Professional Documents
Culture Documents
of the
2004
2004 by the Association for Mormon Letters. After publication herein, all rights revert to the authors. The Association
for Mormon Letters assumes no responsibility for contributors statements of fact or opinion.
Editor: Linda Hunter Adams
Production Director: Marny K. Parkin
Staff: Robert Cunningham
Marshelle Mason Papa
Jena Peterson
Amanda Riddle
Jared Salter
Erin Saunders
Anna Swallow
Jodi Traveller
The Association for Mormon Letters
P.O. Box 51364
Provo, UT 84605-1364
(801) 714-1326
irreantum2@cs.com
www.aml-online.org
Note: An AML order form appears at the end of this volume.
Contents
Presidential Address
Our Mormon Renaissance
Gideon O. Burton
Michael Minch
23
Marilyn Brown
29
35
39
Keynote Address
The Place of Knowing
Friday Sessions
The Tragedy of Brigham City: How a Film about Morality Becomes Immoral
43
47
Nichole Sutherland
53
iii
57
Casey Vanderhoef
61
Daniel Muhlestein
65
Marilyn Arnold
75
Travis Manning
85
Kimberley Heuston
97
Keynote Address
Saturday Sessions
iv
Contents
NOTE: Unless otherwise identified, all of the papers in this compilation were delivered at the Association for Mormon Letters
Annual Meeting, Passing the Portals: Mormon Literature for the Twenty-first Century, 2122 February 2003, at Utah Valley
State College, chaired by Cherry Silver and Jen Wahlquist, sponsored by the Association for Mormon Letters; the Center for
the Study of Ethics, UVSC; and the Department of English, UVSC. Also presented but not submitted for publication were
The Mormon Literature Database by Gideon Burton, Connie Lamb, Robert Means, and Larry Draper; and A Spycho-Social
Evaluation of Edgar Mint by Charles J. Woodworth.
Presidential Address
way, finding treasures in foreign ports, and weathering storms and waves.
The transformative powers of literature, the
spiritual resources of imaginative writing, were not
lost upon the Protestant reformers who formed the
second wave of the European Reanissance. I am
persuaded, said Martin Luther,
that without knowledge of literature pure theology cannot at all endure, just as heretofore,
when letters have declined and lain prostrate,
theology, too, has wretchedly fallen and lain
prostrate; nay, I see that there has never been a
great revelation of the Word of God unless He
has first prepared the way by the rise and prosperity of languages and letters, as though they
were John the Baptists. Certainly it is my desire
that there shall be as many poets and rhetoricians as possible, because I see that by these
studies, as by no other means, people are wonderfully fitted for the grasping of sacred truth
and for handling it skillfully and happily.
Therefore I beg of you to urge your young
people to be diligent in the study of poetry and
rhetoric. (17677)
doubt and the misgivings and misfirings of a million sordid sorts. And in the middle of this mess
God has slapped us on the cheeks, has shoved a
paintbrush or a keyboard in our hands, presented
us with canvas and paper and stolen scraps of time
and told us Be like me, create. He has given us
redeeming work to do, if we will take the invitation
to work out our tangled thoughts, to work through
style and symbol, plot and character, to find him
and to better know the suffering he has known, to
find our siblings, all our fellow sufferers, and find
ourselves renewing and renewed through the rough
and tumble of these words and images, patterns
and rhyme, music and color and rhythm. And yet
we stand like balking Beehives at our first youth
dance, unwilling to embrace the Bridegroom,
unwilling to accept the gifts he lavishes on us
through that unspeakable opulence that is literacy.
I am a Mormon, and so I must create. I have
come to know a creating God, who calls himself
the Alpha and Omega, the first and last letters
of the Greek alphabet, his very name reminding
me that his good news comprises all that can be
said and thought within the bounds of language.
Can I be his disciple, really, if I will not unleash the
godly gift of language he has given me? I do not
think I can.
The Mormon Renaissance begins for us all the
moment any one of us steps forward to accept
the rebirth offered to us through the medium
of the Word. Immersed in words, will we be baptized by the Word, by the divine capacities of language, or will we stand to one side idling with
catchphrases and soundbytes, regurgitating words
and patterns acceptable within some applauded
genre, unwilling to bite our teeth into the pith and
core of what our language can convey if given even
half its mighty scope?
The Mormon Renaissance begins as we respect
what writing can effect within our souls and our
communities. The Renaissance Humanists believed
literature could rejuvenate both individual souls
and entire civilizations. Literature is a binding force.
It makes communities and makes communion, both
with God and every soul responding to its potencies.
It finds the parts of us that we had hidden and
ignored, it lets us feel the depths of wonder and confusion, pain and joy that we have never dared to
show to others. Oh, it is a messy thing, as messy as
the lives and thoughts that it reflects, deflects, inspects,
and redirects. It is a salving, saving medium, and
we have not discovered its rejuvenating center if we
reduce its function to teaching, preaching, or the
narrow motives of fame or money.
When will the Mormon Renaissance begin?
When your Mormon Renaissance begins. So tell
me, where is it you have hidden your true self while
you have tried to write or say what others might
approve of ? Where is that shadow self, the one so
full of anger and grief and profanity and lust and
all the other potent passions in which you live
and move and have your being as much as any better self you show at church? Where is he or she?
Free him. Liberate her. Grow brave enough to follow Jesus and to face your own Sanhedrin, and say
yes, this is who I am. Until we are willing to
stand condemned in open drama, we are not ready
for the closure of redemption in the final act.
Your Mormon Renaissance takes shape misshapenly, of course. So show me, where are all your
smudged and halting draftsdiscarded bodies of
your vain attempts to say your say? There is no
Renaissance without the thousand dying bodies of
those false attempts, the skeletons of first or worst
ideas, piling up a mound of wadded paper, or clotting up your hard drive in a folder you name
scrap. Creation is vivisection, things come halfalive and incomplete, a ream of shameful prose
must dung the way before a seedling roots itself in
viability. The ink is amniotic fluid that surrounds
and nourishes the thing you bring to being.
Renaissance means rebirth. Every birth is violent and delicate, precious, and messy. Birth is a
savage sea, says Pablo Neruda, that summons up
a wave and plucks a shrouded apple from a tree
(Neruda, 41). We must have the faith to be reborn
again and yet again, to find our vision in revision,
and then at length we shall emerge, shining and
upright, with words to match the glory of our God.
WORKS CITED
Booth, Wayne. Religion versus Art: Can the Ancient
Conflict Be Resolved? In Arts and Inspiration.
Ed. Steven Sondrup, 2634. Provo, UT: Brigham
Young University Press, 1980.
Emerson, Ralph Waldo. The Complete Writings of Ralph
Waldo Emerson. New York: Wm. H. Wise and Co.,
1929.
Luther, Martin. Letter to Eoban Hess, March 29,
1523. In Luthers Correspondence, trans. and ed.
Preserved Smith and Charles M. Jacobs. Vol. 2.
Philadelphia: United Lutheran Publication House,
1918.
Lyman, Francis M. In Conference Report, October 1899,
7683. Salt Lake City: Deseret News Publishing,
1899.
Neruda, Pablo. Births [Los nacimientos]. In Fully
Empowered [Plenos Poderes], trans. Alastair Reid.
New York: Farrar, Straus, and Giroux, 1975.
Pratt, Parley P. Key to the Science of Theology: A Voice
of Warning. Salt Lake City: Deseret Book , 1965.
Rollins, Hyder E., and Herschel Baker, eds. The Renaissance in England: Non-dramatic Prose and Verse of
the Sixteenth Century. Prospect Heights, IL: Waveland, 1992.
Skelton, John. The Tunning of Elinour Rumming. In
Rollins and Baker, 7781.
Stanyhurst, Richard. The First Four Books of Virgil His
Aeneis. In Rollins and Baker, 55357.
Young, Levi Edgar. In Conference Report, October
1950, 11319. Salt Lake City: Deseret News Publishing, 1950.
. In Conference Report, October 1952, 1037.
Salt Lake City: Deseret News Publishing, 1952.
Keynote Address
In the years since, the hymn has been translated into uncounted languages, from Swedish to
Baba Indonesian, from Spanish to Cantonese. Once
my doctor brother on a medical mission with his
wife called me from an island off of Africa to say,
Hello, Lou. Im homesick for you. We just heard
your hymn sung by wonderful black twelve-yearoldsin Portuguese! It has been used by other
faiths, sung around the world and recorded on tapes
and CDs by congregations, duets, solos, groups as
various as the Mormon Tabernacle Choir and New
Age improvising, even in jazz versions and rock and
roll in a new movie RM about returned missionaries.
Where Can I Turn for Peace?
Where can I turn for peace?
Where is my solace
When other sources cease
To make me whole?
When with a wounded heart,
Anger or malice, I draw myself apart
Searching for my soul?
Where when my aching grows,
Where, when I languish,
Where, in my need to know,
Where can I run?
Where is the quiet hand
To calm my anguish?
Who, who can understand?
He, Only One.
He answers privately,
Reaches my reaching,
In my Gethsemane,
Savior and friend.
Gentle the peace he finds
For my beseeching.
Constant he is and kind
Love without end.
Through her own strength and eventual willingness to accept loving support from family, friends,
professionals, and much from a young man, Paul,
who loved her, Becky found after three-and-a-half
years the healing that we so longed for her to find.
After twenty years of a good marriage to Paul, three
loving sons, success as a stained glass artist and real
estate agent, but still feeling the stigma of any history
13
16
Having Died
Out of fhe Night: Childness
More than a state of being
A new being
Suffused in light
Whatever is there like being held
In Fathers arms
Way beyond Safe
Carried asleep
From one quiet to another
All of it a heartbeat
Back back back the coming together
Carried in a dark velvet womb
Accepting
Floating from density
Into light
This is only the beginning
Whatever that is
I like the others of no age
Willing for once to wait
Knowing in time
Only the exquisite balance
Of everywhere at once
Saying You are here
Come, you of no name
That Emma fits
Who hears and answers
The answers
Childness knows no blame
Only the lightness of being
In your childness
Nothing will be lost
Though all is right
In the place of no sides at all
Of return without going away
Know this that Time is Life
Enclave born to other enclaves
21
suspect that in writing, directing, and portraying the main character in his film Brigham City,
Richard Dutcher wanted to make a movie about
the moral fabric of a community of faith. It seems
clear that this is the principal theme of the film. In
what I take to be the core scene of the film, because
it crystalizes the films purpose, an older member
and former sheriff of the community of Brigham,
Utah, states, The worlds gonna drag us in whether
we like it or not. See, what we got here is a paradise, and nothing attracts a serpent like paradise.
This is an allusion, of course, to the story of the Fall
in Genesis 3, but its also an allusion to the films
thematic dialectic: paradise is, well, paradise
until evil crawls in undetected from the outside
and then things change as evil begins to make its
mark. A pure community thus becomes harmed
and changed, innocence is lost, as an evil one from
outside makes his way into the community. Yes,
indeed, here is an echo of our first parents corruption, and a connection made between the innocence
of Gods children before sin and the innocence of
the Mormon community of Brigham.
