The Shakespeare Code

You may have heard the speculation that William Shakespeare was a Catholic. Author Clare Asquith, in her new book Shadowplay: The Hidden Beliefs and Coded Politics of William Shakespeare, claims that the Bard of Stratford seeded his plays with subversive Catholic references that was a code for the Elizabethan and Jacobean Catholic resistance movement:

"Far from being an ambitious entertainer who played down his Catholic roots under a repressive Elizabethan regime, Shakespeare took deliberate risks each time he took up his quill, according to Clare Asquith’s new book Shadowplay. She argues that the plays and poems are a network of crossword puzzle-like clues to his strong Catholic beliefs and his fears for England’s future. Aside from being the first to spot this daring Shakespearean code, Asquith also claims to be the first to have cracked it.

"’It has not been picked up on before because people have not had the complete context,’ she explained this weekend. ‘I am braced for flak, but we now know we have had the history from that period wrong for a long time because we have seen it through the eyes of the Protestant, Whig ascendancy who, after all, have written the history.’

"It is now widely accepted that the era was not a period of political consensus, says Asquith. Instead, it was a time in which opposition voices were banished and censorship meant the burning of illegal pamphlets and printed works.

"As a result the Catholic resistance, which had been going for 70 years by the time Shakespeare was writing, had already developed its own secret code words; a subversive communication system which the playwright developed further in his work."

GET THE STORY.

GET THE BOOK.

This story caught my eye since I am currently reading through The Winter’s Tale with a reading group, in preparation for seeing the play performed. I’ve always been fascinated by Shakespeare, but found him difficult to penetrate and so have neglected actually studying him. Whether or not Asquith’s claim has merit, it certainly does pique my desire to better understand Shakespeare.

Patristic Recommends

A reader writes:

I’ve been studying Catholic teaching and am considering becoming a Roman Catholic.  My question is: what resources ought one actually read the early fathers in?  The snippets on Catholic.com  are helpful but I am seeking a broad base understanding.

There are several different resources that I could recommend. It depends on what you are looking for.

The main problem is that the writings of the Chruch Fathers are so voluminous that one person could spend years reading them. If you’re actually up for that, the most easily available set is a 38-volume set produced in the 19th century that, since it is public domain, is now online at a number of locations, such as www.newadvent.org.

Even this set, though, is not complete. There are other works of the Fathers not found in it. (And, as one Baptist pastor who later became Catholic noted to me, it sometimes excludes some of the more Catholic-leaning works since the editors were Protestant.)

If you’re looking for a broad summary but not the texts themselves then there is a 4-volume set called Patrology by Johannes Quaesten.

What I’d really recommend if you’re looking for a summary, though, is the 1-volume setbook Ealy Christian Doctrines by J.N.D. Kelly. Kelly is a Protestant, but he’s very good about admitting how Catholic the early Fathers were.

If you’re looking for texts (shorter than the 38-volume set) rather than summaries then I’d have to main recommendations.

The first is a 3-volume set called Faith of the Early Fathers by William Jurgens. It is like the excerpts on Catholic.Com except that it isn’t organized by topic. Instead, it proceeds in historical order from Father to Father, giving passages that the different Fathers said on particular subjects. The passages also (often) are longer than the ones on Catholic.Com and will give you a broader selection of what the Fathers were saying on different topics, as well as more of the context.

If you want whole documents but aren’t up for a long set, I’d recommend Early Christian Writings, edited by Maxwell Staniforth. This is a 1-volume edition of writings from the first and second centuries. It was very helpful to me when I was becoming Catholic, though it suffers from two problems: (1) It only covers a very small handful of documents compared to those that are out there (which is why it can offer whole documents while remaining 1 volume long) and (2) the period it covers is so early that the Church hadn’t yet had a chance to thoroughly reflect on what had been given to it by Christ and the apostles and so there are a lot of imprecise and, at times, even bizzare things. You won’t get as many of the crisply formulated expressions of theology that you will from later ages. Still, it’s quite valuable and contains things like Clement’s and Ignatius’s letters, as well as the Didache.

Following up with any of these recommendations will give you clues about what you may want to investigate next. For example, if you do some reading in Quaesten or Jurgens or Kelly then you’ll learn about documents that you may want to look up and read in more detail in the 38-volume set.

Hope this helps, and God bless!

