Beruflich Dokumente
Kultur Dokumente
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Irreantum
Irreantum Staff
General Editor Laraine Wilkins
Assistant Editor Angela Hallstrom
Fiction Editor Sam Brown
Assistant Fiction Editor Liz Lyman
Poetry Editor Michael R. Collings
Readers Write Editor David Pace
Personal Essay Editor Angela Hallstrom
Book Review Editor Jana Bouck Remy
Copyediting Team Manager Beth Bentley
Copyediting Staff Colin Douglas
Henry Miles
Alan Rex Mitchell
Vanessa Oler
Steven Opager
Intern Kjerstin Evans
Design and Layout Marny K. Parkin
Contents
From the Editor
Critical Essay
Propaganda and LDS Church Filmmaking: Gentle Persuasion or
Ham-Fisted Handling? Randy Astle and Lee Walker11
Fiction
Judgment Day Aaron Orullian27
They Wandered in Deserts Shawn P. Bailey35
Poetry
Slowing the Song; In Ordinary Time Heidi Hart23
Bread and Plums; St. Catherines Finger Sonnet Joel T. Long 25
The Man Lehi; Bubbly Jennifer Quist45
Rumble of the Falls;
Sycamores by the Bagel Shop on Center Lon Young47
Curious Tree; Between the Gods Maureen Clark68
Psalm Colin Douglas70
Ye Shall Be As the Gods Sharlee Mullins Glenn76
Reel Observations
HBOs Big Love: Negotiating Polygamy Eric Samuelsen49
The Ascension of a Saint: New York Doll Randy Astle57
New Direction for HaleStorm: Church Ball Eric D. Snider61
This Divided State: An Exploration in Civility? Peter Walters66
Departments
Readers Write: Film and Religion
71
Irreantum
Volume 7, Number 3 (2005)
ear-ee-an-tum: 1 Nephi 17:5. And we beheld the sea, which we called
Church leaders have known this from the beginning. The Church in the last
half century has cautioned strongly against indulgence in forms of entertainment that present immoral behavior. I believe that every Mormon in the
Western world has an R-rated movie story that illustrates a major decision
with regard to commitment to Church standards. And while I believe it is of
vital importance that individuals follow their own conscience in this matter,
I also believe that increasing our capacity to evaluate film is of equally vital
importance. A forthcoming issue of BYU Studies is devoted to Mormon cinema; alternative-culture magazines are beginning to cover Mormon cinema;
Mormon-made movies are getting screenings at art-house theaters around
the country; the annual LDS film festival held in Orem, Utah, is growing
each year; and the Church will probably continue to make high-production
70-mm films for viewing at Temple Square and temple visitors centers
around the world, not to mention on KSL television during conference
weekend. Irreantum wants to contribute to the understanding of this symbiotic relationship between religion and film in Mormon culture. Whether we
view ourselves on the sacred silver screen of the temple endowment ceremony
or in the profane halls of Slamdance, we as Mormons can always profit by
finding new mirrors and new ways to see.
Laraine Wilkins
10
Propaganda and
LDS Church Filmmaking:
Gentle Persuasion or
Ham-Fisted Handling?
Randy Astle and Lee Walker
Karl Konnry, a German filmmaker living in Canada, went to the
Canadian National Exposition in Toronto in November 1965 and
ended up waiting all morning for his documentary film crew to
arrive. To help pass the time, he walked into the Mormon Pavilion
to see how bad the new picture Mans Search for Happiness was. He was
surprised, however, that both its cinematic quality and especially its message impressed him enough that he wrote his name down as a visitor. LDS
missionaries arrived at his door soon afterward, and before long he was a
baptized Latter-day Saint who, in turn, used his filmmaking abilities to influence others to accept the Church and its teachings. More importantly for
him personally, Mans Search for Happiness helped change him from an atheist, a complete atheist, to a devoted disciple of Christ and active member
of the LDS Church (Wirsing 14). Although most Church members would
agree that the Spirit ultimately is the means of conversion, the experience of
Karl Konnry at the Canadian National Exposition proves how powerful the
medium of film can be in spreading the message of the restored gospel.
The Church of Jesus Christ of Latter-day Saints has always embraced
mass media for their potential to spread the gospel message. Indeed, given
the Churchs attention to newspapers and printing from its earliest days, it
should not be surprising that Mormonism has been a strong proponent
of mass media as a means for communicating as widely as possible. Since
1910 the Church has constantly pursued filmmaking as a chief component
of its proselytizing and curriculum efforts, often, as with Mans Search for
Happiness, at great expense. It has done so, obviously, not for profit, art, or
11
introduction of scripturally based works in the 1980s to more recent doctrinally sophisticated pieces such as The Works and Designs of God (1999).
In spite of the Churchs phenomenal commitment to the medium of
film, it does not have a corner on inspirational or religious motion pictures. Movies based on the Bible date back to the infancy of filmmaking
in the 1890s (examples include a 1903 production of Samson and Delilah
by the French production company Path, a 1910 Gaumont film Esther
and Mordecai directed by Louis Feuillade, and D. W. Griffiths apocryphabased Judith of Bethulia [1914], among many others). As Tyler F. Williams
notes, from the early days of filmmaking to its zenith in Cecil B. DeMilles
The Ten Commandments (1956), the biblical epic has been a staple of the
movie industry. Biblical films continue to the present: note Mel Gibsons
2004 The Passion of the Christ or the 2003 The Gospel of John. And whether
Bible-inspired films are designed to entertain or preach, there are numerous
accounts of ostensibly secular films engendering a powerful conversion experience with concomitant repentance (i.e., commitment to a higher purpose
in Rocky [1976] or understanding of Christs passion through Mean Streets
[1973]).
Film theorists, scholars, and theologians have in recent years begun to
analyze how such films function. For example, Paul Schraders 1972 work
Transcendental Style in Film, one of the first of these investigations, identifies
a notion of spiritual universality of transcendental style which strives
toward the ineffable and invisible (3). Other film critics strive to identify
various methods used by Christians in approaching film from a religious
perspective. Often such films, like Mean Streets, are not overtly religious,
but take on a role within a religious culture. John C. Lyden, for example,
in adapting a schema defining the various types of relationships between
religion and culture, classifies two approaches to understanding theology
and film. The first is a Protestant-dialogical approach, which assumes the
independence of religion and culture and seeks to bring them into dialogue
in order to gain from that interchange (18). The second he calls Roman
Catholic-Synthetic Approaches, where religious devotees and leaders have
not always been open to seeing a harmony between the values of movies and
those of Christianity (22). While there might have been some animosity
among Catholic thinkers toward the role of film for religious purposes, a new
attitude began to develop after the Second Vatican Council whereby popular
cinema could convey a general sense of humanistic values, which religious
13
values could then complete (see 23). While LDS Church leaders have also
cautioned strongly against excessive indulgence in popular films, Churchproduced films have always been supported through a firm belief that this
new technology could be used to spread the gospel (see Levi Edgar Young).
In posing the question of how film is able to move or convert, it is important to acknowledge that not all Church-produced films inspire viewers in
the same way, a point we shall return to later. In fact, many might leave
a theater on Temple Square with a sense of having been manipulated and
deceived by filmmakers who have a predetermined agenda in presenting their
message. It is, however, undeniable that Church-made films also inspire, as
Karl Konnrys experience demonstrates. While more lives have been affected
by The Passion than by The Testaments, one cannot dismiss the capacity of
a subsidized industry to produce film that, even without the blockbuster
appeal of a Mel Gibson, can inspire.
qualities for their power to persuade. As the real estate marketing truism
holds, location, location, location can make all the difference. Grierson, in
addition to mastering the art of the single say-so, enabled its repetition a
thousand times a night to a million eyes through innovative film distribution methods. Grierson wanted films taken out of the movie houses and
into the workplace. In 1943, in the process of establishing the National Film
Board of Canada, he wrote the following:
When we bring under observation new and stubborn materialsthe seem
ingly desolate problems of housing and unemployment and health, for
exampleit is difficult at first to make them entertaining and to qualify them
theatrically on the ground of either entertainment or inspiration. Happily
there is more seating capacity outside theatres than there is inside them. Also
happily, men are creatures of mood. The very people who are united in relaxation inside the theatres are otherwise united in terms of their professional
and specialized interest outside the theatres. It is in this latter field that the
educational picture is filled out: in schools and colleges, in civic social services,
trade unions and professional groups of all kinds. (2912)
16
who chooses to spend more time at work (even to pay exorbitant hospital
bills incurred through a tragic accident), or a mother who questions Gods
justice. One probably would not even feel respected in airing doubts concerning life after death. All of this can, to many spectators, lead to stonewalling rather than acceptance.
If it is difficult for Church filmmakers to respect the agency of potential
converts (by not manipulating their emotions), to connect with them on an
intellectual or spiritual level (by not being self-righteous, judgmental, or otherwise insular in favor of the LDS community), and still provide them with
a spiritual experience that will help advance them toward union with the
Church, then it may be comforting to realize that all propagandists face similar difficulties in reaching a new audience. The capitalist will have difficulty
accepting Battleship Potemkin; the African American, Birth of a Nation; the
pacifist, Casablanca; the Republican, Fahrenheit 9/11; the McDonalds executive, Supersize Me; the Mormon, Marriage or Death; and the atheist, Mans
Search for Happiness. There exists, in other words, the reality of resistant readings, cases where the viewer refuses to cooperate with the ideals presented on
screen but instead actively disagrees with part or all of the intended message.
Some anti-Mormon organizations or wary denominations have shown LDS
films such as Called to Serve in order to alert their members to the dangers
of Mormonism. Conversely, some Latter-day Saints began their initial
investigation of the Church because of watching the anti-Mormon film The
Godmakers.
Mormons themselves have exhibited this kind of resistant reading since
the early days of film, when they were often the subject of sensational
stories of the West. In the 1910s and early 1920s a slew of theatrical films
in Europe and the United States sensationalized Mormonism with tales of
polygamy and the Mountain Meadows Massacre. Titles included Marriage
or Death, Trapped by the Mormons, A Mormon Maid, The Danites, A Victim
of the Mormons, and Married to a Mormon, among many others. There were
attempts, some successful and some not, by Church leaders and other prominent members to suppress or censor these, but the most interesting response
came from young full-time missionaries. As often as not they would stand
outside the movie theaters and pass out tracts sometimes specifically written to disprove the claims of the film. Missionary G. Osmond Hyde wrote
home from Hull, England, that Trapped by the Mormons (1922) was the best
stroke of advertising that we have put forth since coming over here. In three
20
e venings we let more people know that we are here than we could have done
in three months at ordinary tracting from door to door (5). Similar missionary reports came from New York, London, Sydney, Johannesburg, and
elsewhere. The truism that there is no such thing as bad advertising was thus
in place decades before the days of provocative Calvin Klein billboards.
Spectatorship is thus a much more complicated activity than is implied by
a label such as: This videocassette will make youth want to be morally clean.
