It just occurred to me, after talking with some secular neighbors, that many people are not Christians, yet desire to celebrate Christmas anyway. How do they do it? One friend of mine (who is ostensibly Christian) is having what I call The Movie Christmas. On Christmas day she is driving to a Scandinavian-themed town to have Belgian waffles, and then will go see a horror movie with her friend. This stirred up a feeling of vague unease within me, hence the topic of this post.
I've been so wrapped up in my religious musings that I forgot to take non-religious people into account. They have weak faith or no faith at all in Christ. And yet, rather than be militantly anti-Christmas, they feel entitled to take part in whatever secular offerings our culture (yech! I hate that phrase, yet it fits so often...) serves up for the holiday. Visiting with friends and family, shopping, eating, recreating, movie-going, or just simply sleeping is, for them, the best way to spend the day.
You can't try and tell these people that they're wrong. Deep inside, they must know. That's why they have to do SOMETHING. But the trouble is, the something they end up doing isn't for God, or other people. It's ultimately for themselves. If we're not confessing Christ, we must try to actively avoid Him. If we de-throne God, we end up placing ourselves in His place. We must hurry and scurry to gather up nuts to try and fill up the hole in our hearts He has left behind. We must salve the wound by some means--
1) The Big Money Blow-Out Christmas
Surely, these people are out there. They are the ones who watch the ads, because they've been saving up all their wants for "big stuff" all year, and now they're determined...they're finally going to buy the new BMW, the huge flat-screen TV, the mondo stereo system, or the 15' tree. Folks of more modest means end up spending way too much money--especially to impress jaded kids--because that's what they've been led to expect. The trend of Protestants cancelling Christmas day services merely feeds this tendency--we pay lip service to Jesus, but it's really all about fun, family, food, and new stuff.
2) The Vintage Christmas
Nostalgia, not faith, gets these people going. They long for Christmases past, watch old holiday films--like Miracle on 34th Street or It's a Wonderful Life--with religious intensity. They scan magazines to create the perfect traditional Christmas decor for their homes, without any images of the Nativity or mentions of Christianity. They may have kept lists for months and shopped for days so as to have just the perfect gift on hand for everyone. They want the frosting without the cookie, light without heat, and the egg-nog without the calories. They often have huge parties or place great emphasis on "family time" as the reason for the season.
3) The Football / Shop-til-you-drop Christmas
This kind of celebration often happens concurrently, with the men holed up in the house roaring over bad referee calls while the women escape to the mall for deep Christmas-day discounts. What's sad about this kind of Christmas is that it divides families and keeps them focused on other stuff. Unfortunately, we have probably all had one of these, because it keeps people at large family gatherings from killing each other.
5) The Bah Humbug Christmas
This is the kind of Christmas that old people have after the kids have left the house, and with them, any kind of religiosity on the part of the parents. "Oh, we used to put on such a production for the kids," they chuckle. "But this year we didn't even put up a tree. Harold is asleep on the couch, and I'm due over at Barb's for Bunco." Pretending that Christmas is not happening is the magic bullet for them.
So what do we do? I don't want to judge these people, I want to evangelize them. In a block full of blow-up santas and light-up deer, I really wanted to have a nativity scene, but I couldn't find one. My cookies have fallen flat (I made them with margarine--DOH!). I would like to distribute some small token gift to my neighbors, but don't want to offend. So, I invite suggestions. How do you deal with this problem? What other kinds of secular Christmas revelry have I missed?
Monday, December 18, 2006
Tuesday, December 12, 2006
The thinning of the veil
As I write this, my grandfather is dying. They have "sent him home to die"--said he had six to twelve months left, depending on how his diet and medications are balanced. If even ONE little thing gets out of whack, he's dead. They argue over whether he can have another piece of bread, and my mom says he's hungry all the time. He sneaks candy when no one's looking. My black-sheep uncle is staying with them and overseeing everything, but he hasn't got the greatest bedside manner, says my mom.
When I asked if he had received the Anointing of the Sick, my mom and grandma seemed nonplussed. "He'll never accept that," said my Mom. "He thinks it's Last Rites, and he can't face his own mortality. He never even made a will." My grandma said, "He's had a good run, and it's in God's hands now." Meanwhile, I am struggling with my own frustration...yeah, but we can help him to accept his birth into eternity with grace--I tried to say in the gentlest way possible.
In 1999, I was in Hong Kong with the boat for a quick liberty stop. But it happened to be the Chinese New Year--and you could read microfilm by the skyscrapers set ablaze with electricity. In contrast, our Christian New Year begins with a hush and an old song with a somber lilt. O Come, Emmanuel! The Office readings all have as their refrain, Come, Lord Jesus! Come save us from our sins, from the darkness. Be our light. What happens in the beginning of a wedding, when the bride reaches the altar? He raises her veil, so that all can look upon her beauty. Your light will come, Jerusalem. The Lord will dawn on you in radiant beauty.
Seems like people shut into themselves in winter, when trees drop their leaves and people finally start to put on some clothes. But what we should be doing is baring our souls. Our liturgical readings blend Christ's Second Coming with his first, to remind us of death, last things, judgment. Recently, two people I know have died. When I pray at night, I try to wrap my mind around the sum and span of their lives--the mere 40 or 50 years these two have known on this earth (taken by surprise), with no hint of an ending--compared with eternity. For eternity they are either for or against Jesus, spending the deathless ages in unspeakable joy or remorseless misery. Makes you think.