But, while the film is putatively about, intends
to be about, the moral character of a religious community, it actually sends a different message to those
who pay attention. A film that wants to be about
a strong moral community is a film that becomes
subverted by itself. Thus, this movie becomes tragic
through the unintended irony it offers. Interestingly,
the film ends near to where it might more profitably beginwith the death of a guilty man who
is a part of the community, yet perhaps not a part
The Tragedy of Brigham City: How a Film about Morality Becomes Immoral
morality is analytical, but, in fact, morality is analogical. Let me briefly sketch out what I mean. The
understanding of a moral rule (or any kind of rule)
is not logically prior to some comprehension of
cases to which the rule may or may not apply. We
do not begin with a rule, which is grasped in some
analytical way and then apply the rule. On the
contrary, in order to even understand a rule, we
must begin with a set of cases that are recognized as
unproblematic instances of that rule and compare
them to a set of cases in which it is generally recognized that the rule does not apply. Furthermore, as
Wittgenstein reminds us, linguistic interpretations
of a rule are but approximations of the meaning of
the rule, and the meaning of the rule is adequately
expressed only in intelligent action.2 As we learn
from both Aristotle and Aquinas, we cannot get to
the point where we recognize what morality is per
se, and then offer an analytic account of morality
on that basis, because there is no such thing as an
essence of morality, because morality is, at least
in part, a complex social institution with a very
long history. A proper moral theory, we might say,
must be nontheoretical (and so some, like Bernard
Williams, are referred to as moral anti-theorists).3
So, as with rules, highly abstract conceptions
of goodness and obligation can be understood only
through apprehension of the sorts of cases that we
take to exemplify such concepts. This means that
meanings of moral concepts must be inherently
linked to the kinds of actions that exemplify the
concepts and, in the first place, to immoral actions.
There must be a kind of unity proper to the concept of morality, of course, and this unity must be
a unity proper to conceptsas they actually emerge,
develop, and function in natural languages. Again,
the unity of a concept of morality cannot derive
from a priori analysis; and so, again, morality is
analogical rather than analytical.4
Everything Ive said so far leads us to see that
whatever it is we say about morality has everything
to do with what it means to be a human being.
Indeed, for Aquinas, what he calls human action is
by definition moral action (not all things humans
do is human action, however, e.g., scratching
ones nose).5 When we consider what it is to be a
26
The Tragedy of Brigham City: How a Film about Morality Becomes Immoral
people (at least on some occasions), and hes married to a Mormon woman, apparently raising their
child in the faith. Hes certainly accepted as a member of the community. Does acceptance as a member
of a community not count for membership in a
community? In short, we have a number of reasons
to locate him as a genuine part of this community;
except, of course, he is a murderer, and the films
message is that no murderer can be a part of this
community.
But consider this question: what community
would claim murderers to be ordinary members (other
than a community of murderers)? In other words,
if we simply describe community as those who
never commit these immoral acts, while presenting a list of such acts, we have left many thousands
or millions of people outside of communities, because
all communities, normatively, disenfranchise, marginalize, stigmatize, and punish those who commit
such acts. But we know that all people do, in fact,
belong to communities. Few of us were raised by
wolves and grew up without human contact. To be
human is to be embedded in communities of various kinds. Although not all communities are the
same, morally or otherwise, only a community of
murderers would happily claim a murderer as a
member. So, the claim that a murderer, by definition, cannot be a member of this community seems
far too easy. Tragically enough, murderers do live in
our communitiesall of our communities. Again,
this is another way that Dutcher wants to portray
his community that seems less than even-handed,
if you will.
But more importantly, in respect to the film,
the very question I am raising is one with which the
film might have wrestled in order to be a richer
expression of art and moral inquiry. What is a
community, after all? How do we know whos in
and whos out? What does a person have to do to
be a nonmember? And why? And, if we dont know
about a persons thoughts, motivations, intentions,
and actionsand of course none of us know all of
these things about anyonehow can we determine
who is in our community? If a community as strong
as the one portrayed in this film has the power to
transform a person (e.g., because it embodies the
27
28
NOTES
1. John-Charles Duffy, Serpents in Our Midst:
What Brigham City Tells Us about Ourselves, Irreantum 4.1 (Spring 2002): 1420.
2. Jean Porter, Moral Action and Christian Ethics
(New York: Cambridge University Press, 1999), 35. See
Ludwig Wittgenstein, Philosophical Investigations, 3rd ed.,
trans. Elizabeth Anscombe (New York: MacMillan, 1958),
no. 198, p. 80. Cf. Garrett Barden, After Principles (Notre
Dame: University of Notre Dame Press, 1990).
3. Porter, 45. See Bernard Williams, Ethics and the
Limits of Philosophy (Cambridge: Harvard University
Press, 1985). Cf. Raimond Gaita, A Common Humanity: Thinking about Love and Truth and Justice (New
York: Routledge, 2000).
4. Porter, 4648. See also Julius Kovesi, Moral
Notions (London: Routledge and Kegan Paul, 1967).
5. This part of Thomass moral theory/theology is
valuably discussed by Charles R. Pinches, Theology and
Action: After Theory in Christian Ethics (Grand Rapids:
William B. Eerdmans Publishing, 2002).
6. Porter, 70, 74.
7. Hilary Putnam, Taking Rules Seriously, in
Realism with a Human Face, ed. James Conant (Cambridge: Harvard University Press, 1990), 193200.
8. Ibid., 83.
9. Pinches, 160.
10. In The Apostle, we can, for example, come to
believe that the preacher/evangelist portrayed by
Robert Duvall can be both a murderer and an honest
believer who has known Gods grace, love, forgiveness,
and transformation; he is a man who shares the gospel
out of this integrity and trust.
conceptual paradise; its a wake-up call that the paradise weve built for ourselves is inadequate to the
challenges of our time. It doesnt confirm our social
insulation as a good thing; it deconstructs it.
Scotts brilliant observation of Dutchers eloquent
entreaty is indeed timely today!
So, Brigham City is a wake-up callthat there
are bad things going on. There are terrible problems in our society. And the question is, Are we
ready to face these things? My thoughts also go to
the Bush administration at the present time. There
is a vipers nest in the world. If you stir it up, you
will get hurt. There is a price for action. But there
is also a price for inaction. The question is, Which
will cost more?
When Richard Dutcher first asked me to write
the sequel to Brigham City, Kirtland County, he
wanted a romance. He specifically said he didnt
need to see any more done with Brigham City.
Sadly, I did get a slight impression from our conversation that some audience responses to this dark
film about a killer, and the fact that the market did
not recover the costs, gave him the feeling that he
wanted to continue with something in a lighter vein.
But as I thought about his invitation for the
next few months, I couldnt get it out of my head
that I really ought to begin with Brigham City. There
were too many interesting questions that needed to
be answered in the novel before I could write the
sequel he had in mind. Brigham City without a
doubt was, in my opinion, as good as, or better
than Gods Army, which he had allowed to be novelized. And I heartily feel Brigham City is the best
of the total rash of Mormon films now on the market, as well as the one that found the most favorable
national distribution. And now we are learning that
it is a hit in the foreign markets! I have always had
a feelingand still dothat this film is truly a classic.
As time passed, critics of Brigham City in
Irreantum and the AML-List began to support my
views. Though a few of them such as John-Charles
Duffy and now Michael Minch were willing to
come down hard on the film as a simplistic representation of pride in the Mormon culture, illustrating the Mormon inability to create complex
scenarios (Duffy, 1420), there were some strong
33
is married but childless, and his wife is institutionalized in a nearby town with a condition never fully
specified but which leaves her only intermittently
coherent and responsive. Taggarts reticence about
her condition, his suffering for her and because
of her on his weekly visits, and the marital limbo
that ensues adds an interesting dimension to his character. It also enables Edwards to balance his lonely
protagonist on the very thin knife-edge between
platonic friendship for and erotic attraction to Marie,
both elements of which she reciprocates on at least
some level, while both observe the essential restraint
expected of two employees of a conservative religious organization. Edwards complicates this relationship by developing a romance between Marie
and the detective investigating the murder, thus
creating a truly subtle and emotionally fraught triangle of desire and constraint.
A third appealing element is the plot. I read a
lot of crime fiction. In fact, I read more mysteries
than I do Mormon history (and some day everyone
is going to figure out that I read both for the same
reason and the jig will be up). But my point is that
theres a lot of plot recycling that goes on in crime
fiction, so its unusual to find a genuinely ingenious plot. Truth to tell, I encounter a lot of truly
stupid plots in my reading, so I have only the greatest admiration for Pauls research in documenting a
mechanism of death that is not only dazzlingly creative but absolutely plausible as well as possible.
A fourth genuine contribution to the genre of
Mormon mysteries is the philosophical element.
Toom Taggart has conversations with Marie about
the generational identity crisis that may be signaled
by what the students in his night class are named
and some very interesting discussions with Louis T.
Cannon on the uses of history, the nature of evil,
the difference between belief and faith, and the paradoxes of obedience. Heres a snippet from that conversation. Toom asks Cannon:
Is there anything theyd tell you to do that
you wouldnt do?
Cannon did not hesitate, even for a second. No. But I knowand you should,
toothat they would never ask me to do anything that was not right.
Then he gets a call from Bishop Pico congratulating him on the fine job hes done. It only takes him
a few seconds to figure out what has happened.
Toom hung up the phone, then got up and
strolled out to Myrmidas desk. So how did
you do it? he asked.
She . . . explained modestly, Oh, it was
simple. . . . The stuff that the Aaronic Quorum
had done was really pretty good, so I just used
their manuscript as an outline and stuffed each
topic with scriptures and stories and snippets
of sermon until it was 230 pages long. With
the computer, it practically wrote itself. . . .
So now I know how you did it, he said.
Why did you do it?
She sighed. Toom Taggart, has it ever
occurred to you that if you got fired, Id have to
work for a living? (Epilogue)
not sure that I can tell you just what the difI am
ference is, but I sense there is a difference between
these mysteries because I wanted to. Lets call it therapy. My experience in writing nonfiction is that
few persons read what I have written, and fewer
still agree with it. Writing fiction which someone
might read, and no one will take seriously, has been
food for my soul. Besides, fiction gives me the
opportunity to comment on almost anything that
aggravates or excites me without a lot of supporting arguments and elaborate footnotes.
Take this brief exchange between Toom and his
friend Marie concerning the names of students in
one of his classes:
In the same small class I have one girl
called April Love, another named September
Morn, two who answer to Solomon, and a
wide assortment of Trishes, Trickets, Wendee,
and one Moralnada.
Interesting! observed Marie.
Theres more. I have a girl named Thomas
and a burly, heavyset young man who answers
to the name Delilah.
Come on, she said. This is too much.
He raised his hand like a witness taking an
oath. Verily, I lie not. Thinking about this
I have come to the conclusion that each new
generation seeks an ever-stranger means of identifying its young. And I think the future is in
commercials.
In commercials? Marie furrowed her
brow. It was distracting.
Yes, as this generation gets more conservative and institutional-minded and the bewildered
42
Conclusions
It would be unfair to suggest that I engaged in this
activity in hope of social revision or organizational
change. That is giving my intentions and expectations far too much credit. But there is some truth
to the idea that I recognize the value of fiction in
trying to articulate philosophical ideas because of
the baggage they carry. I have made the attempt to
use the mysteries to express concerns and beliefs
while at the same time hoping to tell an interesting
story and amuse the reader. The writing of them
has been a highly successful venture for me, only
time and the readers will tell if that is going to be
true for anyone else.
NOTICE
PERSONS attempting to find a motive in this
prison and manage to view the body, a scene reminiscent of the two Marys viewing Jesus body in the
sepulcher after the Crucifixion.
Let me move on to some comments about Art.