Viewers are not, perhaps, passive receptacles, swayed by every wind of propaganda. And in spite of the power of film to persuade its viewers to adhere
to a message and take action in support of a cause, the power of individual
agency is always at work after all. Film is merely a catalyst for those who are
ready to believe, whatever that belief may be. As with Triumph of the Will,
howeverfor those who are readysuch a catalyst can be crucial.
And, in many cases, the effectsof the right film at the right moment for
the right person, such as Mans Search for Happiness at the 1965 Worlds Fair
for Karl Konnrymake all the difference in finding God.
Conclusion
How, then, to honor agency yet still assist viewers in their path to conversion? For Susan Rather, following Jacques Ellul, it lies in respecting the
independent and autonomous stature of eternal truth; indeed, she might
suggest that LDS films teach correct principlesas fervently as their creators
may likeand leave the spectators to govern themselves. This open-ended
solution necessitates future studies in style, aesthetics, narrative structures,
typology, and other formal characteristics of LDS films on the one hand,
and phenomenological inquiries into the nature of LDS spectatorship/the
viewing of LDS-made films on the other, neither of which would fit into a
short introductory study such as this. What we hope to have examined here
is the relationship between both politics and religion, and persuasion and
unrighteous dominion, all within a cinematic context. Such an understanding is essential, we believe, to the creation of a persuasive, spiritual, and
moral cinema.
Works Cited
Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of
Nationalism. New ed. New York: Verso, 2006.
21
22
Heidi Hart
23
In Ordinary Time
Miles from the flood-city where the dead drift out
into the street through open windows,
what sky shows through mine is darkening
to Dickensian soot. A hammer rings:
my boys have banded with their friends
to build a wood scrap fort against the looming rain,
against the TV images of a stampede
in Baghdad, bodies billowing along the Tigris.
Here in this more recent desert settlement, fresh
with faith in God and progress, plum trees swing
with unasked-for abundance, each windfall fruit a gift
or waste, who knows. I can hear my neighbors
talking prophecyOld Testamentas rain
pulls at their kitchen screens. Another neighbor
belts her daughters name until the thunder
takes her voice. So our epoch nears its end;
so have others; were flotsam, Im thinking
as my doorbell sounds its electronic carol and
I light the porch up for a three-year-old,
naked and muddy, who hands me a crushed
blossom. He says nothing. I thank him
and tuck the bloom into my book.
24
Joel T. Long
25
26
Judgment Day
Aaron Orullian
He put the script down again and sighed. It was the dirtiest, sexiest, roughest thing hed ever read, and it was still brilliant. It was
script 32 of the ScriptWorld Screenwriting Competition, and he
had no idea what he was going to do with it. Hed volunteered to be a firstround judge because writing and movies were what his life was all about, and
he wanted to make a difference. Hollywood had long since fed its audiences
with loaves of chaff. This contest would be his chance to winnow out some
garbage and recommend some whole wheat.
He said a quick silent prayer and reexplained the situation. It really had
the most ridiculous soft-core title, and hed rolled his eyes when he first
picked it up a week ago. Yet how was he to know that this hypercharged
erotic odyssey would contain such assured storytelling, such exquisitely realized characters, such raw, brutal truth? (He himself had never had sex, but as
an artist could recognize truth.) So in spite of himself and in spite of its heaps
of inventive sex, he had to admit that Doves Passion had achieved something
both telestial and sublime. It was a work of art. A work of something. Oscar
worthy.
Michelle materialized at his corner table by the deli counter, poking at her
Gorgonzola walnut salad, beaming.
So have you read anything good lately?
She sat down.
No. Not really.
He took a bite of his chicken on wheat and said a quick prayer and apologized for lying. Then he said another and asked if he really was lying, since
he really hadnt decided how to define good in terms of the competition.
Well dont be discouraged. Maybe youll find something wonderful like
Lord of the Rings.
Michelle was well-meaning, if a bit nave. They had met at a Single Adult
conference last July; she introduced herself to him after a workshop on debt
27
reduction. He sensed early on that shed wanted him. It was obvious by the
way she held on to his every word, the way she stared and laughedthat
love-laugh of a thousand movies. He was annoyed at first, then felt bad
because she really was a nice person and only wanted someone to love.
As he left the deli, he prayed for her. That someone would find her and
love her. Someone really nice. Someone who wasnt him, even though she
was a good listener and reminded him of that fascinating actress on The West
Wing with the bug-eyes. (Although those qualities could never be enough and
he knew it. As an artist he could never compromise. Not in art. Not with
women. Not with things both eternal and final.)
Crossing Lemon, he could almost see Dove running through the rainswept streets of Prague, Russian tanks rolling in the distance, a heart burning
for traitorous lovers under a pale green sweater. (Janek music would be
perfect over all of this.)
He found his window again at the Washington Mutual and sized up the
lunch rush. Because Dove didnt know about the gospel, he couldnt hold any
of her sleeping around against her. In fact, if he hadnt had the gospel and
had to hide from Communists day and night, he too might have been the
same way. He said a quick prayer and apologized for thinking so much about
that sweater, then said a quick prayer of gratitude, then prayed for everyone
in China.
Forty scripts read in four weeks. Two to be recommended for more
analysis and possible glory, thirty-eight to be sent to the dustbin of shattered
dreams. It was a miserable thing that had to be done, artist executing artist
(hed been killed forty-six times so far over the course of his own emerging
screenwriting career). Of course, most of these competition scripts were dismissible examples of How Not to Write a Screenplay. But seven had somehow
sidestepped his contempt and caused him real trouble. Two were revisionist
historical dramas (one set in 1709 New Jersey) with impeccable dialogue
and rich visual detail; another, a riveting Civil War story about an obscure
and unbelievable event at Gettysburg (hed never been there but could only
imagine); a simple story about a dog and an orphan (surprisingly void of
cheap sentimentality, despite the disposable title); a satire about consumerism (from a totally different angle); a remarkably constructed biography of
Fats Waller (all flashforwards within a flashback); and a story about a girl in
1968 Czechoslovakia.
Hana Jovic had moved to Praha from Morava to live with her grandmother after the sudden death of her parents in an auto accident. Dark-haired,
28
It was on page 27, as she was lying in the arms of her latest experience, that
the tanks with red stars rolled in.
And thats when everything changed.
A remarkable twenty pages or so followed: the whirlwind occupation by
foreign troops, the student and radio protests, families and friends breaking
apart to realign their allegiances or rush for the fast-closing borders. The
dream of a free republic being firmly submerged just at the moment when
29
things were beginning to be sweet. (Hed sighed relief that the good times
were over.)
Hana hadnt known much about politics up till thenNovotn, Dubek,
Svobodaall names of famous, potential lovers. Nor had she understood
what was sweeping the country, why the people were gathering in great
masses on Wenceslas Square to await Dubcks return from Slovakia.
The foreign occupiers noticed her beauty and her, the barricades of buses
and cars set up by students, the street signs all mixed up and missing. Pushed
in a crowd, she sat on a tank to rest herself, until a firm arm pulled her down
and away. Her friends at the factory and voices in the Rud Prvo said the
sky was falling; the young Polish officer pressed her close and didnt say much
of anything.
It wasnt until p. 42, after police had sacked her friends caf, and Radek
and Duana were imprisoned for treason, that Hana realized that her world
had come undone. The factory explosion on October 4 (shed been framed
by the foreman) and her forced descent underground sealed her fate.
In hiding, her education came fast. She learned about the fight for freedom. She learned about her country and about justice and how to serve up a
Molotov cocktail. In dark solitude she realized that there were things only she
controlled, and she determined from that day forward to surrender them to
the cause of counterrevolution. And it would be nonviolent. She would use
her body for peace. Socialism with a female face. They would call her Dove
of Peace. (He couldnt remember the Czech phrase for it, but it was really
weird and sexy).
DOVE
I can only do what I have to.
Daphne from last Fridays mid-singles social sat next to him on his couch,
staring at the end credits on the TV in silence. Theyd just seen his favorite
Iranian filma masterpiece of narrative understatement and minimal camera movement. The ending was depressing but amazing and hed felt happy
to share it with her. It was a perfect example of art flourishing within restrictions, he explained, and thats the paradigm hed accepted for himself, too.
Art with standards. And he would try his best. But it wasnt so easy, wasnt
so simple. Because what if his own honest visions were someday viewed as
heresies? What would he do then?
31
Hed lain in bed that first night after meeting Dove and wondered why
hed been made to know her. He didnt really need to know about revolutions
and lovemaking positions, but once out of the garden there was no turning
back. And these things were almost exactly as he had imagined them to be,
made more intoxicating with all the odd, unexpected little details that make
these things more believable. He prayed for understanding and to know how
to feel. It must have been a horrible, sexy timeall those yearnings and
couplings in art deco cafs and undersized automobiles, all that Tropic of
Cancer and Capricorn buzzing in high-rise concrete beehives. All that bread
and booze and vlast. Heaving women with doe eyes and body odor. Laughter
and hunger and raucous singing. Desperation. Life lived to its limited fullest;
love and self-sacrifice at all costs. It was all just too much.
Daphne nodded slowly, her eyes sharing the weight of his dilemma with
the DVD player. (Dove had slept with an entire regiment to save a family
ofsix).
Maybe you should pray about it again, she suggested quietly. He agreed.
SSS
He held her in his hands and remembered with compassion the pain of
her many degradations. These were hard things to put to the world, he knew,
and would they be worth it? Sure, Barky had taught his orphan owner to
trust and love again; Dove had slept with a village and had a nervous breakdown in the nude.
Holubice mru.
He listened again and listened and listened.
There was no way he would ever see the movie if it came out, no way he
would recommend it to friends. It would be a hard R at least; NC-17 if all
secrets be told. It was bad stuff. Nasty. Heartbreakingly nasty brilliant stuff,
and it had come to him.
He sighed and resigned and with reluctance slid it into the envelope and
said a prayer that it wouldnt win.
S Editors note: This story is the first-place winner of the 2005 Irreantum fic
tion contest.
34
Sounds more like your dream job than mine, Ryan said. So whats it
going to be, Mark? Knives? Pesticide? Security systems?
You know what Im talking about, Mark insisted.
Right, Ive seen the movie, Ryan maintained his tone. Lots of walking
two-by-two in front of exotic scenery. Synchronized waving. Wholesome
smiles. The womenfolk at home hold their breath between letters. A chorus
sings Called to Serve in the background. Im down with that.
Where do you want to go? Mark asked.
Never tell anyone, not even yourself, where you want to go, Jed spoke
up. This is serious. If you honestly say where you want to go, you are sure
to not go there. And you may get sent somewhere just because you went
around telling people how awful it would be. Just say nothing. Or say you
want to go someplace you dont really care about. Jed smiled and looked up.
Indifference is the key. Indifference. Extend the life of your secret desires by
hiding them so well even you cant find them.
Somewhere dull, somewhere in the Midwest, Ryan answered Marks
question.
Nice. Very wise, said Jed. I think the Midwest sounds like a fine place
to serve a mission.