One of the things it makes me think is that our real work is not in this life. Think of the great saints who have died declaiming completely the worth of all their heroic works. "Now we begin," St. Francis is reported to have said at death. "For from before until now we have done nothing." St. Thomas Aquinas claimed all his great theological works were merely "straw." St. Therese of Liseiux wrote that, while she would have preferred to have become a missioner, even to suffer martyrdom--she was, rather, only a little plaything of the Child Jesus. Jesus told St. Faustina Kowalska that she was to be the Secretary of His Divine Mercy for her life on Earth. Any guesses as to what she's doing up in Heaven?
Flip on a television and watch the commericals for five minutes, and you'll get a completely opposite view. "Your future is now!" the ads scream. "Life is only worth all the pleasure and enjoyment you can get out of it...pursue health, wealth, beauty, and fame, and you've got it made. Live for the moment, because that's all there is, folks!" But what a bare, poor life that is compared with even the flashes of joy we experience in this life, the fullness of which can only be achieved in Heaven. And yet the thick, suffocating veil of materiality seems impenetrable. How can we deepen our sense of the endless? How can we apprehend immortality?
1. Advent is a great time to start praying. If you don't already have some kind of daily devotion, start one now. Since last year I have been praying Morning and Evening Prayer, with the super-abbreviated breviary, and it's mostly worked out. I love being steeped in the liturgical year instead of the secular year. It's a great way to meditate and memorize Scripture. Plus, it's cool to sign your correspondence with "The Feast of the..." just like bishops and cardinals do.
2. Start singing. Remember any hymns from church? Christmas carols? I'm having to re-learn them because they've been weeded out of radio and TV and the grocery store. I copy down hymns after Mass while my husband is dragging the toddler to the van, then sing from my scraps of paper when I'm alone with the kids.
3. Turn off the voices. It's hard to cultivate an inner dialogue with the Lord when you've got the TV blaring in the background. I limit TV time to Sesame Street and Bob, but after that it's off. Sometimes I listen to Catholic radio. But not always.
4. Take a mind trip. The imagination is a transcendent thing. It's no accident that every human being walking around this planet has an entire galaxy between their ears. Try imagining that when you're driving down the street. Whoa...if they only knew. When you lay down at night and your back/knees/feet/head is hurting, say to yourself, I've got a brand new one in Heaven. If you've had a bad day...I'm one day closer to being home with you, Jesus. Then try and imagine Jesus holding you, comforting you, welcoming you. Try to imagine what would happen if you died tonight. What if you woke up to...Him?? How would you live your day differently?
Don't accept the morbidity that surrounds death in our culture. Surrender to your own mortality. Accept the blinding fact that Jesus waits just beyond the curtain, and what he holds in trust for you is beyond your imagination. And you can't wait to get there! But if you just try to imagine it, using what faculties he gave you--he might grant to you a glimpse through the veil. I hope He gives something like that to my grandpa.
Please pray for him, his name is Harry.
When I asked if he had received the Anointing of the Sick, my mom and grandma seemed nonplussed. "He'll never accept that," said my Mom. "He thinks it's Last Rites, and he can't face his own mortality. He never even made a will." My grandma said, "He's had a good run, and it's in God's hands now." Meanwhile, I am struggling with my own frustration...yeah, but we can help him to accept his birth into eternity with grace--I tried to say in the gentlest way possible.
In 1999, I was in Hong Kong with the boat for a quick liberty stop. But it happened to be the Chinese New Year--and you could read microfilm by the skyscrapers set ablaze with electricity. In contrast, our Christian New Year begins with a hush and an old song with a somber lilt. O Come, Emmanuel! The Office readings all have as their refrain, Come, Lord Jesus! Come save us from our sins, from the darkness. Be our light. What happens in the beginning of a wedding, when the bride reaches the altar? He raises her veil, so that all can look upon her beauty. Your light will come, Jerusalem. The Lord will dawn on you in radiant beauty.
Seems like people shut into themselves in winter, when trees drop their leaves and people finally start to put on some clothes. But what we should be doing is baring our souls. Our liturgical readings blend Christ's Second Coming with his first, to remind us of death, last things, judgment. Recently, two people I know have died. When I pray at night, I try to wrap my mind around the sum and span of their lives--the mere 40 or 50 years these two have known on this earth (taken by surprise), with no hint of an ending--compared with eternity. For eternity they are either for or against Jesus, spending the deathless ages in unspeakable joy or remorseless misery. Makes you think.
One of the things it makes me think is that our real work is not in this life. Think of the great saints who have died declaiming completely the worth of all their heroic works. "Now we begin," St. Francis is reported to have said at death. "For from before until now we have done nothing." St. Thomas Aquinas claimed all his great theological works were merely "straw." St. Therese of Liseiux wrote that, while she would have preferred to have become a missioner, even to suffer martyrdom--she was, rather, only a little plaything of the Child Jesus. Jesus told St. Faustina Kowalska that she was to be the Secretary of His Divine Mercy for her life on Earth. Any guesses as to what she's doing up in Heaven?
Flip on a television and watch the commericals for five minutes, and you'll get a completely opposite view. "Your future is now!" the ads scream. "Life is only worth all the pleasure and enjoyment you can get out of it...pursue health, wealth, beauty, and fame, and you've got it made. Live for the moment, because that's all there is, folks!" But what a bare, poor life that is compared with even the flashes of joy we experience in this life, the fullness of which can only be achieved in Heaven. And yet the thick, suffocating veil of materiality seems impenetrable. How can we deepen our sense of the endless? How can we apprehend immortality?
