Those accepted will give Sunstone one-time, non-exclusive rights to the work, receive $25 per page remuneration, and be published alongside such artists as Sal Velluto, Jake Parker, Howard Tayler, Brian Crane, and Adam Koford. Previously published work is welcome if the artist still retains reprint rights to the work. Page dimensions: 8.5 x 11. Page colors: black and white.

Deadline: 15 May 2010

Email submissions to: theric@thmazing.com

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7 April 2010

Special benefit performance of Eric Samuelsen’s new play, Amerigo, with a discussion with the playwright afterward. 7:00 pm Wednesday 7 April at Plan-B Theatre Company, 138 West, 300 South Salt Lake City. Proceeds from this performance will benefit Sunstone. Click here to buy tickets.

8 April 2010

Opening event for the University of Utah Sunstone Student Association, 7:00 – 9:00 pm, Salt Air Room, Union Building, University of Utah. This event features a panel discussion on “The Role of the Mormon Intellectual,” followed by an organizing meeting for the Sunstone Student Association.

This event is FREE and open to the public and will include refreshments (as all Mormon gatherings should).  We’ll offer complimentary copies of Sunstone magazine and a special 6-issue subscription rate for new Sunstone Student Association members and attendees.

8-9 April 2010, Restoration Studies Symposium/Sunstone Midwest, Independence, MO

The third annual Restoration Studies/Sunstone Midwest Symposium will take place on Thursday and Friday, April 8-9, immediately prior to the World Conference of the Community of Christ. The theme of this year’s symposium is “Identities & Relationships: Mormonism, Christianity, and the Community of Christ.”

All sessions will be held at the Graceland University Independence Campus, 1400 W. Truman Road in Independence (map). The Symposium is co-sponsored by the John Whitmer Historical Association, the Community of Christ Seminary, and the Sunstone Education Foundation.

For more information about the program and registration, please visit http://www.jwha.info/

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Sunstoners are an arts & culture loving bunch.  Throughout the years, whether in the pages of the Magazine, or from the podium at a Symposium, Sunstoners have repeatedly demonstrated that they only need the barest thread of a connection to Mormonism to launch into an animated paean about the virtues of this or that non-LDS movie, book, or song.  As such, we’ve created Sunstone Symposium sessions with lofty-sounding titles like, “Great Movies that Have Expanded My Religious World View.”  But who were we kidding?   Let’s face it – we just wanted an opportunity to talk about movies we thought were really cool.

So let’s drop the pretense, okay?  It’s Oscar Time, and we wanna talk movies.  Why should we force an artificial Mormon angle, like, um, the subtle way Avatar’s Pandorans resembled righteous Lamanites.  Gag.

Nope, we’re not going to apologize for our little off-topic jag; we’re not going to cloak our secular intentions – we’ve got plenty of time to get back to the “faith seeking understanding” thing.  Right now, we’re going to riff on movies.  Specifically, Matt and Clay are counting down the ten Academy Award Best Picture Nominees, from 10 to 1.

Who are Matt and Clay?  A couple of non-qualified hacks, that’s who.  Wannabe cinephiles who can quote lines of dialogue from High Fidelity like it was scripture, but would be hard-pressed to remember more than 4 of the 13 Articles of Faith.

Enough preamble, in the spirit of the movies, let’s get on with the show…

Clay’s List

10.)  A Serious Man

I’m not quite sure if the normally reliable Coen brothers meant to create a Job movie, but their Serious Man Larry Gopnik is definitely a magnet for misfortune.  His wife appears to have little love or respect for him.   He’s facing a crisis with a disgruntled student at the unfortunate moment he is being reviewed for tenure.  His freeloading brother is in trouble with the law.  Our protagonist seems to be a decent fellow, but unlike Job he isn’t seen as “a serious man” in his community or his own family.  Questions of his righteousness aside, he’s spineless and annoying, but then almost everyone in this film is annoying.  Not a single character is likeable.  In fact, it seems as if one of the film’s purposes was to portray a complete spectrum of unkind Jewish caricatures.  Ultimately, I just didn’t care what happened to any of them.  When it ended abruptly, I was initially annoyed but eventually settled on… meh.

9.) Inglorious Basterds

Inglorious Basterds starts with some truly remarkable aspects (Christoph Waltz, Melanie Laurent, and even Brad Pitt) and then buries it in violent revenge porn.  The story creates an alternate reality in World War II.  The titular “Basterds” are a special force of American soldiers assembled in Nazi-occupied France to terrorize the Reich by brutally killing them and collecting their scalps.  The efforts of this group eventually coincide with the revenge plot of an escaped Jewish woman who runs a movie theater.  While Nazis are indeed bad guys, the good guys in this film don’t exactly walk the high ground.  Not only do they buy a little too enthusiastically into the myth of redemptive violence, they execute it with such savage brutality and lust as to render themselves completely unsympathetic.  What you end up with is a world where the bad guys are evil and… the good guys are, too.  Humanity is degraded and discarded in complete 360-degree coverage.

8.) Avatar

I understand that James Cameron has been working on Avatar for over 12 years and that he invented a whole new technology for filmmaking (similar to George Lucas inventing THX sound technology).  The impact that Avatar will have on the film industry will probably be felt for decades.  The special effect proof is in the proverbial pudding.  Fantasy worlds have never looked so real, but more notable is how non-distracting it was for the primary characters to be computer-generated.  Visually, the film was incredibly beautiful.  For all these reasons, it certainly deserves to sweep all the technical awards, and it will probably win the big award, too.  However, once the film is released to 32 inch home television screens, the visual wonder will wear off.  The impact on industry will become standard and commonplace, just like THX.  All that will be left is the story.

But what is the story?  In all honesty, there isn’t a lot of difference between the story quality of Avatar and Transformers.  It feels like watching a children’s comic book expensively produced on the screen.  Imagine if you are not James Cameron, with no history of blockbusting megahits like Titanic, Terminator, or Alien on your resumé.  Then imagine you are pitching this idea to a studio.

At some point in the future humans have discovered a distant planet that has a lush ecosystem of life called Pandora.  Yes, Pandora, like the Greek myth of the first woman who opened a container which released all the evils of the world upon mankind.  The hero of the story is a paraplegic war veteran who suddenly gets an opportunity to go to Pandora in place of his deceased twin brother – without any training – because he has closely matching DNA.  Scientists have created a way to make these alien bodies and a human can “drive” them like playing a video game.  On Pandora there are two important operations: scientific research into the indigenous lifeforms, and some ambiguous corporation’s highly profitable mining of… um… cough, cough… Un-obtain-ium. Smart scientists are smug and condescending to the dumb military people.  The corporate bossman is greedy, slimy and without conscience.  The military commander is aggressive, heartless and bloodthirsty.  The corporation’s desire for the valuable commodity comes at direct odds with the nature-loving Pandoran sentient beings called the Na’vi (kind of like blue Navajos… wink, wink).  The military is used as a brute squad for the corporation.

Would you seriously expect that to get a green light?

Avatar is at once a visually stunning allegory for the United States government’s imperialistic steamrolling over Native Americans, as well as a very simplistic and adolescent rant against modern corporate (and military) immorality. Yawn… but oh so pretty.

(Confession: I did not see it in 3-D.  Maybe I didn’t give Cameron a fair opportunity to Jedi mind trick me.)

7.) The Blind Side

On one hand, if it were still only five nominees for Best Picture, The Blind Side would not be in this list.  On the other, there is something calming about the presence of a super-positive (even the ghetto backstory is pretty tender-footed) hyper-inspiring “based on a true story” movie in a race that is typically dominated by darker (realistic) stories.  The movie is based on the autobiography of NFL football player Michael Oher and how he was taken in and embraced by a wealthy white Christian family in Memphis.

Much ado is being made about the performance of Sandra Bullock.  The buzz has her as an almost sure bet for Best Actress. She portrayed Leigh Anne Touhy, as these inspirational yarns often do, as saintly perfect and that is the biggest weakness in her performance.  No one is that perfect.  The film tends to glamorize most of the characters this way.  You get the feeling that this isn’t really how it all happened, because the characters don’t actually feel like real people, but it feels nice enough to sojourn in this unrealistic world of perfect Christians in a Chicken Soup For The Soul kind of way.