First, I think the very choice of Arts name shows
Udalls sense of humor. The words Art is God can
be taken several ways, depending on whether you
mean Art the character or art, the thing that
artists create. Udall, however, is not at all flippant
in his treatment of this character. Art in his own
way is indeed a shepherd for Edgar, a role to which
his surnameCrozierpoints. (A crosier is the
shepherds hook used by high-level officials in several Christian churches.) Art and Edgar meet in
St. Divines hospital, and as Edgar begins to recover
from getting run over, Art watches out for him. In
this passage, Art assists Edgar in getting loose from
the restrains of his hospital bed, while at the same
time he helps Edgar move from his bed to solid
ground:
[Art] unbuckled the restraintsit took him
awhile to figure them out with only one good
handthen stole every pillow and blanket he
could find in the room and placed them around
my bed, creating a landing pad. That night I
threw myself off the bed twice, and both times
Art was there to help me back up, make sure I
didnt have any lasting injuries, and to argue
with the nurses when they came in wanting to
know why the restraints had been taken off.
(Udall, Miracle Life of Edgar Mint, 34)
Another example: Before Edgar leaves the hospital, Art gives him an old manual typewriter, a
Hermes Jubilee model (Hermes is a messenger of
the gods in Greek mythology). Throughout the
book, Edgar types out his thoughts, his fears, and,
occasionally, letters to Art, which invariably go
unanswered. Clearly, Edgars letters to Art are prayers
to God.
I find Art to be moving, especially as he is not
depicted as omnipotent and all-knowing, or even
as particularly virtuous. He is flawed, and like
Edgar, he too suffers. Simply, Art is a member of
the human race. The clearly implied anthropomorphic view of God is I think the very most Mormon
thing about the underlying theology of the book,
46
Brady Udall,
the Smart-Ass Deacon
Mary L. Bingham Lee
awe-shucks-Im-just-spinning-a-yarn-posture, at
least we can credit him with coming to the table with
more slung on his back than the average Trickster.
Udalls nods to Trickster in Edgar Mint are generous. At times Edgar, at times, Barry, and at times
Nelson takes up the role of Trickster. Edgar is
Hermes escorting the dead to Hades when he
throws Barry into the pit. Barry is Trickster in
his constantly shifting shape and his insistence
upon mischief. Nelson is nothing but malicious
jokes; he burns the anus of a fellow classmate
instead of his own (as Trickster has been known to
do), but is finally punished for his predatory activities (as Trickster often is).
Not only are people symbolic of Trickster, but
objects allude to the Trickster tradition: Edgars typewriter the Hermes Jubilee delivers his prayers
to God and delivers him literally from Barry and
figuratively from illiteracy. His talismana urinal
puckis reminiscent not only of Hermes talisman,
but more recently of the cake of soap Leopold Bloom
finds in his pocket in the Hades chapter of James
Joyces Ulysses. Udalls references to a wide array of
Trickster figures show, if nothing else, Udalls
attraction to the idea of Trickster.
As Mormons we may have a difficult time recognizing Trickster because of our own attempt at
repressing this character in our culture as well as in
our system of belief. In his essay entitled Job and
the Trickster, Stanley Diamond compares Trickster to Job. We tend to embrace the figure of Job,
who serves to reinforce the concept of good and
evil originating from two distinct sources (xixiii).
Though this matches our theology we may find
some use in allowing the Trickster figures alternative to such a worldview to shed some light on the
bias built into our own system of belief.
According to Diamond, Trickster serves as a
manifestation of an ambivalent God who is the
single source of both good and evil. Diamond
claims that as a culture moves from a primitive to
civilized culture it tends to want to repress the idea
that God has the capacity for humoror tolerance
of mischief. The culture begins to take itself so seriously that it rejects its own past, which is considered to be full of folly and foolishness (xixiii).
50
51
WORKS CITED
WORKS REFERENCED
52
and I intend to keep it (10). In the Bible, Abraham prays to the Lord what wilt thou give me,
seeing I go childless. . . . Behold, to me thou hast
given no seed. . . . [And the Lord said] Look now
toward heaven, and tell the stars, if thou be able to
number them . . . So shall thy seed be. And [Abraham] believed in the Lord (Gen. 15:23, 56).
Sarahs picture can be seen as a type of marriage
license that binds her to Abraham. By keeping the
picture, Abraham mirrors his namesakes faith in
Gods promise of astronomical amounts of children through Sarah. The artist Sarah, her artwork,
and her potential to be a good artist symbolize the
realization of Gods promise through her, and she
eventually bear a son named Isaac.
To complicate the story line, however, Young
mixes her scriptural allusions with irony. In his
review of Youngs book, Harlow S. Clark states, The
characters spiritual [and physical] lives in House
without Walls are tinged with deep irony (part 4).
In the Bible, because Abraham and Sarah are unable
to have children in the beginning, Sarah gives Hagar
to Abraham and Hagar bears Ishmael (Gen. 16).
Sara Sinahson and Abraham Cohen are also unable
to bear children in the beginning of House without
Walls because of their roles and age difference.
Thus Abrahams marrying Deborah Fried, a marriage initiated by the customary matchmaker, is a
type of the biblical matchmaker Sarah giving
Hagar to Abraham.
The irony comes when Deborah is the one
who has trouble bearing children and is described
as being more like the biblical Sarah than Hagar.
53
55
WORKS CITED
Clark, Harlow S. Letting the Temple Burn, Learning
from God How to Restore It: Review of House
without Walls, by Margaret Young. Online review,
posted to Association for Mormon Letters email
list, 9 December 1999. Archived at http://www
.aml-online.org/reviews/b/B199959.html, accessed
22 November 2002.
Needle, Jeff. Review of House without Walls, by Margaret Blair Young. Online review, posted to Association for Mormon Letters email list, 27 January 1997.
Archived at http://www.aml-online.org/reviews
/b/B199708.html, accessed 22 November 2002.
Young, Margaret Blair. House without Walls. Salt Lake
City: Deseret Book, 1991.
56
Stone Tables :
Believable Characters in
Orson Scott Cards Historical Fiction
Holly King
60
WORKS CITED
Card, Orson Scott. Characters and Viewpoint. Cincinnati: Writers Digest Books, 1988.
. How to Write Science Fiction and Fantasy.
Cincinnati: Writers Digest Books, 1990.
. Seventh Son. New York: T. Doherty Associates,
1988.
. Stone Tables. Salt Lake City: Deseret Book,
1997.
Martindale, D. Michael. Move Over, Charlton Heston;
Cards Moses Is John Wayne. Online review of
Stone Tables, by Orson Scott Card, posted to Association for Mormon Letters email list, 5 August
2000. Archived at http://www.aml-online.org/
reviews/b/B200051.html, accessed 22 November
2002.
at the beginning of transitional chapters, the dialogue signifies upcoming events, Enders development in his training, and the gravity of the task for
which he is preparing.
A good illustration of this comes at the beginning of chapter 7, shortly after Ender arrives at
Battle School. Upon his arrival, Ender is socially
isolated intentionally by Colonel Graff, causing him
to be ostracized by the rest of the boys and serving
as a test of his abilities as a leader. Overcoming this,
Ender begins winning the trust and friendship of
his peers, but he seems to be constantly put in unfair
positions by his commanders. The chapter starts
with the plot-advancing dialogue between Colonel
Graff and Major Anderson. Anderson begins the
dialogue with a question and then Graff responds;
the two alternate from there:
Does it ever seem to you that these boys
arent children? I look at what they do, the way
they talk, and they dont seem like kids.
Theyre the most brilliant children in the
world, each in his own way.
But shouldnt they act like children? They
arent normal.
Were trying to save the world, not heal
the wounded heart. Youre too compassionate.
(Card, 67)
This juvenile banter effectively typecasts the characters age, which is internalized by the reader based
on the method in which it was shown. The dialogue allows the children, and the world they are
surrounded by, to be magnified by contrast. Card
is also able to maintain consistency as he keeps the
readers mind aware of the plots structure by giving
traces of this type of dialogue throughout the novel.
In another scene later in the book, Enders
Dragon Army is preparing for a battle against an
army that has twice the manpower his does. Bean,
one of Enders Toon leaders, prepares to launch the
first assault on the larger group when they begin
taunting him: As if to corroborate Beans statement, the enemy began to call out to them. Hey!
We be hungry, come and feed us! Your ass is draggin! Your ass is Dragon (Card, 215). This again
shows how in a serious environment, the children
still express their youth through their language and
adolescent wordplay.
The dialogue in this novel represents a handrail
that Card uses to guide the reader through the ideas
the novel presents. Academically and analytically it
serves as a tool for laying essential groundwork in
characterization, plot, and structure. The combination of these three styles creates a surface level that
has a lasting effect: it makes the novel fun. It gives
the novel a voice and personality that stays with the
reader long after he or she has finished the book. In
an interview Card once revealed one of his reasons
for writing, commenting: I want to reach people
who read books for the sheer pleasure of it, because
those are the people who are open to having their
lives changed by what they read (qtd. in Ciporen,
51). This represents the combining effects of
Orson Scott Cards use of dialogue, which makes
the novel more enjoyable for the reader.
WORKS CITED
Card, Orson S. Enders Game. New York: Tom Doherty
Associates, 1985.
Ciporen, Laura. PW Talks with Orson Scott Card.
Publishers Weekly 7 (2000): 51.
McKinley, James. Writing Dialogue That Speaks to
the Reader. Writer 106.8 (1993): 1316.
Tapply, William G. Dialogue That Showswithout
Telling. Writer 107.3 (1994): 711.
63
rson Scott Cards Xenocide (1991) is a peculiar book. Although it occupies the space
between Speaker for the Dead (1986) and Children
of the Mind (1996), much of the plot of Xenocide
revolves around a cluster of characters that are new
to the saga, and the books emotional center of
gravity is less Ender Wiggin than Han Qing-jao.
Further, although Xenocide received a Hugo nomination, its critical reception has been surprisingly
mixed, with one reviewer grumbling about the
books frequent, irksome, and interminable theological / philosophical interludes (Review of Xenocide, 699). But if Kirkus Reviews was partly in the
right, it was also wholly in the wrong: the most
perplexing thing about Xenocide is not the sudden
emergence of some grand theology but rather the
way in which that theology is employed. More than
any other novel in the Ender Wiggin series, Xenocide wrestles with fundamental questions of faith
and free will. And it does so by way of a rhetorical
strategy that is interesting and powerful but not
always entirely successful. This strategy is not new;
it can be found in texts ranging from Beowulf to
Ulysses (1922). But the critic who describes it most
succinctly is the New Historicist Stephen Greenblatt,
whose essay Invisible Bullets: Renaissance Authority and Its Subversion is thus a helpful place to
begin an exploration of what goes wrongand
rightin Xenocide. Helpful and oddly appropriate:
Greenblatt writes from within the Marxist tradition,
and Cards novel describes a civilization whose roots
go back to Mao Tse-tung.
In Invisible Bullets Greenblatt describes a process commonly called subversion and containment.
as penances demanded by the gods, rituals of obedience that cleanse the souls of the godspoken so
that the gods can fill their minds with wisdom
(Xenocide, 51). In spite of the odd nature of their
religious rituals, however, the people of Path face
many of the same challenges encountered by
othermore earthboundreligious communities:
they must translate evidence of divinity into rules
of conduct; they must mediate between science
and religion and between religion and politics; and
they must find a way to transmit their faith from
one generation to the next. In these respects the
people of Path are like people of faith everywhere.