Another questionanother question is whether you are really going at
all, Ryan said in a serious voice, turning from his book to the center of the
car. Everyone I know assumes I am going. He paused. But I dont know,
he added.
Thats not funny, Ryan. You are going, Mark said, half regretting that he
brought up the subject in the first place. The only question is where. I am
going someplace in South Americathat is if China doesnt open up in the
next six months.
Im not even sure I have a testimony, Ryan replied. Can I do thatcan
I go around telling people to join a church that I am not even sure about?
How do I explain polygamy? I dont even get polygamy. And what about
blacks and the priesthood? What am I going to say other than Hey, thats a
pretty good question? Can I take my parents money? My parents dont have
a lot of money. Shouldnt I go to college and get on with my life if Im not
sure?
Mark and Jed were silent. Focusing on the road, Mark frowned. Youre
going, he said again, softly but irritated.
Not that I dont see how Im cornered. My mom might not ever speak
to me again if I dont go. And I cant imagine looking down the dinner table
36
Gods playground. Mark broke the silence, looking just above their
heads, inspecting the salmon-colored sandstone formation behind them. Its
good to be standing here; you know, in such a holy place.
The way I see it, this place is all mountains and valleys, Ryan interrupted.
And I dont have to tell you that mountains shall be brought down and valleys raised upthis whole place is scheduled for demolition. All we can do
is enjoy it while we can and not get too attached. How soons that oatmeal
going to be done?
It doesnt mean that. You have no idea what Mark was cut short.
It might mean that, Ryan came back. Consider the arches themselves.
Defiant. Defiant even to natural laws, friction, gravity, you name it. And
audacious. Always appearing in pictures. I mean, dude, look at your license
plate. Delicate Arch. How corporate can a geological formation get? Come
to Utah, it says, I will hold very still for you. Dont worry, there will always
be some other tourist standing right next to me. She will be glad to snap a
picture for you.
Jed was pleased that Ryan could still get to Mark, just like always. He
may have something there, Mark. Jed grinned. Those are some pretty
pompous arches if you think about it.
Marks face was contorted, pulled tight. He was making an effort to ignore
Ryan entirely. He went to his car, returned with a map, and began to study it.
Fiery Furnace, he declared. I think today we explore the Furnace. There
were no objections.
The small parking area next to the Furnace was empty except for Marks
car. They noticed but were not impressed by the sign prohibiting hikers from
venturing into the Furnace without first registering at the ranger station and
taking an orientation course. Thats new. Mark shrugged his shoulders.
Im not going to spend the morning with old hippies in polyester shorts,
Jed said. You know, lecturing us not to litter or poop without providing a
proper burial or step on cryptobiotic soil, thus disrupting the deserts delicate ecosystem.
The morning passed quickly as they played their way deeper and deeper
into the Furnace, a maze of slot canyons, spires, boulders, odd-shaped
compartments, sand dunes, and sudden drop-offs. Many forceswind, silt
collecting and curing layer upon layer, sudden torrential rains after months
without moisture, August afternoons second in extremity only to the lunar
chill of winter nightshad conspired to make that place.
38
They followed no trail; they climbed chimneys thirty and forty feet high
in tight slot canyons. They ran zigzag up a dry riverbed, looping sideways
higher and higher up the riverbeds sloped walls. They scrambled to the
top of a small arch and jumped into the rust-colored sand below. Unstated
principles structured all of this play. The more difficult or original or at least
dangerous the stunt, the better. Once one of them successfully executed a
stunt, the others were obligated to duplicate it. Hours into their game, they
reached a high point where a single ragged juniper tree provided a few feet
of shade. They stopped for lunch.
Exceedingly hungry and safely beyond the gaze of girlfriends and parents,
they ate freely. No one spoke for several minutes. Mark had been thinking all
morning about what Ryan said in the car the day before; he was determined
not to let it pass unanswered. He finished his lunch quickly to make sure
he could address Ryan while he still had a mouthful of sandwich. Mark was
uncertain where to begin, uncertain even what he was going to say.
Faith, Mark said, looking directly at Ryan.
Ryan was only half surprised. He grinned narrowly and looked up at Mark
with raised eyebrows. He did not speak.
You say youre not sure. Well the point isnt really being sure, is it? Youve
got to have faith now. Thats what faith is, you know, pressing forward when
youre not sure. Mark wanted to sound both caring and wise, but he failed.
And so your mom and future wife and your family want you to do whats
right. Can you blame them? Imagine if it was the other way around! Then
youd have something to complain about. And you make it sound like some
kind of conspiracy.
What do want me to say, Mark? Ryan asked as calmly as he could.
I know that everyone, everyone applying the pressureincluding you,
MarkI know that all of you just want to help. And believe it or not, after
eighteen years in the Church I have heard the definition of faith. I just dont
find it that easy in practice. I do know what I feel, though, and Im just not
sure.
Jed wanted to change the subject. I think we should bring our girlfriends
on the next trip, he said. I mean those of us who have girlfriends. Sorry
guys.
Mark, impatient and angry, rose to his feet, turned his back and walked
a few steps into the sun. Ryan jumped up after him and gave him a friendly
slap across the shoulder. Dont stop trying to save my soul, dude, no matter
39
sniffed them out or a search helicopter spotted them from above. In addition
to what they were carrying, they had a pothole full of possibly alkali-free
water. They would alternate between waiting out the heat of the day in the
shade and standing at the ledge overlooking the valley so that one of them
would always be visible to any potential rescuers from above. They would
listen closely for potential rescuers on foot and scream like mad if they heard
anything. They would huddle together at night if the cold became unbearable.
I cant believe this! Jed cried. I cant. What are you going to do about
it, Mark? I get good grades. I have eighteen hours of AP credit. Im going
to college! I have a girlfriendbut, but I keep the freaking commandments!
Iam supposed to go on a mission! My patriarchal blessing says Im going to
have children. Children!
Were going to get out of here, Jed said Ryan. Right now, we are going
to pray. Each one of us is going to take a turn. Thats it. Were going to be
fine.
Each of them did pray as Ryan had said. Their prayers were simple, earnest. Were stuck and its getting dark. Help us to know what to do. Save us.
Mark prayed last. We promise, Heavenly Father, Mark prayed, each of
uswill serve an honorable mission if our lives are preserved.
Ryans heart pounded and he wanted to strangle his friend. He clamped
down on that thought. He took a breath. Silently, he asked himself: if God
made me an offer along those lines, wouldnt I take it? And is He? Am I
endangering my own life by feeling, even at this moment, so uncertain?
That feeling was unbearable. He wouldnt feign certainty, not even to save
his own life. He knew that wouldnt get him very far anyway. But he resolved
to somehow pry that feeling out of his heart. For now, he wanted to correct
Mark, tell him how wrong it was to make that promise for him. But it wasnt
the time. He had an idea.
SSS
As soon as Mark said Amen, Ryan spoke: I think two of us can boost the
other one up to the rim.
How does that help the other two? Jed asked, incredulous.
He lowers something down for the others, Ryan replied.
We dont have any rope! We dont have anything! There arent any decent
tree branches for a hundred miles! Jed said, getting angry. Thanks for noth42
ing, Ryan.
Our pants, Ryan said. We make a rope out of our pants.
Mark didnt speak, but with a grave look on his face he took off his hiking
boots, undid his belt, and lowered his pants. Ryan and Jed did the same.
They tied pant leg to pant leg and then worked out the remainder of the
plan. Jed would kneel on his hands and knees. Ryan would stand on Jeds
back. Mark would put a foot into Ryans interlaced hands. Ryan would lift
Mark, who would lunge for the edge.
After some fumbling and falling, Mark found himself sprawled across the
wall, chest and arms above the point where the slope began to level out. Ryan
and Jed were still supporting his weight. Moving from lifting to pushing,
Ryan helped Mark slither higher and higher until he finally pulled himself
completely out of the depression.
Ryan jumped off Jeds back and grabbed their makeshift rope to toss up
to Mark. Jed jumped up, brushing sand off his hands and bare knees.
Suddenly, an unfamiliar voice called out. What happened to your pants,
son?
Mark had been standing on the edge looking down at Ryan and Jed. He
turned to see a park ranger twenty yards away and rapidly approaching. The
ranger was a wiry old man; he wore a silver white beard and the expression
of someone choking back laughter and failing. Marks first thought was to
somehow cover up. Despairing of thatand not wanting to make things
worse by acting too ashamedhe turned to think of how to word his
explanation.
Hiking in your underpants, huh? the ranger asked in a boisterous voice,
now only several steps away from Marks side. Out here this far, alone, hiking in your underpants. Well, I have to admit, thats a new one. Cant really
see the advantage of underpants hiking, but maybe thats just me.
Mark wanted to jump back in the hole, where there was at least a rock to
stand behind. Although at first too amazed to move, Ryan and Jed did position themselves behind stone blocks on the floor of the depression.
We got stuck, me and my friends, Mark gestured toward the hole. We
were going to use our pants to climb out.
The ranger stepped up to the ledge and looked in, noting instantly the
heads and upper torsos of Jed and Ryan. I take it both of you also happen
to be unencumbered by your pants at the moment?
43
Ryan and Jed took that as derision and not a real question. The ranger
temporarily lost his smile. So Im curious, gentlemen, how did all three of
you somehow fall into that hole in the first place? Because no one, and I
mean no one, registered to hike in the Fiery Furnace today. That is your car
in the parking lot, isnt it? You know, the one parked next to the sign that
says hikers must register with me prior to entering the formation?
Sir, Im sorry, Mark said. Its my fault. Thats my car. Please go easy
onus.
The ranger nodded. I think you boys have probably suffered enough, he
said. You may as well go ahead and get yourselves out of there because I dont
have a rope and I wont be able to get back here with one until after dark.
SSS
They proceeded to execute the remainder of their plan, the park ranger looking on, occasionally snickering to himself or shaking his head in disbelief.
Ryan tossed the makeshift rope up to Mark, who, after wrapping one end
around his left wrist, grasped it tightly with both hands. Mark laid down
on his stomach to anchor himself and lowered the rope into the hole. As
Jed pulled himself up, Ryan pushed from below. Ryan then pulled himself
up with the rope. They untied it hastily, took off their boots, and pulled up
their pants.
You guys know your way outta here? the ranger asked, turning away
from them, down the canyon.
We could use some help, Mark confessed.
Gesturing with both hands, the ranger described prominent rocks and
trees and finally the dry riverbed that would guide them back. They did not
stop once to play, but made their way directly to Marks car.
They got in the car, Mark behind the wheel. Ryan tried to read but could
not concentrate. Both he and Jed watched the desert out their passenger side
windows, gazing east as Marks car carried them northward to Salt Lake City.
They did not speak. Jed fell asleep in the back seat. They were exhausted and
wary of remote places.
S Editors note: This story is the second-place winner of the 2005 Irreantum
fiction contest.
44
Jennifer Quist
45
Bubbly
The infant blowing bubbles on her bare arm
slick, cottage cheese saliva
breaks suction, sneers at the two fingers,
still typing as if nothing ever happened.