6.) An Education

An Education follows a 15-turning-16-year-old brilliant ingénue in 1960’s London as she falls prey to an acute onset of adolescent grass-is-greener syndrome.  Her father is constantly pressuring her to study and focus her energy on getting into Oxford.  She is attracted to a daydreamed life of spontaneity and excitement like moth to flame.  After meeting a charming older man she is soon faced with a very real dilemma of possibly throwing away the safe and conventional future she has been working towards for a life of luxury, leisure, and indulgence.

Carrie Mulligan was so absolutely mesmerizing in her Audrey Hepburn-esque portrayal of the lead character that I was temporarily distracted from the fact that I was watching a 30-something man seduce a 15-year-old girl.  She made it hard to blame anyone for falling in love with her. Peter Sarsgaard did a terrible British accent, but was otherwise excellent as the incredibly dashing creep.  This movie is an education in beautiful writing and acting.

5.) Up

Okay, so there’s no realistic chance of an animated movie winning here, but I like seeing the acknowledgment of the potential of this medium.  Pixar has been putting on a clinic on the art of making animated films with great stories (even teaching Disney a few lessons) for fifteen years.  They are clearly laying the foundation for future adult-oriented feature-length animated films.  I admit that I could just be looking for validation for the fact that I probably loved this movie more than my kids.

The story runs the gamut from tender to funny to suspenseful to inspiring.  The talking dogs are hilarious.  The relationship between elderly Carl Fredricksen and young, incurably positive Wilderness Explorer (think Boy Scouts) Russell is deftly guided in its evolution.  The gem of the film is a 20-ish minute montage that recaps the life and relationship of Carl to his lifelong sweetheart Ellie.  By the end of the montage, you are touched, heart-broken, and you love this man like your own grandfather.  You could cut that scene out and it could be nominated for animated short on its own.

4.) The Hurt Locker

One of The Hurt Locker’s greatest credits is that it gives us civilians a heart-pounding look into the danger and fear that accompanies a soldier’s active duty without glamorizing it with gratuitous special effects.  Except, it doesn’t.  Not quite.  I saw several user reviews of the movie before renting it and across the board the reviews from actual military personnel were very negative.  Apparently the characters in the movie don’t behave in any way like trained military.  The chain of command is a life and death priority, especially in the field, and the way it is abused in this movie is entirely unrealistic.

But even as it fails as a procedure movie, it shines brightly as a character movie.  Does intense, life-threatening stress make you reckless?  Or do jobs like that just attract the reckless?  What does it take to create bonds of trust and love when your teammate is leading you to destruction?  (There is a particularly poignant scene where the two primary characters are manning a sniper rifle that really broke the whole story down to raw human connection for me.)  Can you justify murdering someone who will almost surely get you killed?  These are questions that regular people don’t think about every day (and perhaps military people don’t either), but they are asked in The Hurt Locker with slow, painful, intense dissection.

3.) District 9

At one point, Peter Jackson and director Neill Blomkamp were set to make a movie version of popular video game Halo (um… why?).  When studio execs wised up (or pinched pennies), Jackson decided that they should go ahead and make a film with the props and crew that had been assembled.  Blomkamp had made a short film earlier about an alien race which had come to Earth and become stranded and the following intolerance and mistreatment coming from the humans.  They decided to expand this concept into a feature length film with a limited budget, unknown actors, and understated special effects and what resulted is probably one of the best sci-fi films in years.

A lot of attention is drawn to the fairly obvious allegory to Apartheid, especially since it is set in South Africa.  Coincidentally, I just happened to travel to South Africa myself recently and learned that the movie also has another, more subtle, but more current, thread running through it.  In a post-Apartheid South Africa, one of the biggest social problems they are facing is growing xenophobia.  Because South Africa has democratized, it has become a migration destination for many other Continental Africans, which means competition for jobs and other resources.  Note that in the movie there are Nigerian gangsters who live inside the alien township of District 9 and the leader of these gangsters is named Obesandjo, which is not dissimilar to current Nigerian President Obasanjo.

Aside from the political messages in the film, the most interesting aspect is likely the performance of unknown lead Sharlto Copley.  He plays an ambitious and awkward government agent leading a relocation project to move the alien township further away from the city itself.  Upon this activity, he comes into contact with an alien chemical and begins to experience alarming side affects.  Through his experience we get a raw glimpse into how embedded prejudice and phobia can be, to the point of even self-loathing.

2.) Up In The Air

George Clooney plays Ryan Bingham, a man who works for a consulting firm hired by corporations to fire people en masse.  His job requires that he travel over 320 days out of the year and he loves it.  On the side, he gives “motivational” seminars on the theme of shedding attachments from your life, including people.  Ryan’s life is potentially up-ended when a sharp young woman revolutionizes the company by introducing technology that allows the job to be done remotely.  To Ryan, this means no more travel.  Ryan thinks this system is a mistake and arranges for the protégé to accompany him on a trip so she can understand the real nature of his work.  Ryan is also maintaining a casual relationship with a woman who is also a frequent traveler.

Through the conflict and mentoring between Ryan and his colleague, and Ryan’s blossoming feelings for his traveling lover, Ryan is forced to seriously examine whether his rolling stone life is as perfect as he had thought (the film lives and breathes in the dialogue between these three characters).  Jason Reitman brilliantly balances humor, drama, and intimacy as this film dissects our traditional assumptions about relationships and what it takes to feel like you are home.  A life of complete detachment is not truly lived, even when the risks of commitment come to bare with full brunt.

1.) Precious

Of all the nominated films this year, none had a greater and deeper impact on me than Precious.  Precious is the story of a 16-year-old obese African-American girl in Harlem who suffers exponential abuse and hardship but somehow is undaunted in her imagination and will to survive.

Precious has been sexually abused since she was 3 years old by her father, including being raped by him resulting in a Down Syndrome daughter and now a second pregnancy.  Her mother pathologically abuses her in multiple ways.  She is functionally illiterate and gets expelled from public school for the second pregnancy.  As she faces terrible situations, her sanity defends itself by carrying her off into fantasies and daydreams about some other possible life of glamour and fame.  Things begin to change when Precious starts attending a non-profit adult literacy class and is mentored by her teacher.  Yet, even her success comes with incomprehensible costs.

The movie is incredibly draining; especially every crushing scene with Mo’nique (Best Supporting Actress by leaps and bounds), but the net effect is far more inspiring than depressing. It is amazing that Precious continues to push forward and holds onto hope through each brutal and unfathomable injustice.

Precious is my personal favorite of the 2009 Academy Awards Best Picture nominees.

Matt’s List

10.) The Blind Side

When I was in high school I accidentally parked my beloved ’83 Toyota Celica under a pine tree in full sap.  It took me two hours of careful, deliberate scrubbing to clean it all off.  I thought of that experience while watching The Blind Side, a movie dripping with so much syrupy sweetness I wondered how many hours I’d have to scrub in the shower until I felt sap-free.

Of course, criticizing a movie based on the heart-warming, true story of Baltimore Ravens left tackle, Michael Oher, feels a little bit like criticizing my kids’ elementary school production of A Christmas Carol – in other words, it’s bad form to criticize something with such pure intentions.  But it’s not like I’m some highbrow cynic, incapable of enjoying or emotionally connecting with a feel-good crowd-pleaser.  Hey, I cried and goose-bumped during other such underdog-overcomes-great-odds, true-story movies like Rudy or Erin Brockovich.  But The Blind Side slathers it on so thick I sometimes found it difficult to make eye contact with the screen out of sheer embarrassment.

Despite the sap factor, The Blind Side doesn’t suck – it’s a perfectly adequate Friday-night “rental” – but it doesn’t belong anywhere near a list of Best Picture nominees, even if you expanded the field to include the best 25 movies of 2009.