In describing the people of Path, Xenocide
explores a number of important philosophical
issues, including the nature of education, of history, and of obedience. In the process it testsand
appears to prove truefour subversive hypotheses
about the nature of religion. The first hypothesis is
the same one Greenblatt discusses in his reading
of Thomos Harlots A Brief and True Report of the
New Found Land Virginia (1588): it is the Machiavellian theory that religion is a political tool of the
ruling class. Early in Xenocide the link between
obedience to the gods and obedience to the government is statedin positive termsby Han Feitzu, the most honored of the godspoken. In the
following passage he is speaking with his daughter,
Qing-jao, who has just discovered that he has been
lying to the people of Path on behalf of the political rulers: Just as the gods speak only to a chosen
few, declares Han Fei-tzu,
so the secrets of the rulers must be known
only to those who will use the knowledge
properly. . . . The only way to retrieve a secret,
once it is known, is to replace it with a lie;
then the knowledge of the truth is once again
your secret. . . .
If we can lie in the service of the gods,
what other crimes can we commit?
What is a crime?
An act thats against the law.
What law?
I seeCongress makes the law, so the
law is whatever Congress says. But Congress is
66
Midway through Xenocide, however, Han Feitzu becomes convinced there is no heaven, there is
no mandate, and the way of Path is a lie propagated
by a tyrannical government. He becomes convinced,
in short, of the Machiavellian view of religion:
We, the godspoken, cries Han Fei-Tzu, are not
hearing gods at all. We have been altered genetically . . . [to perform absurd, humiliating rituals]
and the only reason I can think of is that it keeps us
under control, keeps us weak. . . . Its a monstrous
crime. . . . We are the slaves here! Congress is our
most terrible enemy, our masters, our deceivers
(289). Perhaps more importantly, Han Fei-tzus conclusions about the way of Path are shared by Ender
Wiggin, the protagonist in the series and the character who typically articulates Cards perspective.
Subsequent eventsincluding the release of a virus
which cures the godspoken of their behaviorappear
to justify both Han Fei-tzus assertions and Machiavellis theory. Indeed, only one of the godspoken
Qing-jaocontinues to believe that her obsessivecompulsive behavior is a form of purification sent
by the gods. Her continued faith, however, ultimately serves a subversive function as well, for it
points towardand seems to prove truea second
subversive hypothesis about the nature of religion.
This hypothesis concerns the power of hegemony, especially religious hegemony. In his Prison
Notebooks (1992) Antonio Gramsci defines hegemony
Congress manipulated her genes into spiritual evidence of the handiwork of the gods. Every proof
that is to saythat the government engineered her
obsessive-compulsive behavior reciprocally confirms Qing-jaos belief that the hands of the gods
were upon her and that the gods are using science
to conceal their work. The more the scientists prove
her wrong, the harder she works to transform their
critique into proof.
When presented with evidence of genetic manipulation, for example, Qing-jao retorts, Dont you
see? This genetic difference in usits the disguise
the gods have given for their voices in our lives. So
that people who are not of the Path will still be free
to disbelieve (290). When she is infected with a
virus designed to counteract the effects of the genetic
manipulation, she reasons:
And if the gods wished to stop speaking to the
people of Path, then this might well be the disguise they had chosen for their act. Let it seem
to the unbeliever that Fathers Lusitanian virus
cuts us off from the gods; I will know, as will all
other faithful men and women, that the gods
speak to whomever they wish, and nothing
made by human hands could stop them if they
so desired. All their acts were vanity. If Congress
believed that they had caused the gods to speak
on Path, let them believe it. If Father and the
Lusitanians believe that they are causing the gods
to fall silent, let them believe it. I know that if
I am only worthy of it, the gods will speak to
me. (581)
Qing-jao, neither does much to contain the subversion that lies at the heart of Xenocide. Apparently, apostates are not especially good defenders of
the faith.
For that Xenocide brings in the heavy hitters:
Ender Wiggin and Jane, a computer entity which
has achieved sentience. And in a series of discussionsthose frequent, irksome, and interminable
theological / philosophical interludes noted by
Kirkus ReviewsEnder makes a spirited defense of
the doctrine of free will, a doctrine which (if it can
be proven true) is capable of overthrowing Machiavelli and Marx alike, capable of justifying the belief
that truth does not merely exist but is accessible.
Interestingly, Enders first attempt at containment
begins in subversion; he initially plays the devils
advocate, reiterating various ways in which philosophers explainand explain awayfree will:
Either were free or were not, said Miro. Either
the storys true or it isnt.
The point is that we have to believe that
its true in order to live as civilized human
beings, said Ender.
No, thats not the point at all, said Miro.
Because if its a lie, why should we bother to
live as civilized human beings?
Because the species has a better chance to
survive if we do, said Ender. Because our
genes require us to believe the story in order to
enhance our ability to pass those genes on for
many generations in the future. Because anybody who doesnt believe the story begins to act
in unproductive, uncooperative ways, and
eventually the community, the herd, will reject
him and his opportunities for reproduction
will be diminishedfor instance, hell be put
in jailand the genes leading to his unbelieving behavior will eventually be extinguished.
So the puppeteer requires that we believe
that were not puppets. Were forced to believe in
free will.
Or so Valentine explained it to me.
But she doesnt really believe that, does
she?
Of course she doesnt. Her genes wont
let her.
70
Wang-mus answer to her own question is illuminating. She says: I can only judge by what I
understand. . . . Perhaps Im so stupid and foolish
that I will always be the enemy to the gods, working
against their high and incomprehensible purposes.
But I have to live my life by what I understand
(434). This is powerful doctrine. Unfortunately,
it is powerful in precisely the wrong way. Wangmu is eloquent and persuasive, but what she says is
not a solution but a confession: in this world of
flesh and bone there is simply no way to transcend
the subjective, the personal, the conditional. At
this stage, at least, there is simply no way to know
for certain.
Wang-mus response to the riddle of epistemology, then, is neither immanent, in Gilles Deleuze
and Felix Guattaris sense of the word, nor transcendent. Rather, it is what Michel Foucault calls the
will to knowledge, which is also, Xenocide seems
to suggest, as did Foucault, the will to power, for
when push comes to shove, Wang-mu challenges
the gods to prove her wrong neither through reason nor emotion, but rather through a brute show
of force:
And if the gods dont like it, they can poison me in my sleep or catch me on fire as Im
walking in the garden tomorrow or just make
my arms and legs and head drop off my body
like crumbs off a cake. If they cant manage to
stop a stupid little servant girl like me, they dont
amount to much anyway. (435.)
WORKS CITED
Athusser, Louis. Ideology and Ideological State Apparatuses. In Lenin and Philosophy and Other Essays,
trans. Ben Brewster, 12373. New York: NLB, 1971.
Beowulf. Trans. Charles W. Kennedy. In The Literature
of England, ed. George K. Anderson and William E.
Buckler, 1:1, 1565. 5th ed. 2 vols. Chicago: Scott
Foresman, 1966.
Card, Orson Scott. Children of the Mind. New York:
Tor, 1996.
. The Finer Points of Characterization Part I:
Just How Important Are These People? Writers
Digest 66 (October 1986): 2628.
. The Finer Points of Characterization Part II:
Creating Characters That Readers Care About.
Writers Digest 66 (November 1986): 3738.
. The Finer Points of Characterization Part III:
Making Your Characters Believable. Writers Digest
66 (December 1986): 3236.
. Speaker for the Dead. New York: T. Doherty
Associates, 1986.
. Xenocide. New York: Tor, 1991.
Deleuze, Gilles, and Felix Guattari. What Is Philosophy?
Trans. Hugh Tomlinson. New York: Columbia University Press, 1994.
74
Keynote Address
Lessons from Willa Cather for Mormon Writers, Critics, and Audiences
Willa Cather never outlined a set of rules for writers, of course, but over a lifetime she had much
to say, very much, about writing and reading. Indirectly from her fiction, and directly from her
overt statements about the writers craft, I glean a
few lessons or precepts that seem especially pertinent to us as writers and readers in the faith.
Cathers first lesson, as I see it, speaks to the
presence of soul in art, but in a more personal way
than do her statements about the artists passion.
The precept is simply this: write with feeling and
care deeply about your material and characters,
deeply enough to give the best of yourself to them.
Reading Cathers 1922 letters about her Pulitzer
Prizewinning novel of that year, One of Ours, tells
me how much she gave to her main character,
Claude Wheeler. More than a dozen letters to her
old college friend and fellow writer, Dorothy Canfield Fisher, are literally bursting with her feelings
about Claude and his story. She says that while she
was working on One of Ours her only life was the
life of the book and her character. She describes
the experience as total possession, companionship
with a living soul. Everywhere she went, whether
attending a concert or walking in the park, she met
Claude. When the book was finished, her sense of
loss was excruciating; it was as though she had been
buried with her character.19 Letters to H. L. Mencken
and Carl Van Doren, presumably also in 1922,
confirm the enormous emotional investment
Cather had made in her character and his story.20
Granted, Cather had reason to be especially
absorbed in the story of a boy drawn from a young
cousin of hers, but once she found her own voice as
a writer of fiction, everything she wrote absorbed
her. Her interviews, lectures, early newspaper
columns, reviews, and personal correspondence are
filled with references to feeling and emotion in
connection with her own work and that of others,
as well as to the necessity and demands of art.
Much as Cather elevated art and what it exacted
from the artist, she never underplayed the role of
emotion, insisting that the work of the artist is to
find the right form for an emotion that he wants
to pass on. The emotion, she said, is bigger than
77
Lessons from Willa Cather for Mormon Writers, Critics, and Audiences
Lessons from Willa Cather for Mormon Writers, Critics, and Audiences
81
She was no less quick-witted in her extemporaneous comments. As she was boarding a train at
Grand Central Station in New York City, an interviewer intercepted her and began plying her with
questions, the last of which asked what she thought
was the greatest obstacle American writers have to
overcome.
The ever-wily Cather replied with a question
of her own: Well, what do other writers tell you?
Some say commercialism, and some say prohibition (this was 1926).
I dont exactly agree with either, Cather
responded. I should say it was the lecture bug. In
this country a writer has to hide and lie and almost
steal in order to get time to work inand peace of
mind to work with. Besides, lecturing is very dangerous for writers. If we lecture, we get a little more
owlish and self-satisfied all the time. We hate it at
first, if we are decently modest, but in the end we
fall in love with the sound of our own voice. . . . All
human beings, apparently, like to speak in public.
The timid man becomes bold, the man who has
never had an opinion about anything becomes
chock full of them the moment he faces an audience. A woman, alas becomes even fuller! . . . Its
especially destructive to writers.45 (And here we
are, lecturing each other!)
Cather had a lot of other counsel for us, stated and
impliedsimplify, cut out the excess furniture, use
allusion to add layers of meaning, dont try to imitate New York,46 and so on. But, the sooner to
recover from the unfortunate effects of the lecture
bug, Im going to quit with those Ive named:
(1) write with feeling, (2) value the noble and
good, (3) touch the note and pass on, (4) write for
the fine reader, and (5) maintain a sense of humor.
In the spirit of that final precept I conclude with
a letter Cather wrote to her editor at Houghton
Mifflin, Ferris Greenslet, before she switched over
to young Alfred Knopf. Greenslet had forwarded a
request from some group asking that she give permission to change the name of the bull in My
ntonia from Brigham Young to Andrew Jackson,
for a special edition of a thousand copies. Ill
conclude by reading from her letter of response,
Lessons from Willa Cather for Mormon Writers, Critics, and Audiences
84
England further explains that Elder Kimballs sermon continues for five more examples, climaxing
when the Apostle mentions Christs personal appearance to the Nephite and Lamanite peoples on the
American continent, A.D. 34. This particular address30
was first heard by the newlywed Englands shortly
before they left for their two-and-a-half-year mission to the islands. According to Gene, It left
Charlotte and me moved and changed: We were
made ashamed of the liberal condescension of our
earlier desire to go save the Samoans.31
Elder Kimball utilizes several rhetorical devices
in his speech. First of all, he relates these comments
in response to a personal experience, an important
element of the sermo humilis. Essayist and scholar
Phillip Lopate explains, in part, the essayists strategy
of revealing self. The spectacle of baring the naked
soul is meant to awaken the sympathy of the reader,
who is apt to forgive the essayists self-absorption in
return for the warmth of his or her candor.32
The repetition of you, including O ye, I pray
you, I beg of you, I ask you, hints at the language of prayer, not just with the obvious I pray
you, but with the sincere querying one might
engage in when begging God for help, or answers.
