James Franco's Film Adaptation of As I Lay Dying

James Franco's film adaptation of William Faulkner's novel As I Lay Dying is both wonderful and frustrating. Wonderful because it succeeds in capturing the atmosphere of Faulkner's novel so well; frustrating because of the aspects that didn't work, and didn't have to fail.

As I Lay Dying has been thought to be unfilmable because of the central narrative device of using various points of view to tell the story. Fifteen characters narrate a total of 59 chapters, and the book's power lies largely in seeing how different characters view the same events, how each person's hidden perspective and agenda shapes his or her view of the events they are describing.

A Christmas Carol 5

Scrooge was better than his word. He did it all, and infinitely more.... Some people laughed to see the alteration in him, but he let them laugh, and little heeded them; for he was wise enough to know that nothing ever happened on this globe, for good, at which some people did not have their fill of laughter in the outset.... His own heart laughed: and that was quite enough for him.

A Christmas Carol 4

`Why wasn't he natural in his lifetime? If he had been, he'd have had somebody to look after him when he was struck with Death, instead of lying gasping out his last there, alone by himself.'

The Ghost of Christmas Yet to Come appears immediately after Scrooge's visitation from the Ghost of Christmas Present; for the first time, there is not even a token return to Scrooge's bedroom. The Spirit's appearance is obviously intended to be reminiscent of the Grim Reaper, and the typical way of understanding this section is to focus on death itself: Scrooge is going to die, this fact is revealed to him over the course of several visions, it is ultimately brought home to him by his seeing his own tombstone, and he falls into a total repentance due to his terror. The only problem with this interpretation is, it's implausible.

Unlike Tiny Tim, who clearly has a disease from which, presumably, he could recover given proper medical care, there has been no hint in the story that Scrooge is ill in any way. Nor is there any explanation for his death given in the visions that the Ghost of Christmas Yet to Come shows him. Scrooge is elderly, and it appears that he simply dies from natural causes and old age. The point is, a change of heart is not going to prevent this from occurring, and nothing in the story suggests that it will. Scrooge is smart; he knows that he is elderly, and the certainty that he will one day die cannot be new to him. So having that fact pointed out by the Spirit cannot possibly have a significant effect on Scrooge. Nonetheless, the visions shown to Scrooge do have that effect. So the point of the visions must be something other than simply the fact that Scrooge will die.

The Spirit first shows Scrooge some seemingly random conversations among businessmen, discussing the death of someone they knew.

`It's likely to be a very cheap funeral,' said the same speaker; `for upon my life I don't know of anybody to go to it. Suppose we make up a party and volunteer?'

`I don't mind going if a lunch is provided,' observed the gentleman with the excrescence on his nose. `But I must be fed, if I make one!'

Another laugh.

`Well, I am the most disinterested among you, after all,' said the first speaker, `for I never wear black gloves, and I never eat lunch. But I'll offer to go, if anybody else will. When I come to think of it, I'm not at all sure that I wasn't his most particular friend; for we used to stop and speak whenever we met. Bye, bye.'

And from another conversation,

`Well,' said the first. `Old Scratch has got his own at last, hey?'

`So I am told,' returned the second. `Cold, isn't it?'

The discussions are not merely about the death of someone: they are disinterested discussions. The general mood is indifference.

The Phantom next leads Scrooge to a rundown shop in a bad section of town, in which three people meet to sell some wares to Old Joe, the proprietor. It soon becomes evident that what they are selling they have stolen from the dead man. The items produced by the first two are simply odds and ends, but the last woman produces bed curtains and blankets from the bed on which the dead man was lying, and the shirt that had been put on him for burial.

`Ha, ha!' laughed the same woman, when old Joe, producing a flannel bag with money in it, told out their several gains upon the ground. `This is the end of it, you see. He frightened every one away from him when he was alive, to profit us when he was dead! Ha, ha, ha!'

And then suddenly the Ghost and Scrooge are in a room alone with a corpse, covered with a sheet.

He thought, if this man could be raised up now, what would be his foremost thoughts? Avarice, hard-dealing, griping cares. They have brought him to a rich end, truly.

He lay, in the dark empty house, with not a man, a woman, or a child, to say that he was kind to me in this or that, and for the memory of one kind word I will be kind to him.

The Spirit indicates for Scrooge to move the sheet and reveal the face of the dead man, but Scrooge can't. Instead, he begs the Ghost to show him someone who feels emotion at the man's death. The Spirit shows him a conversation between a man and his wife.

`We are quite ruined!'

`No. There is hope yet, Caroline.'

`If he relents,' she said, amazed, `there is. Nothing is past hope, if such a miracle has happened!'