9.) A Serious Man

Top-notch acting, impeccable set design and period detail, and a half-dozen or more smartly-written scenes make the Coen Brothers latest film, A Serious Man, worth viewing.  But do these fine constituent parts add up to a satisfying whole?

Not for me.

A Serious Man lacked a Marge Gunderson (Fargo) or Ed Crane (The Man Who Wasn’t There) – lead characters with whom I felt an emotional connection; or a H. I. McDunnough (Raising Arizona), the Dude (The Big Lebowski), or Everett McGill (O Brother Where Art Thou) – lead characters who split my sides with laughter.  Larry Gopnik, the central character in A Serious Man, was too milquetoast to be sympathetic or funny, at least to me.  So, while there was much to admire about A Serious Man, I felt an odd emotional remove throughout the film.

As for the film’s abrupt conclusion, I’m sure there is an artsy or clever explanation for the enigmatic “non-ending” ending, but by then I felt too ambivalent to spend the energy necessary to figure it out.

8.) District 9

During a summer that featured the usual spate of lame franchise sequels (Transformers 2, Night at the Museum 2, DaVinci Code 2, X-Men 4, Terminator 4, Harry Potter 6, etc.), Neil Blomkamp’s District 9 stood out like a genuine expression of regret in a Tiger Woods speech.  Rare indeed.

District 9 is simultaneously one of the most familiar and original science fiction movies in years – familiar in the sense that we’ve seen these ingredients before, but original because we’ve never seen them mixed together quite this way.   It’s a mash-up of genres – gritty indie, big-budget blockbuster, hard-hitting documentary, cinema-verite-style foreign film, Kafkaesque horror film, etc. – and for the most part, it’s entertaining as hell.

However, as much as I enjoyed District 9, I think it could have been even better.  The problem?  The last third of the film features a fairly conventional extended chase scene.  But like your straight-A student who inexplicably gets a B in English 101, you want to say, “Come on, you’re better than that.”  As for “how” it could have been better, I’m not sure… but an unconventional beginning and middle deserves an unconventional ending.  Hopefully the inevitable sequel will recapture District 9’s unconventional equilibrium.

7.) Up in the Air

The list of great directors of Drama and great directors of Comedy are both long and distinguished.  But “Dramedy” (part Drama, part Comedy) requires a kind of walk-and-chew-gum ability fewer directors have mastered.  As such, the list of great directors of Dramedy is comparatively abbreviated.  Woody Allen makes the list, at least on the strength of some of his films.  Same with Robert Altman and Cameron Crowe.  Hal Ashby, of course.  More recently we have Alexander Payne (Election, Sideways, and About Schmidt) and Noah Baumbach (The Squid and the Whale).  To that list we have to add Jason Reitman.  Following on the heels of Thank You for Smoking and Juno, Reitman is now a solid three for three and heir apparent to the great Dramedy directors listed above.

Up in the Air works best when the film lets George Clooney verbally joust with either Vera Farmiga or Anna Kendrick.  Here the dialogue sizzles and pops with a sexual playfulness and tension not seen since Clooney squared off against Jennifer Lopez in Steven Soderbergh’s Out of Sight.  Up in the Air is less successful when it tackles the depressing corporate downsizing theme or explores Clooney’s “What’s-in-your-Backpack?” commitment issues.  But taken as a whole, Up in the Air is just the kind of smart, adult entertainment that makes dropping $25 on a pair of movie tickets feel like a good investment.

6.) Avatar

Amongst my friends, admitting I liked Avatar is like admitting you liked the “Twilight” books (you know, assuming such were possible).  They make that face – you know the one: nostrils flare, eyes squint – not unlike the face someone makes when a foul, gaseous odor suddenly materializes in a crowded room.  The “face” is a wordless accusation, but it speaks volumes whether you broke wind (“I know it was you!”), or liked Avatar (“You artistic lightweight!”)

What can I say?  I saw the same things you saw – the derivative script; the clunky dialogue; the sometimes-cartoonish, one-dimensional characters – but none of it mattered to me.  Instead, sitting next to my eight-year-old son, I was absolutely enchanted, transported away to James Cameron’s dazzling Pandora.

Manohla Dargis, film critic from the New York Times, best describes my feelings about Avatar:

“Few films return us to the lost world of our first cinematic experiences, to that magical moment when movies really were bigger than life (instead of iPhone size), if only because we were children. Movies rarely carry us away, few even try. They entertain and instruct and sometimes enlighten. Some attempt to overwhelm us, but their efforts are usually a matter of volume. What’s often missing is awe, something Mr. Cameron has, after an absence from Hollywood, returned to the screen with a vengeance. He hasn’t changed cinema, but with blue people and pink blooms he has confirmed its wonder.”

5.) Precious

Precious is “Debbie Downer” Cinema.  Like other DDC’s before it — Monster, Boys Don’t Cry, Brokeback Mountain, Breaking the Waves, etc. — you know going in you’re gonna get punched in the gut.  But you prepare by doing the necessary mental sit ups to tighten your stomach muscles, so that when the punch comes, it’s oddly cathartic.  You survived the horror and have come out the other end… a better person, perhaps?  You’re infused with gratitude, charity, compassion, and love.  Your worldview zooms out from micro to macro to global.  That major crisis you have – you know, the extra five pounds you can’t seem to lose, the pain-in-the-butt neighbor who won’t mow his lawn – suddenly seem so trivial.

That’s Precious, a sort of cinematic Sermon-on-the-Mount by way of a title character who personifies the very least of these.  Long after many of the films on this list have faded from memory, I have no doubt that the figure and soul of Precious will remain in my mind, standing tall and proud.

4.) Inglorious Basterds

I thought of the famous Howard Hawks quote — “A good movie is three good scenes and no bad scenes” – while watching Inglorious Basterds.  Hawks, director of such stylishly iconic films as The Big Sleep and the original Scarface, would no doubt approve of Quentin Tarantino’s films.   It’s easy to picture Tarantino in full creative fervor dreaming up ultra-cool, stand-alone vignettes – “Do you know what they call a Quarter Pounder with cheese in France?” – as opposed to tight, full-length plots.  As such, Tarantino movies are episodic, a series of scenes linked together to form a somewhat loose narrative.

But oh what scenes!  While Inglorious Basterds isn’t perfect (I wasn’t a big fan of Brad Pitt’s character or performance), when Basterds is “on” (i.e. the opening dairy-farm scene, or the incredibly tense basement-pub scene), it’s hard to refrain from standing up in the movie theater and clapping like a mad man.

3.) Up

“Red car…  Blue car…”

If you’ve seen Up – and let’s face it, who hasn’t? – you know the previous quote comes at the end of the movie, when the lonely latchkey kid and the lonely senior citizen are sitting on a street curb licking ice cream cones and counting red cars and blue cars.  It’s a precious scene, one that pierces the deepest, most vulnerable cavity of the heart, triggering “happy tears.”  It’s also one of the most difficult types of scenes to pull off in cinema without being too “something” – too maudlin, too cliché, too corny, too obvious, too banal, etc.  But Up is packed with such million-dollar scenes, the ultimate being the instant-classic early scene, now famously known simply as “the montage,” that wordlessly depicts the relationship of Carl and Ellie, from courtship and marriage to Ellie’s death.

But is it any surprise?  Time and time again, whether the conduit to our inner human soul comes via toys, bugs, monsters, fish, cars, rats, or robots, Pixar cranks out such million-dollar scenes like Roger Federer cranks out tennis tournament wins, with seemingly effortless power, grace, and respect.

I’ve seen Up three times and it knocked me out flat each time.

2.) The Hurt Locker

World War 2 and the Viet Nam War are the Beatles and the Stones of the war film genre – iconic, prolific, both critical and commercial smashes.  Even Bush Sr.’s Gulf War 1, brief as it was, possessed a kind of one-hit-wonder charm – think The La’s or My Bloody Valentine – resulting in an underrated, one-off album full of hits (i.e. Three Kings, Courage Under Fire, and Bob Roberts).  But Gulf War 2?  Nada.  It’s the band (think Anvil!) that toils in obscurity, releasing one tired album after another, a joke to both critics and fans alike.