Notice the repetition of the phrases at the ends of
each short paragraph: Some of them could be now
called Lagunas or Shoshones, and Their seed could
be called Samoans or Maoris. and They could be
called Zunis or Hopis.33 Elder Kimball utilizes
spiritual language and repetition as a point of
emphasis, but theres something more important
going on here than a discussion of lineage. Elder
Kimball is appealing to his audiences respect for
the Book of Mormon, asking his audience to
transfer feelings for Book of Mormon heroes to the
present-day Indians.34 Kimball employs the infrastructure of a spiritual text as the frame for supporting modern cultural ethnicities.
There is also the bite of chastisement in this
Kimball sermon, the notion that the anonymous
letter writer (and anyone else with like prejudices)
88
There is the metaphorical use of simile, the comparison of the inner feeling like the sun and the
inner influence like us. Again, think about the tone
of this paragraph, especially in the casual and natural scene/setting of this early spring morning, and
the shy awkwardness of a boy experiencingthough
he doesnt seem to know at the timewhat he later
believes to have been a spiritual experience of sorts,
during his fathers prayer. There is a simplicity and
softness, a humility in the authors delivery. There
is a steadiness in the narrative voice as he describes
in near poetic language this personal experience:
He asked me to kneel with him, and he spoke,
I thought to Christ, about the wheat. and I felt,
beside and in me, something, a person, it seemed,
something more real than the wheat or the ridge or
the sun, something warm like the sun but warm
inside my head and chest and bones, someone like
us but strange, thrilling, fearful but safe. My ear
can sense the line breaks in the meter of this narrative (He asked me to kneel with him, / and he
spoke, / I thought / to Christ, / about the wheat.).
I can hear the repetition of the words something,
or, and, and but that move the sentence
along, rhythmically, purposefully. This first-person
reflective voice is after the tradition of the sermo
humilis. There is no pulpit-pounding. There is no
fire and brimstone. Yet there is spiritual content.
Readers are left to educe deeper meaning from the
words on their own. England does not force readers
to experience this essay, but rather in his casual, poetic
conversation style of writing allows them to sense a
deeper spiritual realization embedded within the
universities today there are centers for Middle Eastern and Islamic studies, womens studies, gay and
lesbian studies, Hispanic studies, African American studies, Asian studies, Catholic, Hindu, and
Jewish studies, but no Mormon studies. Well, now
we have one. As we look ahead into the twenty-first
century, ahead to the challenges and opportunities
for Mormons, Mormon writers and artists, and those
concerned with issues involving Mormonism, I suggest we also take time to look back. Let us utilize
the Mormon personal essay to look both forward
and backward. By displaying his own Mormon
individuality, Eugene England reminds us of ours.
It is time Mormons realize it is acceptable to examine our own cultural and religious roots. Like fine
cheese, Mormons have been around a whileand
we just keep getting better.
Its been nearly 173 years since the Prophet
Joseph Smith organized The Church of Jesus
Christ of Latter-day Saints. Weve had 173 years to
age, to pioneer the West, to work for equality among
women, men, and minorities, to have more members of the Church outside the United States than
inside. Weve had nearly two centuries between us
and Governor Boggs and the militias of the Midwest.
Its been over a century since Mountain Meadows
and polygamy. The Mormon past is as imperfect
as the Mormon present. We will not turn to salt as
did Lots wife for looking back. We will not forget
to remember who we arewho we really arewho
we can become, and who weve been. But looking
ahead requires that we also look back.
NOTES
1. Eugene England comment at first annual Mormon Writers Conference held at Utah Valley State College, 1999. This quote found in authors personal notes.
2. I will use the terminology essay and personal
essay simultaneously. However, in the subgenre of personal essaying, there are many subcategories that divide
up the term essay, for example, environmental and
travel narratives, history and philosophical essays.
3. Many of the best modern personal essays are
reworked sermons, showing the close connection between
these two forms (Eugene England, Mormon Literature:
Progress and Prospects, Irreantum 3.3 [Autumn 2001]:
90, n. 87).
good. And others will he pacify, and lull them away into
carnal security, that they will say: All is well in Zion;
yea, Zion prospereth, all is welland thus the devil
cheateth their souls and leadeth them away carefully
down to hell (2 Ne. 28: 1821). Gideon Burton has
also remarked in his essay The Literary Legacy of
Eugene England, Irreantum 3.3 (Autumn 2001), that
he [Eugene England] was no armchair dilettante.
Gene was driven by his dissatisfactions as much as by
his optimism.
22. Eugene England, On Being Male and Melchizedek, Dialogue 23.4 (Winter 1990): 73.
23. England made use of Erich Auerbachs discussion and definition of the Latin term sermo humilis in
his own essay about President Spencer W. Kimball: A
Small and Piercing Voice: The Sermons of Spencer W.
Kimball, in Why the Church Is as True as the Gospel,
12527; see also Erich Auerbach, Literary Language
and Its Public in Late Latin Antiquity and in the Middle
Ages (New York: Bollingen Foundation, 1965), especially 2566.
24. Small and Piercing Voice, 127.
25. See Eugene England, Shakespeare and AtOnement of Jesus Christ, 34. Also, with regards to
Shakespeare and audience, while England was professor
of English at BYU, England said his own audience there
was merely comparable to Shakespeares original audience in Stratford and London. England did not intend
to publish a New York Times best-seller. And he didnt
care. Englands audience was methodically Mormon.
He didnt want to write for those outside the Mormon faith. All are welcome to read his writing, but the
audience is specifically chosen: those with a Mormon
connection. England also wrote that his favorite alltime character and piece of literature are Hamlet and
King Lear, respectively.
26. T. Edgar Lyon was also an influential institute
teacher. But as far as I know, England did not write
about Lyon, only about Bennion and Hanks, who is
now an emeritus member of the Quorum of the Seventy
in the LDS Church.
27. England worked with poet Ivor Winters, whom
he admired greatly, says Charlotte England. Ivor had a
sensitive personality, and though he was an eccentric
personmost poets areGene liked his spirit, and he
was moved by his personal touch with people. England
also had opportunity to work with writer Wallace Stegner
while at Stanford.
28. Small and Piercing Voice, 125.
96
Bridging the Divide: Writing about Spirit for the National Young Adult Market
as are Sanskrit and hieroglyphics. There is no public language to describe the process of coming to
God in a way that is equally meaningful to all who
hear it, as there is to describe the pleasures of food
or sex, the demands of the business world, or the
bittersweet negotiations of family life. Thats why I
mumble a lot when people ask me about my book,
at least people like my college roommate, a secular
Jew for whom the words of Christian conversion
carry the burden of centuries of oppression, or my
Episcopalian friend, for whom any reference to
Joseph Smith brings up distasteful associations of
frontier polygamy and insularity. I know what to
tell my Mormon friends. Hey, its a conversion story.
Most of you probably know pretty much what to
expect now. But there are no public words, no public scripts that allow me to say the same thing
beyond my own subculture without being understood to be proselytizing in a peculiarly embarrassing and clumsy way.
The impoverishment of our national language
by contemporary cultures secularization is not a new
idea. Andrew Delbanco, for one, has written a marvelous book called The Death of Satan (New York:
Farrar Straus and Giroux, 1995) that addresses this
subject with eloquence and passion, and there are
many other popular and scholarly texts on the same
topic. The way I get around the lack of a contemporary spiritual vocabulary in The Shakeress is by
setting it in a time and place where people were not
afraid to talk about spiritual issues, and they did so
in the language of organized religion.
Not every reader, however, is willing or able to
make that imaginative leap back in time with me.
Those who conflate any discussion of the spiritual
journey with the promulgation of, as my editor
would say, specific religious orthodoxies,2 find
The Shakeresss presentation of the LDS faith puzzlingly vague and inadequate. They attribute this
state of affairs to my putative desire to conceal
various unsavory and discredited early Mormon
beliefs, i.e., polygamy. They are mistaken. First of
all, of course, neither polygamy nor most other distinctively Mormon practices like the United Order
had yet been instituted. Second, even if Mormon
cultural practices had been alive and kicking, they
I would not presume to write a book that purports to convert because I cant; its a fools errand.
That is the one great lesson that every real grownup has learned: none of us has the power to control
another human being. The best we can hope for is
to offer our own experience, with all its pain and
confusion and hard-won joy, and to do so with the
humility and truthfulness and love that invites
the Spirit to become co-creator with author and
reader. Lois Lowry says it even better, as she so
often does:
100
NOTES
1. Stephen Roxburgh, telephone interview, 13 September 2002.
2. Ibid.
3. Katherine Paterson, personal interview, 8 August
1998.
4. Lois Lowry, telephone interview, 14 August 1998.
Such were the styles of most fatherly encounters in my life. Perhaps it is the desert that allows
for a limited success with this kind of paternal tradition. There is no duality of purpose in the searing sun, no difficult questions of right or wrong in
the gray expanse of sand and mesquite. Decisions
of nature are marked by a single-minded scrabbling for existence. This enforced morality makes
for a certain kind of freedom that is well suited
to childhood. Human nature, however, manages to
introduce more sophisticated concepts into this
austere world. Because of this, I grew up in a town
divided. Though the desert compelled people of all
races to band together to establish a living in this
place, no sooner were the homes built, than lines
were drawn. Mexicans lived on the north side of
town in San Pedro, while the rest of us were free to
settle anywhere we chose. The pressure to remain
separate came from every hand: friends, parents,
even the schools. Though institutional segregation
had already been abolished, Mexican students were
constantly chided on their differences, particularly
in terms of language and pronunciation. Afterschool friendships between Mexicans and whites
were considered unconscionable. I grew up with
these prejudices lodged within me.
The attachments to the place, however, were
buried much deeper, which now allow me to look
back on those prohibited associations with regret.
Through Elam, I have made a friend, Refgio, who
represents every dark-skinned boy I wished I had been
friends with, but wasnt because of societal pressures.
Refgio has come to be one of my best amigos.
What do the coyotes find to eat around
here? Elam asked. He and Refgio sat in the
shade of the cottonwood at the edge of Elams
backyard. The morning had faded into noon,
and the blazing sun stood high overhead.
Refgio pulled at a bull-headed thorn, yanking it out of the ground, root and all. Everything, he said. Mostly rabbits, I guess. But
103
Elams very first excursion in the desert convinced him that the place is haunted by ghosts. In
reality he finds the desert itself is aliverife with
unexpected pleasures: the sapling of a ponderosa
pine, growing where none should be; a spring,
bubbling up from the hard-baked earth; a rattlesnake that gives its cast-off skin to bring Elam and
Refgio together. He finds a place of magic. But
even more than that, when Elams world is rocked
by a second death, it is the desert that offers itself
for healing.
As Elam stepped once more into the canyon,
sibilant whispers murmured on all sides, rising
up with waves of morning heat. Dry air crackled over his face. Refgio had already disappeared beyond the curve of the slope, but still
Elam did not feel alonethe desert itself surrounded him now, a living presence that pulled
at him, more insistent than ever. He eased downward, and it was like descending into a dream.