The thinnest skin of her hand
tears under tiny crescent moons.
Cursing in the baby tongue only she knows,
he coughs curdled breastmilk onto his shirtfront.
Idiot, he calls,
catching and stretching her scalp by hairy reins,
I am the word.
46
Lon Young
47
48
of whom are not, presumably, from polygamous families. Third, the series
focuses on Bills troubled relationship with Juniper Creek, the cult-like fundamentalist compound where he was born, and where his parents still live.
Juniper Creek is run by an elderly prophet figure called Roman (Harry Dean
Stanton), who is also Nickis father and therefore Bills father-in-law.
Of these three story threads, the most interesting, and the one the series
has thus far dwelt on the most, is the first, the everyday dynamics of a
polygamous family. In the few hours of the series so far, the three wives have
already been established as fascinating, dimensional characters. Barb is the
most independent of the three. She is the only one with a jobshes a substitute teacher, a job which probably contributes only negligibly to the family
finances, but which is very important to her. Shes also been taking college
classes. Nicki clearly resents her for her outside activities, because the other
wives have to pick up the child-care slack. Barb makes most financial decisions for the family, and also takes the lead in what appear to be regular planning meetings, in which the wives coordinate schedules and homemaking
responsibilities, and also work out a mutually satisfactory conjugal schedule.
Barbs past is, so far, a bit mysterious as well. She had a hysterectomy after
uterine cancer, and theres some indication that her surgery was a turning
point for herthat she and Bill were monogamous for the first several years
of their marriage. To some extent, the other wives seem to be competing for
her attention. Although the women consider themselves friends, and, at least
rhetorically, are completely committed to their shared marriage, the planning
meeting scenes are all a bit tense, and there have been a number of scenes in
which we see two of the wives whispering their disapproval of something the
other wife has done. Usually these scenes involve Nicki or Margene as they
try to enlist Barbs help in dealing with each other. As Tripplehorn plays her,
Barb is a strong, intelligent, fiercely independent woman, the only political
liberal among the wives, and the only one who doesnt immediately defer
to Bills authority as family patriarch. So why did she embrace polygamy,
especially after many years in a monogamous marriage? She tells her oldest
daughter that the decision to give up monogamy was a difficult one (the
word she uses is gradual), but so far, that particular mystery has not been
fully answered.
Nicki is the only one of the wives to dress in the conservative style most
Utahns associate with fundamentalistslong skirts, long braided hair. It
makes sense that she, as Romans daughter, would retain the Juniper Creek
50
style, and she complains to her mother (the wonderful Mary Kay Place) that
she finds the Henrickson lifestyle spiritually shallow. Were led to conclude
that Nicki may have the most genuine religious commitment of the wives.
But as Sevigny plays her, Nicki is also untrustworthy, devious, sly, and
financially profligate. When she asks Bill for money to decorate, he gives her
a hundred dollars, leading her to steal his credit card and charge an entire
living room set without his knowledge, and she seems to react to stressful
situations by going shopping. We learn that she carries nearly sixty thousand
dollars in credit card debt, and shes not above asking her father, Roman, for
help with it. She has a knack for manipulating Bill, a knack the others cant
quite match, and they resent it without quite knowing how to cope with her.
In the second episode, she seduces Bill on what should be Margenes day and
then brushes off Margenes hurt feelings as inconsequential.
Margene is the youngest of the wives, and her third wife status has been
one of the most poignant issues in the series. Her house is the smallest of
the three, and the most shabbily furnished. Shes also the only one of the
wives without her own car, which she resents. Shes a harried young mother,
dealing rather incompetently with her own small children, and with Nickis
undisciplined kids, whom she watches far too often. She gets overwhelmed
and disorganized, forever losing her keys or locking herself out of the house,
but her domestic solutions can also be quite imaginative. On the other hand,
the other wives resent her for the vocally exuberant youthful enthusiasm
she brings to lovemaking with Bill. But, of the three wives, she has so far
been the most direct and honest, bringing up issues that the others would
ratherskirt.
In the series so far, the difficulties these women cope with are common to
most marriages: the frustrations of childrearing, interpersonal communication with their spouse, managing a home on limited financial resources. But
even the most mundane difficulties are compounded by their shared status as
co-wives. They have separate kitchens, separate food budgets. Even a simple
transaction, like borrowing a couple of eggs from a neighbor (something
most families do all the time), becomes fraught with tension and complexity.
Margene borrows some milk from Nicki, and on Chloe Sevignys face you
can read Nickis frustration: She has the same budget we do, drawn from
the same sourcewhy cant she manage her own kitchen?
But much of the series deals with what most of us would probably imagine to be the most tense and difficult issue in a polygamous marriage: sex.
51
The planning session scenes often deal with issues relating to sex, and much
of the second episode revolves around the difficulties that arise when wives
have sexual relations with Bill out of turn. The sexual side of the Henrickson
marriage is treated quite graphicallythough not, I think, pornographically.
We might suspect that this is, in part, because the show airs on HBO. But
the main impact isnt particularly prurient. The focus instead is on the way
in which the complexities of the sexual negotiations of marriage are compounded by polygamy. When making love to Margene, Bill uses a particular
phrase, worded a particular way. Later, Margene overhears him having relations with Nicki and feels cheated when he uses the same phrase. When
Bill comes to bed wearing pajamas, which is not his normal practice, Barb
pointedly asks if hes going to wear them when hes with the other wives. Bill
clearly feels pressured not to just sleep with each of his wives in turn, but to
actually make love every night, no matter what his days been like, no matter
how hes feeling. On another occasion, he loses track of which wifes turn it
is and wanders in his underwear from bed to bed, looking for a place to sleep.
When impotence threatens, he resorts to Viagra.
All this conspires to make polygamy look utterly exhausting, emotionally
and physically, for Bill and his wives. Bill emerges as a decent man, but somewhat uncommunicative, someone whose response to his wives emotional crises is often I cant deal with this right now. Bill Paxton has always excelled
in playing ordinary, decent men in extraordinary circumstances, especially
in such films as A Simple Plan or Frailty, and hes great in this series as well,
especially in a wonderful scene where he answers his cell phones seventeen
voice messages, all from family members, and quietly and competently copes
with all of them. Paxton also plays Bill Henrickson as a spiritual man. We see
him praying, and he offers thoughtful and wise counsel to his son regarding
how exactly one receives answers to prayers. When he hurts Margenes feelings, we also see him comforting her with great sensitivity and kindness, the
strong implication being that hes received answers to his own prayers. But as
soon as hes told Margene how much she means to him and how important
she is to him, the negotiations start again. I still need a car, she says.
In addition to the family scenes, the series also explores the interactions
of the Henrickson children and their friends, especially the two oldest kids,
Sarah (Amanda Seyfried) and Ben (Douglas Smith). Ben is something of an
athlete, and in episode three he is apparently very touched to be given his
uncles Super Bowl ring as a gift. Sarah has a part-time job, and makes close
52
friends with an active LDS girl, Heather Tuttle (Tina Majorino). Sarah only
reluctantly tells Heather her family secret, and although Heather is clearly
troubled by it, shes kind and nonjudgmental. However, the friends relationships scenes have been the weakest of the series so far, though a scene
where Sarah goes to a party and gets high on cough syrup is quite powerful.
The interfamily scenes and the exploration of family relationships are at
the heart of Big Love, and are what give the series its emotional resonance.
But its difficult to see how those scenes alone will be able to maintain audience interest for the entire series. The Juniper Creek scenes are what give the
series its narrative thrust, both forward, as the story progresses, and backward, as we learn more fascinating details from Bills past. We know that Bill
was kicked out of the Juniper Creek compound when he turned fourteen.
His crime: merely being male, and therefore a threat to the aging compound
hierarchy and their monopoly on young women. We think Bill would be justified in wanting nothing to do with polygamy or Juniper Creek. But we also
learn that Bill started his first business with money borrowed from Roman,
and that hes been paying interest to Juniper Creek ever since. That fact also
drives the story forward: Bill has opened another store and is determined to
stop paying Juniper Creeks extortionate interest rates. And Roman (played
with a wonderfully understated reasonable-guy-menace by Stanton) threatens Bill for it, leading Bill to hire a bodyguard. The third episode, which I
have not seen, apparently revolves around a tense and uncomfortable birthday party which Nicki invited her father to attend, and in the fourth episode,
Bill has a series of dreamlike revelations in which Roman is compared to a
rabid wolf.
After four episodes, its hard to see how this whole story will play out, but
its fascinating and powerful television. Surely Nickis loyalties will be tested,
torn as she is between her father (whom she also reveres as a prophet, and
to whom shes financially beholden) and her husband. Bills parents are also
caught between Roman and Bill. Bills father (Bruce Dern) is poisoned but
survives in the first episode, and both he and Bill think Bills mother (Grace
Zabriskie) did it, possibly following Romans orders.
The show is quite fascinating, beautifully acted and competently written,
with rich, well crafted characters and stories. But its impossible, as a Utahn
and a Mormon, to watch it without reflecting a bit on what we know about
contemporary polygamy in Utah and on polygamy historically. The Church
has obvious and valid concerns about the impressions people who dont
53
know much about Mormonism will form based on the series. However, I
think its unlikely that most people will conflate the polygamous Henrickson
family with current active members of the Church of Jesus Christ of Latterday Saints. The Henricksons are clearly covert about their family practices,
clearly furtive and underground, and the show frequently references the LDS
faith in ways that show that the Henricksons arent LDS. In addition, active
LDS characters like Heather Tuttle help distance the show from the Church.
Nor does the show make polygamy seem appealing. The Henrickson home
life seems tense and emotionally exhausting, and the Henrickson kids, especially Sarah, want no part of it for themselves.
The show does portray current polygamy in ways that strike me as strange.
I havent researched contemporary fundamentalist culture at all, and my
opinions about it are surely uninformed ones. But the fundamentalist families I know havent been prosperous. My impression of current polygamy in
Utah is that its primarily characterized by grinding poverty. Its possible that
some polygamous households are as well-off as the Henricksons seem to be,
but I doubt thats the norm.
And Big Love gets so many other cultural details wrong that I think I am
justified in questioning how carefully researched the show is. The writers use
terms like CTR and LDS incorrectly, they refer to Family Home Evening
with the emphasis on Home and not on Evening as is common practice, they
live in the Wasatch Valley instead of on the Wasatch Front, and they talk
about rigidly orthodox Mormons as Mor-bots, a phrase Ive never heard.
Worst of all, the show suggests a lesbian attachment between two plural wives
of a Henrickson family friend, something that strikes me as inconsistent with
the scriptural literalism I associate with fundamentalism. And those are just a
few examples. Watching the show, I find the research seems superficial. And
so I dont know how much I can trust the shows depiction of the interpersonal details of polygamy, the negotiations and strategies and compromises
that make up plural marriage today.
