430: “Revolutionary”—or an Internet-age rediscovery of storytelling artistry?

“REVOLUTIONARY!”
    I’m a longtime fan of NPR’s Diane Rehm, but the moment I heard her echo a caller’s over-the-top praise of Reif Larsen’s new book as “revolutionary“—well, my mind was churning. And, I’m turning to you, our readers, today to explore this question: Just how revolutionary is it to expand a story through illustrations, graphics and marginal notes?
     Larsen’s terrific new book, “The Selected Works of T.S. Spivet,” is a wonderful accomplishment. I’ve thoroughly enjoyed the book myself. It is innovative. Penguin published it as a large-format, hardback book to capture all of Larsen’s drawings, maps and marginal notes along with the main first-person story of a brave little boy who travels to Washington D.C. to deliver a lecture at the Smithsonian Institution.
    That description alone may intrigue you. But my point here is that Larsen’s work hardly represents a revolution. I’d like to hear from you, readers, about books you’ve loved that might be considered grandparents or first cousins of this new book.

    First of all, we could argue that this storytelling artistry goes all the way back to cave paintings and then murals in the ancient world. Larsen’s got nothing new on Egyptian murals, for example, except maybe the contemporary subject of his tale.
    This isn’t even new to American shores. Native American Ledger Art is certainly an ancestor of this book, especially because Larsen—a New Yorker with a stellar East Coast family background in the fine arts—purports to be telling the story of a rural Western family in this novel. Larsen opens the book by describing young Spivet’s amazing passion for jotting, drawing and making charts in notebooks in his room on the family ranch in Montana. Well, out in that neck of the Great Plains, Indian artists were creating the first illustrated notebooks—Ledger Art—way back in the mid 1800s.
    This was a natural extension for them of drawings made on smoothed hides. Missionaries, traders, educators and other Euro-Americans brought these neatly bound ledgers westward with them—and Indian artisans soon mastered their own forms of illustrated storytelling in the big pages of these books. (Two of our illustrations today are actual Ledger Art. One shows brave Indian women on horseback recapturing a stolen sacred pole during the Ghost Dance era. The other, at right, is from around 1880 by a Lakota artist and shows a fearsome Spirit Being.)
    Leger Art didn’t die. It’s alive today in the studios of artists reclaiming its original form.
    It’s also been adapted in many ways. Sherman Alexie, probably the single hottest Indian writer and filmmaker today, used a simplified form of this genre for his multiply award-winning novel, “The Absolutely True Diary of a Part-Time Indian.”
    Of course, this book also borrows from the super-popular “Diary of a Wimpy Kid” series. Alexie’s novel tells the tale of young Junior, a budding cartoonist growing up on a Spokane Indian reservation and having a tough time at school. I recently came across this 2007 novel, which has won both a National Book Award as well as “Best Book of the Year” from the School Library Journal. Our own ReadTheSpirit Books is about to publish a Native American memoir and I’ve been working with a group of 50 high-school students studying Indian culture. I passed around copies of Alexie’s “Absolutely True Diary”—and kids absolutely loved it! They jumped from that book to Alexie’s other books and his movie, “Smoke Signals.” (It’s natural in this mode of storytelling to move from sketches on a page to images on a screen, which Alexie does almost effortlessly.)

    Finally, this week, Diane Rehm’s biggest praise for Reif Larsen’s “innovation” focused on the way he used his storytelling format to engage in multiple levels of the narrative—and even to invite readers to explore less-than-reliable voices within this mix.
    Well, of course, that mingling of narrative formats, voices and levels of reliability is at least as old as Sir Walter Scott, certainly followed by Charles Dickens. But, when you throw in all the graphics and illustrations in this new book—we’re surely talking about the cross-over influence of comic books and graphic novels here.
    “Watchmen” is a landmark in comic books partly because it wove various narrative voices into the text and images, some more reliable and on-point than others. Neil Gaiman’s “Sandman” series, which evolved from comic books to illustrated storybooks, novels and even influenced Gaiman’s TV and movie work, also is part of this dramatic mingling of genres. It’s very exciting stuff. It’s just not a revolution attributable to Mr. Larsen.

    This creative mingling is everywhere you look—if you’re looking clearly. Even “children’s books” we’ve recommended from publishers like Candlewick—titles like the newly revamped “Don Quixote” and “The Time Book“—certainly are first cousins of T.S. Spivet’s tale.

    So, please, tell us what you’ve enjoyed in this mixing-and-mingling of storytelling formats.
    Is this revival of ancient forms fueled by the Internet’s graphic, non-linear webwork of storylines?
    Is this all due to the rediscovery of comics?
    Are aging Baby Boomers so nostalgic for the storybooks and comics of their own childhood that they’re fueling a revival now?

PLEASE TELL US WHAT YOU THINK:

     This is a good time to sign up for our Monday-morning ReadTheSpirit Planner by Email—it’s
free and you can cancel it any time you’d like to do so. The Planner
goes out each week to readers who want more of an “inside track” on
what we’re seeing on the horizon, plus it’s got a popular “holidays”
section.