And then Mark Boal joined the band.

Mark Boal saw something in Gulf War 2 the rest of us overlooked.  He penned the band’s umpteenth album, In The Valley of Elah, starring Tommy Lee Jones and Charlize Theron, an underrated gem that raised eyebrows amongst critics and Internet fanboys.  Was Elah an anomalous blip on the radar, or a promise of things to come?

Promise or not, nobody could have expected what came next – Mark Boal wrote The Hurt Locker, a sort of out-of-nowhere, career-defining masterpiece, made all the more remarkable given Gulf War 2’s abysmal past catalogue.

How did Boal do it?  The same way the “Beatles” (WW2) and “Stones” (Viet Nam) did it, by focusing on character and universal themes – the fear of death, the “drug” of war, the “value” of dying for one’s country, etc. – not slanted politics or didactic moralizing.  The Hurt Locker is well deserving of its many accolades.

1.) An Education

Male coming-of-age movies are as ubiquitous at our local cineplexes as pigeons at the park – toss a crumb of bread in any direction and your bound to hit one.  In contrast, the female coming-of-age movie more resembles a rare, exotic bird.  Quick, name the last great female coming-of-age movie?  It’s tough, despite the omnipresence of the Jane Austen/Charlotte Bronte narrative in our collective cultural consciousness.  Whale Rider certainly qualifies as a fine, female coming-of-age film.  Bend it Like Beckham had its charms. Thirteen, Blue Car, and Heavenly Creatures were all worthy, but to me probably better fit the “cautionary tale” sub-genre.  You can spin your wheels surfing the Internet for a better candidate, but it won’t matter – An Education tops them all.

Picking a favorite anything – movie, book, song, painting – comes down to more than mere artistic execution or technical merit.  An Education has that in spades, starting with a perfect script and ending with perfect performances.  What really separates great art from equally great art is something ineffable, a spiritual or emotional connection to the artwork that stirs something primordial in one’s soul. An Education did that for me, and it left me feeling like a giddy schoolgirl who just discovered she had been accepted into Oxford.

An Education is my favorite film of the 2009 Academy Awards Best Picture nominees.

Well that’s it, now we want to hear from you: How would you rank the 2009 Best Picture Nominees?  Which 2009 films should have made the cut but didn’t?  Which film is going to win Best Picture?

By Eric Samuelsen

IN THE PROVO Towne Centre mall, the McNaughton Fine Art Gallery sells nicely framed prints of the paintings of LDS artist Jon McNaughton, most of whose works—landscapes, windmills, light houses—suggest that he’s a Mormon answer to Thomas Kinkade. One painting, however, really stands out. Called “One Nation Under God,” it’s a painting of Jesus—who to me sort of looks like Matthew McConaughey—holding a copy of the United States Constitution. You can see it interactively here.

Behind Jesus are certain figures from the American past: George Washington’s just off Jesus’s left shoulder, James Madison off his right shoulder. In front of Jesus, are two other groups of people: sheep and goats, perhaps. On Jesus’s left hand, a shadowy Satan looms over seven iconic figures: a liberal journalist, a professor, a Supreme Court Justice, a lawyer, a politician, a Hollywood producer, and a pregnant woman, who, we’re told on the website, is contemplating terminating her pregnancy. The professor is holding a book: Darwin’s Origin of Species. The Supreme Court Justice has dropped papers which, the website explains, are the texts of certain Court decisions. They’re a strange collection of decisions. Roe v. Wade seems inevitable, but Marbury v. Madison? Jesus has a problem with judicial review?

I’ve talked this painting up a bit among friends and colleagues, and a number of them have checked it out, either online or in person. We all think it’s pretty funny: such a perfect illustration of current obsessions and anxieties of the American Right. The Hollywood producer is a particular favorite: my friends and I have made quite a game of it, guessing what recent films Jesus is specifically unhappy with: Gigli? Wild Hogs? Beverly Hills Chihuahua? Saw VI?

It’s easy to dismiss the painting as an artifact of the lunatic fringe, easy to find it comical and foolish. Like this: even if Jesus really doesn’t want us to read Darwin, or see Hollywood movies, what does that have to do with the Constitution? And anyway, are we meant to seriously regard the Constitution as inspired in a scriptural sense? Did he literally hand it down, as Moses was handed the tablets? Is there seriously a school arguing for the Constitution as scripturally inerrant? I don’t even believe in scripture as scripturally inerrant; are we heading towards Sunday School classes discussing the theological implications of, say, the three-fifths rule?

AS I WRITE this, it’s February 2010. Barack Obama is President, Harry Reid: Senate Majority leader. The Senate has passed a health care reform bill; the House passed a similar bill earlier, but despite overwhelming majorities in both chambers, no reconciled bill seems to be forthcoming. Both bills are moderate and reasonable, compromise measures, flawed, but not without merit. But for many of my LDS brothers and sisters, ‘Obamacare’ is a catastrophe, the apocalypse, the end of everything good. I’ve felt for years that the best guide to the Mormon zeitgeist is the letters-to-the-editor page of the Deseret News. If that’s true, then Utah Mormons are collectively losing their cool. President Obama is routinely described as a socialist, a fascist, a Maoist and a communist; his administration as something dark and seductively satanic. Our nation is descending into chaos and anarchy; we’re in the Last Days; we’re just about beyond redemption.

In short, a large number of Utahns have been watching Glenn Beck, and taking him very seriously indeed. And the movement he leads and inspires seems to be growing. Call them tea partiers or 9/12ers or Palinistas, there’s a widespread anxiety on the Right that’s finding a voice. And the ideas aren’t just those of Beck. In addition to Satanic Supreme Court decisions, Darwin, and the Constitution, one other publication is prominently featured in the McNaughton painting. On Jesus’s right hand, in the Good People group, an African-American college student holds a copy of Cleon Skousen’s The Five Thousand Year Leap.

Published in 1981, and long out of print, Skousen’s book has resurfaced recently thanks to Glenn Beck. Beck has touted it as the book that “changed his life.” He wrote a preface to a new edition, published with permission of the Skousen family. It’s appeared on the New York Times best-seller list. And the ideas which animate Beck’s program come directly from Skousen. There’s a connection between Skousen and Beck, and the John Birch Society, and Evan Mecham and President Ezra Taft Benson. And one of the things they all have in common is a certain definition of America. Exceptionalist America defined not as a landmass or a political idea, but as a fundamentally religious construct, eschatological, millennial, apocalyptic, and ecstatic. By describing the past, these people’s intent is to found a movement that will define a future built on manifest destiny, overt religiosity, moralism and aggressively laissez faire capitalism.

Reading The Five Thousand Year Leap and Beck’s own book, Arguing with Idiots: How to Stop Small Minds and Big Government, it’s easy to see how something as ham-handed as the McNaughton painting could become popular in Mormon culture. In the Book of Mormon, the North American continent is described as particularly blessed. In the Doctrine & Covenants, the Lord tells Joseph Smith of “the laws and constitution of the people, which I have suffered to be established . . . and for this purpose have I established the Constitution of this land, by the hands of wise men whom I raised up unto this very purpose, and redeemed the land by the shedding of blood (D&C 101:77–80). And so we talk of our “divinely inspired constitution;” and it’s not a far leap to embracing paintings in which Jesus cradles the Constitution as a sort of holy relic.

But anyone who’s seriously studied American history knows that whatever happened in Philadelphia in the summer of 1787, it wasn’t a revelation. Fifty-five very bright, well-read, mostly wealthy white men, many of them slave owners, met together and argued and disputed and compromised and eventually created a document none of them were really all that wild about. They weren’t for the most part, religiously inclined, and they certainly didn’t begin their deliberations with prayer, as is widely believed in Mormon culture. Quite the contrary: Madison’s journal describes how, at one particularly contentious point in their deliberations, Benjamin Franklin suggested they pause for prayer. But the necessity of bringing in a pastor to say one killed the idea. In Madison’s words, seeing a pastor enter the hall might “lead the public to believe that the embarrassments and dissensions within the Convention had suggested this measure.” And so no prayer was offered. Certainly the idea that one of them might say it never occurred to any of those debating. Gentlemen did not pray.

