Categories
Essay

Babylon, We Bid Thee Farewell

This essay appeared in Prodigal Press, a Provo alternative media collective, on November 30, 2023. (Instagram here; forthcoming on prodigalpress.org.)

The first time I saw the stars was in the back of a pickup truck full of shoeboxes, together with a gang of teenage boys with whom I shared maybe fifty words of vocabulary, tops.

I say “first time” because there’s a difference between looking at the stars in suburban Utah and seeing them from a Pacific island with no suburbs to speak of. It’s worth the trip just to exist under the Tongan night sky on a clear day, when the stars are half of everything, and look up. Here, they’re bright: not faint little painted dots on a faded canopy but real twinkling lights, the brightest ones nearly falling out of the brilliant canvas and into your lap. The sky isn’t black. That’s the thing. When you get far enough out of the city, monochrome black becomes celestial patterns of silver and gray stretched out like streamers, and it starts to make sense what they meant when they said God created the heavens and the earth, two halves, one to live on, the other to scatter myths and heroes across.

As for the shoeboxes, Siosefa stopped the truck to pick them up at his wife’s boutique in town. I’m not sure why. Siosefa spoke decent English, but the conversation about the shoeboxes was in lea faka-Tonga, and it came as a surprise when the other boys started throwing the empty cardboard into the bed of the truck on top of me. And as for the boys, none of them were actually Siosefa’s: some were nephews, and most were neighborhood kids whose dads were in prison or who didn’t get enough to eat at home. Siosefa was the neighborhood bishop, and tonight his sacred duty consisted of taking the boys to town so we could eat fried chicken and sprawl out on the steps of the ANZ Bank and ride up and down a hotel elevator for no discernible purpose, except that the boys were having fun and this was preferable to gang activity. The other American researcher rode in the cab, so he was warmer than I was, but he missed the kids and me putting the shoeboxes on our heads and also the stars, how they gestured at meaning in some heavenly language: a colossal Rorschach test of heroes who grew up and ran away from home and fought monsters on tropical islands.

The other important thing is that I’m Episcopalian—which wouldn’t have been important had it not been important to my host family, particularly Siosefa’s father. We’d scarcely finished our first conversation in his upstairs family room when he asked, “You know gospel?” and his eyes caught fire and he explained Joseph Smith and the Book of Mormon and modern-day prophets. His upper lip, like his weathered fingers and toes, was swollen and curled so that when he spoke in subjects and verbs that did not agree it was as if he were speaking through cotton. But I understood every word, because there was a time when I myself had been a Latter-day Saint missionary who knocked on doors and sat on strangers’ couches to give that same explanation. That time was now two years in the past, nearly a tithe of my life, and as I could hardly explain in verbs like come, play, eat how and why and where my childhood faith had come to fit like a glove with two thumbs and not enough fingers, I told the closest thing to the truth that I could and became Episcopalian for a month.

I did not often see the stars while staying in that proud house: two stories where the neighbors had only one; a cinder-block fence, almost finished, with rebar leaning against it; cavernous windows and doorways without doors; a canopy for the van in the puddled yard full of pigs and chickens. More often I saw glimpses of childhood, like the Ko e Tohi ‘a Molomona on the patriarch’s unmade bed, as shabby and written-in as my father’s; the hyperactive kids that would have made admirable Boy Scouts; and the Del Parson painting of Jesus torn from a magazine and pinned to a stern, yellowed column, whose eyes followed you no matter where you stood in the room, according to Sunday School lore.

It was not merely that these things were there but that they would not leave me alone. One night I took out the ukulele that had filled half my suitcase and played for a rapt audience of boys who gazed at my performance like I was Homer or Harry Styles, even though I’m not much of a singer, and all the songs that sounded happy were just sped-up breakup songs. During intermission the kid who’d been sitting on the arm of my chair brought me the Latter-day Saint hymnal from his grandfather’s bed, opened to the song that got sung every other week in men’s meetings in Morgan, Utah, because it’s the only hymn that doesn’t go higher than a C. I could have said no, I don’t recognize it, but Episcopalian be damned, I was muse for the evening, and the least I could do was play a request that I actually knew. It was my turn to sing in a broken tongue, but the kids carried the tune well enough, and I knew the English translation: “O Babylon, O Babylon, we bid thee farewell. We’re going to the mountains of Ephraim to dwell.”

