Sunday, May 12, 2013

"42" Jackie Robinson's Story: Beautiful, Inspirational, Must-See


"42" about Jackie Robinson, the first African American major league baseball player, is a beautiful, inspirational, must-see movie. "42" has been accused of being corny. For heaven's sake, it IS corny. Jackie Robinson was a true hero, as was Branch Rickey, the white man who decided to break the color line in baseball. This is an old-fashioned, all-American, even Christian story that makes you tear up and get goosebumps. "42" is about good v evil. The bad guys in this movie are repellant scum. The good guys are true heroes of historic proportions. I wish more people would see this film.

It's the late 1940s. America has defeated Nazism. It's time for the Civil Rights movement to defeat white supremacy in the US. Baseball executive Branch Rickey (Harrison Ford) selects Jackie Robinson (Chadwick Boseman) to be the first African American player on a major league team. This choice puts Robinson's life at risk.

Pitchers attempt to hit Robinson in the head with their balls. Base-runners drive their spiked heels into his legs. Philadelphia Phillies' Ben Chapman hectors Robinson when he is at bat. Chapman repeats ugly, disgusting insults. Robinson is powerless to silence Chapman. Hotel owners won't allow any members of the same team as Robinson to rent rooms. Robinson's own teammates shun him and sign a petition protesting his inclusion. Robinson must wait until his teammates are done in the shower room before he can shower. While his teammates are given lockers, he is given only a peg with a hanger. Toughs arrive at his house and threaten him so badly he must be driven out of town. Letter writers threaten to harm his wife and child.

Robinson's heroism in facing all this is the inspiration. Branch Rickey is also a hero. He was a devout Christian. He chides an interlocutor, "Love they neighbor as thyself. That is repeated eight times in the Bible, more than any other commandment."

"42" isn't an especially deep film. It does not probe deeply into any of its characters. It presents the history of baseball's integration in a fairly straightforward, easy to follow way. Production values are high. The 1940s era is captured in vintage clothes, cars, ballpark ads and architecture.

Chadwick Boseman is handsome, heroic, and stoic as Jackie Robinson. Nicole Beharie is incredibly beautiful as his wife Rachel. Harrison Ford is a bit hammy as Branch Rickey, but he's Harrison Ford, so he can get away with it.

I loved this movie and I wish everyone would see it. We need more such "corny" films.

Saturday, May 11, 2013

"The Great Gatsby" 2013 Baz Luhrmann Forces The Great Gatsby through a Kaleidoscope -- And It Works!



Baz Luhrmann's "The Great Gatsby" is an eye-popping, over-the-top, hyperkinetic, loud, heavy-handed circus, opera, and kitchen sink drama. Luhrmann takes F. Scott Fitzgerald's quiet, brief, cerebral novel and forces it through a kaleidoscope, crashing and scattering images in a peacock-colored, geometric Busby Berkeley dance routine. The amazing thing is, it works. The heart and soul of Fitzgerald's novel are there onscreen, and honored. Underneath the literal glitter – that sticks to characters' faces and shoulders in multicolored patterns – this is a genuinely serious film about big themes. It entertained me, it moved me, and I cared.

I am very sensitive to color and there were scenes in Luhrmann's "Gatsby" when I was overwhelmed by chromatic sensation. There is a hotel room orgy. The women wear vivid, finger-in-your-eye obvious eye shadow that contrasts with their vivid, obtrusive colored jewelry that clashes with their crazily colored dresses which throb in contrast with the hideous, red, patterned wallpaper which I am sure is the wallpaper in the hell that bad interior decorators go to. In another scene, purple, blue, and gold metallic streamers cascade downward on a dancer in a buttercup-yellow, ostrich feather tutu.

And it all moves so fast. That ostrich feather tutu is onscreen for seconds. The camera just keeps moving on to the next visual sensation. The costumes, the cars, the special effects, Bollywood film icon Amitabh Bachchan as Jewish gangster, Meyer Wolfsheim!!!: this movie's fabulosity budget must have been a zillion dollars.