    Not only do we welcome your notes—but our readers enjoy them as well. You can do this
anytime by clicking on the “Comment” links at the end of each story.
You also can Email ReadTheSpirit Editor David Crumm. We’re also reachable on Twitter, Facebook, Amazon, YouTube and other social-networking sites as well.
    (Originally published at https://readthespirit.com/)

422: Join us this week in a “fascinating” journey to spiritual realms of “Star Trek”

    “Please, Spock! Do me a favor and don’t say it’s ‘fascinating’!“ (Dr. McCoy)
    “No … but it is—interesting.” (Spock)

THE MOTHER SHIP of sci-fi-spiritual connections is beaming up yet another resurrection of this mythic tale that’s been hovering around in global culture for 43 years. In other words: The latest “Star Trek” movie opens this week! And it’s going back to scratch for a look at “Star Trek” origins. So plan ahead!
    Industry analysts in publications like Advertising Age are predicting that “Star Trek” won’t eclipse the socko opening of Hugh Jackman in the new “X-Men” movie that kicked off “the summer movie season.” Industry number crunchers are finding, for instance, significantly more women interested in seeing Jackman’s antics than a classic-sci-fi remake. Also, younger viewers are hotter on X-Men than the crew of the Enterprise. In response, there’s an MTV blitz of Trek ads on your TV right now.
    HOWEVER, we can guarantee this: In terms of spiritual reflection (blog postings, mentions in sermons, newsletter notes, discussions in small groups)—Trekkies will beat out the X-Men hands down.
    So, today, we want to help you get your minds churning with some tough-to-find resources on the underlying spiritual and philosophical themes in “Star Trek.” And we want to hear from you, please!

FIRST UP: A WORD FROM GENE RODDENBERRY …

    If you’re a Trekkie or simply an alert reader—you may be able to track down the origin of this statement by Roddenberry. I was aware it existed from years of covering religion—and I tracked down one copy on a sub-page of a German fan site. Despite a bit of our own Web wizardry, though, we weren’t able to nail down its origin. The piece originally appeared in the 1970s. If you know the origin, email us.
    This is especially “fascinating,” because Roddenberry died in 1991 and this statement represents a pretty pure snapshot of what he thought about the series. A former WWII bomber pilot and briefly a commercial pilot and policeman, Roddenberry brought a unique background to creating “Star Trek”—coupled with a pragmatic view of popular culture. More recently, for example, Roddenberry’s son has declared the series’ legacy to be nothing short of Shakespeare. It’s interesting that Roddenberry himself didn’t buy that line of thinking.
    So, here are a few words from Gene himself:

    How can a simple space opera with blinking lights and zap-guns and a goblin with pointy ears reach out and touch the hearts and minds of literally millions of people and become a cult in some cases? …
    First of all, our show did not reach and affect all these people because it was deep and great literature. “Star Trek” was not Ibsen or Shakespeare. To get a prime time show—a network show—on the air and to keep it there, you must attract and hold a minimum of 18 million people every week. You have to do that in order to move people away from “Gomer Pyle,” “Bonanza,” “Beverly Hilbillies” and so on. And we tried to do this with entertainment, action, adventure, conflict and so on.
    But once we got on the air, and within the limits … we did not accept the myth that the television audience has an infantile mind. We had an idea, and we had a premise, and we still believe that. As a matter of fact we decided to risk the whole show on that premise.
    We believed that the often-ridiculed mass audience is sick of this world’s petty nationalism and all its old ways and old hatreds, and that people are not only willing but anxious to think beyond most petty beliefs that have for so long kept mankind divided. So you see that the formula, the magic ingredient that many people keep seeking and many of them keep missing is really not in “Star Trek.” It is in the audience. There is an intelligent life form out on the other side of that television too.
    The whole show was an attempt to say that humanity will reach maturity and wisdom on the day that it begins not just to tolerate, but to take a special delight in differences in ideas and differences in life forms. We tried to say that the worst possible thing that can happen to all of us is for the future to somehow press us into a common mould, where we begin to act and talk and look and think alike.
    If we cannot learn to actually enjoy those small differences, take a positive delight in those small differences between our own kind, here on this planet, then we do not deserve to go out into space and meet the diversity that is almost certainly out there. And I think that this is what people responded to.

WE WANT TO HIGHLIGHT YOUR STAR TREK “FIND” …

    Our goal in “Star Trek” coverage this week is to provide a wealth of “spiritual connections” with Trek themes. So, if you’ve got a favorite site to recommend—email us. If you’re a writer and you’ve published an online piece on these themes—tell us about it and send us a link.
    If you’re simply a fan of the show, or you’ve taken one of the many classes that use Trek episodes—write us a quick note about your experience.
    AND—make sure to visit ReadTheSpirit on Wednesday for a special Conversation With an expert on spiritual-sci-fi connections.

HERE ARE SOME OTHER ONLINE GEMS WE’VE FOUND …

    THE U.S. CENTENNIAL OF FLIGHT project honored “Star Trek” with a special essay on its contribution to Americans’ hopes and dreams. One key point emphasized in this article is the multi-cultural diversity in the show that encouraged breaking down barriers: “Roddenberry envisioned a multi-ethnic crew, including
an African-American woman, a Scotsman, a Japanese American, and
most notably, an alien, the half-Vulcan Mr. Spock. In the second
season Roddenberry added a Russian crew member at a time when the
United States was engaged in a tense cold war with the Soviet
Union. Blacks and women were also shown as scientists and doctors
on the ship.”

    NASA SORTS OUT SCIENCE FROM FICTION: Here’s a fun look at science vs. fiction on “Star Trek.” It was written by a NASA-related physicist in 1993, 15 years ago, so some of the scientific judgments he makes may be a bit dated. But it’s a pretty good look at these issues.
    Why are we including it in “spiritual connections”? Because the NASA author points out that this is one of the most powerful portrayals we’ve seen in popular media of science and engineering as a noble pursuit on behalf of mankind. Often, scientists are … well, “mad” … and scientists and engineers, together, are often the folks at the heart of some evil conspiracy trying to wipe out the good guys—even today in TV and movies.