At the same time, my wife pointed out that the show isnt a bad representation of polygamy in the nineteenth century. Today, we think of financially
prosperous polygamists as unlikely, as exceptions to the norm. But the
Henrickson home, with three houses in close proximity, a shared common
space between them, enjoys a relatively prosperous lifestyle; that all sounds
a lot like my grandmothers descriptions of the Spanish Fork farm my greatgreat-grandfather shared with his three wives. And the shows depiction of
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55
everyones dreams, but without anyone realizing it. In browsing through the
online reviews and blogs, I noticed that virtually all the reviews written outside of Utah describe the audience as half Mormon, half rocker, which was
somewhat true of my own experience right in the middle of Provo. Whiteley
was able to make the crossover leap by doing at least two things: first and
foremost, he was not ashamed of the Church or Arthur Kanes somewhat
odd relationship to it. He included the gospel as the essential component in
Arthurs mature life, and it is through the juxtaposition with the rock and
roll culture of his youth that the film gains its richness and density. Second,
the reverse is also true. Whiteley stumbled upon that rare story that appeals
strongly to a different subculture, thus drawing in the musicians who know
nothing about Mormonismwhat if he had tried to tone down the elements
of rock and roll culture to appeal to his Mormon audience? As it is, both
groups are respected, both recognize themselves up there on the screen, and
both come away edified by the other.
The second reason I believe New York Doll to be so important is the giant
leaps it makes in establishing the LDS film as a viable, rich, complex, and
spiritually rewarding art form. This is quite a statement to bite off, and it will
require multiple essays to explore fully, but it seems, at least to me, apparent
on a first viewing. On a visual level, the films animator uses LDS genealogy
chartsfamily treesas the basis for a beautiful and entertaining history of
the band and Arthur himself. The credits indicate that the primary illustration on the history of rock was a preexisting diagram, but the fact that it
came from the other side yet fits so perfectly within the LDS mindset is still
more praise toward the films crossover capability. On an aural level the same
thing is done with the use of hymns, rock and roll, rock and roll hymns, and
hymn-like rock and roll songs. Indeed, this brings us to the thematic level
where the heart of the genius lies: Arthur lives in the crossroads of two very
different worlds, and he knows it, and hes comfortable with it. He thereby
embodies one of the central paradoxes of LDS theology, the contiguity of the
sacred and the profane. As Terryl Givens points out in his upcoming BYU
Studies review of the film, Joseph Smith imbued our fallen, physical reality
with the possibility of a spiritual presence (a literal Zion, physical angels,
hefty plates, spiritual matter, and so on). The Holy Ghost, as we believe in
him, can transform any space into a sacred space, whether it be a temple, a
mountaintop, or a rock concert.
58
The third reason is its typology. It is not far into the film that we start
identifying parallels between Arthur and Jesus Christ: he is a man of sorrows,
acquainted with grief, and the whole world has hid its face from him and
esteemed him as naughthe is the self-described schmuck who sits at the
back of the bus. If this typology is not enough, made all the richer because
it is not scripted, then we reach a new level of symbolism for LDS art when
Arthur takes on the persona of the Prophet, donning a Joseph Smith costume
for his triumphal concert, not out of a sense of theatricality or exploitation
but sheer respect and veneration for Joseph himself. Thus attired he preaches
the gospel in the dressing room, addressing himself to modern rock stars
much as he might have to ancient publicans or nineteenth century gold diggers. Immediately after, he offers a magnificent pre-performance intercessory
prayer as he entreats the Lord on behalf of himself, his present band members, and even those who through drug overdoses have already passed to the
other side. If we have not realized it yet we now see that the entire excruciating rehearsal process has been Arthurs Passion, and that the stage he is now
stepping onto is his Gethsemane, his Carthage. As the Dolls play, Arthur
stands immobilethe only living statue in rock and rolltransfixed as he
brings heaven to earth with his music. Thus, as Givens points out, there is no
incongruity between the sacred and profane when, at the concert, the rock
soundtrack drops out and the wordless tones of a heavenly choir swell. If the
film has any fault, it is that this moment is not held longer.
To describe Arthurs further development into the roles of Joseph and
Christ is to spoil the plot, but it is so firm and undeniable that when we see
and hear the Dolls lead singer David Johansen sing A Poor Wayfaring Man
of Grief a song he, not Whiteley, selectedover the appropriately white
closing credits, we do not know who he is singing about; the words of the
song itself, after all, are about finding Christ hidden in the least of our brethren, revealed to us as the veil is parted at our moment of greatest spiritual
crisis. By the films end, we have seen the ascension of a saint: Arthur, Joseph,
and even Christ have become indistinguishable. I felt as though I was hearing the hymn for the first time, and I could not escape thinking of perhaps
the only other occasion when it was sung with such conviction (based in an
equally physical reality), in Illinois in June 1844.
The fourth and final reason this film is so important has already been
alluded to in each point above. The documentary footage proceeds at a pace
59
that allows it to acquire such syntactic and spiritual density that each phrase,
each nuance, comes to resonate with irony, humor, devotion, and pure love.
There is love for rock and roll, love for the LDS Church, love for the little
old ladies of the family history center, and love for the casualties of heroin.
More than anything else, we see love from every participantonscreen and
offfor Arthur, and he reciprocates by loving his music, his God, his friends
(on-screen and off), and even his enemies; the entire experience was worth it
for him, not because of the music and fame, but because he was finally able
to extend love and forgiveness to those who had despitefully used him and
persecuted him. Indeedand the fourth point is thisGreg Whiteley and
his crew have succeeded in creating a film entirely imbued with charity, an
unabashed expression of the pure love of Christ. And there can be no greater
praise for a work of art, LDS or otherwise.
New York Dolls theatrical run is essentially over, and it was released on
DVD in April. The PG-13 rating is hardly deserved, probably given as a
technicality due to the fact that the film discusses, quite poignantly, the use
of drugs. There is slight profanity and cross-dressing (the bands trademark)
in the archival footage. Its probably not for the kids, but there is nothing
in it that I found offensive, and I urge all readers to see this film, to buy the
DVD. It is the most important piece of spiritual, Christ-centered cinema in
years, especially for Latter-day Saints; as BYU film professor Dean Duncan
has said, it is our Babettes Feast. It is that rare film that truly is a must-see.
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This is the last year the church will have officially organized leagues, and
Bishop Linderman (Fred Willard)a church ball veteran with an eye patch
and other injuries to prove itwants to make it a good one. So he replaces
Mud Lakes doddering old coach with Dennis Buckstead (Andrew Wilson),
a mediocre player who must now coach his uncoordinated teammates to
victory.
Hale, working from a screenplay that he wrote with Paul Eagleston and
Stephen Rose, leaves no sports-movie clich unturned, right down to the lastsecond play that decides the game and a serious overuse of music-accompanied montages. (I counted four montages, which is probably three too many
for a ninety-minute comedy.) Dennis and his teammates recruit new players,
endure practice drills, and suffer the kind of humiliations and setbacks you
expect from an underdog team. And since its a sports comedy (rather than
an inspiring sports drama), you can count on there being a grossly out-ofshape player and one from a foreign country, too.
For some reason, former child star Gary Coleman shows up as a diminutive new neighbor who is recruited for the team. He has three very tall sons,
though. Why cant they play? The movie doesnt tell us. I assume its because
its funnier for Gary Coleman to play basketball than it is for three tall guys
to do so.
Hales skills as a comedy director have not come very far, unfortunately.
The scene where Coleman is introduced is a prime example. Dennis and one
of his buddies are at the Coleman characters house, where his wife and three
tall sons are outside. Dennis is eager to meet the father, who must surely be
as tall as his sons. Soon a large truck pulls upcertainly the vehicle of a big
man. The driver gets out, and the punch line is that hes actually quite tiny.
But Hale only shoots him from the chest up, and from the chest up, everyone
looks the same! We recognize, after a moment, that its Gary Coleman, and
we recall that Coleman is famous for being short. But the joke would have
been much, much more effective if Hale had included a full-body shot of
Coleman, maybe standing next to the truck or his wife, as a means of conveying the Whoops! Hes a short guy! punch line.
There are many legitimately funny moments in the film, and almost all of
them come from witty dialogue or (more often) excellent deliveryverbal
humor, in other words, not visual. Hale uses the camera as nothing more
than a functional device, ignoring all its potential as a joke-teller.
62
For a lot of the laughs we can thank the brilliant Fred Willard, whose
performance as the jovial, semi-insane bishop is nearly as fun as the roles hes
played in films like Waiting for Guffman and Best in Show. Curt Doussett
and Larry Bagby are great as two of Crystal Hills arrogant players, a pair of
lawyer brothers with a signature frat-boy laugh. And Ross Brockley has a wry,
understated delivery as Mickey, a Mud Lake player with a potty mouth. His
profanity is bleeped every time, which, as Arrested Development has taught us,
only makes it funnier.
As a whole, the acting is a step up from previous Hale efforts, no doubt
due to the companys having hired mostly professional actors rather than
the filmmakers buddies. (In fact, the two most obviously amateur contributors are the basketball referees, played by Hale regulars: Salt Lake radio tool
Jimmy Chunga and over-the-top Utah comedian Michael Birkeland.) Its a
wonder what committed, experienced actors can do for a mediocre script.
Unfortunately, theres a lot of the usual Hale time-wasting, too. Theres a
running gag with Denniss daughter preparing themed dinnersapparently
just an excuse to make the actors wear silly hatsthat isnt funny enough to
justify its randomness. Two scenes involving Denniss day job are completely
irrelevant, and so is the sequence where the Mud Lake team has to go doorto-door selling meat. And the subplot where a nerdy Mud Lake player finds
love is as pointless as it is bizarre.
Did I laugh? Yes, several times. Even with the just-mentioned tangents its
still a more cohesive, streamlined story than, say, The Singles Ward, and the
production values are getting better each time.
HaleStorm, the production company that distributes Kurt Hales films
(among others), has said it will shift its focus to mainstream family comedies
instead of Mormon-specific ones, and Church Ball is an indication that
the metamorphosis has already begun. Will the gambit pay off? Will nonMormons start noticing HaleStorms productions? I wouldnt bet the tithing
money on it yettheres still a lot of progress to be madebut theyre heading in the right direction.
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After the films release, Kay Anderson remarked to local news channels
that Greenstreet succeeded in making everyone look stupid, to which Green
street responded, If I did anything to make anyone look stupid it was hit
the record button.
The entire melee at UVSC represents an exaggerated case of the disease
which seems to be sweeping America: the furious divide between political
ideals and the lengths to which some will go to perpetuate them. Watching
the film, one senses that perhaps nowhere in the nation is this divide more
acutely noticeable than between conservatives and liberals in Utah County,
where 93 percent of registered voters are Republican.
The embarrassing, sometimes shocking, scenes captured by Greenstreet at
UVSC serve as a real life reminder of one of the virtues lauded by President
Hinckley to heal our hearts and homes: Civility carries with it the essence
of courtesy, politeness, and consideration of others. All of the education
and accomplishments in the world will not count for much unless they are
accompanied by marks of gentility [and] of respect for others.