1. Advent is a great time to start praying. If you don't already have some kind of daily devotion, start one now. Since last year I have been praying Morning and Evening Prayer, with the super-abbreviated breviary, and it's mostly worked out. I love being steeped in the liturgical year instead of the secular year. It's a great way to meditate and memorize Scripture. Plus, it's cool to sign your correspondence with "The Feast of the..." just like bishops and cardinals do.
2. Start singing. Remember any hymns from church? Christmas carols? I'm having to re-learn them because they've been weeded out of radio and TV and the grocery store. I copy down hymns after Mass while my husband is dragging the toddler to the van, then sing from my scraps of paper when I'm alone with the kids.
3. Turn off the voices. It's hard to cultivate an inner dialogue with the Lord when you've got the TV blaring in the background. I limit TV time to Sesame Street and Bob, but after that it's off. Sometimes I listen to Catholic radio. But not always.
4. Take a mind trip. The imagination is a transcendent thing. It's no accident that every human being walking around this planet has an entire galaxy between their ears. Try imagining that when you're driving down the street. Whoa...if they only knew. When you lay down at night and your back/knees/feet/head is hurting, say to yourself, I've got a brand new one in Heaven. If you've had a bad day...I'm one day closer to being home with you, Jesus. Then try and imagine Jesus holding you, comforting you, welcoming you. Try to imagine what would happen if you died tonight. What if you woke up to...Him?? How would you live your day differently?
Don't accept the morbidity that surrounds death in our culture. Surrender to your own mortality. Accept the blinding fact that Jesus waits just beyond the curtain, and what he holds in trust for you is beyond your imagination. And you can't wait to get there! But if you just try to imagine it, using what faculties he gave you--he might grant to you a glimpse through the veil. I hope He gives something like that to my grandpa.
Please pray for him, his name is Harry.
Monday, December 11, 2006
Starving for Beauty
NO, this is not a post on anorexia--just a little epiphany I had today while wrapping presents. I got this mega-huge bag of old ribbon spools at Goodwill a few months ago, everything from red and white gingham to chartreuse polka dots, with a lot of good Christmas colors, but other crazy stuff too. And I had to wrap a big pile of presents so I used a good bit of the crazy stuff in there too. I got more and more elaborate with the wrapping, meditatively matching (and mis-matching) colors and patterns on top of the already-printed wrapping paper. I reminisced about past Christmases and thought about what made them special. All the time I thought, "I'm stupid for wasting time doing up these packages that are going to be shredded in no time flat."
But I wanted everyone who happens to be in our house to "feel special." I mean, when you're over 30 and you know that what's under the paper is no more exciting than socks and butter cookies, I thought that maybe we can squeeze just a bit more enjoyment out of the packages themselves. Maybe it will help the adults feel like kids again, just for a moment. Maybe it will help visitors feel especially loved and welcomed, just for a moment. Maybe it will stick in the kids' memories 20 years from now when they look around their college dorms and think, "Man, I wish I could be home for Christmas." Since we are moms, we can do that. We can take the time and make the cookies, use a little extra ribbon on the gifts, put a little extra flair into our decorating. Now I'm no Martha Stewart, mind you. I've got a downright scary toilet that needs cleaning, so I am neglecting things in order to wrap these presents, that I should perhaps be doing. But I couldn't tear myself away!
I got to my presents and started to feel sorry for myself because I had to wrap my own presents. How stupid, I thought. It's so much work, and it's not like I'm going to be surprised! I was tempted to skimp on ribbon and put less effort into my own packages. I mean, the baby is crying as it is! Then--WHAMMO--the realization hit me. We never think we are worth a little extra effort. A little extra attention. A little spot of sheer gratuitous beauty in our lives that sometimes seem as dull as...well, dishwater.
BUT...
God thinks we are worth it. God loves me! God loves me and wants to shower down presents on me. God thinks I'm worth a little pretty packaging, just because I'm me. Somewhere I had fallen into the trap of thinking that God loves what I do. But it's not true. A little tiny voice was trying to tell me, God loves you. He loves you as joyfully and abundantly and dearly and unconditionally as you love your kids, the little voice said. Even more. And when you exert yourself to add just a little bit of beauty to your life and the lives of others, you are doing His work. Those packages may go unremarked, but the likelihood is that the recipients will feel the love that you put into them, and they will treasure the love, not necessarily the wrapping paper or the socks. So I wrapped those packages and added plenty of frills.
That's what makes the home. It's the love that the mother can put into it, and any little touches of beauty that she can bring. That's what's missing in the culture "out there." There is pragmatism and commercialism and cold charity and cost. But not love. Yes, we have to scrape greasy dishes and clean up all the grimy stuff--life as real as it gets. But I think that we need beauty even more as an antidote. To remind ourselves that it's not just by changing diapers and fixing food that we show our love. This post goes into it a little bit better than I can think right now. But I am thinking, let's pursue an apostolate of beauty along with our wifehood.
But I wanted everyone who happens to be in our house to "feel special." I mean, when you're over 30 and you know that what's under the paper is no more exciting than socks and butter cookies, I thought that maybe we can squeeze just a bit more enjoyment out of the packages themselves. Maybe it will help the adults feel like kids again, just for a moment. Maybe it will help visitors feel especially loved and welcomed, just for a moment. Maybe it will stick in the kids' memories 20 years from now when they look around their college dorms and think, "Man, I wish I could be home for Christmas." Since we are moms, we can do that. We can take the time and make the cookies, use a little extra ribbon on the gifts, put a little extra flair into our decorating. Now I'm no Martha Stewart, mind you. I've got a downright scary toilet that needs cleaning, so I am neglecting things in order to wrap these presents, that I should perhaps be doing. But I couldn't tear myself away!