`He is past relenting,' said her husband. `He is dead.'

She was a mild and patient creature if her face spoke truth; but she was thankful in her soul to hear it, and she said so, with clasped hands. She prayed forgiveness the next moment, and was sorry; but the first was the emotion of her heart.

"The only emotion that the Ghost could show him, caused by the event, was one of pleasure." Scrooge then begs to see "some tenderness connected with a death," and is shown Bob Cratchit's house, in which is being mourned the recent death of Tiny Tim. By contrast to the dark, empty room in which the dead man had lain, the room in which Tiny Tim is lying

was lighted cheerfully, and hung with Christmas. There was a chair set close beside the child, and there were signs of some one having been there, lately. Poor Bob sat down in it, and when he had thought a little and composed himself, he kissed the little face.

So Scrooge finds tenderness, but not for the man lying on the bed.

The Spirit finally conveys Scrooge past his place of business and his home, to a churchyard. "It was a worthy place. Walled in by houses; overrun by grass and weeds." Before even seeing the stone, Scrooge begins to plead with the Ghost. But in all his pleading, Scrooge never once mentions dying, or expresses a wish not to die. What he asks is, "Am I that man who lay upon the bed?"

It is not merely the fear of death that so affects Scrooge: it is the fear of being alone, uncared for, unmourned; that no one will have any emotion other than relief or satisfaction from his death. It is being cut off from all of humanity, and all his wealth having become meaningless. He has finally understood that while he can manipulate and control people through his wealth during his lifetime, only kindness and participation in their lives can gain any reciprocal kindness from them once he dies. He wants, not never to die, but to have been a part of others' lives when he does.

It is worthwhile to look at our own dealings with others. If we hold people at a distance, use them for our own ends, manipulate them to do what we want, ignore them when they're inconvenient, place wealth or personal possessions or accomplishments higher than them, then we have no cause to expect or hope for their kindness to us when we are in need, or past needing anything in this world. Our net worth is not something to be found in bankbooks and ledgers; it is to be found in the place we've made for ourselves in others' hearts. Our accomplishments and accumulations mean nothing if they are not valued by others, and we create value only by investment--investment in the hearts and lives of others.

This insight, by the way, is not merely of temporal value, or related only to people's thoughts and memories of us after we are gone. 'I tell you the truth, whatever you did for one of the least of these brothers of mine, you did for me.'

A Christmas Carol 3

`Is there a peculiar flavour in what you sprinkle from your torch?' asked Scrooge.
`There is. My own.'
`Would it apply to any kind of dinner on this day?' asked Scrooge.
`To any kindly given. To a poor one most.'
`Why to a poor one most?' asked Scrooge.
`Because it needs it most.'

The Ghost of Christmas Present represents the sheer joy of the holiday. What the Ghost does is relatively simple: he merely shows Scrooge other people who are enjoying Christmas with one another. In some ways, this is the most far-ranging portion of the novella; we are given the impression that the Spirit shows Scrooge a multitude of people and celebrations over a large area. The main point is that people are enjoying themselves together, and there is little relationship between their financial situation and the joy they experience--except for the fact that poverty can endanger the actual lives of those in its clutches, and thus cause grief, opposing joy. But wealth in no way ensures joy; in fact, all the people Scrooge sees are less well-off than he is, and full of much more joy.

But the two main places that the Spirit takes Scrooge are the houses of Bob Cratchit and Scrooge's nephew. At Bob Cratchit's house, Scrooge becomes acquainted with his clerk's family. Bob's wife is "dressed out but poorly in a twice-turned gown, but brave in ribbons, which are cheap and make a goodly show for sixpence"; his oldest son Master Peter Cratchit is proudly wearing his father's shirt, with a "monstrous shirt collar" playing a prominent role in the day's festivities; Martha and Belinda, the older girls; two smaller Cratchits, a boy and a girl; and Tiny Tim, the youngest son, crippled by an unknown illness. Charges that A Christmas Carol is overly sentimental may derive from Dickens's portrayal of poor characters, and Tiny Tim in particular, as impossibly virtuous. But the description of the joy and pleasure of the Cratchit's feast is wonderful, despite the fact that the foods described are those accessible to a poor family.

There never was such a goose. Bob said he didn't believe there ever was such a goose cooked. Its tenderness and flavour, size and cheapness, were the themes of universal admiration. Eked out by apple-sauce and mashed potatoes, it was a sufficient dinner for the whole family; indeed, as Mrs Cratchit said with great delight (surveying one small atom of a bone upon the dish), they hadn't ate it all at last. Yet every one had had enough, and the youngest Cratchits in particular, were steeped in sage and onion to the eyebrows.