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Maureen Clark
Curious Tree
If I didnt have eyes
Id be able to hear
the difference between
peeling a tangerine
and an orange
Water wouldnt be
a surface to fear
but perhaps become
some avenue
some curious tree
breaching arteries
stilled far too long
These two eyes
define many edges
give root to limbs
when maybe I want
to step into the thick air
of something
I have only ever heard
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69
Colin Douglas
Psalm
Father in Heaven, hear my prayer:
My sins are not hidden from you;
upon my bed I remember them.
Before my shut eyes they dance
and watch me with solemn mockery.
I would forget them, Father;
will you not remove them?
Let there be a garden of tulips before me,
washed by spring rain;
walk in it with me.
As a raindrop on a tulip petal,
so would I be before you.
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Like other cultural forms, film tells us who we are and how to be. One early
Brigham Young Academy president encouraged students to go to the cinema
to learn American mating mores, including how to kiss. Today, there are
more films being produced than ever before, including movies that celebrate,
explore, challenge and, some would say, reify Mormon culture and the LDS
faith. How have the movies shaped your spirituality and your religion and
how you view yourself as a part of the human family?
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Kubricks Astronaut
What I have discovered about spirituality on my own, I could have easily learned at the cinema, if Id paid more attention. Frank Capras Its a
Wonderful Life, Frank Darabonts The Shawshank Redemption, and especially,
Stanley Kubricks 2001: A Space Odyssey, all had things to teach me about the
Almighty, though I wouldnt know this until years later.
From Capra, for example, I would have learned how much difference one
person makes in others lives. How one life suddenly removed or wrenched
from others around it, creates enormous holes and tears in the fabric of life,
bringing despair, poor health, financial ruin, and even death. A partners love
can indeed be a saving grace when you are plodding away in what seems like
a dead-end job in the middle of nowhere working for your half-wit relatives.
George Baileys self-sacrifice kept the bank open and people in their homes
even though he suffered dejection from what he thought was a wasted career.
Angels, however, do attend us in our moments of despair, say things to us
that no one else can hear, and bring tingling reminders that they are there.
From Darabont, I would have learned the importance of using even
the smallest tool in my possession to cut through the thick prison walls of
lies, prejudice, and oppression. Andy Dufresnethe wrongly imprisoned
accountant, used and abused by prisoners and the wardenwould have
taught me the importance of maintaining dignity in the face of personal
danger and violation, how to befriend the good, how to create sanctuaries
like libraries for my fellow inmates, and to be persistent in asking for what
I needed even after many rejections. I would have also learned to remain
hopeful and not turn bitter, to keep chipping away with my seven-inch rock
hammer for decades at the thick walls around me until, through Providence
and my own diligence, I could escape to paradise to work on a boat on a
tropical beach, reunited with and assisted by a true friend.
Finally, there is what I would have learned from Kubrick, whose images I
realize now eerily mirror and validate my own experience with higher forms
of communication and transport. In 2001: A Space Odyssey the astronauts
stand in front of the lunar obelisk and suddenly grasp their helmets in pain,
trying to block out the shrieking signal transmitted from beyond Jupiter,
millions of miles away. This is my cinematic equivalent to the unexplainable chest pains I experienced one morning in a San Jose, California, insurance company canteen. Im having a heart attack, I told my co-workers
who laughed and said I looked perfectly healthy. And then I realized it was
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Readers Write
my fathers pain, thousands of miles away, hours before the first phone call
from Ohio.
From Kubrick, as well, I would have learned about instant communication beyond ordinary means and intelligence, about invisible choirs singing
in the vacuum of space, about what we are, what we can be, once returned
to the realms of glory. I would have learned that unfathomable distances are
covered in an instant, just as in 2001s split screen of flashing lights, which
made my cinema seat seem to move forward as the space pod was drawn
through the intergalactic switching station. This, I imagine, was the experience of my aunt, mistakenly hooked up to a dialysis machine still filled with
cleaning fluid. The room suddenly spun faster and faster, she reported, like
a revolving door and then elongated toward a single point of light, brighter
than the sun, to which she was drawn until a nurse disconnected the apparatus. I would have known what it might have looked like for her. Even how
it may have felt.
I too have been pursuing Kubricks obelisk, the enigma, all these years.
Iam his astronaut, Dr. David Bowman, who is shocked to hear someone
in the next room and then surprised to see it is himself. He suddenly ages
another quarter century. Yesterday I was twenty-five; tomorrow Ill be fifty;
and soon, my teaching career over, Ill be at home or in a hospital straining
to get up, to touch the inexplicable at the foot of my bed.
Bryan R. Monte
Zeist, The Netherlands
I love cop shows and thrillers and westerns. They deal with the struggle
between good and evil, often as myth or archetype, and work to unlock the
mystery of iniquity and sometimes even the mystery of godliness. And yet
I usually find movies of this genre at least vaguely unsatisfying. The villains
are often relentless, remorseless, and so evil only death can stop them. Most
cop shows, thrillers, and westerns are about the fun of slaying the monster.
Richard Dutchers film Brigham City is a good deal more satisfying than
most of its counterparts because it refuses to laugh and sing the slaying song
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tonight. At the risk of spoiling this murder mystery for those who have yet
to see it, the ending shows a redemption and a tragic structure I rarely see in
films showing the mythic struggle of good and evil. That sentence is ironic
because Wes does the kinds of vigilante things cop shows and thrillers and
westerns delight inan illegal search here, a killing there, and for Brighams
sake dont let the press (Im a reporter) hear about it. It is also ironic to call
Brigham City a tragedy when I remember sitting in the Provo High library
(or was I younger?) reading about the etymology of tragedytragoidia, goat
song. Ren Girard said a myth is not a story containing some deep universal
human truth, but a story a community creates to justify sacrificing a member,
creating a scapegoat, a story told to justify violence against the scapegoat.
But as the story of a good man who falls by overstepping himself, a tragedy
need not replay the ritual of driving out the scapegoat. It can replay instead
the ritual of redemption, of atonement. Brigham City moves me so deeply
because it chooses the ritual of atonement.
In the beginning Wes, the films main character, who is both bishop and
sheriff of Brigham City, hides a murder from the press and other police agencies. He assumes he can handle it himself, but not too many minutes later
the camera tells us this assumption will have consequences. Wes and another
character, Stu, are standing in the city park gazebo at the end of Brighams
celebration day and both agree all is well.
Except when we sing those words in Come, Come, Ye Saints, Mormons
usually use the phrase all is well ironically, as a reference to Jacobs warning
in 2 Nephi about the devils lulling people into carnal security, that they will
say: All is well in Zion; yea, Zion prospereth, all is well. Dutcher suggests
this is also his use by moving the camera down below the mens feet to the
gazebos latticework. The next shot of that latticework tells us all is not well.
Theres a body under the gazebo.
Later Wes conducts an illegal search of Brigham, organizing the priesthood to go door-to-door. During the search Wes not only violates the civil
rights of a community memberthus violating his oath of officehe violates his duty as a pastor, spiritually wounding a member of his ward.
Toward the end of the film, as Wes is checking fingerprints on bottles
gathered from bar patrons, he decides to check the mugs and glasses of his
helpers and finds he has made another mistake. Years ago, his sense that all
was well in his community lulled him into false security, so he neglected to
take fingerprints and do a background check when he hired his deputy, Terry.
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Readers Write
As Terry points out in the verbal confrontation that has to happen in any good
mystery, Wes has brought calamity upon the town by not doing his duty.
And he is about to bring further calamity. Wes has gone to confront a
murderer without backup. He hasnt learned his own abilities are not sufficientor hes just too tired, gone too long without rest, to grasp the implications of confronting a murderer alone. He even lets Terry reassemble the
pistol hes cleaning at the kitchen table instead of arresting him immediately.
Of course Terry points the gun at him and Wes fires first.
I dont remember ever watching Walker, Texas Ranger or John Wayne as
McQ or other film cops collapse against the wall sobbing after killing someone. These mythic heroes sing, they dont sob. For this reason Brigham City
moves me. But it also delights me, especially little details like Wess last name,
Clayton, which makes him a namesake of William Come, Come, Ye Saints
Clayton, and Wess wounded leg, which recalls Oedipus even though he is
not Oedipus. The Oedipus story, after all, never questions the rightness of
Oedipuss going into exile. In Dutchers film, Wes tries to go into exile, but
his people wont let him.
The alternative to the goat song is the song of redeeming love. At the end
of the film Wess answer to the prophet Almas question [I]f ye have felt to
sing the song of redeeming love . . . can ye feel so now? (Alma 5:26) is no.
By refusing the sacrament he tells his flock he feels unworthy to be their
shepherd. The people who have suffered from Wess overstepping his boundaries answer differently. They can sing redeeming love. They are as guilty as
he. Theyve armed themselves, prepared themselves to commit violence, so
instead of casting him out they refuse the sacrament as well. Wes relents.
Even the fallen need the Atonement, need to renew their covenants.
This last scene in Brigham City is performed in silence, the silence of contemplation, of mourning, not the noise of the scapegoat song but the agony
of redeeming love. It is an agony which moves me more deeply than mythic
archetypes in shows like Die Hard and its friends, portraying good destroying
evil through evil means. Youre a good man, Wes, Meredith, the FBI agent
says; you really are. Not quite the last words, but everything after her words
builds on their comfort. Even the fallen good are welcome to broken bread
from the Lords table.
Harlow Clark
Pleasant Grove, UT
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Writes President Joseph F. Merrill from London, We need more films at once.
Our mission presidents in Europe are finding them very effective in making
contacts! In the same post is a letter from President Nicholas G. Smith of
California, We are extremely anxious to receive two dozen films to take
care of our immediate needs. President T. Edgar Lyon of the Netherlands
mission in a request for more films writes, The missionaries are reporting
new investigators found through the use of this material, and avenues of
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contact are being opened which have heretofore been unheard of. As a rule
when given in halls, they are well attended by non-members and favorable
reviews of the same have appeared in local newspapers. Their use at cottage
meetings, however, has up to the present time been of greater value than the
public presentations.
From Berlin comes word from President Roy A. Welker to the effect that
they have increased activity in the use of this material by 1400 per cent during the past few months, so convinced are they of its effectiveness. He says,
they have a tendency in breaking down prejudice better than any word we
have of our own. And President Don B. Colton adds, At the present time I
think it is one of the most effective means we have of preaching the Gospel.
These are typical of the testimonies coming from mission president and missionaries in every land where the Gospel is being preached.
An Experience
Anyone acquainted with the conditions the missionary of today faces is quick
to realize the value of such work. Let us go to such a town as Brighton in
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England. It is a south coast resort city. Many stalwart members have come
from there in the past, and there is a small but thriving branch there at present. The task of the elders is to interest others. But other things seek the
attention of the man who lives in this city of promenades, bright lights and
beautiful parks.
An elder has no difficulty in getting casual conversation. But he generally finds that his new-found friends is [sic] more interested in him as an
American or a young man than in the message he has come to preach.