    ONE FAN’S OVERVIEW OF MAJOR THEMES: “Star Trek” also helped to pioneer the now very popular practice of fans writing oceans of independent prose about their beloved storylines. Fan-written fiction now ranges from “Man from U.N.C.L.E.” to “Lord of the Rings”—vast new extensions of the original tales published online for other fans to enjoy.
    Within the “spiritual connections” theme, attorney and author J. William Snyder Jr. is a longtime Trekkie and his 1995 fan-written overview of major Trek themes remains a pretty good introduction. Yes, there are a few typos in Snyder’s work, but—welcome to the realm of fan-generated prose.

    WANT TO SEE HOW HIGH-BROW IT GETS? There’s such a large scholarly interest in “Star Trek” that academic studies related to the show and its legacy actually are branching into distinct camps. The online, open-source Scientific Journals International project provides a free PDF download of a 12-page, 2007 scholarly article from the “Journal of Humanities and Social Sciences.”
    Here’s a one-line summary of the article: “This paper will argue that ‘Star Trek’ deliberately lacks and resists the imposition of a point of presence, a fixed origin, favouring negotiative rather than authoritative meanings.” Sound numbingly academic? Yeah, it is esoteric, but the article is loaded with references to other cool Trek analysis and, if you wade through it, the author does pose some intriguing arguments about Gene Roddenberry’s aims and the series’ continuing evolution over time.

PLEASE TELL US WHAT YOU THINK:

    This is a good time to sign up for our Monday-morning ReadTheSpirit Planner by Email—it’s
free and you can cancel it any time you’d like to do so. The Planner
goes out each week to readers who want more of an “inside track” on
what we’re seeing on the horizon, plus it’s got a popular “holidays”
section.

    Not only do we welcome your notes—but our readers enjoy them as well. You can do this
anytime by clicking on the “Comment” links at the end of each story.
You also can Email ReadTheSpirit Editor David Crumm. We’re also reachable on Twitter, Facebook, Amazon, YouTube and other social-networking sites as well.
    (Originally published at https://readthespirit.com/)

298: Conversation with the scholar behind the James Bond Bible study


T
his week, there’s a powerful convergence of events: Americans are reflecting on our future in light of our newly elected president and the enormous challenges we all face around the world. Plus, we’re welcoming the return of one of the world’s most venerable heroes: James Bond.
    The new Bond film, “Quantum of Solace,” already has been showing in the UK for a couple of weeks and we’re hearing that this is a continuation of the more sober style of cinematic Bond, perhaps closer to the deep spiritual reflections that Ian Fleming himself wove throughout his Bond novels.
    So, we’re thrilled to be launching Dr. Benjamin Pratt’s new book, “Ian Fleming’s Deadlier Sins & 007’s Moral Compass: A Bible Study with James Bond,” which is a great opportunity for all of us dig deeper into our faith. If you want to read more about Dr. Pratt’s own reflections on the convergence of events this week, please visit the new Web site: http://www.BondBibleStudy.info/ Once you’re there, click on the links at left to read Pratt’s column about this week—and a whole lot more.

HERE ARE HIGHLIGHTS from our Conversation With Dr. Benjamin Pratt:

    DAVID: Ben, to put it simply: Your new book works. It gets people talking about Bond, their faith, the Bible and their lives. I’m already seven weeks into teaching your new Bible study with a group of men and women and I’m very pleased by their reactions. They show up every Sunday morning eager to talk about these ideas. In fact, they’ve told me they’d like to spend more than the one hour we’ve scheduled for the class, which is a good sign that it’s lively and meaningful for people each week.
    You’ve been road testing the book, too, with discussion groups closer to your home in Washington D.C. I know that, a year or two ago while you were working on the book, you lectured on this at the Smithsonian. What’s your experience been?
    BEN: Many people haven’t read the original novels and this class surprises them when they learn what Fleming really wrote in these books. I taught a series at a local Presbyterian church and I have my own collection of old paperback copies of the novels. I took them with me and offered to share them with people in the class. Most people didn’t read just one. They wanted to read several.
    On the Amazon page for my book, I found a review written by a woman who took that class. She’s extraordinarily well-read but she hadn’t read the original Fleming novels before the class. She was surprised and she wasn’t alone. We averaged about 50 people a week in that class.

    DAVID: We all owe a debt in this effort to pioneers who brought popular culture into Bible studies. I’m talking about writers like Robert Short who wrote about spiritual lessons in “Peanuts” and Mark Pinsky, who has written about the Simpsons and Disney films, too.
    BEN: I think that’s true.
    DAVID: Except in this case, we’re going a lot further into popular culture to explore spiritual lessons. In some ways, this is even more provocative material. I know our class members have kidded each other about walking into church carrying a Bible and a paperback book that often shows a girl in a bikini or a smoking gun on the front cover.
    BEN: (laughs) Perhaps we should warn people that they need to carry their study books in a plain brown wrapper.
    DAVID: We do have a lot of fun in class and it’s partly because this list of seven deadlier sins compiled by Fleming hits pretty close to home. People have a lot of stories to share. We should point out that your study book is a companion to the Fleming novels, not the movies. You want people to reread and reconsider the literary value of the books, which are quite different than the films.
    BEN: Quite different. From the early films, the producers upped the violence and they upped the sex and they made Bond this action hero. They didn’t show Bond as the pensive character that he is in the Fleming novels. Fleming was wrestling with deep theological questions.