Reading Cycles

Have you ever been through reading cycles? Bibliophile though I am, it seems my reading life is one cycle after another. Right now I’m on my non-fiction cycle and reading fiction can be a chore.

I grew up in a Reader’s Haven, although some might have called it a Reader’s Hovel out of exasperation at trying to climb over the stacks of books. My father introduced all of his children to reading and liked to brag of when he was a child and was the only kid in the neighborhood allowed to borrow double the allotment of books allowed by his local library because the librarians knew he’d have them all finished within the two-week loan period.

Similarly, I was also a voracious reader as a kid. When I was in sixth grade I broke the five thousand page record for pages read in a grading period simply because the teacher said it had never been done. (In retrospect, I think he simply said that to encourage kids like me to try to break that limit.) Give me a four-hundred-page book and I could have it finished in two days.

I can still wolf down books, but only if the ones I’m reading fit the cycle through which I’m currently passing. For example, for years I was a romance novel fan. Still love romance novels — they’re a sentimental favorite — but it is now a chore rather than a pleasure to plow through them. When I read fiction these days, I usually do best with the cozy mysteries — especially the foodie mysteries that have recipes printed in the book. I may never try out those recipes, but I love reading through them and imagining how the food would turn out. (Likely better for my waistline anyway!)

But give me a non-fiction book on a subject that interests me — currently, Pope Benedict XVI, marriage, and parenting issues, and please don’t analyze that too deeply! — and once again I have to carefully pace my reading so I’ll have enough book left to read to get me to the next payday. Does anyone else have experience with reading cycles? If so, through what cycles of the Reader’s Haven have you passed?

Holy Envy?

CbangelMy wife has always been drawn to a particular genre of non-fiction in which people struggle against great difficulties, especially physical or mental disabilities. She has read dozens of books in which the main character wrestles with something like autism, Down syndrome, cerebral palsy, blindness or some other malady (though disasters, abuse and hard pioneer life count also).

I have read a number of the books she has around the house and have learned to really appreciate several, not just as interesting stories, but as good, well-written books.

One such book that I can recommend is called "Karen". It is the story of Karen Killilea, who was born with cerebral palsy. It was written by her mother, Marie Killlilea, in 1952. In the book we see how Karen fights both her physical disability and the sometimes callous response of the society around her. There is a bonus, in that the Killileas are a warmly devout Catholic family and the book touches on very relevent themes, such as the intrinsic value of all human life. The book is available at Amazon.com, and you can find more information about the Killileas HERE.

Lately I have wondered what it is about such stories that is so compelling. Everyone has enough trouble of their own, why read about people who have it so much worse than we do?

One good reason to is that these stories throw into sharp relief the virtues that we need to overcome the hard things in our own life. Our admiration for Anne Sullivan’s tenacity in teaching Helen Keller helps us to be a little more tenacious in pursuit of some worthy goal, etc…

Another reason is that we are often tempted to view our own lives as dull and prosaic. Our own struggles don’t seem quite as dramatic as those of people whom we perceive to be "in the trenches", and who struggle under great burdens. It is part of what G.K. Chesterton called the desire for "an active and imaginative life, picturesque and full of a poetical curiosity". In a sense, we envy these people, we covet their stark, tremendous struggles because we are tired of our own small and tepid ones. We don’t often see ourselves as heroes.

But not everyone might agree. It occurred to me that, in our daily battle against the World, the Flesh and the Devil, the angels may view us in a way that is similar to the way we see the heroes in these books; these people who contend with crushing misfortune, or constant deprivation. The fallen world we live in puts us "in the trenches" in a way that makes even our mundane troubles more vital and heroic.

The idea that our lives are dull and meaningless is a lie from the pits of hell. The truth is, every decision we make is of eternal importance.

Not that the angels would envy our place in the battle. If I understand my Bible, they are certainly in the thick of it themselves, and have no lack of excitement. But, if there could be such a thing as holy envy, the angels might envy our role as overcomers. Even in heaven, a scar may be a badge of honor.

An angel might say to me one day, "Tell us again how the grace of God helped you to overcome your sloth, thoughtlessness and all-around deficient faith!".

And I’ll tell them.