Perhaps he asks him about the land in which he was raised. The elder tells
him a few things to excite his interest and then tells him that he has a splendid collection of colored pictures which he would enjoy showing to him and
his friends. English hospitality graciously responds. Here is the making of a
cottage meeting of the finest kind.
A Novel Machine
In most cases the old prejudice vanishes and the way is opened for questions.
Likely an invitation is extended to come again. Those listening have been
entertained and at the same time instructed. Moreover, it is a dignified manner of preaching the gospel. Wthout the odium of propaganda, it catches the
80
interest of the listener. There is none of the thought that he is being fooled
into something, for it was never designed that such a thing should be.
This method of preaching in no way takes the place of other methods.
Tracting, street meetings and exhibitions can go on as ever. It will supplement
them. And it has a good many advantages over methods of somewhat similar
nature.
Inexpensive Equipment
The machines are portable. Moreover, they are not costly. One excellent for
cottage meeting work may be obtained for the price of camera. Nor are the
films expensive when their cost is compared with other things. A film of
fifty selected colored views may be had for the price of three or four colored
glass slides. And they are more easily carried and are not in great danger of
breakage.
Because they are assembled as one strip their unity is preserved without
the possibility of their continuity being affected. A carefully-prepared and
documented manuscript accompanying each film insures the use of reliable
material.
The individual personality of the elder is an important thing in missionary
work. In this method none of the value of personality is lost. No mechanical
voice tells the story. The individual operating the machine can do the talking.
He need not confine himself to the story as it is written. In putting it into his
own idiom it becomes his story and he is unrestrained in expressing through
it his own personality.
Preparing Lectures
The assembling of these lectures has required a good deal of effort. After the
determination of the subject the finest photographs available for the telling
of a story must be secured. This requires the taking of special photographs,
sending away for others, securing the right to use copyrighted pictures. Then
there is the task of condensing what is often a great mass of technical material into an interesting, abbreviated form readily understandable to all. The
pictures must then be adapted for projection work, and then assembled in
their proper sequence, photographed and printed from a masterfilm negative. Following this they are colored by hand by expert tinters. This is tedious
work requiring a good deal of time, and at present a process for photographing in natural color is being developed.
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Because the films are used in all of the missions of the Church there is no
English appearing on the screen besides the title. The language of another
land always distracts the attention, and for this reason the titling of pictures
is taken care of in the manuscript.
Bishop David A. Smith pioneered this work as a mission project, with
Abram Hatch as photographer and W. A. Peterson doing the tinting. The
supervision of the work is with the Church Radio, Publicity and Mission
Literature Committee, composed of Elders Stephen L. Richards, Melvin J.
Ballard, John A. Widtsoe, Charles A. Calles and Alonzo A. Hinckley of the
Council of the Twelve.
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Book Reviews
Desperately Seeking Spirit
A review of Martha Becks Leaving the Saints (Crown Publishers, 2005;
also in paperback from Three Rivers Press; also available in hardcover,
audio CD, abridged audio CD and cassette, and downloadable
audiobook editions)
Reviewed by David G. Pace
By now most Latter-day Saints have probably heard about the accusations
Beck makes in her book against her father, the renowned Mormon intellectual and apologist, Hugh Nibley, though few, I suspect have actually read
it. Other than these accusations, which are explosive enough, Beck describes
her encounters with other believers and with the Church in Utah County
where she and her young family had returned from Harvard to raise their
Downs Syndrome child Adam (the subject of an earlier memoir, Expecting
Adam) and to teach at BYU. Her spiritual seeking leads her first into orthodox practice, but eventually into recovered memories of ritualized sex abuse
perpetrated by her father, who was attempting to manage his own stress,
induced, she theorizes among other things, from the institutional churchs
unrealistic demands that he defend the historicity of the Book of Abraham.
Becks deftly written, at times tortuous, account of her descent into
tribulation followed by revelation and relief is similar to Joseph Smiths
in that it follows a narrative common in Mormon testimony bearing and
other accounts of how God allows the seeker to sift through trial, confusion,
and pain prior to revelation. The fact that later in the book she identifies
with Moronis lonesome wandering in the wilderness of rejection and being
hunted by enemies, suggests further that Beck, like other Mormon seekers,
is following a commonly articulated path. In fact, Leaving the Saints may be
the quintessential Mormon book of our age because it reiterates not only the
trajectory of Joseph Smiths journeyright down to a perceived persecution
from what she often calls her community and family of originbut
because it presents an ostensibly new liberation of the human spirit from
moribund religion. Becks spiritual technologies correlate in broad ways
to the more doctrinal and mystical innovations of the prophet, but they are
just as audacious to her own people as the young prophets pronouncements
were to his. Like Joseph Smith, who, arguably, sought to reveal the definitive history of the Native American and, unarguably, the definitive Christian
religion, the debunking Beck seeks to circumscribe what it means to be
Mormon through her own experience. This restoration narrative model that
Beck relies on, however unwittingly, speaks to both what is best and what is
most destructive in Mormon character as I understand it.
As with other outings of this type, Becks book exhibits a seeker with
a certain egotism at work, an egotism that seeks enlightenment but also
applause from the world, ironically one of the things Beck accuses her father
of seeking. What sustains my father, she writes, is the cheering crowd, the
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Book Reviews
adulation, the approval. I suspect this is the closest he has to feeling unconditionally loved. I recognize the symptoms because Ive been there (39). Beck
was indeed the object of adulation, even with her father. After her first year
at Harvard, she returned to Provo to attend summer term and was featured
in an article comparing the two universities. The article even featured a large
picture of her, standing, with her arm around her seated and, even then,
aged father. They were, as I remember, the picture of faithful intellectualism.
Perhaps they were Mormon Royalty. I submit that Beck still exists in that
photo but now beamed to the outside world through her book. Martha Beck
is still seeking the approval of the world and, perhaps more menacingly, besting her father at his own game by playing to an even larger audience than a
Mormon one.
The darkest side to the Mormon narrative that I believe Becks book epitomizes is what I believe to be a frequent tendency in our culture for Mormons
to self-aggrandize while they claim a higher purpose. For me this is the most
troubling aspect of Leaving the Saints. I cannot believe, considering the
cruelty she was inflicting on a ninety-five-year-old man and his family, that
the publication of her claims is a healing act, as she purports. Clearly her
motive, among others, is to emotionally process her trauma. But the result of
her very public disclosure, coupled with her track record of mining her own
experience for personal profit signals to me self-aggrandizement. Freighted as
this work is with false modesty, it counters any attempt she makes to appear
implicated in and by her own life. Instead she is pure victim, which leads me
to remark somewhat ruefully, God spare us from the power of victims.
All that said, Leaving the Saints is valuable in the same way that the recent
bloodletting over polygamist Tom Green is. Why? Because in my view the
book is so very Mormon. There are rich and telling descriptions of the
Church and of Mormon culture, particularly as it configures in Utah Valley,
more precisely BYU. Many of us are apt to resonate with Becks account of
the young Latter-day Saint leaving Zion, then returning home with not only
religious questions but an invigorating sense of the expanding context in
which Mormonism and the LDS Church nest. Her account of the disturbing
confluence of family, faith, and culture triggered by exposure to the world
opens up the question of why many Latter-day Saintssurely one of the
great globetrotting groups of the worldcan remain so cloistered, so inoculated from the world outside themselves.
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Book Reviews
to the editor, questioning the conclusions of the more definitive (and arguably more influential) essay.
In and around the more formal organs of communication were the
behind-the-scenes hotheads and book burners (including Oprah Winfreys
friend Stephen R. Covey), who, even before the memoirs release, felt obliged
to contact the talk show host and magazine publisher to attempt to put
the kibosh on any promotion of Becks book. This, coupled with the email
blasts of angry Latter-day Saints to Random House and the Oprah Winfrey
Showagain, even before the book was releasedsuggested the mentality
of a mob.
And yet, on the other side of these figurative torchings, there was Random
House. Through its Crown Books imprint, the powerful publisher pimped
Beck by overlooking her legitimate cultural critique and shamelessly fronting
the lurid, married as it was to minority religion. The books subtitle, How I
Lost the Mormons and Found My Faith was carefully calculated to sell books
at the expense of what Becks work was, in my estimation, potentially and
admirably about.
As a cultural artifact, Leaving the Saints becomes a warning to all of us who
have fantasized writing not just an exit-memoir, but a full-bodied revenge
drama, a King Lear with ourselves cast as a Cordelia-Beck, the loving daughter determined to become her fathers sanctuary from his own (purported)
fear. No book of this kind is worth the paper its printed on if it does not
honestly and expansively implicate the author.
Most of all, however, Leaving the Saints is an indictment of Martha Beck.
To be intelligent, well-read, talented, witty, and articulate does not make one
brave, right-minded, or healing. It remains to be seen if this literary effort
and it is literarycan be Becks last deeply personal book, whether she can
at last live out her intimate choices without the footlights and without an
audience. To me Becks existence is a strong argument that like other minoritiesJews, blacks, and gays, for exampleMormons might suffer from a
kind of chronic self-hate. If so, we can expect to hear from Beck the Mormon
again, riding the countryside as an itinerant former Mormon insider with
admittedly piercing and insightful things to say about her community of
origin, but unable to resist burning the occasional cross on a Wasatch Front
lawn.
Until we see the whites of her eyes again we would all do well to read Leav
ing the Saints. It is instructive, it is well-written, it points sharply, sometimes
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Book Reviews
issues that might be interrelated get separated out into different chapters.
Henry D. Moyles vision of missionary work, for example, gets discussed
fully in chapter 10, The Missionary Program, but his influence in that area
as McKays counselor was marred by his handling of the Churchs building
program, as discussed in chapter 9. But, even if the chapters seem to depend
on each other a great deal, the benefits seem to outweigh the costs in this
case. In chapter 4, for example, on Blacks, Civil Rights, and the Priesthood,
Prince and Wright are able to discuss all of the difficult political and spiritual
turmoil that existed in the Church hierarchy in the decades leading up to the
1978 revelation giving blacks the priesthood. Some of this information is not
new, and some historians will no doubt grumble that much of the secondary
scholarship on this issue has been left out of the chapter, but the resulting
McKays-eye view gives us a fascinating picture of a time when a large group
of highly vocal Church leaders were racists, even as they were perceived to
be speaking for God. McKays own position on the issue seems to have been
something of a paradox. On the one hand, he sympathized with Ezra Taft
Bensons claims that the civil rights movement was most likely a communist
conspiracy, designed to foment social unrest and slander the Church. On the
other hand, he reportedly prayed fervently for a revelation from God that
would repeal the ban and allow the Church to expand more aggressively into
Africa and other parts of the world.
