The story of Noah has long fascinated me. The world of early Genesis is so mysterious and compelling—a mythical time when all the action seemed to be taking place in just one bit of the world, and events were always momentous. Noah, the new Adam ten generations on, stood out as the prototypical good guy. The sort of fellow you’d like living next door. An everyday hero. The movie Noah, however, introduced a dark and brooding ark captain whose unyielding devotion to his own concept of righteousness led to a tormented journey over the flood. I wonder if Darren Aronofsky read Timothy Findley’s Not Wanted on the Voyage. Recommended to me by one of my students, this novel was difficult for me to categorize. At first I thought it might be a funny story—despite the tragic overtones, there is much in the flood story that suggests humor—but no, it was more serious than that. Noah was cast in a primeval, post-Christian world where elements of the twentieth century were freely available, while others were not. And more troubling, Noah was not at all a nice guy. Indeed, he is one of the best written antagonists I’ve encountered. You shudder when he enters the room.
Apart from Noah, however, the novel explores the premise that Yaweh [sic] sent the flood as a final, dying act. Old, feeble, yet the creator of everything, the deity is ready to give it all up as the absentee landlord who has no idea what’s happening on earth. The reader feels little sympathy for the divine. Like humanity, he set something in motion he has no hope of controlling, yet which he can destroy. As he is about to die, unbeknownst to all humans, he sends the flood. Noah, six-hundred years old and senile, oversees his ark with an iron hand. His religion has made him cruel, and I was frequently left wondering whether those who survived were more fortunate than those who did not. As a fantasy the story works, with well drawn characters and a devious plot. The problem comes in trying to reconcile it with a Bible story all too well known. In the end we’re left wondering if the flood does really ever end, and, if so, does anything turn out okay.
Known for his dark, conflicted characters, Findley adds a macabre dash of the improbable to an already unbelievable story. Mrs. Noyes, aka Mrs. Noah, is perhaps the most sympathetic character in the novel. Her son Ham, cursed in the biblical version, is clearly the best son, but one his father dislikes by reason of his love for science. Part morality play, part farce, Not Wanted on the Voyage can be a disturbing novel, rather like the movie Noah. That’s not to suggest there’s no message here. I see it as a cautionary tale of a misplaced faith taken too far. Instead of pleading to save humanity, Noah seems only to glad to let all but his own be wiped out. His sons disappoint him, and the one daughter-in-law he appreciates disappoints him in the end. Perhaps this is what destructions are all about. Does any flood really have a happy ending?
Posted in Bible, Books, Genesis, Literature, Movies, Popular Culture, Posts, Religious Violence
Tagged Darren Aronofsky, flood myth, Genesis, Noah, Not Wanted on the Voyage, Timothy Findley
“Push men too far and they fall off the cliff. Push great men too far and they soar.” The words are those of my novelist friend K. Marvin Bruce. Unless you read this blog you’ve probably never heard of him; his novel publishing record is about as successful as my academic career. Still, I think quite a bit about Marvin’s plight. He seems to be a gifted writer—he sends me copies of his stuff—but publishers take no notice. He’s had a few short stories appear in online journals; two of them even won prizes, but the internet is a very crowded place. It’s not easy to get noticed. Those who try to make a living smithing words often face a dilemma; it feels like all the momentous words have already been taken.
Marvin on a superlative walk
I mentioned in a recent post that we are suffering from a crisis of superlatives. The other day I was in a mall (this is a foreign activity for me—the people all look far trendier than I do, and they seem to think this is the place to be, not just where you have to go to have your laptop serviced). I saw a mother walking by holding the hand of her maybe three-year-old son. His little tee-shirt read “Über Awesome.” I recall when awesome really meant full of awe. And that was rare, reserved for things like towering, severe Midwestern thunderstorms alive with constant lightning, or gray north Atlantic waves crashing mercilessly into the cliffs of Maine. I stood, small and insignificant on the prairie or the coast, utterly at a loss for words. Yes, it was that impressive. My superlatives, however, have all been absconded. We live in a world where “greatest” sounds somewhat ordinary. Even the apocalypse has grown thin from overuse, and that used to be the ultimate end of everything. How weak it all sounds.
Over the past few weeks I’ve been watching the second Star Wars trilogy. While the special effects are impressive, it suffers compared to the original trilogy. One of the reasons, in my idiosyncratic hermeneutic, is that the Jedi knights were reconceived, or reconceptualized. They are action figures, hands on hips, ready to dart into a fight. “May the force be with you,” has become a mere “God bless you.” Was not the real strength of Obi Wan his silence and lack of haste? Was Luke ever more impressive than when he slowly walked into the cave of Jabba the Hut, light saber tucked away, only to be used when such an awesome weapon was called for? It takes a certain placidity of soul to stare long into the abyss. Perhaps this is a metaphor for our superlatives. Calm lives of measured, considered action. This seems to be what the world lacks. To find it would truly be experience simple greatness.
It all began with that trailer. You know, the teaser for the new Star Wars movie. I was among those many small-town boys crowding into theaters in 1977 to have their small-town minds blown with a Luke Skywalker, somehow just like us, getting to go on a galactic adventure and conquering evil. It was a transformative experience. Later I was to learn that noted Jungian mythologist Joseph Campbell had advised on the story, helping to produce image after archetypal image that spoke to deep levels of viewers’ psyches. Hungrily we watched, as even through some missteps, the franchise grew to trilogy proportions, creating its own cultural memes (has “I am your father” ever been the same since?). Then somehow I missed The Phantom Menace, or episode one. It could be that work at the time (Nashotah House) was an epic struggle in its own right. With a small child and not sure about baby-sitting options, taking a night out to watch the prequel to a story that had already nicely resolved itself felt kind of pointless. We already knew how it ended. But that trailer. Now it seems, the story will continue.
So it was that my wife and I decided to catch up. Over the weekend we watched The Phantom Menace. Of course, I’d seen clips before. I’d also read the reviews that were less than complementary (Joseph Campbell had died in the meantime and George Lucas couldn’t seem to come up with archetypes on his own). I was curious, but not curious enough to rent the video (as people did in those days). So The Phantom Menace, cast from the same die as episode 4, also has a strong religious resonance. The Jedi (and already the religion of Jediism has begun to appear) filled the backstory with near invincibility, and all the aliens seemed somehow comic, yet we are told remarkably little about the Force. Perhaps episode 4 had said enough. When Darth Vader is introduced as a prescient boy, the audience (at least this audience) finds it hard to believe he is the result of a virgin birth. Indeed, Lucas throws us the midi-chlorians as a sop, but we know that when a woman gives birth with no male intervention we’re in messianic territory. And of course, non-Muppet Yoda tells us straight up that he may be the chosen one.
Introducing the Sith, who are the embodiment of the dark side of the force, we are treated to a devil in only a thin disguise. The red and black greasepaint warn us that when he removes his hood he will have horns. Although we’re not shown, I suspect he has cloven feet as well. So through the movie with its gratuitous cameos of creatures we already know from episode 4, we come to an end that is strangely familiar. We’re back where we started. The Jedi favor earth tones over white, however, and the Sith is neither all red nor all black. The evil of the galactic empire seems to be no more than the very real overtaxation of the poor. And yet for all my disappointment, there’s that trailer we all saw in December, and using my own version of the Force, I foresee an attack of clones in my future.
Posted in Movies, Popular Culture, Posts
Tagged George Lucas, Jedi, Jediism, Joseph Campbell, Luke Skywalker, Nashotah House, science fiction, Star Wars, the force, The Phantom Menace, virgin birth