I got to my presents and started to feel sorry for myself because I had to wrap my own presents. How stupid, I thought. It's so much work, and it's not like I'm going to be surprised! I was tempted to skimp on ribbon and put less effort into my own packages. I mean, the baby is crying as it is! Then--WHAMMO--the realization hit me. We never think we are worth a little extra effort. A little extra attention. A little spot of sheer gratuitous beauty in our lives that sometimes seem as dull as...well, dishwater.
BUT...
God thinks we are worth it. God loves me! God loves me and wants to shower down presents on me. God thinks I'm worth a little pretty packaging, just because I'm me. Somewhere I had fallen into the trap of thinking that God loves what I do. But it's not true. A little tiny voice was trying to tell me, God loves you. He loves you as joyfully and abundantly and dearly and unconditionally as you love your kids, the little voice said. Even more. And when you exert yourself to add just a little bit of beauty to your life and the lives of others, you are doing His work. Those packages may go unremarked, but the likelihood is that the recipients will feel the love that you put into them, and they will treasure the love, not necessarily the wrapping paper or the socks. So I wrapped those packages and added plenty of frills.
That's what makes the home. It's the love that the mother can put into it, and any little touches of beauty that she can bring. That's what's missing in the culture "out there." There is pragmatism and commercialism and cold charity and cost. But not love. Yes, we have to scrape greasy dishes and clean up all the grimy stuff--life as real as it gets. But I think that we need beauty even more as an antidote. To remind ourselves that it's not just by changing diapers and fixing food that we show our love. This post goes into it a little bit better than I can think right now. But I am thinking, let's pursue an apostolate of beauty along with our wifehood.
Tuesday, December 05, 2006
An attempt at using my degree...
So can I, like, start a meme? What's the worst book you ever read, that just had really bad writing? I don't mean it wasn't a page-turner, or even a bestseller, but that the writing just made you wince.
I just finished a two-book series called Cordelia's Honor, the first book of which is called Shards of Honor, and the second Barrayar. My husband had it sitting on his shelf and I noticed it had a woman on the front and she was actually dressed. Might be interesting, I thought. Since it was a science-fiction novel, I thought it must have lots of space battles, or lots to do with space, or with technology. Wrong. This book was mostly about reproduction. That confused me, because I had misread the author's name, Lois McMaster Bujold, to mean Louis. I thought, "Why's this man writing what seems to me to be a really weird romance novel?" Talk about feeling stupid.
Now, I don't have time to give a full synopsis of the series, but it will suffice to say that this is mostly a romance told with a military backdrop. Both the man and the woman come from different planets, with totally alien social structures.
Cordelia comes from Beta Colony, where all buildings are underground to shield people from the desert sun. This is an appropriate setting for Beta Colony's sterile society, which relies on comconsoles (Article 1 of the Constitution: No one shall be deprived of information), psychotherapy and drugs to solve any social "problems," and whiz-bang technology to control the birth rate. Nobody gets "married" on Beta Colony. If two people decide that they want a baby, they have to meet certain physical, emotional, and economic tests, take classes, pass boards, and purchase a "child permit." The child is then grown in a "uterine replicator" while the co-parents go their merry ways.
In contrast, Aral Vorkosigan is heir to his father's fortune, estates, and political problems. His planet is locked in a perpetual cycle of wars and political intrigue that makes 14th century Germany look tame. He has to tread the treacherous waters of the Barrayaran military, while holding his familial and political loyalties in tension--all of which blow up in his and Cordelia's faces, once they are together on Barrayar. Their son, Miles, is disabled because of a poison gas attack and, preserved in a liberated uterine replicator, becomes the football in a deadly game of power politics.
On the face of it, this should not be a bad book. After all, it didn't start out bad--Aral takes Cordelia as a hostage after foiling a mutiny, and they gradually fall in love while tramping through the bush and trying to stay alive. The trouble is that once they get back to society, there is some kind of attempt by the author to set up a culture clash which she doesn't quite bring off. Despite Cordelia's constant little observations about how "savage" Barrayaran culture is, her society is shown to have all the bad tendencies of any super-centralized, "Big Brother"-style civilization. So after they try to force her to give in to their drugs and "therapy" (because she must, of course, be some kind of spy after her experience with Aral), she runs away and uses all her military skills to make it to Barrayar, where she comes upon the unsuspecting Vorkosigan, who had left his marriage proposal lying inert in her lap and was now drinking himself to death. Then there is about two lines' worth of white space on the page and the narrative begins again...guess when...several weeks AFTER their wedding.
Huh??
Any romance reader worth her salt knows that after the big leadup and falling-in-love section of the book, the "climax"--as it were--of any romance is The Wedding, and of course, The Wedding Night...or at least, The Clinch (for this is where we seem to be going these days). This is the only real motivating force behind the genre. And the author just skips it.
There she lost my trust, as a reader. I think it was a boneheaded thing to do. She did not have to give it explicit, gratuitous detail...but seeing as how she'd used the genre thus far, and made us care about these characters and want to see them happy...she needed to at least sketch in the rest of the structure before she left it behind and switched over to another genre. Which she does, then, with bone-jarring force. End book one.