They created a political document, and it’s served us well. And we should read it, study it, think about it. Skousen’s book presents itself as a kind of Constitutional primer, describing twenty-eight fundamental Constitutional principles which we Americans have apparently forgotten. It’s meant to be a book of legal and historical analysis. But what are we to make of a book which, while discussing the history and content of the Constitution, makes no mention of the Civil War, mentions slavery only once in passing, and passes off the entire Civil Rights Movement as a communist conspiracy?

The Skousen narrative: in the two or three years before the Revolution, “a spirit of ‘sacrifice and reform’ became manifest in all thirteen colonies.” (52) “Many Americans became so impressed with their improvement in the quality of life as a result of the reform movement that they were afraid that they might lose it if they did not hurriedly separate from the corrupting influence of British manners.” (52) The British, with their “elegance, luxury and effeminacy” (53) threatened the American way of simple virtue. So Americans rose up in revolt, and established a nation that was not only uniquely virtuous, but also uniquely open to market principles in economics. As a result, we took a “five thousand year leap,” in which we managed to cram five thousand years worth of human progress into a little over two hundred years.

Virtuous Yankee farmers versus effeminate mincing British dandies: it’s a neatly metaphoric narrative, and a serviceable one. It forms the plot of the first American-written stage comedy: Royall Tyler’s The Contrast (1787), in which the stout-hearted American backwoodsman, Colonel Manley, outwits the British swell Billy Dimple. Eighteenth-century British propagandists were just as fond of this narrative during the Napoleonic wars, portraying sturdy British tars fighting frog-and-snail eating French fops. It’s King-men vs. freemen. And conservatives still love it: see for example Charles Krauthammer’s op-ed piece of 7 February 2010, in which that snooty elitist Barack Obama is portrayed as disdaining “ankle dwelling peasants.” But Skousen presents no evidence for any of his “history,” probably because no evidence of pre-Revolutionary moral improvement exists. And it’s difficult to see what any of this pre-Revolutionary cultural war nonsense has to do with the Constitution.

There’s another narrative at play, here, though: a narrative of paradise lost, of purity defiled. The Founders were uniquely virtuous, uniquely inspired. Just as the primitive church represented perfect Christianity, which then—degraded by sophisticates and sophists (those odious Gnostics)—fell into apostasy, so has once-pristine America fallen into an apostasy, driven there by secular humanists. One turning point was the passage of the 17th Amendment. Another was the New Deal; another, the Great Society. And Obama was elected on a platform of “change.” I think that’s why so much of Beck’s rhetoric constructs Obama as Other—a socialist, a Maoist, a smooth-talkin’ charmer. I expect that Obama’s race is also a factor, and his suspiciously Moslem sounding name. Obama’s different. And “different” suggests corruption, yet another variant on our national loss of innocence. Innovation equals apostasy.

It’s strange to me that this particular meme would find a foothold in Mormonism. Our story is less about apostasy than restoration. We don’t see early 19th-century America as a paradise—we’re more inclined to view early 19th century Americans as the guys who were trying to kill us. Joseph Smith was a fervent Jacksonian—Andy Jackson, who saw the Founders as Pharisees; the hot-tempered firebrand who kicked the money-changers out of the temple. Later, though, Joseph came to recognize the limitations of Jacksonism—the states’ rights, limited government conservatism that, to Joseph, was holding back progress. Joseph wanted an activist government, funding the building of levees on the Mississippi, even paying slave-owners to end slavery (what a colossal expansion of the powers of the federal government that would have entailed!). Specifically, Joseph wanted the federal government to force Missouri to give us our money back. Honestly, why aren’t we all progressives?

It’s possible, for example, to believe that the Constitution is an inspired document, while also recognizing its limitations, flaws, and political compromises. Elder Dallin Oaks, in a 1992 Ensign article, said “one should not expect perfection in a document that must represent a consensus.” He went on to say “reverence for the United States Constitution is so great that sometimes individuals speak as if its every word and phrase had the same standing as scripture. Personally, I have never considered it necessary to defend every line of the Constitution as scriptural. For example, I find nothing scriptural in the compromise on slavery or the minimum age or years of citizenship for congressmen, senators, or the president.” And Joseph Smith faulted the Constitution for the national government’s lack of power to intervene when the state of Missouri used its militia to expel the Latter-day Saints from their lands. Given Skousen’s attachment to states’ rights arguments, it’s worth pointing out that Joseph Smith blamed the Constitution for giving insufficient power to the federal government. Mormons know President Martin Van Buren for his famous line to Joseph Smith: “Your cause is just, but I can do nothing for you.” According to Skousen’s reading of the 10th Amendment, Van Buren would have been justified if he’d said “Your cause may be just, gentlemen, but this is a state matter. The federal government is powerless to intervene.”

Skousen’s method is to announce some principle, offer some context-less quotations to support it, and draw some predictably partisan conservative conclusions. For example, he says that the Founders believed that natural law should form the basis for sound government. That was certainly true for Madison, and for many of the Founders. Skousen then creates a list of examples of how natural law might influence policy. A casual reader might assume that all the examples reflect the Founding Fathers’ understanding of natural law. But the examples are without attribution, and many reflect only Skousen’s own political views. For example, when Skousen asserts that “the concept of Separation of Powers is based on Natural Law,” it’s at least an arguable position. But “Laws protecting the Family and the Institution of Marriage are based on Natural Law” asserts a right not found in the Constitution, and though the 2nd Amendment right to Bear Arms is Constitutional, it’s very unclear what the Framers meant by it, and it’s certainly not founded on any laws they would have recognized. Reading Skousen and Beck, I’m reminded of a favorite headline from the satiric online magazine, The Onion: “Area Man Passionate Defender of What He Imagines Constitution to Be.”

And of course, Skousen applauds the Founders for their religiosity and what he calls their “public morality.” I’m not sure what he means by public morality—the main example he gives is George Washington’s refusal to collect a salary for his service as General or as President. But surely Skousen knows that most of his heros—Washington, Jefferson, Madison—were slave owners. Doesn’t that have moral implications? If he means that slavery was a private matter, not involving “public morality,” it’s difficult to imagine an institution more public than slavery. And Jefferson did bring Sally Hemings with him to Europe. As for their religious views, Skousen gathers a number of quotations from a variety of Founders where they thank Divine Providence for this or that. But the Founders were public men, and pro forma declarations of conventional piety were as much a part of their political lives as they are for politicians today. In short, Skousen’s project is not to read historical documents in an effort to discover what the Founders really thought or believed; he’s looking for material to support an a priori stance.

THE WORD THAT often attaches to both Skousen and Beck is “crazy.” Beck, in fact, tends to take it and run with it on his show: “People will say I’m crazy. Well, how crazy is it that. . . .” Skousen, and now Beck, love to cite U.S. history, and love to present themselves as lovers of American history. Well, what’s history? I define it as a narrative of events from the past consistent with extant documentation. Presumably the histories taught in schools are tainted by current academia’s America-hating, socialist agenda. Is the only alternative, then, to make up a history entirely from your own imagination? Skousen found evidences of Communism behind every bush; his views were so extreme that J. Edgar Hoover’s FBI found it necessary to maintain a file on Skousen for years that eventually totaled some 2,000 pages. If you’re too weirdly conservative for J. Edgar Hoover, that says something. Even in The Five Thousand Year Leap, a book which was meant to sanitize his views for broader public consumption, Skousen nods approvingly to ancient criminal codes that would provide the death penalty to homosexuals. As for Beck, I don’t watch his show much, but I can say that I’ve never watched it without seeing something bizarre: pouring ‘gasoline’ (actually water) on a guest, describing President Obama as racist, comparing him to Chairman Mao, and discussing strange symbols encoded in the retired lobby art of the Rockefeller Center. He’s convinced that an innocuous organization of community organizers, ACORN, is trying to kill him. He’s talked at some length about a fantasy in which he’d kill filmmaker Michael Moore. Just watch him sometime; all the crying, all the histrionics.