105
A Hundred Days from Home, a novel of rattlesnakes, coyotes, and friendship is born of my own
veneration for a place I left more than thirty years
107
O how foolish!
and how vain!
and how evil!
and devilish!
Defiling the Hands with a Holy Book: The Future of Book of Mormon Scholarship
Defiling the Hands with a Holy Book: The Future of Book of Mormon Scholarship
114
Cities of Refuge
Harlow S. Clark
Cities of Refuge
how can you resist it? But for all its power art is not
a howitzer. I love the words I remember (or misremember) hearing from N. Scott Momaday at
BYU maybe twenty years ago, And as often as this
story was told it was always only one telling from
extinction. Art may have a profound effect on us,
but only if we allow it to affect us, only if we keep
telling the story. Because art is created for an audience, for someone else, if we refuse to tell ourselves
the story, that art is extinct for us. Thus the communal nature of art provides us a way to escape the
power, to avoid being overwhelmed.
And this is what my second story, about finding Paula Gunn Allens anthology The Song of the
Turtle, has to do with the image of cities of refuge.
In introducing each story Allen traces two main
tropes, liminality, or border crossing, or crossing
back and forth between cultures or worlds or spiritual states, and transformation.
I cross a lot of borders, into and out of the
city of refuge, and have sought to transform our
image of art from violence to refuge, so I much
appreciate Paris Andersons story Tough-Luck:
Sitting Bulls Friend, a fine piece of refuge and
transformation.2 He manages to capture Sitting
Bulls stature as a holy man and the tragedy of his
murder without telling it in a way that might overwhelm the children hes writing for.
He does this partly by choosing a naive point
of view character, Tough-Luck, Sitting Bulls horse
in Buffalo Bills Wild West Show.
Sometimes sad folks came to the show lugging
mire in their hearts and shadows in their eyes.
Tough-Luck liked to make tricks for them,
because after the tricks, after the sawdust and
gun smoke, after the thunder of cannons, bloodcurdling shrieks and war paint, folks went home
with rainbows in their hearts and sparkles in
their eyes. Tough-Luck saw this plainly, for the
eyes of four-legged people are not like the eyes
of two-legged people. (7)
because it begins the sentence. Good has good capital anyplace). Good has virtue, vertu, the word
Chaucer used to describe life force, ability to bring
forth, strength, power. Evil has that power only by
attaching itself to something good, so of course
some people use good things for evil.
We dont hold the Book of Mormon accountable because the Lafferty brothers used it to justify
murdering their sister in law and niece. When we
talk about scripture we recognize there is not a
symmetrical relationship between a work of art
and scripture is very much artand its effects. Its
not like a teeter-totter set to the middle rung,
where the evil balances out the good. We recognize
that scripture is meant to testify of the Savior and
bring people to Him, and we give more weight to
that effect than to the evil uses people make of
scripture for their own ends. Indeed we could give
evil the greatest leverage on the teeter-totter and
good would still have greater weight.
To recap, art can be a city of refuge both for
artist and viewer, partaker, and sharer; art can provide us a refuge from itself, and all art provides
refuge for someone because all art has some vertu if
only from the act of creating. All making defeats
the Unmaker.
As the allusion to Orson Scott Cards Alvin
Maker series suggests, I was going to extend this
paper to show more examples of art as refuge in
Mormon literature, but I got an e-mail in December 2002 that offended me and by the time I finished with it I realized my changing reactions
illustrated my thesis perfectly.
I get a lot of e-mail from a fellow my wife grew
up with, a good friend of her brothers. Its mostly
Internet fluff, much of it with a distinctly Evangelical Christian flavor, which surprises me a bit
because Evangelicals dont often consider LDS to
be fellow travelers, though I suspect the two groups
have more in common than they like to think.
This story came under the title If you were
in Gods shoes. Ill summarize the first part with
a note that it involves a mystery flu sweeping
the world, and despite European countries and the
U.S. sealing their borders it comes to the borders,
east and west and starts sweeping in toward the
Cities of Refuge
Cities of Refuge
NOTES
1. In a tragic twist, our friends sister just finished
ten years in prison for a murder she didnt commit,
because she was present and stoned with her husband
when he shot her best friend in a bar, then killed the
waitress. He told her that when the police came to their
apartment to investigate he would be standing behind
the door with the gun pointed at her head and if she
said anything to them he would shoot her. So she was
prosecuted for obstruction of justice and providing a
gun to a felon, a gun she had bought to protect their
tattoo shop, not to give him.
2. Pariss AML-List posts are full of border crossing
and the search for refuge. He gives some idea of why in
his account of a violent head injury, On Growing Up
Tough, Irreantum 3.2 (Summer 2001): 3843.
3. The Green Mile offended me partly because the
Christ symbolism at the end was so obvious, but mostly
because I simply couldnt believe that after everything
John Coffey had done for the warden and the other jailers they would not even try to save his life. If nothing
else, they could have claimed that the prisoner the
sadistic guard shot in his madnessthe man who really
murdered the two girls Coffey is sentenced for murderingshot him because he was taunting the guard about
the botched execution and asking if he were going to
conveniently forget to put the wet sponge on John
Coffeys head, and wouldnt that be fun because I
killed those little girls, and a good old southern boy like
you sure must love the idea of putting a innocent nigguh to death.
The ploy wouldnt have to work for me to accept
The Green Mile as a parable. There just has to be some
attempt made to save his life. I suppose its part of the
thriller/false imprisonment genre. I found Stephen
Kings opening paragraphs compelling, but since the
book ends the same as the movie I decided not to read
it. I would probably find it as unsatisfying as I would
have found Rita Hayworth and the Shawshank
Redemption if King had ended it with the guards finding Andy Dufresne and shooting him down in a cornfield the morning after his escape.
4. Of course, searching for this quote I find I have
inverted Matthew 13:13: Therefore speak I unto them
in parables: because they seeing see not; and hearing
they hear not, neither do they understand. A rather
sarcastic comment, but my inversion is true to our exegetical sense, that Jesus spake in parables as a way of giving
his hearers something to grasp upon later reflection.
121
122
Gathering in Nauvoo:
The Lofgren Family Remembers
Elizabeth Mangum
as a tribute to their sacrifice and fortitude. Increasingly popular are the sites that once acted as Church
headquarters; places like Nauvoo see more and
more visitors every year. Expansion of the Church
gave leaders the opportunity to begin restoring the
abandoned homes and buildings of the small town
on the banks of the Mississippi River. The restoration process in Nauvoo officially began in 1962
under the direction of a privately owned corporation named Nauvoo Restoration, Inc.,3 headed by
Dr. LeRoy Kimball. Ralph and Ruby Jones, who
happen to be my great-grandparents, lived in Nauvoo for a year working with this group, fostering
goodwill and respect for Mormon activities and
starting the search for artifacts left behind in the
great migration of the 1840s and 1850s. Their
daughter, Donna Jones Lofgren, and her extended
family have made at least four trips to Nauvoo
since this restoration began. The first trek took
place in 1963, and the most recent trip in June 2002
culminated with the dedication of the now-restored
temple. Several key aspects combine to qualify these
trips as pilgrimages, such as traveling as a group to
holy places. Nauvoo is becoming a Mormon mecca
of sorts, and rightfully so.
With a functioning temple and restored pioneer homes, Nauvoo has many more visitors today
than just the Lofgren family. My research focused
on the motivation for these pilgrimages: are they
tributes to pioneer forebears or just fulfillment of
personal curiosity? What was so magical about a
town so small that it didnt even have a McDonalds
restaurant? Visitors flocked to the temple during
123
the gift shopinterrupted stories during oral interviews. And did ten-year-old Diane really kill the
bunny when she sat on it so many years ago? Personal experiences drew them back to Nauvoo, as if
they could recapture those nights spent catching fireflies next to the mighty river. Even though several
noteworthy moments during the 2002 trip might
have been mentionedlike the shouting match with
the motel manager over the reservations made two
years priorno one focused on those stories when
first asked about Nauvoo. It was moments of childhood and innocence that came up again and again
as stories started out, Were you there when . . . ?5
The return to Nauvoo was in many ways a return
to youth and simpler times.
Nauvoo became a place of family bonding as
family members shared feelings and values. With
the captive audience, the family used this trip to
cement their own personal histories. Remembering
the stories gave the experiences value, and increasing the collective knowledge of those experiences
ensured that someone would remember what had
happened there. Stories like the supposed bunny
murder were told over and over and over, until even
the latest generation of ten-year-old cousins talked
about it as if it happened yesterday. The blue cheese
factory and, yes, even the fireflies came up in several conversations.6 David Lofgren told the story at
least twice on tape about working at the temple site
in the 1960s as a landscape architect: once in Nauvoo
standing outside the temple and then again during
a group interview last October.7 For him, the temple
triggers the importance of education; an unusual
connection, he nonetheless uses the temple to persuade children to stay in school and succeed academically. Simple stories turned into teaching
moments. The Lofgrens cemented the living generations together by passing on these oral histories.
It was these passed-on histories that gave the
family a sense of belonging in Nauvoo. Even my own
siblings, who went to Nauvoo for the first time in
1990, talked about when we were there before.8
I was surprised to hear that the reason my youngest
brother Jordan wanted to go was because it was
going back to some place weve been to many a
time,9 when in fact he had been there only once,
127
Brunvand said urban and contemporary legends are told for a variety of reasons, one being to
reassure. Inspiring stories are often used to appeal
to the audiences and tellers emotions and put
order into an otherwise disorderly world or when a
life trial is questioned. The above story was used in
this particular context. One of the ways these legends reassure is by telling stories specific to a particular culture using words and phrases unique to
that group. Folklorist Elliott Oring says narratives
are performed in specific social contexts constituted by a specific group of people, a specific set
of principles governing their interrelationship, and
a specific and symbolic environment present at
the time of narration. He says the understanding
of a narrative is governed by understanding the
situation in which it is toldas in the world of
LDS parents.
Why was this story told? Sister Bean was
acknowledging the instructors message by sharing
an inspirational story of her own. In doing this she
was confirming the LDS belief, or the values of the
community, that God is aware of each of his childrens needs. She is also validating the ideologies
concerning pre-earth life, a war in heaven, and the
encouragement received from patriarchal blessings.
Using words specific to the LDS culture, only
the inside group would be able to understand the
significance of the story. An outsider might understand Downs syndrome, blessings or prayers, and
the concerns a family might have when rearing a
disabled child. But the outsider would not likely
understand the significance of a patriarchal blessing, the meaning behind a war in heaven, and why
God was protecting this boy from further pain.
Brunvand says that in choosing to tell a specific
story at a particular time certain feelings are being
acted out. William A. Wilson (Bert) calls this the
if/then quality. We are looking for the means that
justify the endsIf my child was born disabled,
and if I believe there is a loving Father in Heaven,
then there must be some amazing reason for this
child being disabled. Parents of disabled children
might find comfort in a story such as this. In this
story there are answers to questions that often go
unanswered. In a world where many aspects of life
130
source before becoming a party to causing speculation and discussions that steal time away from the
things that would be profitable and beneficial and
enlightening to their souls. . . . I would earnestly
urge that no such idle gossip be spread abroad
without making certain as to whether or not it is
true. . . . As I say, it never ceases to amaze me how
gullible some of our Church members are in
broadcasting these sensational stories, or dreams,
or visions, some alleged to have been given to
Church leaders, past or present, supposedly from
some persons private diary, without first verifying
the report with proper sources. In the Ensign,
Dallin H. Oaks, an LDS General Authority, says
this about discussing miracles, Most of the miracles we experience are not to be shared. Consistent with the teachings of the scriptures, we hold
them sacred and share them only when the Spirit
prompts us to do so.