Book two starts with a full-blown political crisis. The emperor is dead and the heir is only five years old. Vorkosigan is the only qualified Regent to be had, and Cordelia, as his wife, finds herself in a curious position. She's a commoner, a "galactic," a feminist in a male-dominated world, and something of a close-order tactician. She doesn't care about clothes, courts, or counts, but she does care about Aral and her friends. So when political tensions on Barrayar explode into an attempted coup, she must first regain her old sense of herself (while fleeing through the mountains) in enough time to foil the bad 'uns plot, save her son, and cut off the head of the pretender. Whoops, that was a spoiler. Not that you were really going to read the book.
I could write a ten-page paper on all the flaws in this novel(s), but thankfully John C. Wright has summed it up for me:
"We can see a pattern in...realistic fiction: the scenery is mundane and unimaginative. The props and events are ordinary rather than extraordinary, and hence unimaginative. The events also must lack the one thing the human imagination always reads into events, that is, a moral purpose or providential meaning. The way a dull and unimaginative mind sees life, as a flux of events in which no pattern can be found, is the viewpoint of modernism. No extraordinary characters, no men of sterling virtue or villains of blackest vice, can exist in modernism, because there is nothing extraordinary in their world. It takes an act of imagination to picture the personality and behavior of a saint or a serial murderer."
http://johncwright.livejournal.com/57689.html#cutid1
Why does this criticism apply to Cordelia's Honor? In fairness, I must say that the author admits in an afterword that these books, while the first to be written, were the last to be sold and amount to a prequel to the main series, which concerns Miles and his exploits. And in all frankness, it is a triumph of conceit to sit back and, not having written a novel oneself, proceed to take apart somebody else's literary labor of love. But that is what English Majors do.
THE HERO
Aral Vorkosigan would have been a great hero if he hadn't been castrated in the first book. Feminist sensibilities might make for good press, but they make abysmally bad storytelling. It's not enough for Cordelia to just be herself. She has to be a scientist and a soldier before she can be Aral's love interest. When he proposes to her, she is so formidable that he acts like he's negotiating a treaty. She escapes from his ship out from under his nose when her loyal troops (all men) come to rescue their Commander, yet before she leaves, she single-handedly saves his hide from another bunch of would-be mutineers.
THE LADY
Cordelia bears no relation to her namesake of King Lear. She'd rather wear her old tan Survey fatigues than a dress, prefers watching a fight over a ball, and keeps a running internal dialogue on how backward Barrayar is and how she wonders if Beta Colony would have her back. Incomprehensibly, the author keeps putting vague religious references into her mouth without anchoring them in anything stemming from her culture, upbringing, or even her own personal beliefs (which we never find out). She's not exactly a crack fighter, but all the action-oriented plot points hinge on her ability to snatch victory from defeat. She becomes pregnant in the second book, and although she muses impartially on the various advantages and disadvantages of reproducing "in vivo" rather than "in vitro," she becomes fixated on her son only when it seems certain he will die.
THE BABY-IN-A-CAN
This is the weirdest plot point yet. I don't have a problem with science fiction writers thinking through the likely technological developments of the future, but they need to think through the probable moral and social consequences as well. Wright's criticism of modernism comes into play here as we see more and more tales cranked out, especially in the science fiction genre, in which technology that revolutionizes some aspect of life is dropped onto the stage like a sandbag, and left there with no moral consequences. Ms. Bujold does a good job of thinking through the political in-fighting that is the meat of the plot, so one wonders why her treatment of these (surely) much more personal and contemporary concerns is so clumsy, especially since they are so germane to the main characters and to the baby who will become the main character of a lengthy series.
In fairness, Ms. Bujold's overarching theme could be considered pro-life--the whole point of Miles' story arc is that he is "disabled" and yet goes on to lead a life of adventure and significance. So when he is in the uterine replicator, there is some dialogue on whether or not "opening up the stopcocks" may or may not be the best thing to do in his situation. However, the theme is still problematic because when Cordelia and Aral discuss it, they admit that both their worlds practice eugenics in some form, and while it's not clear whether they endorse these practices, they seem to be resigned to their necessity.
There is not only NOT clear moral direction here, but there is no attempt to even draw distinctions, i.e. contraception is OK, but not infantacide, for instance. This makes no sense--in our times, such statements are hardly ever made, not because they don't matter, but because people argue endlessly about them. Ms. Bujold picks these topics up as one would a snowglobe, shaking it and watching the snow fall for a moment, then walking away.
THE WEIRD SEXUAL STUFF
Another hallmark of modernism that I've found is its treatment of the physical body and the sexual nature of man as just another biological function that can and should be manipulated, with no especial moral complications. We have stories and novels now in which characters no longer have sex--they are merely rutting like two farm animals might, and the rutting process is described in indelicate and painful detail. Sexual abuse figures largely in Cordelia's Honor, and I am still trying to figure out why.
After eschewing the Wedding Night scene in the first novel, I thought maybe Ms. Bujold just didn't want to be caught focusing on sex. This notion was blown out of the water by the second novel's opening gambit, a military maneuver that results in Cordelia's being taken as a prisoner of war, and chained to the bed of some sadistic Vice-Admiral for what promises to be a long, drawn out rape scene. The room is described in vivid detail, as well as all the Vice-Admirals "plans" for her. During this, Cordelia lies stoically on the bed, refusing to acknowledge pain or fear. She is a soldier, after all--at least in this scene. She does have a miraculous escape, but my question is why. Why the detailed rape scene that ultimately has no more than a footnote's significance to the overall story, while the consummation of the love the two main characters have in their marriage is conspicuously left out? Why must there be a scene in which a 9 1/2 months pregnant woman is sexually degraded? The answer is because modernism allows for brutality, but not love. Love points to a higher plane of being.