   DAVID: Which surprises a lot of people, I’ve found, who think of Bond to this day as a two-dimensional comic character. I know that, for a while he did appear in comic strips, but Fleming’s vision of him was far more thoughtful than we see in most of the movies.
    BEN: There’s a thoughtfulness, a darkness really, that in some ways makes me think of Ian Fleming and Martin Luther 500 years ago as theological bed fellows. They were asking similar questions about the world.
    DAVID: And that’s how, as you explain in the book, Fleming decided to assemble some of the greatest writers of his era to put together essays on the seven deadly sins. He was working for a newspaper in London at the time and the newspaper sponsored this project. Then, when they were finished with the seven essays on envy, pride, covetousness, gluttony, sloth, lust and anger—Fleming argued in his introduction to the book that many of those sins actually were being celebrated in 20th century culture. If you think about it, that does make sense with things like pride and lust and anger.
    BEN: He said those earlier seven sins would no longer keep people out of Heaven.
    DAVID: Right, Fleming said we all need to look deeper into the temptations that lead us astray. The most dangerous of these sins, he wrote, is accidie. It’s the final chapter in your own book as well, the sin that also is described as sloth in some cases. But it’s more than sloth, right?

     BEN: Fleming used the actual word “accidie” in many of his novels. It’s more than sloth. It’s a loss of faith in the goodness of God. It’s a sense of powerlessness, of softness in our lives.
    DAVID: And it leads to other sins. I spoke with the Jesuit writer, John Dear, some weeks ago and Dear describes this kind of problem in our lives as “the death of the imagination.” Matthew Fox talks about this, too, in his new book on male spirituality. When I had our Conversation With Matt, he called it a kind of spiritual “vacuum” that a lot of people fill with “reptilian-brain thinking.” It’s as though we can no longer envision making a difference in our world so we focus on our own selfish needs.
    BEN: Absolutely. Accidie is really a root of a lot of other sins, including gluttony, lust and covetousness. It’s what leads people to turn to the refrigerator to solve the ache in their belly or they turn to the store to try to buy their way out of how they feel about life. When we are in the grip of accidie, life is driven more by fear than by hope.

    DAVID: You’ve told me that in your own attraction to Fleming’s work, it was this exploration of this strange-sounding word “accidie” that was key in leading you deeper into his world. You spotted that word in a lot of his books and began to dig deeper.
    BEN: I’ve often asked myself why I spent so many years exploring Fleming’s work and this is one reason. I recognized that within my own life there was a spiritual war going on and when I found this word, “accidie,” in the Bond novels it was the first time that I realized there was a word to describe what sometimes happened to me in my own life.
    Another thing that attracted me to Fleming is that, throughout my life, I’ve known and appreciated many clergy, yet we have to admit that we live in a world in which clergy are no longer on the top rung of respect in the world. Many clergy are very intelligent, hard-working, gifted people, but many people no longer appreciate their gifts. That’s how I came to experience Fleming as a writer. He’s much more intelligent and insightful, even with all of his warts and his problems, but he was never valued in his lifetime for the literary gifts he was sharing with the world.

    DAVID: He suffered from accidie himself. Tell us a little more about that. Why was Fleming drawn toward that particular temptation?
    BEN: Well, first of all, in Fleming’s life he experienced significant deaths of people around him with no nurturing to help him through his grief until he was nearly 20. For example, he lost his father when he was not quite 9. He had grief in his life that he never dealt with. That is one reason that he handled life as a kind of a dreamer. When the world didn’t live up to his dreams, he was left with this empty place of cynicism and grief that underlay everything about him.
    DAVID: Ultimately, you’d like to be part of a revival of his literary reputation, right?
    BEN: Absolutely.
    DAVID: That may sound unlikely to many people, but I was just in Edinburgh, Scotland, at the Writer’s Museum, which honors several authors including Sir Walter Scott. I recall that when I studied Comparative Literature and Writing in the early 1970s at the University of Michigan, we never read any Scott in any of the courses I took. In the Writer’s Museum, the exhibit on Scott pointed out that from the 1950s through the 1960s—and even into the era when I was in college—Scott was considered an utterly forgettable lightweight. There was no reason to study his writing, anymore.
    Now, though, Scott is once again regarded as a literary genius. In the postmodern era, scholars now respect the many forms of “voice” that Scott explored in his novels. Suddenly, he’s a genius again.

    BEN: I think about others who have written about the deadly sins through the centuries. In his lifetime, Fleming was considered a real lightweight, but he gave us a new list of the deadly sins and he wrote about them more clearly and persuasively than others have. I think what he achieved was momentous.
    DAVID: On the Bond site, we’re going to post your thoughts on the new film after it opens here in the U.S. I do know that you like this actor, Daniel Craig, who is portraying Bond now.
    BEN: Yeah, he’s a good choice. I’m struck by the fact that his facial profile is very similar to Hoagy Carmichael who Fleming said was his own mental picture of what Bond looked like. The fact that you can line up two pictures – Craig and Carmichael – and it’s almost the same person. And the films are becoming more serious now.
    Over the years, we haven’t seen much of the pensive and philosophical Bond, the Bond of the novels, until you get to Daniel Craig. I’m eager to see this new movie and hear from readers what they think about it, too.
    DAVID: You’ve got the welcome mat out at your Bond Web site. It’s easy to join the discussion over there. There’s even a Facebook group that’s growing for the Bond Bible study. I’m eager to see what people have to say in coming weeks, what the new movie looks like—and what unfolds in the world around us, as well.

PLEASE, Tell Us What You Think.

