I read a piece the other day, “The Taste of Strawberries,” by Jeffrey Bilbro for The Imaginative Conservative, about Tolkien,
pointing out that his writing does something not easy to do:
One of the reasons that Tolkien’s stories continue to inspire
us is that he does something few authors are able to do: he makes goodness
compelling and desirable.
Bilbro (I’m delighted that his name sounds like he could be
from the Shire) reminds us of the good places Tolkien created:
The Shire, in New Zealand image from here |
We long for the rich life experienced by the hobbits in the
Shire, the elves in Rivendell, the dwarves in Moria and their kingdom under the
Lonely Mountain, and the men in Rohan and Gondor. These places are not perfect,
but their vibrant communities offer rich visions of shalom, of beautiful,
harmonious ways of life.
I think he’s right. We don’t often come across imaginary
creations that are truly good, yet are beautiful and interesting—never boring.
More often we get depictions of good that are less than artistic, and often
boring, even contrived.
We have a set of animated videos for children, intended for
our grandchildren’s entertainment and learning, particularly on Sundays when we’re
separating ourselves out from the world. I think they’re well done. They
include music that is often worthwhile beyond the video. These videos depict
scripture stories or historical characters. But my granddaughter, in a pique
one day, refused to have those boring videos forced upon her. Sigh!
But I kind of understand. So much of literature—including movies—is
about conflict, or other things more exciting than the good.
As Tolstoy points out in the beginning of Anna Karenina,
“All happy families are alike; each unhappy family is unhappy
in its own way.”
I’ve always bristled against that. I don’t believe it deep down.
Unhappy families come from people doing uncivilized things—lying, cheating,
being unfaithful and disloyal, jealousy, coveting, stealing, selfishness,
abuse. There’s not really that much variety.
But inventing bad things does seem to be easier. As Bilbro
points out,
In many of our movies and stories, the good characters are rather
insipid, while the evil ones are much more fascinating. Think about the
character of the Joker in The Dark Knight, Walter White in Breaking Bad, or
Darth Vader in the Star Wars series. These characters are complex and
compelling—they draw us into their struggle.
Even the bad places are fascinating, though often morbidly
so. Think The Hunger Games, The Maze Runner, and plenty of other
dystopian series. And in historical literature, we’re
drawn to the extremities of war and oppression—hopefully with the uplift that
comes from overcoming the evil, but still that’s where we dwell: the German
holocaust in Schindler’s List and
others, the Armenian Genocide in the recent movie The Promise, the Japanese prisoner of war camps in Unbroken, the story of the survival of
Louis Zamperini, or the martyrdom of Bonhoeffer.
It’s not that these aren’t stories worth telling. It’s that
there must be stories of good that also ought to be told, and told well. But we’re
not good at finding them—or telling them.
Even the way we talk about heaven isn’t appealing—floating about
on clouds, playing a harp, singing praises. Most of us (including me) would say
that sounds boring if that’s all there is for the rest of eternity. It’s not
how I picture heaven.
So how do we picture heaven—or as close as we can get to it
here on earth?
There’s a story from the Book
of Mormon that uses the image of a tree of life. I’ve met people from other
religious traditions that have a tree of life too. In ours, it appears in First
Nephi, near the beginning of the Book of
Mormon. The prophet and patriarch of the people, Lehi, has a dream. In it
there are paths, obscured by a dark mist, on a narrow path alongside a gulf of
filthy water. But there’s a rod of iron alongside the path. Those who hold onto
the rod and stay on the path get to a beautiful tree, with fruit that is sweet
above all that is sweet:
a tree, whose fruit was desirable to make one happy./ And it
came to pass that I did go forth and partake of the fruit thereof; and I beheld
that it was most sweet, above all that I ever before tasted. Yea, and I beheld
that the fruit thereof was white, to exceed all the whiteness that I had ever
seen./ And as I partook of the fruit thereof it filled my soul with exceedingly
great joy; wherefore, I began to be desirous that my family should partake of
it also; for I knew that it was desirable above all other fruit. [1 Nephi 8:10-12]
Lehi's Dream painting by Steven Lloyd Neal |
In this vision, many people seek the happiness of the tree.