March Of The Red State Penguins

The Gray Lady, in an editorial inexplicably placed in the New York Times‘ Science section, is bemused over the success of the film documentary March of the Penguins, noting in wonder that political conservatives have taken a shine to the film’s affirmation of such traditional values as monogamy and pro-life commitment. After Michael Moore’s anti-America screed Fahrenheit 9/11, March of the Penguins has become the second highest-grossing documentary ever.

"[O]f all the reactions [March of the Penguins] has evoked, perhaps the most surprising is its appeal to conservatives. They are hardly its only audience; the film is the second highest grossing documentary of all time, behind Fahrenheit 9/11" [because, in the World According to the Gray Lady, there are not enough Red Staters to dance on the head of a pin, much less turn a film into a blockbuster].

"But conservative groups have turned its stirring depiction of the mating ordeals of emperor penguins into an unexpected battle anthem in the culture wars" [which liberals didn’t dream of doing with Fahreheit 9/11].

"March of the Penguins, the conservative film critic and radio host Michael Medved said in an interview, is ‘the motion picture this summer that most passionately affirms traditional norms like monogamy, sacrifice and child rearing.’

"Speaking of audiences who feel that movies ignore or belittle such themes, he added: ‘This is the first movie they’ve enjoyed since The Passion of the Christ. This is The "Passion of the Penguins".’ [Weirdly enough, there are sufficient numbers of Red State wackos to turn The Passion of the Christ into a record-breaking megahit — must have been since no one else would dream of contributing to that film’s success, right? — but the Red State wackos don’t have much to with the success of March of the Penguins because it has been too successful to depend on the money of Red State rubes, quoth the Gray Lady.]

"In part, the movie’s appeal to conservatives may lie in its soft-pedaling of topics like evolution and global warming. The filmmakers say they did not consciously avoid those topics — indeed, they say they are strong believers in evolutionary theory — but they add that they wanted to create a film that would reach as many people as possible." ["They wanted to create a film that would reach as many people as possible"? Wow, what a great idea for an industry that depends on audience appeal!]

GET THE STORY.

I haven’t yet seen March of the Penguins myself, but it sounds wonderful.  I’ll have to send the Gray Lady a thank-you note for piquing my interest in this film by appealing to my Inner Conservative.

Catholicism For Dummies

Fordummies

A reader asks:

"Have you read the book Catholicism for Dummies? Would you recommend it for learning about the Church? Thanks!"

Catholicism For Dummies by Frs. John Trigilio and Kenneth Brighenti, two priests associated with EWTN, is, in fact, the only secular "For Numskulls"-type book on Catholicism that I can recommend. I have read others on the market, published under other "For Numskulls"-type imprints, and the ones that I have read are all deficient, ranging from somewhat to seriously so. I was so impressed with Catholicism For Dummies, however, that I recommended it to Catholic Answers to carry.

YOU CAN BUY IT HERE.

Goodbye Gilligan

Gilligan By the time I was a kid watching Saturday-afternoon sitcom reruns, Gilligan’s Island was a staple of the syndication market. I loved the show’s inventiveness in constructing all of life’s necessities from a few coconut shells and banana peels, and, in retrospect, the show reminds me of a live-action Flintstones: The appeal was not in the plot but in the over-the-top island adaptations of modern gadgets and gizmos.

The anchor of the show was its earnest, wide-eyed innocent, Gilligan. The actor who played Gilligan, Bob Denver, has died. May he rest in peace.

"Bob Denver, whose portrayal of goofy first mate Gilligan on the 1960s television show Gilligan’s Island, made him an iconic figure to generations of TV viewers, has died, his agent confirmed Tuesday. He was 70.

"Denver died Friday at Wake Forest University Baptist Hospital in North Carolina of complications from treatment he was receiving for cancer, his agent, Mike Eisenstadt, told The Associated Press. Denver’s death was first reported by Entertainment Tonight.

[…]

"Denver’s signature role was Gilligan. But he was already known to TV audiences for another iconic character, that of Maynard G. Krebs, the bearded beatnik friend of Dwayne Hickman’s Dobie in the The Many Loves of Dobie Gillis, which aired from 1959 to 1963.

"Gilligan’s Island lasted on CBS from 1964 to 1967, and it was revived in later seasons with three high-rated TV movies. It was a Robinson Crusoe story about seven disparate travelers who are marooned on a deserted Pacific Island after their small boat was wrecked in a storm."