    Not only do we welcome your notes, ideas, suggestions and personal
reflections—but our readers enjoy them as well. You can Email ReadTheSpirit Editor David Crumm.
PLUS, we invite you to sign up for our free Planner newsletter,
which we send out every Monday. The Planner gives you a quick overview
of what’s on the horizon, each week. To check out the Planner, take a look at this sample issue!
   (Published in the ReadTheSpirit online magazine.)

294: What “DaVinci” overlooked are fabled Rosslyn’s true “Green” gems


T
here are few religious destinations in the world as steeped in mystery, at least since the cultural earthquake known as “The DaVinci Code,” as Rosslyn Chapel south of Edinburgh, Scotland. And, today, our series of stories that began with Celtic themes and the spiritual work of Matthew Fox continues as we introduce you to one of the most intriguing of Rosslyn’s mysteries—the Green Man—overlooked in Dan Brown’s wholesale manufacturing of other symbols that suited his suspenseful plot.
    That remark isn’t a bunch of sour grapes tossed at the feet of a mega-best-selling author. The fact is: Dan Brown is a terrific novelist, but careless with his facts. Among other things, Brown’s cutting-and-pasting of fictional symbols literally led to some members of the movie crew pasting a fake Star of David onto one of Rosslyn’s priceless walls. According to Rosslyn staff, the Hollywood crew didn’t even ask before gluing the star-shaped prop onto a fragile stone wall—and the removal of the fake movie prop permanently marred the stonework.

    The overlooked symbol we’re going to explore today is known as “The Green Man,” and this rich imagery shows up front and center, once again, in Matthew Fox’s latest book (see our Conversation With him if you missed it).
    BUT, first, a word about Rosslyn—the ornately decorated, 15th-century stone church featured in the final scenes of the novel and the movie version of Brown’s book.
    I recently spent a day at the fabled chapel, where members of this active Church of Scotland parish don’t speak too kindly about the professionals behind “The DaVinci Code.” They say author Dan Brown never so much as visited the chapel before making up a lot of brand-new mysterious details about what took place in its stone chambers.
    “The only time we ever saw him was when the movie crew finally came here to make the movie and then he only popped his head in about 30 minutes and was gone,” said one guide leading dozens of visitors through the dense symbolism packed inside the abbey.
    “We have enough symbolism here without adding more. And what did they add? Well, a lot of it was just fiction. They said Rosslyn means ‘Rose Line,’ and of course it doesn’t at all. In Gaelic it means waterfall—a ross is a rock outcropping and the lyn part refers to falling water,” said another guide. “You could pull up our carpeting all day long and all you’d find is perhaps a little dust. There’s no ‘Rose Line’ here at all.”
    Another said, “And in the movie when you see the characters walk down into the sacristy? They cut to a Hollywood set after they go down the steps. There’s nothing here like what they showed on screen. You can go down there today and see for yourself.”
     “And there never was a six-pointed Star of David here at all,” said the first guide. “In fact, the Hollywood people had one made and stuck it on the wall here without asking us! When they finished, we discovered it and the adhesive left a circle on the wall. We weren’t happy about that!”
    That’s not to mention the fact that neither Brown nor the movie studio shared their millions in revenue with the trust that is fighting a last-ditch battle with centuries of decay to save this world-class spiritual landmark. The movie crews paid a basic day-rental fee for the site, “which wasn’t much at all,” said a parishioner.

    BUT, here’s the good news about Rosslyn’s encounter with Dan Brown and “DaVinci.” When the movie opened in 2006 and millions of people around the world got a big-screen glimpse inside this amazing chapel, tourism exploded from less than 10,000 per year to more than 170,000 in the next 12 months! By charging modest fees to enter the church, the non-profit trust, which has been struggling for years to save this sacred site, finally began to accumulate the funds to accomplish some serious work.
    The chapel itself has been “drying out” under an enormous metal canopy, but an enormous amount of conservation work lies ahead for the congregation. You can see from the Green Man at left, who already has lost many of his features, that the situation is dire.

    A complete analysis of every inch of the chapel is still emerging. For example, just a few years ago, Rosslyn staff told visitors that there were slightly more than 100 images of the Green Man around the church’s complex stone surfaces. Now, more images have been found hiding in nooks and crannies and staff tell visitors there are more than 110!

    What’s the significance of the Green Man?
    Well, there are various versions of the image in sacred sites that range from human faces that appear to be hiding among foliage to faces with open mouths sprouting vines or branches to faces like the one on Matthew Fox’s cover that seem to be made up entirely of vegetation.

    Here’s what Matt says about the image from a portion of our Conversation that we didn’t publish yesterday:
    “The Green Man archetype is ancient, pre-Christian. In the 12th century, the Green Man came strongly into Christianity in Europe along with the goddess. The Green Man kind of rides her shirt tails. This is a figure often depicted with bows or tree limbs growing out of his mouth. His beard is often leaves or grasses or green things and so it is a metaphor about our relation with nature and with vegetative nature especially.
    “In the Celtic tradition, the Green Man will often have antlers. It’s a celebration of male sexuality as well as a part of the generativity of nature and of creation itself. This also awakens our energy to defend nature. … And when we do this, this will heal us along with healing creation.
    “This archetype is huge for us in our times, because it supports our ethical view of things today. Because of global warming, we know that humans have to change our ways. … We’re talking about a huge spiritual movement in our time and the Green Man is a marvelous archetype to celebrate that and to bring those energies alive and to connect with our ancestors who were not stupid and who were more aware than we are of the natural world.
“

    What does Rosslyn itself have to say about trying to preserve one of the world’s major collections of Green Man imagery? Well, the church today houses an active Protestant congregation and the official guide to Rosslyn by the current Earl of Rosslyn skirts the Green Man’s larger spiritual associations. The Earl talks about it mainly as a kind of proud symbol of diversity.
    The Earl’s book about Rosslyn says, in part: “The Chapel is rich in carvings of the Green Man. … a profusion of pagan fertility symbols not unexpected in a place so influenced by Celtic tradition. … The story of Robin Hood has its origins in this legend and was a popular maytide play in Scotland during the 15th and 16th centuries, often performed by gypsies.
    “The St. Clair family generally and in particular Sir William St. Clair, great grandson of the founder of the Chapel, were known to be sympathetic to the plight of the gypsies in an age when the laws of the country persecuted them severely.”