Many get lost along the way. But those who taste it—you’d think that would be
the finale. For some it is, but others, even after they taste the sweetness,
fall away from the tree after they notice ridicule coming at them from people
pointing and mocking from a large and spacious building. There’s a lot to this
dream we could apply as allegory to our lives.
Even if we find the best way to encourage people to seek and
taste the good, that’s not the end. But at least we’d better start there.
In Bilbro’s piece, he says (and quotes C. S. Lewis as
saying) that portraying an evil character is easy, because we can imagine an
exaggeration of the evil already in us. But it’s harder to depict an
extraordinarily good character, which we’ve never been. What Tolkien does that
succeeds is putting decent but ordinary characters who are drawn to exceptional
good and beautiful places.
In the words of Lehi’s Dream, they are people who seek that
tree and taste the fruit—and then they remember the taste so clearly that, even
when they might be placed in far distant circumstances, they will live for the
day they can return and taste that fruit again. As Sam Gangee says to Frodo,
Do you remember the Shire, Mr. Frodo? It’ll be spring soon,
and the orchards will be in blossom; and the birds will be nesting in the hazel
thicket; and they’ll be sowing the summer barley in the lower fields; and
eating the first of the strawberries with cream. Do you remember the taste of
strawberries?
So if I had to describe good
in a way that would draw everyone to it, I’d say those sweetened-on-the-vine
best spring strawberries.
In the Spherical Model, we use this description for good, or civilization. There are happy families, economic prosperity, living
in peace, creativity and innovation in the arts and every other area of
endeavor. We could use Bilbro’s words and say civilization
is “vibrant communities [that] offer rich visions of shalom, of beautiful,
harmonious ways of life.”
It’s just a description, not an enticement, really. There’s
beauty in civilization. If you can picture it, it’s hard not to want it. But it’s
not dramatic. If people are going to visualize it—and, better yet, want it and
seek it—they’ll probably need both real-life and literary examples.
I recently spent a week watching a Netflix series based on Anne of Green Gables—a series I’ve read
multiple times, and also enjoyed the 30-year-old PBS series. There’s a lot for the
new version, Anne with an E, to live
up to. But going to that beautiful world (which I’ve been to in person) was worth giving it a chance. The
casting was excellent. The scenery, of course, was beautiful. And the parts of
the story that actually came from the original were nicely done.
That's us at the Lucy Maud Montgomery home on Prince Edward Island, in 1985 |
But then the people who created this new version decided
what they needed was drama. So they added things: Anne getting sent back to the
orphanage after a brooch goes missing and is assumed stolen (the brooch
incident is in the book; getting sent back is not); quitting school because
others don’t accept her; saving someone from a fire so that her bravery wins
acceptance; willing to go back to school because of feminism (I’m rolling my
eyes); a mortgage on the farm; a heart attack for Matthew so he can no longer
work the farm (he does have heart problems in the books, but doesn’t get
incapacitated in her first year, nor is the farm ever in jeopardy); going to
the big city to sell all the household goods, and the horse—and the farm helper
who goes along to sell the horse gets beat up and the money stolen; they decide
to take on a boarder—who happens to be the thief of the horse money; add in a
possible love interest for Matthew, and a near suicide, plus a lot of parenting
angst and self-doubt for Marilla.
So, maybe in some other story the drama might add something.
But what we love about Anne Shirley is just watching her be herself in that
beautiful Prince Edward Island setting that she appreciates so thoroughly. The
books are episodic, rather than dramatic. But we don’t mind. Episodes like
dying her red hair accidentally green, and floating in a sinking boat to enact “The
Lady of Shalott,” which are practically iconic parts of the book, were left out
of the new version. What a loss!
We need portrayals of good, or, as Bilbro calls it, shalom, that are enticing enough that
adding drama for the sake of drama is unnecessary. Stories still need drama,
and contrast, and layers of rich meaning. But we have plenty of depictions of
evil.
I think, if we’re looking for stories of the good, we’ll
find stories about happy families, with lots of humor, along with facing the
challenges that happen just because we’re experiencing earth life. Sometimes
dads and moms are the heroes who ought to be “put into songs and tales,” as Sam
Gangee would say.
So, I’m on a search—I hope you’ll join me—for the good that
will be as memorable and enticing as strawberries in the Shire.
No comments:
Post a Comment