We soon left that house and its hospitality; two weeks later was the first night I ever slept on concrete. Half our research team spent the night on a fishing boat while the rest of us spent the night in a Latter-day Saint church on a tiny island that only had electricity around sunrise and sunset, slaughtering bugs that got too close to our sleeping bags. Silence, silence, then BANG—the echo of shoe on concrete.

Late that evening, I got talking with Grace on the steps of the outhouse. She’s an anthropologist, like most of our team, but she said she almost picked religious studies. This despite only having been to church once, which between the crucifixion and the chanting had been a frightening experience for a child of an agnostic union. But she’d always been interested in the reasons people believe, and, she said, “I’m honestly really scared of dying.” We chatted for a while about hope and hunger and Harry Potter, and when we stood up to go back into the church, she suddenly froze, her head tilted up to the night sky, and said, “Wow.”

“They’re really something, aren’t they?”

Science has it that they’ve been shining since long before I was a child, and all the light we’re seeing now is light-years and light-years old. But you can’t see all that history—only the feeling of immensity and triviality all at once, and the certainty that there’s some meaning in it. I wondered if one of those stars really was closest to the throne of God. If he were hiding somewhere, it would have to be here, between the stars so dense that they formed rivers and seas and oceans of light. But hearing no voice from the whirlwind, I looked for Orion instead. They say he spends his summers here, hanging upside down by his tail like a monkey.

When I left Tonga, the sky was back to the way it had always been: bleached-out, suburban, secondhand. Orion was face up again. These days, I go to the Latter-day Saint church sometimes and the Episcopalian church sometimes, but in truth, I would rather spend my Sunday mornings back under those vast heavenly lights. There are days when I walk out of church and look up at the daytime sky, and I marvel at how much beauty has always been there, hidden by the garish sun and, at nightfall, the artificial lights of Babylon. ∎

Categories
Poetry

Grandpa Tended the Roses

Grandpa tended the roses.
Not for Grandma’s sake
Even though he took them to her grave
But when he died, there were roses on his casket.
I touched the hand of his body
And thought it was nice, knowing that if he wasn’t there
And the hand was just a hand
Then he was probably elsewhere, tending the roses.
My dad cried.
I didn’t know he could do that.
I did know he could swear,
But only when his dad wasn’t around.

Categories
Book/Movie/TV/Game Review

Mia Was Right About Snape

Finishing a good book series invariably leaves a void in your chest—like a world suddenly ceasing to exist. With Harry Potter, the emptiness is especially acute. Fortunately, I’ve had the pleasure of descending back into that void several times over the course of my life and revisiting the stories of Harry, Ron, and Hermione for as long as the story lasts.

This post isn’t proper literary criticism, but rather a collection of thoughts that stuck out to me on this last reading: (1) the theme of death, (2) the characters, particularly Snape, and (3) the immersive atmosphere. Me being me, here’s some words about each of them.

(This goes without saying, but: major spoiler warning for a 15-year-old book series ahead.)

The Secrets of Death

“I know nothing of the secrets of death, Harry, for I chose my feeble imitation of life instead.”
     —Nearly Headless Nick, Harry Potter and the Order of the Phoenix

If the thousands of pages in the Harry Potter series can be boiled down to a single theme and thesis, it would be attitude toward death. Death is a visible reality throughout the series, from Voldemort’s attempt at immortality through the Philosopher’s Stone in the first book and Harry’s encounter with Voldemort’s immortal memory in the second book to the deaths of people in Harry’s life that introduce Harry himself to death (his parents before the series begins; Cedric in the fourth book; Sirius in the fifth; Dumbledore in the sixth; and Hedwig, Moody, Dobby, Fred, Lupin, Tonks, and others in the seventh). Rowling’s claim is that death is a fact of life, and it is far from the worst thing in life.

The difference between Voldemort and Dumbledore is that Dumbledore has the proper attitude towards death, while Voldemort does not. Dumbledore does not fear death; Voldemort does, and this is why Dumbledore is the only wizard Voldemort fears. Voldemort is able to twist the aptly-named ‘Death Eaters’ to do his bidding because they fear death more than living an immoral life. Dumbledore sacrifices his own life to eventually destroy Voldemort, while Voldemort commits murder to protect his own life. Dumbledore destroys the Philosopher’s Stone; Voldemort covets it.