And about the Christmas pudding, "Everybody had something to say about it, but nobody said or thought it was at all a small pudding for a large family. It would have been flat heresy to do so. Any Cratchit would have blushed to hint at such a thing."

The point to be made upon Scrooge is that the Cratchits are altogether unlike his own discontent self:

They were not a handsome family; they were not well dressed; their shoes were far from being water-proof; their clothes were scanty; and Peter might have known, and very likely did, the inside of a pawnbroker's. But, they were happy, grateful, pleased with one another, and contented with the time.

At the house of Scrooge's nephew, Scrooge learns that his own position is not only not shared by others, but can be positively comical to them:

`He said that Christmas was a humbug, as I live!' cried Scrooge's nephew. `He believed it too!' [...] `He's a comical old fellow,' said Scrooge's nephew, `that's the truth: and not so pleasant as he might be. However, his offences carry their own punishment, and I have nothing to say against him.'

`I'm sure he is very rich, Fred,' hinted Scrooge's niece. `At least you always tell me so.'

`What of that, my dear?' said Scrooge's nephew. `His wealth is of no use to him! He don't do any good with it. He don't make himself comfortable with it.'

Scrooge enters in to the singing and the merriment of this party which he had steadfastly refused to attend on Christmas Eve afternoon, even though he is the butt of the Yes and No game. Once he has been persuaded to measure things on a basis other than that of money, he finds a great deal of joy in many things he had disdained for many years.

On two occasions, the Spirit has occasion to repeat Scrooge's words from the beginning of the story. The first is when Scrooge asks whether Tiny Tim will die, and is told that he will not last until the next Christmas: "If he be like to die, he had better do it, and decrease the surplus population."

`Man,' said the Ghost, `if man you be in heart, not adamant, forbear that wicked cant until you have discovered What the surplus is, and Where it is. Will you decide what men shall live, what men shall die? It may be, that in the sight of Heaven, you are more worthless and less fit to live than millions like this poor man's child.'

And then later, when the Spirit shows Scrooge the two children Ignorance and Want:

`Have they no refuge or resource?' cried Scrooge.

`Are there no prisons?' said the Spirit, turning on him for the last time with his own words. `Are there no workhouses?'

I wrote earlier that Scrooge was not merely a miserly, crotchety old man; that he actively enjoyed his own malevolence. Yet even he did not recognize the damning impact of thoughts and attitudes such as his. His cruelty was to dismiss others less fortunate than himself, assuming them to be lazy or otherwise unworthy, and thus suffering justly the consequences of their own decisions. And then he thinks no more of them. But those others have to live out the implications of Scrooge's thoughtlessness. Having been to Bob Cratchit's home, he now cares whether Tiny Tim will live or die; if he had not gone there, Tim would have died without Scrooge having ever known about it. Those are the implications of such thoughtlessness, as Dickens presents it.

I see an attitude growing today: whether the liberal attitude, "You can't tell me what to do with my body," the conservative attitude, "You can't tell me what to do with my money," or the libertarian attitude, which says both. The attitude, at bottom, is this: "I am me, alone; I am not part of anything larger; I owe nothing to anyone apart from myself." This is Scrooge's attitude. And it would be funny, if it weren't so sad.

The gift-giving and get-togethers and festivities at Christmas, hopefully, remind us that we are not merely ourselves, and that we have a responsibility to others. Paul writes in Galatians 2:10, "All they [the Jerusalem apostles] asked was that we should continue to remember the poor, the very thing I was eager to do." When's the last time you heard an evangelical pastor preach on that verse? We are not alone. If we are salt and light, then we are called to salt and enlighten something other than ourselves. May we enjoy, in our festivities, our connectedness with others, and may we touch lives, as best we can, for their benefit and encouragement.

A Christmas Carol 2

"I release you. With a full heart, for the love of him you once were."
--Belle, to her erstwhile fiance Ebenezer Scrooge

The Ghost of Christmas Past takes Scrooge on a journey through various Christmases of his earlier life. The temptation of a 20th or 21st century author would have been to "psychologize" Scrooge, to see what terrible circumstances in his youth had made him into the man he now is. To some degree, this does happen in this section of the novella, but Dickens does more than merely blame Scrooge's demeanor on a bad upbringing. He deals with Scrooge's responses to life experiences.

Scrooge first sees himself as a child, abandoned at a boarding school, unable to return home for Christmas, with only his books for companions. His mother has evidently died, and his father, possibly grieving, refuses to allow him to come home. While young, he populates his time with the imaginary inhabitants of his books; a few years older, he spends his time "walking up and down despairingly." But on the latter occasion, his sister Fan arrives to bring him home, since "Father is so much kinder than he used to be." So although he has had painful experiences, he chooses his response to them, and good things happen as well as bad.