Luhrmann lays everything on with a trowel. Long after the audience has realized that certain characters are users whose wealth protects them from the consequences of their evil deeds, Luhrmann tells the audience that, not just by speaking those words from Fitzgerald's book, but by writing the words out on the screen. Luhrmann shows, he tells, he beats you over the head. Only twice, though, did I feel he'd gone too far. Once when an obviously fake shooting star crossed the screen not once but I think three times, and when a character, struck by a car, is shown hurtling through space not once but twice. Once really was enough in both cases – one shooting star, one hurtling corpse.

There is a scene in this movie that took my breath away. After all that jazz, and color and movement, the movie just … stops. It stops in a hotel room. If you've seen the film, you know exactly which scene I'm talking about. There are no special effects in this scene, no fireworks, no presto changeo. It's just a group of people sitting around talking. And suddenly you feel as if you are on Broadway watching a Tony-winning production of Eugene O'Neill. That scene make my guts churn; it broke my heart. Is Luhrmann showing off here? Saying, See, I could hook you in with fabulousness, and now I will move you with nothing more magical than words and real feelings.

The cast is perfect. Leonardo DiCaprio totally owns Jay Gatsby. DiCaprio manages to be human amidst all the glitz. He conveys Gatsby's power and his vulnerability. His voice is perfect; he sounds like someone trying to sound like a Kennedy. Joel Edgerton inhabits Tom Buchanan's brutality and snobbery. Isla Fisher is solid trash. Carey Mulligan brings Daisy to charming, pathetic, despicable life. Tobey Maguire is appropriately observant, lost, tempted, and jaded as Nick. Gorgeous Elizabeth Debicki channels Kirsten Scott Thomas. Richard Carter conveys quiet menace as a character whose job it is to announce, "Chicago is calling." If you can make that line scary, you are very talented.

The soundtrack mixes genuine jazz age music with rap-influenced music, and it works, too.

Praying for a Miracle for my Sister Part II

Me and my sister
Scruffy, my sister's dog. Please pray for Scruffy's family. 


I asked for prayers for my sister a few days ago in this blog post.

There's been news since that blog post and the news is not good.

So I'm praying even harder for a miracle.

I am also praying for God's grace for my sister, her family, and me.

***

I sent the message, below, to my sister's children.

Your mother, your Uncle Greg (Marlee's father) and I used to sleep in the same bed, and bathe in the same bathtub. Our family was very eco-friendly before it became popular. We also wore the same clothes.

Antoinette and I were in constant contact.

It was a big shock for me when she went off to nursing school. Suddenly I was all alone in the house. I used to be the youngest of six kids. Suddenly, I was an only child. Except for our dogs, Tramp, Artie, and Benjie.

Here's the thing, though. I would think something -- a thought would just flit through my mind -- or I would see a movie I liked, or I would hear a song on the radio -- and the next time I saw Antoinette, or the next time she wrote to me in her elegant, long, loopy handwriting, or the next time she phoned -- it would be as if we were Siamese twins, sharing the same brain.

At the same time that I was thinking X, she was thinking X. At the same time that I was singing along to song Y, she was singing along to song Y. At the same time that I was laughing at a joke, or swooning over a movie star, or remembering some event we shared, she would be thinking the exact same thing!!! Even though we were miles apart!

this happened so often, with such exactitude, and such intensity, that it was ... it was as if we were connected by some invisible, highly sophisticated, electronic wiring.

As time went on, this faded. I'll never forget it, though.

Why tell you all this ... you will never not be in touch with your mom. No matter what happens. I promise you. I know.

Friday, May 10, 2013

"That Just Took My Breath Away in Ways I Can’t yet Articulate" The Anchoress reviews "Save Send Delete"



"Save Send Delete" "is a splendid and insightful and fun novel … that is lyrically written. For Catholic readers in search of good Catholic fiction that reflects something of what it means to be passionately Catholic in a post-Christian, secularist and politically correct era, the book is almost cathartic."