Here’s where things get embarrassing, though. Both Skousen and Beck insist that America stands primarily for two things: religious virtue and free market economics. I have recently written a play, Amerigo, that also tries to define America. And while reading Beck’s book, I had an epiphany, and a terrifically shocking one: I agreed with Glenn Beck about something! And not just something trivial, something utterly fundamental. Because in my play, I also describe America as a place defined by twin impulses: Christian, and also commercial.

In Amerigo, I take up the discovery of America as key to the definition of America. And so I examine the competing claims of Christopher Columbus and Amerigo Vespucci. And in their claims I also see an America uniquely religious and also uniquely capitalist. In Mormon culture, we have a stake in Columbus: 1 Nephi 13:12 describes a man who “was separated from the seed of my brethren by the many waters; and I beheld the Spirit of God, that it . . . wrought upon the man; and he went forth upon the many waters, even unto the seed of my brethren.” We think that refers to Columbus, not Leifr Eiriksson. And he was a religious man, albeit with religious views that were thought strange even by the peculiar standards of fifteenth-century Catholicism. But he also liked a lot of the same scriptures we Mormons like: “other sheep I have who are not of this fold,” for example. If Columbus was nuts, he was our kind of nuts.

Most Americans don’t know much about Amerigo Vespucci, but he was a successful businessman in some peculiarly modern ways, in addition to being an explorer. The New World came to be named ‘America’ after him, for example, because the German publisher Martin Waldseemuller published a popular map calling it that in 1507. I think it’s a cross-promotion—Waldseemuller had published Vespucci’s book about his journeys a few months before. But I see Vespucci not as a businessman/hero ushering in an American Great Leap Forward, but as a con man, a pimp, a hustler.

I also add a third character, and the most important character of the play, the eighteenth-century Mexican nun Sor Juana Ines de la Cruz. Sor Juana was a playwright, novelist, poet and scholar, a Christian humanist, and a woman deeply engaged with what was left of Native American culture. In her mind, the “discovery” of America meant an unprecedented human catastrophe, the wholesale destruction of peoples and cultures. In other words, the meaning of America is neither historic triumphalism nor a fundamentalist future, but tragedy.

And I tie it together with a fourth character, the most pragmatic political thinker of the Renaissance, Nicolo Machiavelli, because I think a certain amoral attachment to realpolitik is also part of what defines America. And that too has led to tragedy, to Vietnam and Iraq and the United Fruit-driven massacre Colombians call Matanza de las bananeras. (I love comedian Dave Barry’s description of the Monroe Doctrine. 1) No European country can intervene in the internal affairs of any other country in the Western Hemisphere. 2) But we can. 3) Neener neener neener.) My play is a comedy, and I’m fond of comedy, but we must ruefully admit that the narrative of America is something much closer to tragedy.

Isn’t that written into our own historical narrative as well? The story of the Book of Mormon is fundamentally tragic, is it not? Isn’t our most unique scripture’s narrative one of war and destruction and genocide? And can’t we even read that sense of tragedy into D&C 101? “I redeemed the land by the shedding of blood?”

SO WHAT DOES America mean, aside from paradox and contradiction? In America “all men are created equal,” and in America, the man who wrote those words owned slaves. We believe white men were led to America by the hand of God, and we know that their arrival set off the deadliest pandemic in the history of the world. Our greatest president spent his four years in office fighting our most horrific war. We are both Columbia and America, both the shining city on a hill and Enron and Wall Street and used car lots.

Here’s my counter-narrative, then. And it goes back a ways. It is, in any case, what I believe about America.

God exists, and His ways are inscrutable. He put us here, on this testing ground we call Earth, knowing we would be subjected to violence and disease and horror. And also beauty and love and kindness. The history of mankind is a tragic and violent one. God has had to work through very imperfect vessels. But all civilizations tend to agree on certain moral principles: that murder is wrong, that families matter, that freedom is preferred above slavery. Above all, the human capacity for reason has provided some hope, some truth, some insight. And we can learn from all human history, provided we study it honestly and with some effort at scholarly objectivity.

The Enlightenment, and the thinkers and writers of the Enlightenment influenced the ideas of such hard-headed secular humanists as Madison, Jefferson, Adams, Franklin. The light of Christ, which is also the light of intelligence, influenced their ideas, and the great documents they created—the Constitution, the Declaration of Independence—inspired a new democratic reform, based on the ideas of Voltaire and Rousseau, yes, but also on the Islandic þing, and ancient Greek democracy and the Great Binding Law of the people gathered in the Iroquois Confederation. And America’s Founding Fathers were flawed, as all humans are flawed. Many owned slaves, and defended the practice of chattel slavery, though most knew it was deeply immoral. America was built on religion, yes, but also on genocide, on the murder of Native Americans, and the enslavement of African slaves. Like all nations, America was built on a foundation of violence, and that legacy remains part of our heritage.

But gradually, through intelligent application of reason to social problems, through trial and error, through sensible government intervention, we’ve solved at least some of our nation’s problems. Business regulation ameliorates the worst anti-social excesses of open capitalism. Progress can be seen on combating racism, on allowing women the same freedoms men have traditionally enjoyed, in allowing people trapped in desperately unhappy marriages a way to form new lives and new attachments. The elderly can live out their golden years with some measure of financial security, and help is available for the poor and sickly. The 1950’s saw the last culturally accepted expressions of openly held racism and sexism and the abuse of women and children. Quite frightening attitudes and ideas that were broadly held fifty years ago are no longer openly part of our national cultural conversation. The sixties were a time in which the human need for freedom found expression in music, art, movies, television. Even our understanding of human sexuality improved, and has blessed the world.

Today, we live in a dangerous world, but one immeasurably better, in almost every sense, for most people in the world, than ever before in world history. We live in a less violent world than any of our ancestors, and in a world where children almost all grow to maturity in health and safety. We live in a world where science has made it possible for us to know more about more of our brothers and sisters across the globe than ever before. Information technology, transportation technology, entertainment technology, and above all, the glorious revolution of medical technology has changed almost all aspects of life for the better for more people than ever before. The free exchange of goods and services in a market economy can do extraordinary good.

But not always—markets are famously amoral as the great institution of the Family is under attack economically, as we see the working poor crushed by the inhuman violence inherent in laissez faire economics. The lives of women have improved immeasurably over the last hundred years or so, in large measure because of the steadfast courage of the valiant pioneers of feminism. Nonetheless, the commodification and exploitation of women, the soul destroying falseness of pornography, threatens to undo much of the progress that’s been made. The rich get richer, and the poor have to work ever harder to keep up, often without social safety nets, and the effect on families and children can be devastating. The progress we take for granted in America isn’t as widely shared as it should be. Too many of our brothers and sisters live lives of desperation, pain and fear.

We see before us a great task, to create a millennial peace ourselves, as Christ’s spirit urges us to see all people as brothers and sisters. As Mormons, we believe in prophets, and although the Brethren are also flawed and sinful human beings, at times the Spirit speaks through them. We would do well to listen, and employ their ideas thoughtfully, the way we’d use any evidence, any ideas, as we work through problems, try to think our own way through to answers and solutions. Perhaps the world will end nonetheless in apocalyptic violence. Meanwhile, we have work to do.

America, in a word, means the possibility of Zion. Mormonism places Zion on many maps, from Jackson County, Missouri to Utah to Jerusalem to all of North America, to the meaning du jour, which would be a watered down “everywhere there are some Mormons.” But the most significant meaning comes again from Joseph Smith. I’m paraphrasing D&C 105 here: Zion comes about when we are so unified as a people that there are no poor among us.
This is the point I believe Skousen and Beck miss. The greatness of America is inextricably linked to the goodness of America—on that point, we agree. But the goodness of America is defined by our commitment to ending poverty, to caring for the poor, our commitment to tolerance, diversity and social justice. Those are the principles and values that define the Constitution, and they are the principles neither Beck nor Skousen seem ever to have noticed.