GET THE STORY.

UPDATE:

GET SEASON ONE OF GILLIGAN’S ISLAND ON DVD!

(Nod to the reader who corrected my ghastly error in omitting this information.)

Double-X Marks THe Spot

A number of years ago I got a book called Revising Fiction. The book was about how to revise . . . well, fiction.

One of the author’s big points was that the revision process is very distinct from the writing process. (It had better be, or he’d have no reason to write his book.)

He therefore stressed to writers that they should not try to revise while they are writing. Write when you write; revise when you revise. Don’t mix the two or you’ll get into trouble.

And you will.

If you let your inner critic drive you to start editing what you’ve just written, you’ll fiddle with it forever. You’ll get bogged down–repeatedly–as you write, and you may never finish your manuscript.

Revision is incredibly important. It’s how you get all the bad stuff out of your writing. But it’s a separate process, and a very important one. This led the author to an interesting perspective: Why do writers write? Frequently, so they can have something to revise. That’s not true all the time (certainly, it’s not true of me when I’m writing an article or a special report on deadline), but at times in a writer’s experience–particularly in the beginning–it may well be true.

His overall point about keeping editing separate from writing is extremely important, however. When one writes, one frequently should get the words down as fast as one can, without worrying about how good they are. You can fix them later, but finishing that first draft is vitally important.

In my own writing, I try whenever possible to follow the advice, "Write in a fury!" Do whatever it takes to bang out that first draft. Fix it later.

One of the things that means is that I don’t stop to look up citations. If I stopped to look up every Bible verse I need to quote, or type in all the bibliographic info for a book I want to cite, it’d break the flow of my writing and I’d lose precious time by getting sidetracked to look stuff up. As a result, I don’t (when I can avoid it).

Instead, I drop unique strings into my writing at points I know I need to revisit. For example, if I know that I need to insert a Bible verse, I frequently will write "(xx)" for the citation. Then, after I’m done with the first draft and am in the revision stage, I’ll go back and do an electronic search for all the "xx"es and replace them with the missing citations.

If the needs of the manuscript are more complex and I need to mark different kinds of places to revisit in the revision process, I’ll use other unique strings. I don’t want a combination of letters that will likely appear in the text, though, so I’ll use something uncommon, like "jj" or "qq" or "xjxj." It’s then a snap to look these up electronically.

Using the word processor’s highlight feature also can help. I may put a yellow highlight on the whole first draft and then go through it, turning the yellow highlight off as I revise individual sections. (That way if I need to skip a section for some reason, it’ll still be yellow and thus obvious that I need to go back and finish fixing it.)

I understand that for some in the publishing industry, typing "00" has been an equivalent of my "xx." I don’t like that as much, though, because (a) "00" can look too much like "oo" or "OO" (making it hard if you’re visually scanning a secion) and (b) the zero keys require one to take one’s fingers off the letter-keys and hit the less-familiar number-keys. "xx" doesn’t require that.

So for me, any way, double-X marks the spot.

Covering My Tracks

Pearplum2_1I have an art dilemma.

Fortunately, my development as an artist over the last year or so has taken a positive turn. I have been blessed to get to know some professional artists whose work I admire, and who have been generous with time and advice. I have also found the style that I think suits me best (classical realism) and returned to the medium I have always had the most affection for, oils. Slowly, I am recovering from my Masters Degree, and I feel I am beginning to produce some art that I will not be embarrassed to leave behind when I die.

Here is the dilemma; I have too much old art. I have art that I have been dragging around with me from my earliest days in college. Lots of it. So much that I have been giving serious thought to burning most of it.

There are several good reasons to burn most of my old art, two of which are most relevant:

  1. It’s really awful
  2. It’s taking up lots of storage space and is deteriorating anyway.

Now, as soon as I thought of burning all this old art, I thought that a bonfire like this calls for inviting some friends over and hoisting a few brews. Kind of like a viking funeral, without the water.

So here is the dilemma; alot of my artist friends don’t think I should burn my old art at all. Some were SHOCKED that I would want to destroy evidencehistory in this way.

In deference to their concerns, I reassured them that I will be keeping enough old pieces to make plain to any future historian precisely how crappy my work was was at each stage of my early artistic development. I plan on keeping anything that I think is of genuine worth, along with one or two pieces typical of each period, no matter how horrendous.