     But what do you think about this powerful spiritual figure and its messages for us today? Tell us!

CARE TO READ MORE?
    VISIT ROSSLYN’S OWN WEB SITE: Given Rosslyn’s global fame at the moment, you might expect a Disney-like Web site. On the contrary, the congregation that still worships in the church and the trust that is trying to save this masterpiece of architecture are devoting every available dollar to a massive preservation effort. So, the site appears fairly basic, at first glance. HOWEVER, don’t miss sections on History, Architecture and other gems via links at top and bottom of the site.
    CHECK OUT WIKI’S GATEWAY: The Wikipedia page on Rosslyn is very good. In fact, you’ll find a better introductory overview on Wiki than on Rosslyn’s own page. Plus, if you’re really intrigued, Wiki offers a series of other fascinating links.
    KEEP FOLLOWING ReadTheSpirit: We’ve got more to share about Scotland and our recent pilgrimage to Iona in coming months. One great way to keep up with our stories and latest news is to subscribe to our free Monday-morning Emailed Planner. Click here to learn more and subscribe, if you wish.

PLEASE, Tell Us What You Think.

    Not only do we welcome your notes, ideas, suggestions and personal
reflections—but our readers enjoy them as well. You can Email ReadTheSpirit Editor David Crumm. We’re also reachable on Facebook, Digg, Amazon, GoodReads and some of
the other social-networking sites as well, if you’re part of those
groups.
   (Published in the ReadTheSpirit online magazine.)

238: Christine on “A Connection with Art — and the Powerful Art of Connection”


H
ERE’s the third and final Christine Gloss story this week. If you missed the start of her series, she started by talking with us about the yearning we all feel for meaning in our daily lives and connection with other people. Then, she challenged us to “greet the greeter.” And, today, in her final story this week, Christine writes about the complex fabric of connection through the fine arts that can weave lives together across great distances. Please, tell us what you think about Christine’s stories. We’ll be running our weekly Reader Roundup on Friday and we’d love to hear your thoughts about these stories.

(Here are easy links to enjoy all three parts: Part 1, Part 2 and Part 3.)

Here’s Christine:

   Today I’d like to tell you about a place that’s fairly hopping with generative vibrations, and about a remarkable young man I met there.
   The place is Artist Village in northwest Detroit. It’s a meeting place. It’s a cafe with a stage for poetry readings and musical performances. It’s an art gallery where neighborhood artists display their painting, their sculpture, their fabric creations. The walls are also filled with found art, objects that once were discarded trash, but now, transformed, invite the viewer to think, to laugh, to celebrate the good things they find in themselves.
   Artist Village was born from the vision of noted Detroit muralists, Chazz Miller (at right) and his association with Motor City Blight Busters, a thriving neighborhood action group. Chazz is Director of Artist Village and one of his goals is to give neighborhood kids a positive focus.
    “We all need something to belong to, he tells me, “whether it’s a fraternity or a team. We want to be part of something. That’s why, unfortunately, the gangs are so popular.”
    Artist Village is definitely a place where young people can belong and where they can learn the valuable creative principle of making something out of nothing.
    “A lot of children think you have to have expensive materials or famous art supplies to really do something nice, and you don’t. That’s one of the things we teach them, especially with found objects, raw art.”
    As a working artist of many years Chazz Miller knows the power of art to transform — not just objects and spaces, but people. “If you can save just one young person’s life, or just inspire them to get on the right track, then we’re doing our job.”

    Which brings me to the remarkable young man I mentioned at the start of this article. Tony Butler is 19 years old. He’s a person with whom it’s easy to connect because he puts up no walls or pretensions. He readily tells you who he is, both through his words and his drawings. In fact, that self revelation is an important part of who he is, as a person and as an artist.
    “This is something that an ordinary person doesn’t do but would like to do — come in here and show your feelings in painting, in drawing, in clay,” Tony tells me. “I’ve been telling a lot of people, it’s good to bring out feelings of yours. It doesn’t matter how people talk about you or if they doubt you about a lot of things. Just bring it out and show them. This is how I am.”
    Then he taps his heart. “This right here is me.”
    By his own admission, Tony hasn’t always been doing the right things with his life. He’s faced some tough situations in his 19 years and hasn’t always handled his feelings in a positive way. The Artist Village has been an important part of his transformation.
    “Coming here was good for me,” Tony says. “God sent my foster mom a signal like, this is what he needs to do. My foster mom, Miss Hicks, took me up here and I thank her. If it wasn’t for her I wouldn’t be here right now. I thank God for that. A lot of people have helped me in a lot of different things, in my drawings, in my anger and my experiences.”
    As you might guess, Chazz Miller is one of the people in Tony’s life who helped with his changes. But each agrees it wasn’t smooth going.
    “We worked with him and worked with him. He was just really defiant,” says Miller.
    And as Butler describes it, “Chazz was on me a lot. I was ignoring Chazz, telling him, I don’t have to listen to you.”