I am very grateful to Elizabeth Scalia, aka the Anchoress, for her positive review of "Save Send Delete." 

Letter from a Student: "A Bumpy Ride"

Lady Writing a Letter by Johannes Vermeer. Source: Wikipedia 
Bette Davis as Margo Channing in "All About Eve."
Her famous line, "Fasten your seat belts. It's going to be a bumpy night."
Painting by Trevor Heath. Source
I distinctly remember my first day of Mythology and Folklore. As an English major with a writing concentration, this was my first time walking into the intimidating Science Hall East with its tall grey walls, automatic doors, and clean-cut, contemporary design. It was nothing like the rustic Raubinger Hall and mildew-scented Hunziker wing that I was so accustomed to. The only common denominator between these buildings was a plethora of smokers huddled under the awning in order to keep dry. As I ventured into room 5041, I noticed the previous professor had left a lecture on the going influenza epidemic that was sweeping the nation.

When Doctor Danusha Goska walked in, the entire class was in for a surprise. The wispy thin, white marking on the green and black chalkboards were revealed to be hers. She set her enormous backpack and curiously strange walking stick in a corner of the room and without a pause continued into a discussion of how it was the students' responsibility not to become ill: how to wash our hands, cover our mouths when coughing and keeping a distance from those who are or may seem infected. As my eyes crawled along the faces of my peers, Doctor Goska's voice was still murmuring in the background and I knew we were all thinking the same thing. "This course is going to be a bumpy ride."

However, four months into the semester, I have no reservations in saying that our lives have completely changed because of this class. I become excited when seeing my classmate William because he is a fellow English major, Chiyomi, in order to discuss the difference in our cultures, allow Christopher to vent about his girlfriend and future deployment, or Nikki and her precious new niece. It is because of Doctor Goska that we have gained confidence in ourselves and trust in each other.

After introducing us to absolutely repulsive creation myths, fairy tales ranging from Cinderella to talking snakes in India and the issues occurring in modern times, she has filled us with not only a vast amount of knowledge, but the ability to dissect materials presented and fully understand them. Due to her eccentrically charged personality, we were given an unforgettable experience. She spent some time regarding proper research methods, and together we can locate the appropriate sources for my project and distinguish them from false sources. I have learned so much in her class I was completely unaware of. My communication, debate, and analytical skills have increased. I am delighted to recommend this class to all students. Together, Dr. Goska and I can create something magnificent that we will both be proud of.

***

Letter from a student to my boss, quoted with permission.

What delights me most about this letter is my student's great skill at writing. What pleases me second is that she reports that I taught her how to do research and how to assess material for its truth value. She wrote to report that these skills with help her with her own research.

I am so happy that I left this student with these feelings. That’s what I want to do most as a teacher. Teach my students not WHAT to think, but HOW to think.

Yay. Yay. :-)

Finally, I'm really pleased that my student felt that our class was a place where she could connect with fellow students. The professor isn't all that important. What is important, what will serve students for the rest of their lives, are their human connections, and their people skills. I encourage students to connect, not only with me, but with each other. 

What It's Like to Be Swallowed by a Hippopotamus

Source
"There was a terrible, sulphurous smell, like rotten eggs, and a tremendous pressure against my chest," Paul Templer said, recalling the moment he realized he had been swallowed by a hippopotamus.

At the time, Templer was 27, a river guide taking groups of tourists down the Zambezi river near Victoria Falls, along the border of Zambia and Zimbabwe...(Full story here.)

Thursday, May 9, 2013

"Did Muhammad Exist? An Inquiry into Islam's Obscure Origins" by Robert Spencer, 2012. A Book Review



Robert Spencer's 2012 book "Did Muhammad Exist? An Inquiry into Islam's Obscure Origins," citing peer-reviewed scholarship, makes a very strong case that everything previously believed about Islam, both by devout Muslims and secular historians, was invented to serve imperial, military, political ends. Islam was invented, Spencer argues, to provide a unifying ideology for the Arab conquest that began in the seventh century and that defeated Persia, besieged Byzantium, stretched to India, and made it all the way to Spain by 711.