But their story, the story of America Virtuous and Triumphant is compelling, and carries a presumption of patriotism that our other, truer but grimier story does not necessarily enjoy. I don’t know how to combat Beck-ism. I’ve written a play; I’m a little worried that no one will see it who doesn’t agree with it. So come. Bring a friend; preferably an unlikely friend, someone from your ward, perhaps, someone more conservative than you. Start a conversation. That’s what good plays, and good history, should do.

Plan-B Theatre Company presents the world premiere of Eric Samuelsen’s AMERIGO
Featuring Kirt Bateman (Niccolo Machiavelli), Matthew Ivan Bennett (Amerigo Vespucci), Mark Fossen (Christopher Columbus) and Deena Marie Manzanares (Sor Juana Ines de la Cruz). Directed by Jerry Rapier.

April 8–18, 2010
Studio Theatre, Rose Wagner Performing Arts Center
Downtown Salt Lake City
Tickets are $20 and available at 801-355-ARTS or planbtheatre.org/amerigo

Get tickets to a preview of Amerigo 7 April and a conversation with the playwright here.

This article originally published in Sunstone issue 158.

26-27 March 2010

Claremont Graduate University

Claremont, CA

Opening Plenary Session

8:00 pm Friday 26 March, Albrecht Auditorium

LDS Women in the Twentieth Century: Witnesses to a Changing Church

CLAUDIA L. BUSHMAN introduces excerpts from the Claremont Oral History Program interviews.

Begun in 2009 to record and preserve the voices of Mormon women, interviews deal with personal biography, attitudes toward LDS women’s issues, and church experience.

Panelists: Lisa T. Clayton, Bethany Saunders, Lauren Kennard, Caroline Kline

Symposium sessions begin at 8:00 am Saturday

Albrecht Auditorium and Stauffer Hall, 925 N. Dartmouth Ave, Claremont

Selected Papers and Panels Include:

“We’ll All Have to Live It Someday:” Is Polygamy Really a Higher Law?

The Mormon Feminist Community of Exponent II: Its History, Its Legacy, Its Future

Glenn Beck: Latter-day Saint or Latter-day Joe McCarthy?

Author Meets Critics: Polly Aird’s  Mormon Convert, Mormon Defector: A Scottish Immigrant in the American West

Book Preview of Banishing the Cross: The Rise of a Mormon Taboo

“The Great Spirit Has Told Us That You Are the Man”: American Indian Delegations to Joseph Smith at Nauvoo

Personal Iconography: Expressions of One Artist’s “Inner Desert Journey”

Liahona Children’s Foundation: Working to Alleviate Malnutrition in LDS Children in Developing Countries

Book Preview of Mormon Polygamy: From Joseph Smith to the Fundamentalists

Wrestling with Jacob’s Angel: What this ‘Messy’ Story Teaches Us about Our Relationship with God

All Hell Is Boiling Over: The Utah War’s California Connection

Radically Revelatory: Bridging the Gap Between Extra-Textual Revelation and Written Scripture

Joseph Smith as a Spiritual Egalitarian

Sober and Quick to Observe: Would Today’s Mormons and Bible-based Christians Recognize the Prophet Mormon?

Judaic Primitivism: A New Model of Mormon Origins

The Return of the Antis: A Comparative Study of the Rhetoric of Early Christian and Mormon Polemicists

Saturday Plenary Sessions

2:00 pm    Panel, Cinema and Spirituality—Beyond Mormon Movies

Panelists: WADE MAJOR, other panelists to be announced

8:00 pm   Panel, Rising Scholars: What’s Emerging from CGU’s Mormon Studies Program?

Panelists: RICHARD BUSHMAN, CHRISTOPHER C. SMITH, DAVID GOLDING, ELISA PULIDO

Check www.sunstonemagazine.com for additional details and advance registration!

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Plan-B Theatre has generously donated 60 seats for the preview night to Sunstone. Join us to be the first to see the world premier of “Amerigo” and have a conversation with the playwright afterward. The entire price of the ticket will go toward supporting Sunstone. Thank you!

When:

Wednesday, April 7, 2010.

Where:

Studio Theatre, Rose Wagner
138 W 300 S, SLC

How Much:

$25

Get Tickets Here

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I admit that it took a bit of time for me to get into it. The first segment was a telling of the oft-repeated story of the shootings in an Amish school and the community’s seemingly instantaneous forgiveness of the perpetrator. Then the movie headed into the story of a woman who managed to live a happy life despite an abusive childhood and being infected with HIV. I can’t remember much about that segment.

But the next two segments really intrigued me. The first dealt with Terri Jentz, the author of Strange Piece of Paradise, who survived a brutal, anonymous attack. After the attack, she lived through 15 years of torpor and depression. During that time, when someone would ask her about her feelings about her attacker, she would say, “Oh, I’m above that. I’ve forgiven him.” It wasn’t until she started to dig into her case, trying to track her attacker down, that she came alive again. She says near the end of the segment that her 15 years of “forgiveness” were unhealthy for her.

The last segment was about Katherine Ann Power who, during an armed bank robbery to get money to support her Vietnam War protest, was complicit in the killing of a police officer. She managed to evade the law for 23 years, and probably would have done so indefinitely, except that, being overwhelmed by her conscience, she finally turned herself in.

As Whitney told us before the screening, the meaning of forgiveness is under intense debate right now. But I saw an interesting definition arising from these stories. It’s best illustrated with a scene from the movie Stranger than Fiction, where Will Ferrell’s character realizes that he is a character in an in-progress novel. In the middle of the movie, Ferrell decides that if he remains immobile, he can derail the plot and get his life back. So he sits in a chair for hours until his apartment wall is suddenly knocked in by a crane. The plot has come to get him. After that, he becomes a very active main character, tracking down the author and taking control of his story.

As Frances Menlove wrote in the most recent issue of Sunstone, “We all know that the universe isn’t made of atoms; it is made of stories.” Each woman spent a lot of time hiding from her life story. The woman infected with HIV turned to addictive behavior to avoid dealing with her life’s plot points. Jentz pretended that a major character in her life’s story didn’t matter. Power, like Ferrell, hid from the sad stories she had set in motion. They were passive main characters, letting other forces run their lives. And, of course, if you relinquish the story of your life, your soul is bound to start fading. Life seemed to regain richness and meaning when the women actively re-entered their stories.

So perhaps forgiveness is when you become an active protagonist in your life story. It’s when you say, “Here are the pieces of my story. I’m not going to ignore them. I’m going to make something new out of them.”

Since I don’t normally handle the mail, it’s been kind of fun to slit open the envelopes and see what’s inside.

It’s been gratifying to see a steady stream of subscription renewals to Sunstone Magazine. Renewing your subscription is tangible feedback letting us know you like what we’re doing and want Sunstone to keep coming. It’s reciprocal, really. You renew Sunstone and Sunstone renews you.

On our end, each renewal is like getting vote of confidence and a thank you for the insights, understanding, richness, and diversity in Mormonism that Sunstone has been celebrating and publishing since its first issue back in 1975.

It was also a joy to see some donations on renewal forms as well. We are truly grateful for your extra contributions. Even just a few dollars added on to your renewal supports our work and shows us you value Sunstone’s thoughtful, honest explorations of Mormon experience, scholarship, issues, and art.

I’ve enjoyed opening envelopes this week and seeing the names of so many dedicated supporters and friends. I’ve also enjoyed seeing your handwriting on subscription forms. In the buzz and whir of the electronic age, handwriting makes me feel connected to the person holding the pen. To know that you took the time to sit down and write us an extra note or greeting gives a tedious task of opening mail a spark of enjoyment.

It also reminds me that people are the beating heart of Sunstone. It is a privilege and honor to be part of an organization that is not only a significant presence in Mormon Studies but also one that plays a crucial part in the spiritual lives and journeys of so many people. Thank you for being part of the vibrant community that is Sunstone.