One should also point out, however, that the particular McKays-eye
view contained in these chapters is not necessarily the last word on these
subjects, and Prince and Wright are eager to point out that the Middlemiss
archives, now housed in the Manuscript Division of Special Collections in
the Marriott Library of the University of Utah, are so comprehensive that
we can no doubt still expect a great deal of fascinating scholarship to emerge
on McKay and his contemporaries. Indeed, it seems possible that even
Prince and Wright may have left out some of the more fascinating parts of
the archives. One notices, for example, that in chapter 12, Confrontation
with Communism, when McKays son, Lawrence, and a few of McKays
counselors reveal Ezra Taft Bensons duplicitous attempt to trick McKay into
allowing the John Birch Society magazine to publish his picture on the cover,
McKay tells them to get Benson on the phone. Prince and Wright explain,
At this point in the conversation, McKay asked Lawrence to get Benson on the
phone. Joseph Anderson recording the meeting in shorthand, naturally heard
only McKays part of the dialogue. Nonetheless, it is clear that, as the president
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Book Reviews
began to talk to Benson his tone changed immediately. Like earlier occasions
when he spoke privately with Benson, he simply could not come down hard
on him. Unfortunately, the result was that he left the door open for Benson
to continue his activities. (310)
Readers of Dialogue will notice here that when this same chapter was published as an article, it was much less truncated, and included the actual minutes from the phone conversation:
McKay: Good Morning, Brother Benson. My associates in the Presidency
are here and they inform me that the publishers want my picture on the outside cover of American Opinion.
Benson:
McKay: Now would be a very poor time to put my picture on it. I wish
they would not do it.
Benson:
McKay: At present time I think it would be unwise because the members
of the Church conclude that my giving permission to have my photograph on
it was an implication that I belonged to this and was in favor of their ideals.
I do as far as opposing communism. I would like a telegram sent to the publishers of the American Opinion telling them not to print my picture. (Prince
Red Peril 77)
What gets published in the article in this case, but not in the book, is a much
more detailed sense of how McKay responded to his contemporaries, his
tone, and his personaall of which seemed to involve a desire to avoid confrontation at all costs. Of course, this is not a criticism of Prince and Wrights
book (after all, Prince wrote both of them), but simply an acknowledgement
that their book represents a tiny glimpse into the intriguing universe of the
Middlemiss archives, the tip of an iceberg that is now open for exploration
at the Marriott Library.
Some of this material will continue to be jolting for some members
of the Church. But jolting or not, its there, and it definitely isnt going
away. One can only hope that, as Prince and Wrights biography of McKay
sits neatly on the Deseret Book shelf next to Dews biography of Hinckley,
members of the Church will have a chance to pick it up, read it with an open
mind, and perhaps even embrace a more jolting vision of their faith and its
fascinating history. To return to Princes introduction: [T]he only thing
that can truly promote faith (rather than shielding people from reality) is the
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truth (xviii).
Works Cited
Prince, Gregory A. The Red Peril, the Candy Maker, and the Apostle: David O.
McKays Confrontation with Communism. Dialogue: A Journal of Mormon
Thought, Vol. 37, No. 2 (Summer 2004), 3794.
Quinn, D. Michael. Early Mormonism and the Magic World View. 2nd ed. Salt Lake
City: Signature Books, 1998.
I have to admit to much trepidation upon reading the back cover of Lael
Littkes Searching for Selene. After reading the novel itself, I understood what
the cover was trying to convey, but note to Littke: Make Deseret Book write
better explanations of your books. Searching for Selene is a powerful novel
about a teenager searching through her past to find who she really is and to
whom she belongs. Forced to choose between two futures, Selene Swensen
faces heartache and confusion at every turn. By remaining true to her faith
and upbringing, Selene realizes that she is a child of Godno more, no less.
The story begins with the Swensens receiving a letter from Minnesota. In
the letter, the Russo family tells of their daughter, Micaela, who was kidnapped as a toddler. The Russos think Selene, now a sixteen-year-old living
in Idaho, is their missing daughter, and they want to get to know her and
make up for lost time. After the Swensens adopted Selene, she would wake
up with nightmares of a woman in a big black hat. The story of her kidnapping helps Selene understand her nightmares and several unhappy memories
of her childhood, but she has no desire to travel to Minnesota and stay with
strangers. Her life in Idaho is changing: her brother is leaving on a mission,
her best guy friend, Lex, is in love with her, she has a major part in a play
where shell experience her first kiss, and her beloved, grouchy grandfather
is getting older. Selene and Lex have been helping her grandfather search
for his old girlfriend, Selena Marie, who is also Selenes namesake. With life
going so well and finally getting exciting (her first kiss!), it is unthinkable for
Selene to leave to go to foreign Minnesota. Yet without even realizing it, she
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Book Reviews
is on her way to her other family. The warmth of the Russo family and the
memories found in their home help Selene realize the truth of her parentage,
but struggles with an older sister and strong feelings of homesickness confuse
her as to where she should remain and with what family.
Though Littkes story seems somewhat farfetched, she aptly explores family relationships and how to decipher ones identity. When Selene realizes the
foremost knowledge that she is a child of God, all of her fears and doubts
recede and she is able to decide how best to care for herself and her families. Though the sideline search for Selena Marie is at times distracting, the
woman herself helps Selene with her life-altering decisions. Through Selenes
adventure, Littke illustrates the importance of understanding true identity as
coming from Heavenly Father.
I would recommend Searching for Selene for anyone looking for an interesting, affirming story. Young adults in particular will enjoy the teenage romance
aspect, while older readers will relate to the grandfathers love affair.
often portrayed too sensually and there are some comic books (thankfully,
not really the ones I was interested in) that are extremely violent. However,
Allred relies on the strengths of comic books and not the weaknesses.
Characters like Nephi are prime material for this particular artistic medium
and Allred handles them skillfully. When Allreds second issue of the series,
The Liahona and the Promised Land, was released, I was as pleased with it as
I was with the first issue.
Allreds style, instead of being showy and ornate, has very simple lines and
figures, maintaining a kind of artistry, emotion and sweep that hearkens back
to comic book legend Jack Kirby (the original artist for such enduring icons
as Spiderman and the X-Men).
One criticism of the artwork, however, is that Allred sometimes relies a little
heavily on Arnold Fribergs classic paintings of the Book of Mormon. Some of
the panels are directly based on the images that LDS people have been familiar
with for decades. However, this could be more of a tribute to Friberg and his
influence on the way we view the Book of Mormon rather than a copy. Yet,
for the most part, Allred has his own vision of Lehi and his family and doesnt
delve too deeply into Fribergism. Allreds Nephi is distinct and has his own
characteristics unrelated to any other Mormon artists vision of him.
As far as dialogue and story go, Allred doesnt embellish much. He adds
some simple dialogue to further the story, but those moments are rare. When
he launched into doing a comic book version of the Book of Mormon, he
took that literally: for the most part, this is the Book of Mormon translated
into the medium of comic books. Verse for verse. This is not Allreds new
vision of the workunless you count the artwork. The ways he portrays
angels and devils, for example, is very dynamic, unlike anything Ive seen
from anybody else. His heavenly and hellish beings have a vivid supernaturalness, while being depicted with simplicity. My favorite character in the
series is the recurring angelthat he wasnt some nondescript character was
satisfying. Instead, the angel adds something new, a supernatural common
thread to tie the story together. The angel has layers and dimension; he uses
fear for the wicked (a la Batman) and light and joy for the righteous (a la
X-Men), and pulls the reader in by the power that he instills into this nameless character.
Allred creates his characters with raw, natural emotiveness. He knows how
to create images that imprint themselves on the readers brain. Allred draws
vivid pictures that have this compelling, yet never overtly showy, approach of
94
Book Reviews
95
Contributors
is a graduate of Brigham Young University and
London Film School. He works at the BYU library as a Mormon
cinema specialist and taught the first course offered at BYU in
Mormon cinema. He lives with his family in Provo, Utah.
Randy Astle
Shawn P. Bailey
Maureen Clark
Lisa Close
Colin Douglas grew up in the Puget Sound country and attended the
University of Washington, where he took a bachelors degree in psychology.
After earning a masters degree in English at Brigham Young University, he
worked twenty years as an editor in the Church Curriculum Department.
For literary mentors, he looks mainly to the Bible and the Doctrine and
Covenants, Ezra Pound, Kenneth Rexroth, and Clinton Larson.
Sharlee Mullins Glenns essays, short stories, poetry, and reviews have appeared
96
Contributors
Review, Pleiades, Lumina, Pilgrimage, Monkscript, The Salt Flats Annual, and
Dialogue.
Joel T. Longs book Winged Insects was published in 1999 by White Pine Press.
His poems have appeared or are forthcoming in numerous journals including
Seattle Review, Talking River Review, Prairie Schooner, Mid-American Review,
Sonora Review, Poet Lore, Crab Orchard Review, and Bellingham Review,
among others. He lives in Salt Lake City, where he is president of the City
Art literary reading series and teaches creative writing to high school students.
Aaron Orullian
David G. Pace
Jennifer Quist
Eric D. Snider
Mahonri Stewart is a playwright and theater manager who lives with his
wife and son in Provo, UT. Mahonri has been the recipient of the 2003
Kennedy Center American College Theater Festivals second place National
Playwriting Award for his debut play Farewell to Eden. He has also received
first and second place in the 2004 Ruth and Nathan Hale Playwriting Awards
97
for his plays Legends of Sleepy Hollow and Farewell to Eden respectively.
Lee Walker
Peter Walters
R. John Williams
Lon Young directs middle school bands in Provo, Utah, where he lives with his
Irreantum
Call for Submissions
We will publish an issue on Youth in early 2007.
We seek submissions of short fiction written for a
young adult audience. We also seek submissions on
any topic in the form of fiction, poetry, and personal essay. We especially would like to see translations of works written by, for, or about Mormons
in languages other than English. Send inquiries or
electronic manuscripts (MSWord, WordPerfect, or
rtf files) to submissions@irreantum.org.
98
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Hed always been careful. He had seen only six R-rated films over the
past few yearstwo rented, four on HBO. . . . Hed since repented
of all these transgressions, repented even for not praying properly
about whether he should have seen them in the first place, and so
had been sober since summer. (Unrated foreign films didnt count.)
from Aaron Orullian, Judgment Day
I believe New York Doll is not only a masterpiece, but will prove to
be one of the most important films in the history of LDS cinema. For
all thats been written, I think well be writing about it for years to
come, and even then just scratching the surface.
from Randy Astle, review of Greg Whitelys New York Doll
Even in the best two-person partnerships, the whole process of
marital negotiation can be difficult, painful, and full of hurt feelings
and misunderstanding. But if we imagine adding a third partner, or
a fourth partner, the process could well become far more tense and
emotionally charged.
from Eric Samuelsen, review of HBOs Big Love
Plus Randy Astle and Lee Walker on LDS Church-produced films and
propaganda, first and second-place fiction contest winners Aaron
Orullian and Shawn P. Bailey, film reviews of Church Ball and This
Divided State
Poetry by Maureen Clark, Colin Douglas, Sharlee Mullins Glenn,
Heidi Hart, Joel T. Long, Jennifer Quist, and Lon Young
Regular features: Readers Write, From the Archives, Book Reviews
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