In the next vision, Scrooge sees himself at the warehouse where he had been apprenticed. His boss, Old Fezziwig, puts on a Christmas party for his apprentices, his family, and their servants and neighbors. Dickens describes the party in some detail, and portrays both the younger and older Scrooges entering into the festivities wholeheartedly and praising Fezziwig lavishly. When the Spirit asks why he should be praised so highly for spending only a modest amount, Scrooge responds, "He has the power to render us happy or unhappy; to make our service light or burdensome; a pleasure or a toil.... The happiness he gives, is quite as great as if it cost a fortune."

The next sequence, however, indicates more than any other the change that makes Scrooge become the man we are introduced to in the beginning of the story. Scrooge is forced to watch as his former fiancee, Belle, breaks off their engagement. Her reasoning is telling:

`Another idol has displaced me; and if it can cheer and comfort you in time to come, as I would have tried to do, I have no just cause to grieve.'

`What Idol has displaced you?' he rejoined.

`A golden one.'

`This is the even-handed dealing of the world,' he said. `There is nothing on which it is so hard as poverty; and there is nothing it professes to condemn with such severity as the pursuit of wealth.'

`You fear the world too much,' she answered, gently. `All your other hopes have merged into the hope of being beyond the chance of its sordid reproach. I have seen your nobler aspirations fall off one by one, until the master-passion, Gain, engrosses you.

Scrooge is afraid of falling back into poverty, so he has focused all his energies into gaining wealth. His "nobler passions" have been displaced by this overriding concern. Belle recognizes that the man he has now become would never have chosen her, "a dowerless girl," to marry. All he cares about is money. He has lost the capacity to value anything else.

The final vision is the only one in which Scrooge's younger self is not present. It functions as an epilogue to the last one. We have already seen where Scrooge's path has taken him; now we see Belle with husband and family. This is the life Scrooge could have had; one which he gave up for what he has now. The time frame is seven years earlier; Marley is lying on his deathbed, and even Belle's husband pities Scrooge, who is "quite alone in the world."

Scrooge gains one major thing in this section of the novella: he relearns the ability to view things from outside his own point of view. He recognizes himself as someone who could be seen as pitiable, not simply as the astute businessman he had regarded himself as before. More importantly, he learns to identify with others. He sees them in the images of his earlier self and in the people who were parts of his life before. His young self alone at the boarding school makes him think of the caroler whom he had frightened away; his sister fan makes him think of his nephew; his regard for Fezziwig makes him think of his own relationship with Bob Cratchit. In each case, he wishes he could have taken a different approach with someone he had met earlier in the day. That ability--to see ourselves in others, and to see ourselves as others see us--could have changed his whole life.

How often do we get stuck in our own heads, seeing only our own point of view? How often do we dismiss others' feelings and concerns, just because they don't fit the template of what we consider important? And in what ways have we changed, slowly, imperceptibly, over time? We focus on something because it seems necessary, because we're afraid of what will happen to us if we don't focus on it. And then it becomes the only way in which we can view life. It's so easy for our "nobler passions" to be replaced. We need consciously, actively, to fight that tendency and keep that from happening.

A Christmas Carol 1

Darkness is cheap, and Scrooge liked it.

I've read Charles Dickens's A Christmas Carol many times since I was young, I recently had the pleasure of reading it aloud to my family, and my pastor is doing a sermon series on it. Although it contains few references to The First Christmas, and was never intended by Dickens as a vehicle for the gospel, I believe that there is a great deal of truth in it. It's one of the books that I return to repeatedly throughout life.

I've never really liked any of the film adaptations of the story that I've seen. The George C. Scott version I think perhaps best gets at Scrooge's character, but I've always thought that Jack Nicholson would be the best actor to play the role. Scrooge is not merely a miserly, crotchety old man; he's deliberately mean, nasty, and vicious--in Dickens's words, "Scrooge! a squeezing, wrenching, grasping,scraping, clutching, covetous, old sinner! Hard and sharp as flint, from which no steel had ever struck out generous fire; secret, and self-contained, and solitary as an oyster." He's not just thoughtless and accidentally or unintentionally cruel; he positively delights in his own malevolence.