Surely you writers out there have happily (with some relief?) round-filed old efforts, simply out of fear, that by some wicked twist of fate, they might end up associated with your name for all of history.

Do creative professionals have the freedom to put their name to what they like, and deep-six everything else? Isn’t that part of the creative process?

Travis Tea Speaks!

Guestblogger Travis Tea (alias Mary Catelli) writes:

Once upon a time there were — and there still are — some writers who helped new writers against scam tricks in the publishing industry.

You can read about them: at Writer Beware http://www.sfwa.org/beware/ or at Preditors & Editors http://www.anotherealm.com/prededitors/

The writers involved were SF and fantasy writers, and one publisher that was warned against was PublishAmerica, which described itself as a traditional publisher but had such untraditional practices as a one-dollar advance, and requiring you register your own copyright (leaving you $29 in the hole, because it costs $30.)

Apparently it hurt.  Or so we deduce from the comments here:

"As a rule of thumb, the quality bar for sci-fi and fantasy is a lot lower than for all other fiction."  So they warn to run away away from SF or fantasy writers, who are obviously without a clue.


http://www.authorsmarket.net/experts.htm

And indeed, this particular screed seemed to point quite clearly:
http://www.authorsmarket.net/youreyes.htm

Some SF and fantasy writers were discussing this posting online.  During the course of which, someone proposed that we should try to get published by PublishAmerica.

James Macdonald took this and ran with it.  He drew up an outline, asked for volunteers, and send out the chapter descriptions.  Indeed, one he sent out twice, to two different writers. 

I asked for, and got, one of them.  And so I sat down to channel my inner clueless newbie.  I went on for two paragraphs on describing the setting, neglecting any research, and ignoring what I already knew, down to forgetting that polo is played on polo ponies.  And I expanded those paragraphs for a page each — carefully ensuring the opening sentences of the first paragraph contradicted its last sentence.  And then I told, in a flat-footed style, the story he laid out for me.  I made up for the opening by chopping parts up into itsy-bitsy paragraphs, one sentence, or one word.  I introduced one character by cutting and pasting the description from the two paragraphs I had been sent.  I larded their conversations with said-bookisms — far-fetched substitutes for the word "said."  When it was coming in under the length he asked for, I reached for those handy chocolate, fattening parts of speech:  adverbs and adjectives.  Whenever my fingers slipped, I trusted the Microsoft spell checker, which hates all writers and tries to make you look like an idiot; if it could correctly work out the word, I twisted the misspelling until it suggested something else.  Most work of all, in one paragraph I switched tenses every sentence.  That I had gotten used to doing on autopilot.

And then I sent it off.

Meanwhile, other writers were also channeling their inner newbies.  James MacDonald collected them all, put them in the order received, left one chapter out when the writer was unable to make it, fed several into a text generator to produce another chapter. . . . my little efforts at inconsistency are but the smallest part.  People change race.  They die in one chapter and return in the next without a comment.  They wake up and it was all a dream — AND THE STORY GOES ON.

Online, the chatter went on, but when MacDonald said he would tell us the title it would go in under, I posted "NO!"  It was a private location, but never post anything to a private discussion that you don’t want to see on the front page of a New York Times — and once I posted it, the chorus arose.

The rest of the operation was carried out as Top Secret. 

Therefore the next I heard was of our happy acceptance.  They had, of course, had the contract vetted by a lawyer and though it would have been fun to carry the hoax all the way — have it published — the lawyer didn’t think it wise.  So the news was announced:


http://www.prweb.com/releases/2005/1/prweb202277.htm

From here you can see the acceptance letter and the contract:
http://critters.critique.org/sting/

Alas, a month after PublishAmerica accepted it, the day after the news was publicized, they read it.  "Upon further review it appears that your work is not ready to be published."

Fortunately, we were able to find a new publisher:  lulu.com, where we were not fed the same line as at PublishAmerica.

Also, you can download the electronic version for free from the "sting" link.

The story as told by James MacDonald:
http://www.sfwa.org/members/TravisTea/backstory.htm

The website in question has a great deal more information.  Read the blurbs:
http://sfwa.org/members/TravisTea/blurbs.htm

And then compare to the list of known authors:
http://en.wikipedia.org/wiki/Atlanta_Nights