With these statements as warnings to all LDS
tellers and their audiences, why do we as LDS people
continue to share stories such as this? There is that
germ of truth as the story reflects the concerns of
parents and others within the LDS culture. It reassures the congregation about others status with
God by restating how they should react to and
accept those with disabilities. Also, Sister Bean is a
neighbor, friend, and contemporary or sister in the
gospel. The audience would not discount the feelings of someone whose sincerity is so strong and
who relays this story in a voice filled with emotion.
Eric Snider, a writer for Provos Daily Herald, calls
this, We believe all things: stuff we keep passing
around even though its not true. In addition, if
I have heard stories similar to this, even if I am
uncomfortable with the story, I can justify the
believability, Ive heard this story several times
beforeit must be true. I begin to take this story
and refer to it every time I encounter a disabled
person, Maybe everyone with Downs, Autism, etc.,
is likewise blessed. I can go from skeptic to
believer in a relatively short amount of time. Bert
Wilson suggests that stories such as these are windows to our past and also a means to understanding contemporary situations.
131
Stories such as this act as a social mirrortestifying to the validity of church beliefs and doctrines. In reinforcing specific aspects of LDS belief,
those who hear and share the story are more apt to
attempt to remain worthy enough to have their
own spiritual experiencesimilar to the ones they
are aware of. Personal and private spiritual experiences will be compared to the sensationalized stories heard and worthiness will be based on the
extremeness of the story being compared. However, as long as the LDS Church teaches that God
knows each one of his children individually and
that each child of God is capable of having a personal correspondence with God, the LDS audience
will never be lacking in stories. There will always
be some sort of divine interventionwhether as a
missionary, a parent, a young person on a date, or
a convert to the Church.
Brunvand says the lack of verification does not
diminish the appeal of the story. The first time I
heard this story I too was touched by the message.
I have two hearing-impaired children and have
often wondered why me. I also have a sister who
has a child with disabilities, weve talked about the
whys. I have friends who have disabled and difficult children; they too have had questions concerning the eternal implications of rearing disabled
children. However, I do know that the spiritual
answers I have received regarding my childrens welfare are personal and private and not meant to be
shared in any setting other than one intimate and
sacred. I likewise would be embarrassed to have
their story or their patriarchal blessings shared with
people whom I do not know. I would want to
remain in control of the story and of its telling. In
addition, what does this story say to people whose
children are healthy? What about the disabled children, physically or mentally disabled, who had
nothing like this stated in their blessings? The LDS
doctrine teaches that we do not know a lot about
pre-earth life, and additionally, we dont believe in
predestination. Dont we learn, in this story, that
this childs destiny was predetermined? What about
on the days these parents, or even the child, cant
handle one more demand placed on them? Do they
feel guilty when they ask, Why me? or perhaps
132
133
experience? Was there an audience for such writing? Would I betray my people or exploit my ethnicity if my writing dealt with Mormon-related
matters? I didnt recognize it fully then, but I
sensed that I had to confront my religious culture
before I could tell my stories. As Carolyn Kay
Steedman writes in her essay Stories, specificity
of place and politics has to be reckoned with in
making an account of anybodys life, and their use
of their own past (243). Little did I apprehend
then the involved questions that I would ask and
the searching I would undertake to find answers to
my questions.
Naturally, confronted with these dilemmas,
I developed a desire to find a mentorsomeone
who was like me spiritually and who had written
her stories. I wanted to learn how she recorded
accounts of life as a Mormon woman. As Adrienne
Rich suggests in much of her poetry, I desired to go
back in history in search of a healing vision
(Christ, 77). Like other women writers with a
unique background such as Alice Walker, Ive felt
consumed by the need to find [my] past, to trace
lineages that will empower [me] to live in the present. It made sense then to study Western women
writers and Mormon women writers in particular
as I pursued a masters degree in English.
When the time came for me to write my thesis,
I interviewed several Mormon women writers by
telephone, by email, or in person. The questions I
asked them focused on their self-perceptions as
artists and on the development of those perceptions. I asked about their subject matter, schedules,
and motivations as writers. I queried them about
how their affiliation with the LDS Church has
influenced them, especially in terms of censorship.
I desired to know how their art and their personal
relationships affect each other. Who were their
mentors? Consequently, my thesis is not a conventional analysis of literary works. I focus on much
more than just the final product. I also investigate
the process behind the publications of these intelligent and talented women.
The process of writing this thesis on contemporary Mormon women writers transformed me.
I examined the powers that provide orientation
136
jective disempowerment by the subjecting discourses of others (266). In other words, no matter
the tradition one inherits, writing is the forum
wherein a person interprets that tradition for him
or herself.
I believe that many of these women writers are
kindred spirits. Along with deeply rooted spiritual
convictions and a love for words and language,
most of them have also struggled with issues of
self-confidence. Ulrich admits in her University
of Utah 1992 Commencement Address that there
have been times when she didnt believe in her best
gifts. In her essay Patchwork (1988), she tells
that while she may have been a high-achiever, she
was a wimp at heart (Ulrich and Thayne, 25).
A personality test she took thirty years ago as a student at the University of Utah revealed that in the
category of Autonomy her score was so low as to
be almost invisible (25). She writes, Readers of
this essay who have the mistaken impression that I
am a totally liberated, self-directed person should
know that I have never gone job hunting (26).
Her intellectual life was built from jest what happens to come (25). Part of what happened to
come involved looking back at and standing upon
the shoulders of her Mormon and literary foremothers.
In her essay Fear, I Embrace You, Louise
Plummer shares her lifelong desire to make her
mark on the world as a talented artist. She says that
as a younger person she was clear about the work
she wanted to do: drawing and writing. But she
became afraid of it. She tells how at the University
of Utah as an art major the efficient, brusque air
about [the librarian] intimidated her (77). Consequently, Plummer got a C in art. It wasnt until she
was thirty years old that she had the courage to ask
for help. Because of chronic fear, she describes herself as a classic late bloomer (78). The writers here
learned that the self can be communal, engaged,
and dialogical as well as individual, detached, and
introspective, as expressed by Virginia Woolf (qtd.
in Gagnier, 264).
Perhaps through their writing, these women
writers have arrived at a developmental point in
which they are willing to share the discoveries they
137
140
Gagnier, Regenia. The Literary Standard, WorkingClass Autobiography, and Gender. In Women,
Autobiography, Theory: A Reader, ed. Sidonie Smith
and Julia Watson, 26475. Madison: University of
Wisconsin Press, 1998.
Goldman, Anne E. Autobiography, Ethnography, and
History: A Model for Reading. In Women, Autobiography, Theory: A Reader, 28898.
Lionnet, Francoise. The Politics and Aesthetics of
Mtissage. In Women, Autobiography, Theory: A
Reader, 32536.
Olsen, Tillie. Silences. New York: Delacorte Press, 1978.
Mason, Mary. The Other Voice: Autobiographies of
Women Writers. In Women, Autobiography, Theory:
A Reader, 32124.
Nunes, Rachel Ann. Email interview. 16 April 2001.
Peterson, Charles S. Introduction. In Quicksand and
Cactus: A Memoir of the Southern Mormon Frontier,
by Juanita Brooks, Salt Lake City: Howe Brothers.
1982.
Plummer, Louise. Personal interview. 27 April 2001.
. Thoughts of a Grasshopper: Essays and Oddities.
Salt Lake City: Deseret Book, 1992.
Steedman, Carolyn Kay. Stories. In Women, Autobiography, Theory: A Reader, 24354.
Thayne, Emma Lou. Telephone interview. 9 April 2001.
Thayne, Emma Lou, and Becky Thayne-Markosian.
Hope and Recovery: A Mother-Daughter Story about
Anorexia Nervosa, Bulimia, and Manic Depression.
New York: Franklin Watts, 1992.
Ulrich, Karl. Confessions of a Feminists Child. Exponent II 6.4 (1980): 18.
Ulrich, Laurel Thatcher. Telephone interview. 6 April
2001.
Ulrich, Laurel Thatcher, and Emma Lou Thayne. All
Gods Critters Got a Place in the Choir. Salt Lake
City: Aspen Books, 1995.
ost people would agree that it is less problematic to explain the existence of something
than to explain its nonexistence. Retracing steps or
events that culminate in the creation of somethingbe it an event from history, a work of art,
or a babyexplains how something came into being.
Of course, the human limitation of being able to
reflect only on time that has passed prevents us
from identifying why something has not yet happened. Such is the case with the much discussed
and awaited great Mormon novel. There have certainly been great religious novels from other faiths,
such as Hawthornes The Scarlet Letter or Chaim
Potoks My Name Is Asher Lev. Why no Mormon
novel? Mormon history is no less interesting than
that found in other religions, its theology no less
compelling and complex. Neither is Mormon culture lacking in substance.
In the preface to Tending the Garden: Essays on
Mormon Literature, Eugene England asserts that with
the combination of a dynamic history, ongoing and
personal revelation, and unique theology Mormon
writers certainly have at hand sufficient matter
with which to produce a great literature.1 Though
he has little interest in the theology, Wallace Stegner concurs with Englands assessment of historical
abundance saying, You can get a good deal of
mileage out of Mormon history.2 It becomes harder
to explain the absence of quality Mormon novels
when there certainly is a plethora of material from
which an author could draw. However, Mormon
authors face some real difficulties when writing
fiction.
144
NOTES
1. Eugene England, Introduction, in Tending the
Garden: Essays on Mormon Literature, ed. Lavina Fielding Anderson and Eugene England (Salt Lake City: Signature Books, 1996), xvi.
2. Wallace Stegner and Richard Etulain, Conversations with Wallace Stegner on Western History and Literature (Salt Lake City: University of Utah Press, 1983), 114.
3. Ibid., 116.
4. Virginia Woolf, Harold Blooms Shakespeare, ed.
Christy Desmet and Robert Sawyer (New York: Palgrave Publishers, 2001), vi.
5. Stegner and Etulain, 114.
6. Ibid., 116.
7. Ibid.
8. Rob Williams, Huts of Time: Wallace Stegners
Historical Legacy, in Wallace Stegner: Man and Writer,
ed. Charles E. Rankin (Albuquerque: University of
New Mexico Press, 1996), 125.
9. Wallace Stegner, The Gathering of Zion (New
York: McGraw-Hill, 1964; rpt. Lincoln, NB: Bison
BooksUniversity of Nebraska Press, 1992), 1.
10. Paul Dahl, William Clayton: Missionary, Pioneer,
and Public Servant (Cedar City, UT: Utah County
Genealogical and Historical Society, 1959), 100.
11. Stegner, 189, 188.
12. Ibid., 13.
13. Charles Wilkinson, Wallace Stegner and the
Rigor of Civility, in The Geography of Hope: A Tribute
to Wallace Stegner, ed. Page Stegner and Mary Stegner
(San Francisco: Sierra Club Books, 1996), 59.
14. Stegner, 13.
15. Williams, 119.
Here are three short answers to a very complicated question. First, writers should tell the truth.
If they dont have the guts to tell the truth, they
should stand aside and let someone else do it; this
is nobler than softening or falsifying the truth. And
finally, if readers dont want the truth, dont tell
them. (Even Christ couched the truth in parables.)
But dont tell lies, either. Telling the truth to people
who dont want it is probably uncharitable and certainly a waste of time.