In the opening section of the book, Scrooge has four encounters as he winds down the workday on Christmas Eve. First his nephew, who angers Scrooge by inviting him to Christmas dinner (and by being genuinely merry and in love, although poor--things that Scrooge once was, himself, we will discover). Two portly gentlemen, taking up a collection for the poor, are met with Scrooge's heartlessness: "Are there no prisons? Are there no workhouses?" Then a caroler begins singing outside Scrooge's door, only to flee in terror as Scrooge seizes his ruler as if to go after the singer. Finally, Scrooge confronts his clerk, reproaching him for wanting "the whole day" on Christmas, and to be paid for it.

We see here in Scrooge human nature in its worst form. He's not merely miserable himself; he hates happiness in others, as represented by his nephew. He's not merely miserly himself; he hates generosity, and has "an improved opinion of himself" for his sharp rebuke of the portly gentlemen. He's not merely unwilling to enjoy the music of the season; he must violently banish it from his presence. And as wealthy as he is, and as poor as his clerk is, he still considers it a type of theft--"picking a man's pocket every twenty-fifth of December"--to be obliged to give a paid day off. Above all else, Scrooge is resentful--resentful of anyone or anything who makes any sort of claim on him, and anyone or anything who has anything he does not, including simple good cheer.

All of which would merely be funny, if it didn't ring true. Who among us hasn't felt grouchy and irritated at some stupid-looking happy person? Who hasn't wanted, on occasion, to wipe the smile off the face of someone? There is more Scrooge in us than we'd like to admit.

When Scrooge goes home, he is confronted by the ghost of Jacob Marley, his former partner who had died seven years earlier. The device that Dickens uses to represent Marley's sufferings is a chain composed of "cash-boxes, keys, padlocks, ledgers, deeds, and heavy purses wrought in steel." Marley informs Scrooge that the chain he bears was fully as long as Marley's seven years previously, and has grown steadily since then. The sin of Scrooge and Marley was to have nothing but mercenary goals: Scrooge had earlier protested to the portly gentlemen that the welfare of others was not his business--"It's enough for a man to understand his own business, and not to interfere with other people's. Mine occupies me constantly"; Marley retorts, "Mankind was my business. The common welfare was my business; charity, mercy, forbearance, and benevolence, were, all, my business."

Although not a man of "business" in Scrooge's sense, I am a very private person. Early life experiences of rejection taught me to leave others alone and want to be left alone myself. I am the type to have a few close friends. There's nothing, by itself, wrong with that; not everyone has to be a social butterfly, and one can't have deep friendships with everyone. Nonetheless, if my tendency toward solitude has the effect of isolating me and numbing me from the needs of others, then it's profoundly wrong.

We evangelicals have separated the "social gospel" from the Gospel, and in so doing, have divorced ourselves from a great deal of what Jesus taught, and what the Bible as a whole teaches. Jesus didn't say, "Tell everyone to repeat the Sinner's Prayer"; He did say, "Love your neighbor as yourself" and illustrated that love by the actively helpful actions of the Good Samaritan. He did say, "Do to others as you would have them do to you." He separated the sheep and the goats by the actions they took for the benefit of others. Attending to the Gospel would seem to involve attending to the "social gospel," and historically, it did so. It seems that that has been forgotten in recent decades, though. We identify with the interests of Scrooge--lowering taxes, blaming poverty on laziness--more than the interests of Bob Cratchit.

Perhaps if we emphasized what Jesus did, we'd secure an easier hearing for the Gospel.

Technorati Tags: Charles Dickens, Scrooge, A Christmas Carol, Christmas

Franz Kafka's "At the Law"

Republished without picture, since ImageShack decided to drop me. No new content.

Franz Kafka's "At the Law" is a profound expression of the human condition. It was one of the few literary pieces that Kafka published during his lifetime, and was incorporated into what is usually considered his most profound novel, The Trial. Like much of Kafka's best work, its enigmatic nature seems to demand interpretation, but defies any single exhaustive explanation. At its core, however, lies the human tension between wanting to be justified by the law and yet feeling excluded from it.

One of the things that Christians often do is fail to really listen to where the people in our world are coming from. We tend to offer answers to questions that haven't been asked, and not listen to questions that are being asked. Kafka asks questions we need to be listening to. If we are to reach the world, we need to understand where it's coming from. "At the Law" appears to me to be a wonderful parable of the person who wants to live a moral life, but doesn't know the grace of Christ. I offer it to you, for your consideration, and I invite your thoughts in the comments section.