CONCLUSION
Without making any direct attacks on Ms. Bujold--who I assume does not have the gift of faith, and who had the guts to write, and keep on writing...even when the first couple of books didn't pan out--I reject this style of writing categorically. I thought one of the great advantages of science fiction was that you could address topics that weren't compatible with "realistic" (modernist) literature. You could address spirituality, love, the conflict of the human heart...even controversial topics that are almost impossible to show on TV or in film without an uproar. Cordelia's Honor makes an attempt at this...but falls far too short of success, and shows the bad tendencies of the modernist influence and how it ultimately fails the story, the characters, and the reader. One hopes that Ms. Bujold was able to work out these issues and capture some transcendent themes that, sadly, were only dimly reflected in these first books.
***
On a personal note, I stopped trying to write fiction after college because I felt it was no longer worth it. Unless you were writing for a specific genre and followed all their rules (which I felt was too restrictive), the only model you had to go on if you aspired to write literature was this modernistic garbage: where characters' relationships were like car crashes, and the blood and guts were described with obsessive detail...while the whole point of storytelling--what makes this life matter--was missing.
Oh, I almost forgot...I tag Amy Caroline, mary poppins not, and laurathecrazymama!
I just finished a two-book series called Cordelia's Honor, the first book of which is called Shards of Honor, and the second Barrayar. My husband had it sitting on his shelf and I noticed it had a woman on the front and she was actually dressed. Might be interesting, I thought. Since it was a science-fiction novel, I thought it must have lots of space battles, or lots to do with space, or with technology. Wrong. This book was mostly about reproduction. That confused me, because I had misread the author's name, Lois McMaster Bujold, to mean Louis. I thought, "Why's this man writing what seems to me to be a really weird romance novel?" Talk about feeling stupid.
Now, I don't have time to give a full synopsis of the series, but it will suffice to say that this is mostly a romance told with a military backdrop. Both the man and the woman come from different planets, with totally alien social structures.
Cordelia comes from Beta Colony, where all buildings are underground to shield people from the desert sun. This is an appropriate setting for Beta Colony's sterile society, which relies on comconsoles (Article 1 of the Constitution: No one shall be deprived of information), psychotherapy and drugs to solve any social "problems," and whiz-bang technology to control the birth rate. Nobody gets "married" on Beta Colony. If two people decide that they want a baby, they have to meet certain physical, emotional, and economic tests, take classes, pass boards, and purchase a "child permit." The child is then grown in a "uterine replicator" while the co-parents go their merry ways.
In contrast, Aral Vorkosigan is heir to his father's fortune, estates, and political problems. His planet is locked in a perpetual cycle of wars and political intrigue that makes 14th century Germany look tame. He has to tread the treacherous waters of the Barrayaran military, while holding his familial and political loyalties in tension--all of which blow up in his and Cordelia's faces, once they are together on Barrayar. Their son, Miles, is disabled because of a poison gas attack and, preserved in a liberated uterine replicator, becomes the football in a deadly game of power politics.
On the face of it, this should not be a bad book. After all, it didn't start out bad--Aral takes Cordelia as a hostage after foiling a mutiny, and they gradually fall in love while tramping through the bush and trying to stay alive. The trouble is that once they get back to society, there is some kind of attempt by the author to set up a culture clash which she doesn't quite bring off. Despite Cordelia's constant little observations about how "savage" Barrayaran culture is, her society is shown to have all the bad tendencies of any super-centralized, "Big Brother"-style civilization. So after they try to force her to give in to their drugs and "therapy" (because she must, of course, be some kind of spy after her experience with Aral), she runs away and uses all her military skills to make it to Barrayar, where she comes upon the unsuspecting Vorkosigan, who had left his marriage proposal lying inert in her lap and was now drinking himself to death. Then there is about two lines' worth of white space on the page and the narrative begins again...guess when...several weeks AFTER their wedding.
Huh??
Any romance reader worth her salt knows that after the big leadup and falling-in-love section of the book, the "climax"--as it were--of any romance is The Wedding, and of course, The Wedding Night...or at least, The Clinch (for this is where we seem to be going these days). This is the only real motivating force behind the genre. And the author just skips it.
There she lost my trust, as a reader. I think it was a boneheaded thing to do. She did not have to give it explicit, gratuitous detail...but seeing as how she'd used the genre thus far, and made us care about these characters and want to see them happy...she needed to at least sketch in the rest of the structure before she left it behind and switched over to another genre. Which she does, then, with bone-jarring force. End book one.
Book two starts with a full-blown political crisis. The emperor is dead and the heir is only five years old. Vorkosigan is the only qualified Regent to be had, and Cordelia, as his wife, finds herself in a curious position. She's a commoner, a "galactic," a feminist in a male-dominated world, and something of a close-order tactician. She doesn't care about clothes, courts, or counts, but she does care about Aral and her friends. So when political tensions on Barrayar explode into an attempted coup, she must first regain her old sense of herself (while fleeing through the mountains) in enough time to foil the bad 'uns plot, save her son, and cut off the head of the pretender. Whoops, that was a spoiler. Not that you were really going to read the book.