    All of that changed over time. Here’s how Tony now describes the situation: “Chazz has helped me a lot. He’s like a father to me. He’s a great person. A caring person. A leader. It’s good to have somebody like Chazz on your side to guide you. It’s beautiful.”
    Beautiful is a word Tony uses a lot. It represents his appreciation of life, his knowledge of the distance he’s traveled to a better state of mind and spirit. (That’s Tony at right.)
    We are seated in a small, open-air courtyard in Artist Village. It’s a pleasant place filled with sculpture, chirping birds, and a small garden, which will supply fresh vegetables for community gatherings.
    Tony is tuned in to the generative power of the place. “It feels good walking into a place where you see a lot of different talents, a lot of different colors to experience things. It’s good to bring out your colors to make things look alive.”
    Tony shows me several of his drawings. They are vivid and striking, at times with bold lines and colors, at times with subtle shading. “This is my personal style.” He speaks not with brashness but with a quiet confidence in his identity as an artist.

    The conversation quickly takes a serious turn. His art, he explains, “tells you how my lifestyle has been as a young person, coming up around different people. My life was messed up.”
    One drawing features a heart, pierced by a rose. “It tells you that something bad is going to happen. The heart is leaking. It’s basically telling you that my life has been a river of blood.”
    I don’t know if he’s speaking literally or figuratively. It’s clear that his pain and his struggle have been real. But don’t get the idea that Tony’s stuck in any “poor me” attitude. “It’s been hard. That’s basically how it is. You’ve got the sweet, you’ve got the sour.” He pauses to reflect, then adds, “It’s been lovely, though, since everything good started to happen for me.”
    Many of his drawings portray the classic battle between good and evil. He calls them cartoons, and the figures in them, his characters. Two of his most important characters are twin brothers, one good, one bad.
    Tony tells me right away that the brothers represent both sides of himself, and his personal struggle to do the right thing. “These brothers are similar to how I am. One side is good, one is bad. But you’d rather keep the good side out.”
    One drawing shows the good twin in an Eden-like setting. He’s on guard though, Tony explains, since he knows the forces of evil would like to enter and take over. “It’s a portal.” But even so, “he’s meditating and thinking about his brother. He’d like to bring him back to the good side.”
    In another drawing, which Tony has named, “Darkness Has No Face,” we see the bad twin, along with thunder, tornadoes, and a skeleton face. “He’s thinking about his brother, too. They talk to each other in their mind.”

    I think about all of the drawings Tony has shown me. I’m struck by his openness in putting his truth on display through his art. “It takes courage to put your life in a picture,” I tell him.
    “Yes, ma’am,” he says emphatically, pleased that I get it.
    Not all of Tony’s drawings are about the tug of war between good and evil. He shows me sketches of characters that portray his two younger brothers. He has put things in the drawings he knows they enjoy. Tony explains that this is his way of saying, “I’ve been thinking about you all. I got you all with me.”
    He pauses. “This is what I have to do for them.”
    Tony’s love for his brothers is clear. He wants them to receive the same benefits from artistic expression that he has. “I try to get my brothers to come here so they won’t be on the streets and all that, so they come in and show their experiences in paper and pencil. They’re just playing video games. I told them, how about y’all come up here with me and draw?”
    He has also encouraged his friend, Jay, to do the same thing — to deal with his life’s challenges through art. That’s Tony, passing on the wisdom and support that he’s received from Chazz. A nice hand off.
    So now Jay comes to the Artist Village on a regular basis and creates designs for a video game. In still another demonstration of Tony’s generosity of spirit, he makes sure I get a chance to meet Jay while I’m at Artist Village and record some of his friend’s comments on video. The two of them talk about collaborating on a video game. They shake hands.
    Tony’s goal is to create an animated version of his cartoons. “A couple of years from now you’ll see my name, my cartoon on TV. A lot of people think it’s kiddish to draw cartoon characters, but I don’t. I draw cartoon characters to bring out the experiences of my life. As life grows, our characters grow too.”
    Beautiful.
    Yes, he is.

CARE TO READ MORE?

    ARTIST VILLAGE: Visit Chazz Miller’s Web site to learn more about his innovative program.
    BLIGHT BUSTERS: The Motor City Blight Busters group has experienced some on-and-off problems with their Web site. Currently, the site seems to be down, but we’ll include their URL because these online stories at ReadTheSpirit have a timeless shelf life. At some point, you may find them at: http://www.blightbusters.org/

    PRAY FOR YOUR CITY: Most of our readers don’t live in Michigan; many of you don’t even live in the U.S. However, many readers have told us they plan to participate in the August 24 kickoff of “LIFT (YOUR CITY) IN PRAYER.” If you missed that series of stories, jump back and learn how your prayers can help strengthen your urban areas, wherever you live.
     THANKS! Photos today are by ReadTheSpirit publisher John Hile.

PLEASE, TELL US WHAT YOU THINK!

    Like many of the Guest Writers at ReadTheSpirit, Christine Gloss is sharing these stories with us “live” this week as she shapes her voice and her future work as a writer. We’d love to hear your reactions and suggestions. And, please, pass word of Christine’s stories to a friend who might enjoy them. Click on the “Comment” link below — or send an Email to the Home Office of ReadTheSpirit.

233: William Blake Led the Way Toward Mystic Prayers Uplifting Our Homes

We have often said at ReadTheSpirit that children can lead us toward spiritual renewal, if we only listen and watch carefully. That’s why we’ve got a wonderfully diverse list of children’s books that we recommend in our ReadTheSpirit bookstore.
   On August 12, 1827, Blake died, an artist and poet unappreciated in his own lifetime. When he died at age 69, he had rarely traveled more than a short distance from London — yet his mystic imagination carried him to realms that few other artists have been able to envision.