In front of the law there is a doorkeeper. A man from the countryside comes up to the door and asks for entry. But the doorkeeper says he can't let him in to the law right now. The man thinks about this, and then he asks if he'll be able to go in later on. 'That's possible,' says the doorkeeper, 'but not now'. The gateway to the law is open as it always is, and the doorkeeper has stepped to one side, so the man bends over to try and see in. When the doorkeeper notices this he laughs and says, 'If you're tempted give it a try, try and go in even though I say you can't. Careful though: I'm powerful. And I'm only the lowliest of all the doormen. But there's a doorkeeper for each of the rooms and each of them is more powerful than the last. It's more than I can stand just to look at the third one.' The man from the country had not expected difficulties like this, the law was supposed to be accessible for anyone at any time, he thinks, but now he looks more closely at the doorkeeper in his fur coat, sees his big hooked nose, his long thin tartar-beard, and he decides it's better to wait until he has permission to enter. The doorkeeper gives him a stool and lets him sit down to one side of the gate. He sits there for days and years. He tries to be allowed in time and again and tires the doorkeeper with his requests. The doorkeeper often questions him, asking about where he's from and many other things, but these are disinterested questions such as great men ask, and he always ends up by telling him he still can't let him in. The man had come well equipped for his journey, and uses everything, however valuable, to bribe the doorkeeper. He accepts everything, but as he does so he says, 'I'll only accept this so that you don't think there's anything you've failed to do'. Over many years, the man watches the doorkeeper almost without a break. He forgets about the other doormen, and begins to think this one is the only thing stopping him from gaining access to the law. Over the first few years he curses his unhappy condition out loud, but later, as he becomes old, he just grumbles to himself. He becomes senile, and as he has come to know even the fleas in the doorkeeper's fur collar over the years that he has been studying him he even asks them to help him and change the doorkeeper's mind. Finally his eyes grow dim, and he no longer knows whether it's really getting darker or just his eyes that are deceiving him. But he seems now to see an inextinguishable light begin to shine from the darkness behind the door. He doesn't have long to live now. Just before he dies, he brings together all his experience from all this time into one question which he has still never put to the doorkeeper. He beckons to him, as he's no longer able to raise his stiff body. The doorkeeper has to bend over deeply as the difference in their sizes has changed very much to the disadvantage of the man. 'What is it you want to know now?' asks the doorkeeper, 'You're insatiable.' 'Everyone wants access to the law,' says the man, 'how come, over all these years, no-one but me has asked to be let in?' The doorkeeper can see the man's come to his end, his hearing has faded, and so, so that he can be heard, he shouts to him: 'Nobody else could have got in this way, as this entrance was meant only for you. Now I'll go and close it'.

Excerpted from the translation by David Wyllie, © 2003 David Wyllie, available for free download from Project Gutenberg.

Johnny Lingo and the Ten-Cow Wife

"So tweasuwe youw wife--"
--The Impressive Clergyman

I read this story years ago in the Reader's Digest. It made a significant impact on me. One of the main keys of a happy marriage is to treat your spouse like the person you want them to be. I've never understood people who got married and then complained about the "ball and chain" for the rest of their lives. Statistics have shown that evangelical Christians have marriages no better than society as a whole. This is a tragic shame, and a horrible witness. God wants our marriages to represent His love for His people. I hope this little story reminds us of how we should be treating the person who should be the closest one in our lives.

"Get Johnny Lingo to help you find what you want and then let him do the bargaining," advised Shenkin as I sat on the veranda of his guest house and wondered whether to visit Nurabandi. "He'll earn his commission four times over. Johnny knows values and how to make a deal."

"Johnny Lingo." The chubby boy on the veranda steps hooted the name, then hugged his knees and rocked with shrill laughter.

"Be quiet," said his father and the laughter grew silent. "Johnny Lingo's the sharpest trader in this part of the Pacific."

The simple statement made the boy choke and almost roll off the steps. Smiles broadened on the faces of the villagers standing nearby.

"What goes on?" I demanded. "Everybody around here tells me to get in touch with Johnny Lingo and then breaks up. It is some kind of trick, a wild-goose chase, like sending someone for a left-handed wrench? I there no such person or is he the village idiot or what? Let me in on the joke."

"Not idiot," said Shenkin. "Only one thing. Five months ago, at festival time, Johnny came to Kiniwata and found himself a wife. He paid her father ten cows!"
He spoke the last words with great solemnity and I knew enough about island customs to be thorougly impressed. Two or three cows would buy a fair-to-middling wife, four or five a highly satisfactory one.

"Ten cows!" I said. "She must have been a beauty that takes your breath away."
"That's why they laugh," my guest said. "It would be kindness to call her plain. She was little and skinny with no--ah--endowments. She walked with her shoulders hunched and her head ducked, as if she was trying to hide behind herself. Her cheeks had no color, her eyes never opened beyond a slit and her hair was a tangled mop half over her face. She was scared of her own shadow, frightened by her own voice. She was afraid to laugh in public. She never romped with the girls, so how could she attract the boys?"