Islam is different from Judaism, Hinduism and Buddhism but like Christianity in this important aspect: it relies on an historically real founder. Christianity needs Jesus to exist. Without Jesus' life, teaching, miracles, death and resurrection, Christianity could not exist. Just so Islam. Islam is very much the vision of one man, Muhammad, presumed to have really lived; in that sense, it is entirely fitting to refer to Islam as Muhammadanism and Muslims as Muhammadans. Muslims believed that Muhammad was visited by the Archangel Gabriel, who dictated the Koran to him. Muhammad then began sharing this new revelation with followers, and eventually Muhammad instituted jihad, war to establish Islam as the only faith on earth. Secular historians have long accepted this narrative, if not putting faith in its supernatural aspect.

Other sacred texts, such as the Jewish Torah, the Hindu Vedas, and the Buddhist Sutras are the products of centuries, and vast communities. The Koran is the product of the alleged encounter of one man – Muhammad – with an archangel, Gabriel. Without an historical Muhammad and a reliable record of this encounter, Islam has no foundations whatsoever.

Spencer points out that there are no contemporary or near contemporary mentions of Muhammad. When Arab armies attacked and pillaged in the seventh century, those they attacked often did not mention Muhammad, Muslims, the Koran, or Islam. An early document, the Doctrina Jacobi of the mid seventh century, refers to an "Antichrist," an Arab "armed with a sword," who is alive after Muhammad was supposed to have died.

Sophronius, in 637, gives a devastating account of these Arab raids: "Barbarian raids abound…there has been so much destruction and plunder…incessant outpourings of human blood…the birds of the sky devouring human bodies…churches pulled down…the cross mocked…Christ blasphemed." Spencer points out that centuries later, Muslim historians whitewashed these events, depicting the Arab conquest of the Holy Land as respectful and restrained.

There are early mentions of Muhammad, but he is not the Muhammad of later Islam. He announces himself as preparing the way for Jesus; he declares that the Jews have the right to the Holy Land. Violence, though, was a feature of this new faith, whatever it was. "They inflict the pain of death upon anyone who seems to contradict his tradition," wrote a contemporary of the Arab Conquests.

Arab conquerors, too, writes Spencer, did not mention Islam or Muhammad at first, and when they began to mention them, they did so in a way that differs from the understanding of Islam today. For example, Arab conquerors struck coins with the word "Muhammad" combined with a Christian cross. Christian crosses are anathema in today's Islam. As late as the eighth century, Arab rulers are announcing themselves as worshipping "The Lord of Moses and Aaron" – not Muhammad (61).

Inscriptions on the seventh century Dome of the Rock seem to indicate that the Koran was not codified by that time, and one interpretation argues that these inscriptions show that early Arab invaders weren't quite sure whom they worshipped; possibly Jesus. Clarity of the Islamic messages as totally different from Christianity may have come about because of "pressure from rebel factions" and Caliph Abd al-Malik's need to unify troops (58). "It is possible that Abd al-Malik expropriated and expanded on the nascent Muhammad myth for his own political purposes" (59). Certainly lines emerge that support political power, e.g. "'obedience to the Caliph in his every demand was compulsory for the population'" (60).

Islam itself, and Muslims themselves, repeatedly acknowledge fabricated material about Muhammad. Muslims attempting to establish their idea of who Muhammad was and what Islam should be protest against what they allege to be fabricated material, and develop ways to lend an air of credibility to their material. "My facts are better than so-and-so's facts because I got my facts from a more reliable source than so-and-so." There is no support for these assertions. There are no extra-Islamic mentions of Muhammad to rely on, and no contemporary documents. Believers are simply to leave their inquiring minds at the door, and accept the biographical details about Muhammad that are supported by the biggest guns.