“You are the true master of death, because the true master does not seek to run away from Death. He accepts that he must die, and understands that there are far, far worse things in the living world than dying…”
     —Albus Dumbledore, Harry Potter and the Deathly Hallows

And Harry becomes master of Death precisely because he is willing to die. He is not the first or second brothers in Bard’s book, seeking to conquer Death and becoming victims themselves, just like Voldemort. He is the third brother, wielder of the Cloak, willing to live a life worth living and then greeting Death as a friend. “The Boy Who Lived” in the first chapter becomes a man who died, and then chose to live again, in the final chapters. When Harry calls Tom Riddle by his real name in their final duel, it’s a reminder that Tom was always just a mortal, and that the unstoppable, immortal wizard Voldemort was always just a myth. Harry never needed a persona, even though he was the one who truly conquered death. In the end, Harry completes a seven-book journey from fearing death—seeking out a magical mirror to stare at his dead parents—to accepting it, and giving up the Hallows.

“‘The last enemy that shall be defeated is death’…” A horrible thought came to him, and with a kind of panic. “Isn't that a Death Eater idea? Why is that there?”
     “It doesn't mean defeating death in the way the Death Eaters mean it, Harry,” said Hermione, her voice gentle. “It means you know living beyond death. Living after death.”Harry Potter and the Deathly Hallows

In this regard, Rowling’s work can be seen as dialoguing with figures like internet educator CGP Grey, who argues against acceptance of death, citing technological advances. For those who are persuaded by Rowling’s compelling presentation of the costs of fearing death, Harry Potter is an antidote to that fear.

“Do not pity the dead, Harry. Pity the living, and above all, those who live without love.” 
     —Albus Dumbledore, Harry Potter and the Deathly Hallows

Tangentially, I also find interesting the way Rowling treats esoteric concepts such as love, time, memory, and death as concrete, even physical realities to be studied and trusted. These are all ideas under study at the Department of Mysteries, and they all interact with magic just as the physical world does. To me, these reveal the seriousness with which Rowling is willing to take the metaphysical, beneath all the whimsical magic of Summoning Charms and Bat-Bogey Hexes.

Snape, Dumbledore, and Other Flawed Adults

My friend Mia and I argue like Gryffindors and Slytherins about Snape. I’ve always been a Snape fanboy (I got that from my mother). Mia despised him. Not long after I moved back to the United States, she continued the argument with a 700-word email called “The Snape Argument” that sat in my inbox for a year. So here’s—finally—my reply.

Snape isn’t a nice person. He’s needlessly cruel to Harry, Ron, Hermione, and the other Gryffindors, and this is a fact of how he chooses to act. (Though, proper educational procedures in Hogwarts would have gone a long way toward fixing this problem. Could Dumbledore or McGonagall not have spared a single class period to observe Snape’s class to see how he ran it?)

Nonetheless, Snape saves Harry’s life on at least three occasions (countercursing Quirrell in the first book, rallying the Order of the Phoenix in the fifth, and helping Ron find him in the seventh). He loves Harry while hating him, which, oddly enough, is how Snape feels about his own self. He went down the darkest of paths. But when it killed what he valued the most, he changed. Sometimes that’s what it takes to cause a person to change. If Voldemort had never gone after the Potters, Snape would have remained a Death Eater. Ultimately, he never became a kind or a fair person, but he did become willing to make great personal sacrifices to help Dumbledore bring about Voldemort’s downfall.

The big revelation of Snape’s love for Lily and true loyalty to Dumbledore comes after Snape has died. This isn’t the time to judge whether Snape is a “good” character or “bad” character, narratively. It’s too late for that, and he isn’t written to be a “good” character. He’s written to be a character that the reader can choose to forgive, or not to forgive, once they hear his full story. To me, he isn’t good, but he is forgivable. He knows better than anyone the pain that following Voldemort can cause, and he tries his best to remedy his mistakes, even knowing that no amount of sacrifice he makes will bring back the woman he cared for, his best childhood friend.

Rowling has a grasp on what people are really like, a fact that is evident in a whole slew of flawed and layered characters. Dumbledore is another such character, and one who’s easier than Snape to like and to forgive for his past mistakes. It’s interesting that neither Elphias Doge’s blind loyalty nor Rita Skeeter’s vitriolic attacks turn out to be fully factual. The older Dumbledore himself would be the first one to admit that his actions as a youth—sacrificing his family relationships and fraternizing with Grindelwald to plan world domination for the greater good—did not live up to the ideals he would later espouse. It might have taken getting his nose broken by his brother and losing his family for him to change, but he did change. (Even if, at times, he continued to be tempted by promises of his reunited family, such as the Resurrection Stone and the Mirror of Erised. In light of the earlier discussion of death, this weakness of Dumbledore’s is perhaps the reason why Harry was needed to defeat Voldemort, with Dumbledore as mentor rather than hero, in a literary sense.)