    His famous poem, “Jerusalem,” is a timeless model of prayers to LIFT one’s home. For Blake, the title “Jerusalem” drew on complex associations, but mainly referred to his hope that, one day, humans would see a spiritual city of peace emerge. At one point in his life, Blake wrote a vast epic called “Jerusalem” — but the far more popular poem, “Jerusalem,” actually was part of a short preface Blake wrote for a poem he dedicated to the poet John Milton.
   This short “Jerusalem” poem is based on a traditional English story that Jesus once visited England. Blake uses that story to contemplate a spiritual transformation of England, if his beloved homeland truly became a place worthy of Jesus. His hope in the short poem is that his homeland could mirror the biblical vision of a peaceful new Jerusalem.

Do you feel discouraged when you think of praying for the uplifting of the people in your city? Or praying for peace in your homeland? Perhaps you think that someone like William Blake could do it, because he was, well, William Blake! But, you’re no mystic, no artist, no poet.
   Well, the truth is that Blake’s short “Jerusalem” poem was pretty much a flop in his lifetime.
   Unfortunately, this handful of lines didn’t attract a lot of attention until nearly a century later, when it became a hymn around World War I and, by the 1920s, became hugely popular in England as a patriotic ode to the purest spirit of the homeland.
   These few words from among Blake’s vast output of words also blossomed in phrases that have echoed in other works. To mention just one more coincidence this week, Blake’s poem popularized “Chariots of Fire,” which is associated with the Olympics because of the Oscar-winning 1981 movie of that title.

    If you’re eager to introduce your children to William Blake — you can do no better than “William Blake’s Inn,” an award-winning picture book published 27 years ago but still a wonderful children’s window into the poet’s mysterious world.
   And — in our Monday morning Planner newsletter (which we send out free via Email to subscribers), we also recommended “My Heart Glow,” by Emily Arnold McCully — another “children’s book” that will inspire even the adults in the family. (Each week in the Planner, we send added notes like the “Heart Glow” recommendation to newsletter subscribers. This is a good time to drop us an email and say “subscribe” to receive that newsletter. It’s free; you can cancel anytime.)

AND NOW, here’s a traditional model of prayer for one’s home:

“JERUSALEM”
By William Blake

 

And did those feet in ancient time,
   Walk upon England’s mountains green
And was the holy Lamb of God,
   On England’s pleasant pastures seen
And did the Countenance Divine,
   Shine forth upon our clouded hills?
And was Jerusalem builded here,
   Among these dark Satanic Mills?

Bring me my Bow of burning gold;
   Bring me my Arrows of desire:
   Bring me my Spear: O clouds unfold:
   Bring me my Chariot of fire!

I will not cease from Mental Fight,
   Nor shall my sword sleep in my hand,
Till we have built Jerusalem,
   In England’s green and pleasant Land.

(Blake, 1804)

We always invite you to TELL US WHAT YOU THINK.
    Not only do we welcome your notes, ideas, suggestions and personal
reflections — but our readers enjoy them as well. You can do this
anytime by clicking on the “Comment” links at the end of each story.
You also can Email ReadTheSpirit Editor David Crumm. We’re also reachable on Facebook, Digg, Amazon, GoodReads and some of
the other social-networking sites as well, if you’re part of those
groups.

223: Guest Writer Caleb Waldron: Portraits by an Artist as a Young Man


T
hink of cartoonist Caleb Waldron as Calvin (of “Calvin and Hobbes”) all grown up now — and drawing his own spiritual visions of the world. That’s not all that far a stretch, once you learn that Caleb grew up on Calvin, fascinated by the insightful, spiky-haired boy who was just about his age.
    “I discovered ‘Calvin and Hobbes’ when I was 6 or 7 and I got more and more anthologies and kept reading,” Caleb told me yesterday as we were finalizing today’s “Guest Writer” presentation that offers a sampling of Caleb’s work. “We were the same age when I started reading about Calvin — and I liked it that I wasn’t alone as a little long-haired pyromaniac.”

    Here’s another reason I was drawn to Caleb’s work. Over the years, I’ve heard adults question whether a little boy like Calvin could come up with such savvy observations of the world. Well, Caleb is living proof that spiritual wisdom isn’t always a product of age. Many times, this kind of insight into life’s deeper meaning is more of a function of how carefully we observe things.
    Caleb is a terrific observer. He’s been lugging around a sketch pad for years, jotting down his observations — and, in coming years, I’m sure you’re going to see a lot of his work popping up in various places.
    I discovered his work through Thomas Gilchrist, a Kalamazoo College student who is doing some internship work with ReadTheSpirit this summer. In recent months, Thomas and Caleb worked together on the early stages of a literary-arts magazine they plan to publish under the name Kosmopolitan (yes, that’s a K for their college).
    The moment I looked at samples of Caleb’s work, I was amazed that someone who still is an undergraduate could capture not only the half-wild spiritual fuel in thrill-seeking college students — but also the nuances of a middle-aged guy playing mental games with his Tai Chi teacher. Then there are the minimalist cartoons like the elevator piece, which is Zen-like in its humor.

    So, today, please welcome our Guest Writer Caleb Waldron.
    (CLICK on his Thrill Seekers and Tai Chi cartoons and they’ll pop up a little larger.)
    ALSO, we asked Caleb to write a little “autobiography” — well, at least about his life thus far — and you can click over to enjoy that as well, today.

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