Accepted biographical details about Muhammad are self-contradictory. Muhammad famously did not perform any miracles, except when he did perform miracles; he forbids, then praises, innovation; Muhammad forbids, then encourages the killing of women and children (77). There are many such contradictions; Spencer points out that these contradictions can easily be understood in light of the political needs of the person producing the biological detail. If a given, contemporary political problem required Muhammad to do or say x, y, or z, he could be made to do so (66).

This cynical view is not limited to non-Muslims. "'Emirs forced people to write hadiths,'" an early Islamic scholar protested (71). One leader demanded a hadith that forbade pilgrimage to Mecca, considered a pillar of Islam today (72). Islam insists that these biographical details were passed down since the lifetime of Muhammad, but there is no early record of them (68-69). Bukhari, author of a respected collection of hadiths, traversed the Muslim world collecting hadiths – and he rejected 293,000 of them as fabricated! Bukhari was a Persian, born in Uzbekistan, two hundred years after Muhammad died. Bukhari was not an Arab. There is no good reason to accept his work as factual.

Ibn Ishaq, Muhammad's first biographer, did not write until over a hundred years after the death of Muhammad, and his work no longer exists. It is known only by later references to it, made two hundred years after Muhammad died. This work's author admitted that he presents only a bowdlerized version. At least one Muslim historian regarded Ibn Ishaq as unreliable (88). Another alleges that Jews are to blame for Ibn Ishaq's problems (90). Ibn Ishaq assigns dates to every event in Muhammad's life. None of those dates occur during time periods that existed before a renovation of the calendar. This seems to indicate the dates were fabricated by an author unaware of that calendric innovation (98).

When assessing ancient texts, scholars seek support for the texts in still extant archaeological sites. Archaeology seems to contradict Muhammad's received biography. It contradicts what is known about Mecca (104-5).

When assessing texts, scholars consider the "criterion of embarrassment." Does the text contain material that might embarrass? If so, it is more likely to be true. Those who argue for the authenticity of Muhammad material cite his marriage, when he was fifty plus, to a six year old girl, and his demanding that his son relinquish his wife and allow Muhammad to marry his own daughter-in-law. Spencer claims that these details might jibe with seventh century Arab warlord needs and values.

The Koran is a notoriously incoherent book. It is unlike other world scriptures, whose narratives and values are usually readily apparent to non-members even on a first read through. One estimate states that 20 % of the Koran simply makes no sense (149). Islam's "theological flux" is explained with a Koranic verse that says that Allah gives better verses to abrogate inferior ones (128; 131). The Koran is said to be all but divine, but passing influences dictate its contents (128-9). Muslim traditions state that some Koranic verses disappeared (135-137). Scholarship backs this up; analysis shows that the Koran is the result of several authors working over the course of many years (138-9).

Finally, Spencer argues that the Koran was based largely on pre-existent Jewish and mainstream and heretical Christian material from the Bible and folklore (148-9). Much of this material was obviously misunderstood, for example, the Koran describing Jesus as Moses' nephew. Again, Islamic tradition supports this view, announcing that Muhammad's critics called him merely someone who heard and regurgitated Jewish and Christian tradition, "fairy tales of the ancients he has written down" (146-7).

Many words in the Koran make no sense in Arabic or any known language. It is possible that these words are the results of errors. If one understands the Koran in the context of the Syriac language and the Christian heresy of Arianism, it begins to make sense – but it is a much less "Islamic" text. It is not the unique revelation of God to a prophet, but simply a misunderstood and misused text. Translated correctly, the Koran may contain celebrations of the Last Supper, of Christmas, and a Christian confession of faith.

Did Muhammad exist? Spencer says that he possibly did, but scholarship shows that he is not the prophet of a coherent and new revelation, but, rather, that his name was used to unify and rally an imperialist, expansionist Arab conquest. That conquest's scripture was a garbled version of a Jewish and Christian substratum that evolved in response to military needs.