, elect folks like me. You know the type, the kind of guy who goes jogging in the morning, packing a Ruger .380 with laser sights and loaded with hollow-point bullets, and shoots a coyote that is threatening his daughter’s dog.”


At a recent campaign event in South Carolina, Perry grinned, “I’m actually for gun control — use both hands.”
And . . . . .
The Republicans are now the “How great is it to be stupid?” party. In perpetrating the idea that there’s no intellectual requirement for the office of the presidency, the right wing of the party offers a Farrelly Brothers “Dumb and Dumber” primary in which evolution is avant-garde.


Having grown up with a crush on William F. Buckley Jr. for his sesquipedalian facility, it’s hard for me to watch the right wing of the G.O.P. revel in anti-intellectualism and anti-science cant.


Sarah Palin, who got outraged at a “gotcha” question about what newspapers and magazines she read, is the mother of stupid conservatism. Another “Don’t Know Much About History” Tea Party heroine, Michele Bachmann, seems rather proud of not knowing anything, simply repeating nutty, inflammatory medical claims that somebody in the crowd tells her.


So we’re choosing between the overintellectualized professor and blockheads boasting about their vacuity?


The occupational hazard of democracy is know-nothing voters. It shouldn’t be know-nothing candidates.
Oy vey.