I could write a ten-page paper on all the flaws in this novel(s), but thankfully John C. Wright has summed it up for me:
"We can see a pattern in...realistic fiction: the scenery is mundane and unimaginative. The props and events are ordinary rather than extraordinary, and hence unimaginative. The events also must lack the one thing the human imagination always reads into events, that is, a moral purpose or providential meaning. The way a dull and unimaginative mind sees life, as a flux of events in which no pattern can be found, is the viewpoint of modernism. No extraordinary characters, no men of sterling virtue or villains of blackest vice, can exist in modernism, because there is nothing extraordinary in their world. It takes an act of imagination to picture the personality and behavior of a saint or a serial murderer."
http://johncwright.livejournal.com/57689.html#cutid1
Why does this criticism apply to Cordelia's Honor? In fairness, I must say that the author admits in an afterword that these books, while the first to be written, were the last to be sold and amount to a prequel to the main series, which concerns Miles and his exploits. And in all frankness, it is a triumph of conceit to sit back and, not having written a novel oneself, proceed to take apart somebody else's literary labor of love. But that is what English Majors do.
THE HERO
Aral Vorkosigan would have been a great hero if he hadn't been castrated in the first book. Feminist sensibilities might make for good press, but they make abysmally bad storytelling. It's not enough for Cordelia to just be herself. She has to be a scientist and a soldier before she can be Aral's love interest. When he proposes to her, she is so formidable that he acts like he's negotiating a treaty. She escapes from his ship out from under his nose when her loyal troops (all men) come to rescue their Commander, yet before she leaves, she single-handedly saves his hide from another bunch of would-be mutineers.
THE LADY
Cordelia bears no relation to her namesake of King Lear. She'd rather wear her old tan Survey fatigues than a dress, prefers watching a fight over a ball, and keeps a running internal dialogue on how backward Barrayar is and how she wonders if Beta Colony would have her back. Incomprehensibly, the author keeps putting vague religious references into her mouth without anchoring them in anything stemming from her culture, upbringing, or even her own personal beliefs (which we never find out). She's not exactly a crack fighter, but all the action-oriented plot points hinge on her ability to snatch victory from defeat. She becomes pregnant in the second book, and although she muses impartially on the various advantages and disadvantages of reproducing "in vivo" rather than "in vitro," she becomes fixated on her son only when it seems certain he will die.
THE BABY-IN-A-CAN
This is the weirdest plot point yet. I don't have a problem with science fiction writers thinking through the likely technological developments of the future, but they need to think through the probable moral and social consequences as well. Wright's criticism of modernism comes into play here as we see more and more tales cranked out, especially in the science fiction genre, in which technology that revolutionizes some aspect of life is dropped onto the stage like a sandbag, and left there with no moral consequences. Ms. Bujold does a good job of thinking through the political in-fighting that is the meat of the plot, so one wonders why her treatment of these (surely) much more personal and contemporary concerns is so clumsy, especially since they are so germane to the main characters and to the baby who will become the main character of a lengthy series.
In fairness, Ms. Bujold's overarching theme could be considered pro-life--the whole point of Miles' story arc is that he is "disabled" and yet goes on to lead a life of adventure and significance. So when he is in the uterine replicator, there is some dialogue on whether or not "opening up the stopcocks" may or may not be the best thing to do in his situation. However, the theme is still problematic because when Cordelia and Aral discuss it, they admit that both their worlds practice eugenics in some form, and while it's not clear whether they endorse these practices, they seem to be resigned to their necessity.
There is not only NOT clear moral direction here, but there is no attempt to even draw distinctions, i.e. contraception is OK, but not infantacide, for instance. This makes no sense--in our times, such statements are hardly ever made, not because they don't matter, but because people argue endlessly about them. Ms. Bujold picks these topics up as one would a snowglobe, shaking it and watching the snow fall for a moment, then walking away.
THE WEIRD SEXUAL STUFF
Another hallmark of modernism that I've found is its treatment of the physical body and the sexual nature of man as just another biological function that can and should be manipulated, with no especial moral complications. We have stories and novels now in which characters no longer have sex--they are merely rutting like two farm animals might, and the rutting process is described in indelicate and painful detail. Sexual abuse figures largely in Cordelia's Honor, and I am still trying to figure out why.
After eschewing the Wedding Night scene in the first novel, I thought maybe Ms. Bujold just didn't want to be caught focusing on sex. This notion was blown out of the water by the second novel's opening gambit, a military maneuver that results in Cordelia's being taken as a prisoner of war, and chained to the bed of some sadistic Vice-Admiral for what promises to be a long, drawn out rape scene. The room is described in vivid detail, as well as all the Vice-Admirals "plans" for her. During this, Cordelia lies stoically on the bed, refusing to acknowledge pain or fear. She is a soldier, after all--at least in this scene. She does have a miraculous escape, but my question is why. Why the detailed rape scene that ultimately has no more than a footnote's significance to the overall story, while the consummation of the love the two main characters have in their marriage is conspicuously left out? Why must there be a scene in which a 9 1/2 months pregnant woman is sexually degraded? The answer is because modernism allows for brutality, but not love. Love points to a higher plane of being.
CONCLUSION
Without making any direct attacks on Ms. Bujold--who I assume does not have the gift of faith, and who had the guts to write, and keep on writing...even when the first couple of books didn't pan out--I reject this style of writing categorically. I thought one of the great advantages of science fiction was that you could address topics that weren't compatible with "realistic" (modernist) literature. You could address spirituality, love, the conflict of the human heart...even controversial topics that are almost impossible to show on TV or in film without an uproar. Cordelia's Honor makes an attempt at this...but falls far too short of success, and shows the bad tendencies of the modernist influence and how it ultimately fails the story, the characters, and the reader. One hopes that Ms. Bujold was able to work out these issues and capture some transcendent themes that, sadly, were only dimly reflected in these first books.