As for Dumbledore’s relationship with Harry, everything, including his keeping secrets from Harry, was motivated by his compassion for Harry and his desire to give Harry as much of a childhood as he could. Having Harry grow up with the Dursleys was the only option for preventing him from being murdered by Voldemort sympathizers at any time (admittedly this is something of a plot contrivance), and can hardly be considered Dumbledore’s fault.

“I cared about you too much,” said Dumbledore simply. “I cared more for your happiness than your knowing the truth, more for your peace of mind than my plan, more for your life than the lives that might be lost if the plan failed. In other words, I acted exactly as Voldemort expects we fools who love to act…
     “My only defense is this: I have watched you struggling under more burdens than any student who has ever passed through this school, and I could not bring myself to add another—the greatest one of all.”Harry Potter and the Order of the Phoenix

Even the characters closest to Harry are some of the most flawed. Ron is often bitter and jealous; Hermione can be judgmental and narrow-minded. Sirius’ poor treatment of a house-elf ultimately results in his death, and his first act after escaping from prison was attempted murder (both were perhaps justifiable actions under an ethic of retribution, yet both led to further tragedy). And don’t get me started on James. (He definitely married up.) Obviously these characters are nice to Harry, but “if ye love them which love you, what reward have ye?” Or in Sirius’ own words, “If you want to know what a man’s like, take a good look at how he treats his inferiors, not his equals.”

Harry’s World

Before I wrap up my thoughts, opinions, and ramblings, I want to mention a couple of devices that contribute to the feeling of immersion in Harry’s world. One is initiation and de-initiation. In anthropology and architecture, there’s this idea of the archway as an entrance into another place or state of existence. For example, holy places may have archways that separate the mundane from the sacred. Think of those iconic red-orange torii gates outside Shinto shrines.

For Harry, the initiation and de-initiation comes from him starting and ending each story in a mundane place that could exist in the reader’s universe—the Dursleys’ house—and then being yeeted into the magical world. This is exactly what happens to the reader when they pick up a Harry Potter book: they are lifted from the mundane to the fantastical, and then return to the mundane when they put the book down. By providing a proper archway into Harry’s world, Rowling heightens the proximity of her magic to the reader’s everyday experience.

Another device of immersion is Rowling’s use of letters, signs, and other artifacts scattered throughout the text. I don’t see these often in other books I read. When Harry gets a letter from Hogwarts, the reader can see exactly what that letter looks like. When Hagrid sends Harry a note about Buckbeak, the reader can see that, too, complete with distinct handwriting and smudged ink. The same goes for the wizarding exam grading scale, the sign at a hospital that lists departments and floors, the signatures on owl post, and dozens of other tangible items. They work as a sort of first-person window through the eyes of the characters.

Rowling’s style of dialogue also follows the contours of real dialogue more organically than other authors I’ve read; she regularly uses fragments of trailing or interrupted speech, and she doesn’t shy away from using ALL CAPS to heighten the volume of a scene when necessary. These textual features, combined with Rowling’s intentional portrayals of everyday events such as going to class, doing homework, commuting to work, getting mail, and eating meals, make the Harry Potter books some of the most realistic-feeling books I’ve read, despite the obvious fantastical elements.

Harry Potter’s fictional world is one in which countless people have found solace and escape, myself included. Perhaps this is strange, since her world is far from without difficulty, death and suffering. In some ways, it feels much like our own, full of complex personalities and relatable conversations. Yet the true magic of Harry Potter is that this is a world where the afterlife is just on the other side of a train ride from London and where evil is conquered by sacrifice, friendship, and above all, love.

“There is a room in the Department of Mysteries,” interrupted Dumbledore, “that is kept locked at all times. It contains a force that is at once more wonderful and more terrible than death, than human intelligence, than forces of nature. It is also, perhaps, the most mysterious of the many subjects for study that reside there. It is the power held within that room that you possess in such quantities and which Voldemort has not at all. That power took you to save Sirius tonight. That power also saved you from possession by Voldemort, because he could not bear to reside in a body so full of the force he detests. In the end, it mattered not that you could not close your mind. It was your heart that saved you.” Harry Potter and the Order of the Phoenix

Mischief managed.