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I knew I needed to read Stephenie Meyer’s Twilight saga when we were on vacation in Hawaii two years ago.  As the sun shone down and the waves lapped the shore, my fifteen year old daughter and her friend spent much of their time reading although they are normally active and outdoorsy.  I decided if they could avoid the temptations of paradise to read, I had to know why.

So I read the first three books with my daughter two years ago.  Then I reread them last year to refresh my memory before I read the fourth book when it came out.  Then my daughter and I went to see the movie—twice.  When I wanted to see it again, my husband told me if I couldn’t find something better to do with my time, I should go back to work.  (But the date for the upcoming movie sequel, New Moon, has been circled for months.)

I wanted to figure out why my daughters and I and millions of other females find the story so compelling, so I performed the unscientific but undoubtedly accurate Tingle Test (you know—butterflies in the stomach, a tingle at the base of the spine).  Whenever I felt that “tingle,” I noted it.  I discovered that though vampires and werewolves may abound in this saga, this is no horror story.  It’s romance plain and simple.

Though I analyzed the story for my own curiosity, I realized my findings could be invaluable information for the opposite sex.  Men and boys, pay attention.  Meyer has captured in story form the answer to Freud’s question: What do women want?

Intense attraction

Edward is mesmerized by Bella.  He loves looking at her even though she is just an ordinary girl.  Bella says, “I glanced up and he was staring at me” (Twilight, 46).  “He continued to stare at me with obvious curiosity” (49).  “Edward Cullen was   . . . staring intently in my direction” (52).  Bella and Edward go to a restaurant, and an attractive waitress flirts conspicuously with him.  “She smiled invitingly at him again. ‘You have a nice evening.’  He didn’t look away from me as he thanked her” (177).  Edward tells Bella, “You’re not like anyone I’ve ever known.  You fascinate me” (245).  Talk about fascinating womanhood—she  doesn’t even need Saran Wrap.

Edward even watches Bella while she sleeps.  When she asks him about it, he says, “I was curious about you” (292).  She asks, “How often did you come here?” He answers, “I come here almost every night” and explains simply, “ You’re interesting when you sleep” (293). This is one of the it-could-be-creepy-but-it’s-not parts.  When I reread the book more analytically, I realized that a guy sneaking into a girl’s room without her knowledge could seem a little stalker-like.  But the first two times I read it, it just seemed flattering.  He wants to spend all his time gazing at her.  In the cold, hard light of day, it sounds weird, but I’m telling you, men—it’s a turn-on.

Rapt attention

“Cherish is the word I use to describe. . .”  If you can hum along to that song and remember how those words made you feel, you’re well on your way to understanding the draw of these books. Edward loves looking at Bella, but he’s also interested in what she has to say.  My boyfriend in high school wanted to do one thing, and it wasn’t talking.  Later in my life, as a single mom back on the dating circuit, I found that, unfortunately, men did want to talk—about themselves.  I decided if any guy ever acted the least bit interested in hearing about me, I’d marry him.  (And I did, but that’s another story.)

Edward wants to know everything about Bella.  She says, “He looked fascinated by what I said, for some reason I couldn’t imagine” (48).  “He seemed engrossed in our conversation” (50).  He says, “I do want to know what you’re thinking—everything” (208).  She says, “[H]e questioned me relentlessly about every insignificant detail of my existence” (229).  “I couldn’t remember the last time I’d talked so much. . . . But the absolute absorption of his face, and his never-ending stream of questions, compelled me to continue” (229).

When he gets her alone, all to himself, what do they do?  They talk!  This is possibly the most romantic scene in the movie.  Set in a lovely rain forest, they sit on the moss and talk.  Mind-blowing erotic!  At this point, a woman sitting a few rows ahead of us in the theater turned to the man with her and started making out. Men, you want an aphrodisiac?  Here it is. Since the age of free love, I think romance has been underrated.  This whole Sex in the City thing where people meet-greet-jump-in-bed is a man’s fantasy.  Women have blown it by not insisting on the good stuff, the flowers, the cuddles, the talking!  I’m not saying sex isn’t fun.  I’m saying for women, romance is funner, and sex is even more fun for women with romance.  Edward is the romance master, guys. Learn from him.

Strong protection

The day the movie came out on DVD, a friend I teach seminary with had a movie-watching party. She told me one of the group’s favorite lines was when Edward says to Bella, “I feel very protective of you.” Much of the storyline is centered on Edward’s strength and his protection of Bella.  The first time she suspects he is more than just a pretty face is when he uses his bare hands to save her from being crushed by a car.  Later he races in at the last moment to rescue her from a bunch of drunk jerks. When my older daughter and I watched Edward grab Bella and climb up a tree with her (You just need to see it.  It’s too hard to explain), my daughter exclaimed, “He’s so strong!”

All of his strength—throwing trees around and stuff—would be impressive to guys but wouldn’t do anything for women except that it is all directed at protecting Bella.  It is all for her.  Which demonstrates the last and most significant element of Edward as babe magnet:

Total devotion

When I read the books initially, I told my daughter that I could buy the vampire character, and I was willing to suspend disbelief about the werewolves.  The part I had trouble believing was the absolute devotion Edward exhibited toward Bella.  I may have trouble believing it, but that doesn’t mean I don’t want it!

Cue music: “Hopelessly, devoted to you.”  My seminary friend says, “Edward’s character is the ultimate devoted partner.  His connection to Bella is unquestioned.”  He tells her, “You are my life now” (314).  That’s a melt-in-your-shoes-and-drip-down-the-sidewalk line.  Other good ones:  “I’ll always want you—forever” (318).  “You are the most important thing to me now.  The most important thing to me ever” (273).  And he doesn’t just say it.  He backs up his words by what he does, by denying himself for her good.  When Bella asks him how he was able to keep from sucking her blood, he says, “I’m not sure.  It was impossible to stop. . . But I did.  I must love you” (460).

Edward is focused on Bella’s eternal welfare, not on his temporary physical desire.  Sound familiar, Sunday School teachers?  This self-control is Meyer’s most Mormon theme.  Some of Edward’s lines could come straight out of advice in For the Strength of Youth:  “Bella, I think you should go inside now” (225).   “Mind over matter.  If it gets to be too much, I’m fairly sure I’ll be able to leave” (302).  “Let’s get out of here before I do something really stupid” (363).  In the very romantic scene in the forest, they aren’t even touching. They aren’t even touching!  If it weren’t too embarrassing for the staid, practical seminary teacher that I am, I would admit to squealing along with my daughters at that part.

As my seminary friend says, “Edward is probably the most selfless leading man we have ever seen in the movies.  Most leading men we see today are on a quest to satisfy a hunger . . . . Edward is our first leading man to control it.”

Another of my friends says that it is the vampire threat of danger that creates the erotic appeal in the story.  “If Edward had all the adoring, protective and attentive qualities but was just a really sweet, average-looking all-American boy, he’d probably be as equally lovable, but not nearly as irresistible!”  She may be right.  But what makes my heart thump is his desire for Bella yet his self-control for her good.  In the movie, Edward says, “I’ve never wanted a human’s blood so much in my life. . . .Your scent is like a drug to me.  You’re like my own personal brand of heroin.”  And his very best line of all, “You don’t know how long I’ve waited for you.”  After the, well, I’ve lost count how many times I’ve watched that scene, it stills makes me feel like swooning.  So while I agree with my friend that the vampire archetype is alluring, I still think Edward’s devotion is the element that takes this beyond just a popular vampire story and makes it the cultural phenomenon it has become.

So, men, I know you’re thinking, “But Edward is so handsome!”  It would help to be a drop-dead gorgeous hunk, but, let’s face it, most of you aren’t.  The good news is—you don’t have to be. When a man looks at a woman, he sees the woman.  When a woman looks at a man, she sees herself reflected in his eyes. The important thing is not how you look to her but how you look at her and how you look out for her.  It’s how you make her feel: fascinating, cherished, protected. Trust me. Trust Edward. This is what she wants. Give it to her and you’ll both thank us.

Originally published in Sunstone issue 157, December 2009
photo credit: twilightthemovie.com

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