***
On a personal note, I stopped trying to write fiction after college because I felt it was no longer worth it. Unless you were writing for a specific genre and followed all their rules (which I felt was too restrictive), the only model you had to go on if you aspired to write literature was this modernistic garbage: where characters' relationships were like car crashes, and the blood and guts were described with obsessive detail...while the whole point of storytelling--what makes this life matter--was missing.
Oh, I almost forgot...I tag Amy Caroline, mary poppins not, and laurathecrazymama!
Saturday, December 02, 2006
My Progenitor is Literary
So with all due respect to my dad, I'd never thought I'd say this...my dad is a great writer! And he needs to get published! Sure, it's taken him a good fifty years an' what-all to gettin' it sorted all out down below, but now-a see hyar what kind-a yarn tellin' this ol' fox is 'capable uv:
"Well sir, Ah was jest 'bout ta creep outa there in low-range when Ah got to thinkin. This hyar'd be a good spot to check the underside a ol' Gramps's fer any dee-regularities, what with the extra standin room under thar. So Ah grabbed mah flashlight an reached fer the door handle but it weren't there. So Ah looked 'round an found Ah was sittin on it. So Ah figgered that mehbe it wadn't such a good idea ta open that door at this partic'lar angle. Ah mean thar's prob'ly a ten foot drop a waitin out thar. An hyar Ah am an older gent, alone in the dark a sittin in a truk that's perched pre-carius a half mile up a steep an ragged gulley from a possible rocky water landin an no help fer fifty miles. Ah ain't even got no dawg ta whine over me. So discretion being the better part a valor, Ah'll just have ta go out t'other door."
And that's before anything really happens!
I guess t'other part-a this that really tickles mah hide is that the ol' feller asked me, his weak an' sickly girl-child, fer help with his hyar, what they call it, creatin' process that all writers and such-like do, and hyar ah am, jes' a mean and lowly housewife an' all. So ah'm a mite tickled by the ol' gent ya see, an' ah'm right grateful to have my o-pinyuns asked fer.
"Well sir, Ah was jest 'bout ta creep outa there in low-range when Ah got to thinkin. This hyar'd be a good spot to check the underside a ol' Gramps's fer any dee-regularities, what with the extra standin room under thar. So Ah grabbed mah flashlight an reached fer the door handle but it weren't there. So Ah looked 'round an found Ah was sittin on it. So Ah figgered that mehbe it wadn't such a good idea ta open that door at this partic'lar angle. Ah mean thar's prob'ly a ten foot drop a waitin out thar. An hyar Ah am an older gent, alone in the dark a sittin in a truk that's perched pre-carius a half mile up a steep an ragged gulley from a possible rocky water landin an no help fer fifty miles. Ah ain't even got no dawg ta whine over me. So discretion being the better part a valor, Ah'll just have ta go out t'other door."
And that's before anything really happens!
I guess t'other part-a this that really tickles mah hide is that the ol' feller asked me, his weak an' sickly girl-child, fer help with his hyar, what they call it, creatin' process that all writers and such-like do, and hyar ah am, jes' a mean and lowly housewife an' all. So ah'm a mite tickled by the ol' gent ya see, an' ah'm right grateful to have my o-pinyuns asked fer.
Friday, December 01, 2006
Our Papa Celebrates Mass in Ephesus
Just saw this video on JimmyAkin.org and thought I'd share it with ya'll. I don't know how to put YouTube vids on my blog, so if you click on the link below it will take you to Jimmy's blog and you can watch it there.
Several things struck me about this video. Every time an image of the Pope appears, whether it's on the TV or in a magazine--like this week's cover of Time, the atmosphere around him is electric. I mean, if spiritual graces were visibly manifested as something like...lightning bolts, for instance, he'd be a mass of trailing arcs and sparks. In contrast, I'd be something like that static-y thing that happens when you open your dryer.
Next, watch how the people treat him. I mean, no matter how much you disagree with Catholicism, you cannot argue that this is the one person on Earth who could actually "confront Islam," like it said on the magazine cover. Then watch how he treats the consecrated Host. There is no doubt in my mind that he thinks of himself as the lowliest servant of Christ. And yet, what does it do to a man to consecrate, handle, and consume the Body and Blood of Christ over a lifetime? You can see the love in his hands and face. He does not wear the regalia of a king for his own glory. He does it for the glory of his King.
BTW, there's a good close-up of a woman wearing a headcovering in the vid, although most of the women are not wearing one.
CHECK IT OUT.
Several things struck me about this video. Every time an image of the Pope appears, whether it's on the TV or in a magazine--like this week's cover of Time, the atmosphere around him is electric. I mean, if spiritual graces were visibly manifested as something like...lightning bolts, for instance, he'd be a mass of trailing arcs and sparks. In contrast, I'd be something like that static-y thing that happens when you open your dryer.
Next, watch how the people treat him. I mean, no matter how much you disagree with Catholicism, you cannot argue that this is the one person on Earth who could actually "confront Islam," like it said on the magazine cover. Then watch how he treats the consecrated Host. There is no doubt in my mind that he thinks of himself as the lowliest servant of Christ. And yet, what does it do to a man to consecrate, handle, and consume the Body and Blood of Christ over a lifetime? You can see the love in his hands and face. He does not wear the regalia of a king for his own glory. He does it for the glory of his King.
BTW, there's a good close-up of a woman wearing a headcovering in the vid, although most of the women are not wearing one.
CHECK IT OUT.
Subscribe to:
Posts (Atom)