"But she attracted Johnny?"

This is the story Shenkin told me:

"All the way to the council tent the cousins were urging Sam to try for a good settlement. Ask for three cows, they told him, and hold out for two until you're sure he'll pay one. But Sam was in such a stew and so afraid there'd be some slip in this marriage chance for Sarita that they knew he wouldn't hold out for anything. So while they waited they resigned themselves to accepting one cow, and thought, instead, of their luck in getting such a good husband for Sarita. Then Johnny came into the tent and, without waiting for a word from any of them, went straight up to Sam Karoo, grasped his hand and said, "Father of Sarita, I offer ten cows for your daughter." And he delivered the cows.

"As soon as it was over Johnny took Sarita to the island of Cho for the first week of marriage. Then they went home to Narabundi and we haven't seen them since. Except at festival time, there's not much travel between the islands."

This story interested me so I decided to investigate.

The next day I reached the island where Johnny lived. When I met the slim, serious man, he welcomed me to his home with a grace that made me feel like the owner. I was glad that from his own people he had respect unmingled with mockery.

I told him that his people had told me about him.

"They speak much of me on that island? What do they say?"

"They say you are a sharp trader," I said. "They also say the marriage settlement that you made for your wife was ten cows." I paused, then went on, coming as close to a direct question as I could. "They wonder why."

"They say that?" His eyes lighted with pleasure. He seemed not to have noticed the question. "Everyone in Kiniwata knows about the ten cows?"

I nodded.

"And in Narabundi everyone knows it, too." His chest expanded with satisfaction. "Always and forever, when they speak of marriage settlements, it will be remembered that Johnny Lingo paid ten cows for Sarita."

So that's the anwer, I thought with disappointment. All this mystery and wonder and the explanation's only vanity. It's not enough for his ego to be known as the smartest, the strongest, the quickest. He had to make himself famous for his way of buying a wife. I was tempted to deflate him by reporting that in Kiniwata he was laughed at for a fool.

And then I saw her. Through the glass-beaded portieres that simmered in the archway, I watched her enter the adjoining room to place a bowl of blossoms on the dining table. She stood still a moment to smile with sweet gravity at the young man beside me. Then she went swiftly out again. She was the most beautiful woman I have ever seen. Not with the beauty of the girl who carries fruit. That now seemed cheap, common, earthbound. This girl had an ethereal loveliness that was at the same time from the heart of nature. The dew-fresh flowers with which she'd pinned back her lustrous black hair accented the glow of her cheeks. The lift of her shoulders, the tilt of her chin, the sparkle of her eyes all spelled a pride to which no one could deny her the right. And as she turned to leave she moved with the grace that made her look like a queen who might, with enchantment, turn into a kitten.

When she was out of sight I turned back to Jonny Lingo and found him looking at me with eyes that reflected the pride of the girl's.

"You admire her?" he murmured.

"She--she's glorious. Who is she?"

"My wife."

I stared at him blankly. Was this some custom I had not heard about? Do they practice polygamy here? He, for his ten cows, bought both Sarita and this other? Before I could form a question he spoke again.

"This is only one Sarita." His way of saying the words gave them a special significance. "Perhaps you wish to say she does not look the way they say she looked in Kiniwata."

"She doesn't." The impact of the girl's appearance made me forget tact. "I heard she was homely, or at least nondescript. They all make fun of you because you let yourself by cheated by Sam Karoo."

"You think he cheated me? You think ten cows were too many?" A slow smile slid over his lips as I shook my head. "She can see her father and her friends again. And they can see her. Do you think anyone will make fun of us then? Much has happened to change her. Much in particular happened the day she went away."

"You mean she married you?"

"That, yes. But most of all, I mean the arrangements for the marriage."

"Arrangements?"

"Do you ever think," he asked reflectively, "what it does to a woman when she knows that the price her husband has paid is the lowest price for which she can be bought? And then later, when all the women talk, as women do, they boast of what their husbands paid for them. One says four cows, another maybe six. How does she feel--the woman who was sold for one or two? This could not happen to my Sarita."

"Then you paid that unprecendented number of cows just to make your wife happy?"

"Happy?" He seemed to turn the word over on his tongue, as if to test its meaning. "I wanted Sarita to be happy, yes, but I wanted more than that. You say she's different from the way they remember her in Kiniwata. This is true. Many things can change a woman. Things that happen inside, things that happen outside. But the thing that matters most is what she thinks about herself. In Kiniwata, Sarita believed she was worth nothing. Now she knows that she is worth more than any other woman on the islands."

"Then you wanted..."

"I wanted to marry Sarita. I loved her and no other woman."

"But--" I was close to understanding.

"But," he finished softly, "I wanted an ten-cow wife."


For more on marriage, check out my book, Marriage, Family, and the Image of God .

Scot McKnight's The Real Mary

Scot McKnight is soon-to-be releasing a new book entitled The Real Mary. An excerpt of his book is available at http://www.paracletepress.com/nstore/linkedfiles/excerpt/RealMaryFORMAT.pdf

I'd be very interested in any comments anyone has regarding the excerpt. Also, any help anyone may have on posting a PDF file directly into a Blogger blog.

Rilstone on Superman

Andrew Rilstone has a good post on the "Christian symbolism" of the recent Superman movie. A brief excerpt:

Spider-Man, Frodo Baggins, Neo, Leo DeCaprio, Indiana Jones – Hollywood turns all its heroes into Christian symbols. (All except Aslan, obviously.) But do the symbols actually symbolize anything?

Good point. Except that I think Tolkien actually meant for Frodo to be a type of Christ (Gandalf and Aragorn too), no matter what he said about allegory. But for the rest--I think we need to examine what it means for Christian imagery and symbolism to be bestowed on characters who are eminently unworthy of it.

Mildly Roused by Joy

I love the writings of C.S. Lewis. I enjoy the way in which he can use fictional situations to illustrate moral and spiritual truths (as in The Great Divorce or The Screwtape Letters) and the way in which he can begin with an unassuming, simple premise and build his argument into something overpowering and majestic (as in Miracles or Mere Christianity).

Lewis rarely disappoints, which makes it all the more notable when he does. Ever since I read his autobiographical Surprised by Joy, I've felt that the ending was unsatisfying. The passage I mean, on the last page of the book, is this:

But what, in conclusion, of Joy? for that, after all, is what the story has mainly been about. To tell you the truth, since I became a Christian, the subject has nearly lost all interest for me. . . . I now know that the experience, considered as a state of my own mind, had never had the kind of importance I once gave it. It was valuable only as a pointer to something other and outer. While that other was in doubt, the pointer naturally loomed large in my thoughts. When we are lost in the woods, the sight of a signpost is a great matter. He who first sees it cries, "Look!" The whole party gathers round and stares. But when we have found the road and are passing signposts every few miles, we shall not stop and stare. They will encourage us and we shall be grateful for the authority that set them up. But we shall not stop and stare, or not much; not on this road, though their pillars are of silver and their lettering of gold. "We would be at Jerusalem."

Now, I understand what it is that Lewis is saying: Joy was a tool that God used to bring Lewis to Christ. The tool was not actually the important thing; what it accomplished, where it led Lewis, was the important thing. A vivid but sporadic sense of awe and wonder--without being related to anything specific--cannot possibly have the importance of a developed, concrete faith in Christ. You use a map to get to a destination; once you get there, you stop puzzling over the map and enjoy the place it led you to.

I guess my problem is that I came to the Lord as a young child. I don't have much of a "before" that I can clearly remember. And yet, Lewis's theme of Joy resonated strongly with me. There have been times when I have experienced that sense of awe and wonder, and a lot more times when I longed to experience it and didn't. I know that Joy is a signpost pointing to God; but is it only a signpost? To put it more bluntly, once we come to Christ, do we lose the transcendent experiences that brought us there? Is the experience of glory to be replaced by theology?

I reproduced the quote above the way I did because that's how I've always remembered it--not that I've remembered it word for word, but I specifically didn't recall the section represented by the ellipsis points. I now reproduce that section, because it does make a difference:

I cannot, indeed, complain, like Wordsworth, that the visionary gleam has passed away. I believe (if the thing were at all worth recording) that the old stab, the old bittersweet, has come to me as often and as sharply since my conversion as at any time of my life whatever. But I now know . . . .

So Lewis wasn't saying that once he became a Christian he stopped experiencing Joy. He was merely saying that it no longer had the importance it once had for him. He recognizes it as not a goal, but as a signpost toward the real goal. But nonetheless, he did still experience it.

And yet . . . it just seems that once having told of his conversion, Lewis just cuts off the narrative as quickly as he can. What he says about Joy seems merely to be the tidying up of a loose end. One can't help getting the impression that his experience of Joy as an important thing has ended--and to experience Joy is to experience it as an important thing. It's hard to get past the phrase, "The subject has nearly lost all interest for me." I understand that he means the intellectual interest--the attempt to discover where it comes from and why and what it means. He has found the answer in Christ. (That, of course, leads to other questions, but these are not directly related to Joy.) But for someone who longs to feel more of the presence of God than a busy life often allows, it just seems to be a bit of a flat ending.