When LDS students are told to tell the truth,
they may misinterpret that as a directive to be doctrinaire instead. To put this in perspective, we
should realize that religious writers are not the only
ones who might be tempted to write propaganda
the promotion of specific doctrines or causes. A
devout feminist writing about the men in her family, a gay person writing about homophobia, a
Marxist writing about American materialism, an
ex-Mormon writing about hypocrisy in the Church,
or a loyal LDS student writing about the nobility
of the priesthoodall may run the risk of writing
in order to prove the validity of their cause, rather
than writing to explore the conflicts that move real
people with real, individual struggles. As John
Gardner says, The artist who begins with a doctrine to promulgate, instead of a rabble multitude
of ideas and emotions, is beaten before he starts.9
Most human beings are more complex, more
self-contradictory, and ultimately more interesting,
loveable, and even admirable than any political or
religious system. Good literature may use religious,
social, and political categories as setting, or it may
use them to introduce conflict, but good literature
ultimately transcends those systems. What Faulkner
calls the human heart in conflict with itself 10 is
always more complicated and compelling than
social and religious systems alone. Thats why a
novel that says all Mormons are hypocrites is just
as bad as a novel that says all Mormons are good.
Student writers must learn to move beyond
clichs, stereotypes, and propaganda. They must
learn to see more clearly, and they must learn to see
for themselves, looking past labels and categories,
past commonly held beliefs, to discover their own
insights.
147
account for it. People who think they have all the
answers do not need anything new. Repetition is
fine for the church meeting until we can master
those simple principles weve been told a thousand
times. But for art, its got to be new. Even an old
story must be told in a new way if its going to capture an audience. And we wont have anything new
if we think we already have it all.
Not Afraid of Believing
So there are cautions to consider when teaching
LDS creative writing students, but to their credit,
they do have a lot to offer in the classroom. First of
all, they have a pretty good work ethic. Once they
are disabused of the notion that writing is a mystical experience in which the muses dictate what one
is to write, they are easily convinced of the need to
work hard, even if they dont do it.
Because of the way the Church reinforces connections with others through diverse activities,
LDS student writers are less likely to bury themselves in their writing to the neglect of everything
else. They are less likely to numb themselves with
substance abuse. They are less likely to believe that
exclusive immersion into the self will awaken them
to the struggles of the human condition. Writers
who sacrifice faith, family, and friends, whatever
their religion may be, risk losing their connection
with God and otherstwo sources of constant fuel
for the writers imagination. Working with people
one wouldnt always associate with (as is common
in the Church and the family) is invaluable to a
writers deepening understanding of human character. Family life especially brings out the best and
worst in people. People in their extremities are
more honest and are, therefore, better subjects for
the writers observation. Of course, one doesnt
have to be LDS for this to happen. The good news
for Latter-day Saint writers is that the connections
the Church advocates can help, as long as the
writers religion is an open and healthy interaction
with others. A religion of politeness and dutiful
conduct will never benefit the writer.
Another advantage LDS creative writing students have is that they arent afraid to believe in
150
his is an essay voiced from my personal perspective and research. The LDS women with
whom I most frequently interact represent only a
tiny demographic slice of the women of Utah, and
they are women professors, female university students, women in my ward, and women in my family. I moved here nearly seven years ago (St. Louis,
Missouri, is my original home) to accept a faculty
position in the English Department of Brigham
Young University and am a folklorist and cultural
ethnographer who teaches a variety of courses.
One of my earliest research projects here was in
response to an invitation by the American Association of Cemetery and Gravestone Studies to present research on polygamist burial sites. Material
culture is part of my academic spectrum, and that
research led to an interesting find which I considered a telling commentary on LDS women of the
last century. In the Provo Cemetery stands a monument to a wife that carries her epitaph, You are
going to miss me when Im gone.
Yes, I thought, from what Ive learned about
LDS women, Im sure you were right. The concept of polygamy has never particularly interested
me, but I have heard it mentioned so many times
in my years here that I began to realize its subtle
influence in everyday LDS culture. The woman
whose epitaph I have quoted was a second wife,
but not a plural wife.
The following discussion continues in the form
of a personal essay but also includes academic research.
I am a convert to The Church of Jesus Christ of
Latter-day Saints and have been a member for over
During life difficulties, which all humans obviously face at one time or another, it is reasonable to
find, or be helped to find, a positive perspective
and respond accordingly. That isnt easy, but it is
the only way to guarantee an understandable and
endurable consequence. We are required to negotiate our space and our relationships to make them
151
(Whipple, 474). Some LDS women seem to be comfortable with that concept, but others push against
it and find it altogether stifling. For most, at least
in the valley where I live, contemporary beliefs and
actions reflect the heritage. Elaine Jack explained,
in an essay called Read . . . One to Another:
The gospel is a plan whereby we learn to
become like God. We have textbooks that are
divine and the Holy Spirit as our tutor. The
intellect, like testimony, is not worn out when
we use it. Engaged, it thrives on the stimulus of
learning new and different things, analyzing,
processing, storing, and recalling. Let the solemnities of eternity rest upon your minds (D&C
43:34) is a reminder to take seriously the
opportunity to continue to learn and grow. (9)
provocative (but not entirely positive). The following is the list brainstormed that day:
1. Family traditions
2. Growing up in the mission field (Babylon),
where there werent many LDS, and then
moving here for school where everyone is
LDS really has an impact on people. The
culture is less accepting of difference here.
3. We are sort of shaped by the motherhood
cult.
4. Cultural perfection: baking bread, no brownie
mix, all foods from scratch and looking perfect all of the time.
5. Striving for excellence with the opposite sex
constantly.
6. I think striving for perfection has made me
want to be constantly improving. I think
that is good.
7. Striving for excellence in everything including extracurricular activities. I have been
shaped into being tired.
8. The fake happy thing has shaped my outward appearance, but I feel frustrated by that.
9. Pressure to marry has made me not want to
marry yet, and that is an unusual cultural
attitude at BYU. There is even more pressure to marry when a girl returns home from
a mission. I am not sure if that is positive or
negative; that is just the way it is.
Contemporary Latter-day Saint women in the
Intermountain West are as varied as any group.
They represent all socio-economic levels; they are
of all shapes, colors, ethnic groups, and personalities; their regional, cultural, social, political, and
educational experiences are varied; and like women
of any American group, they are single, married,
divorced, or widowed. One of the commonalities
LDS women do share is a strong belief in what
is called in the church vernacular free agency
that is, the unalienable right to make choices
according to the dictates of ones own conscience.
That is a valuable prerogative and, since the founding of the Church in 1830, certainly one that the
154
tradition and training to dress modestly and maintain excellent grooming standards. As mentioned
above, some seem confused by the fashion trends
of the day, but for the most part this cultural practice of attractive self-presentation is a manifestation
of the worth and esteem the LDS women expect of
themselves. Long ago one of my childrens kindergarten teachers remarked in a general conversation
we were having about the Mormons and the
Church: I think the most beautiful women in this
country come from Utah. There is something
about those Mormon women. Collectively and
consciously, I believe, the LDS women know they
are representative spiritual daughters of a very real
God. They know, too, the sacrifice their progenitors have made to enable them to live their religion
with dignity and impunity. They continue to
honor their dead both inside the temple through
the work done there and outside of the temple by
representing their ancestors with grace and modesty.
The principle of plural marriage was fully in
effect during this twenty-six-year period (1849 to
1875). Criticism abounded, and Brigham Young and
his wives were targeted. There were tirades from
Protestant ministers, the LDS were misrepresented
in popular novels, and they were the butt of tasteless jokes and cartoons generated by outsiders who
simply did not understand the principle and design
of the Celestial Order. In marked contrast to the
kindergarten teachers remarks, Mark Twain, in a
passage well known to many LDS readers, stated:
Our stay in Salt Lake City amounted to only
two days, and therefore we had no time to
make the customary inquisition into the workings of polygamy and get up the usual statistics
and deductions preparatory to calling the
attention of the nation at large once more to
the matter. I had the will to do it. With the
gushing self-sufficiency of youth I was feverish
to plunge in headlong and achieve a great
reform hereuntil I saw the Mormon women.
Then I was touched. My heart was wiser than
my head. It warmed toward these poor, ungainly
and pathetically homely creatures, and as I
turned to hide the generous moisture in my eyes,
I said, Nothe man that marries one of them
has done an act of Christian charity which
each other through loss and fear, joy and celebration. They helped one another with lifewith
deaths and births and everything in between.
Whipple describes efforts of the women to
raise a generation of dignified, well-groomed and
well-behaved daughters: All the little girls in town,
starched and curled, each clutching her wilting
bouquet, formed a vanguard (230). And in another
passage, Clory twisted her hair in the new English
chignon, pinched her cheeks before the cracked
mirror above the cupboard. . . . But one must keep
ones looks as long as possible (505). The novel
tells a sad, human story, but it shapes an understanding of a generation long ago who consciously
set a standard of cleanliness and presentability for
those who would follow.
I recall a young mother from Utah in my
St. Louis ward who was there while her husband
was completing medical school. Each Sunday,
lined up, smiling, and behaving well, were her four
little girls, starched and curled, with big bows to
match the pretty dresses their mother, a woman
with an MBA, had actually made. She was the Primary president and devoted to her family and calling. To me, that shining little group of girls
remains a memory of a mother who understood
well the role she had chosen.
The young mother I have just described was
named Marian, and she was no Stepford wife, nor
was she a product of Helen B. Andelins Fascinating Womanhood, a book published in 1963 that
claimed to guarantee the strategies for winning a
mans genuine love (1). I was given the book,
apparently popular among many LDS women,
when I joined the Church in 1966, and though
some of it was common sense, a good part of it
taught women to be manipulative. Marian was a
person of integrity who brought children into the
world and fully assumed responsibility for their
care and training. She loved taking care of her
home and children and enjoyed her husband, but
she drew the line at canning. At one point, several
women who were Primary teachers called and said
they would not be there for their classes that week
because they were bottling green beans. Marian
turned to me (I was one of the Primary counselors)
and remarked that canning or bottling was something she would never do. She said she had seen a
lot of it in her lifetime, but making freezer jam was
as far as she would ever go in that department.
Marian was a product of her rural upbringing, yet
she was a self-examining person and enjoyed reading and studying both sacred and secular materials.
She set her own priorities concerning the way she
spent her time and sometimes remarked that a
woman could find time for everything she might
want to do if she only did some planning. The
women who were doing the bottling had made
that choice consciously as well. There was a small
window of time in which the vegetables could be
processed at their peak, and their credo was focused
on a waste-not point of view. That view represents
another dynamic and important perspective of
pioneer and contemporary Mormon women.
LDS women, even those in isolated, rural areas
of Utah during the last quarter of the 1800s,
prided themselves in being informed about literary
and political issues. This was a time of womens
suffrage movements in the United States, and the
women in Utah were just as anxious to attain voting rights as any other group of American women.
The Womens Exponent, a publication established in
1872, forged a link between the women of Utah
and other women throughout the nation. In the
non-Mormon Salt Lake Tribune, however, articles
written by women from outside Utah strongly suggested that women in Utah should vote to terminate the practice of polygamy. The LDS women
did not respond to antipolygamist crusades. Those
who had entered into plural marriage covenants,
for the most part, kept their commitments. They
had already received suffrage in 1870, long before
the rest of the nation.
Many of the women were interested in a variety of other topics, not the least of which was literature. The Womens Exponent presented book
reviews and articles with an emphasis on female
writers. Margaret K. Brady, folklorist at the University of Utah, stated, This . . . also extended to
an inclusion of poetry and essays by the finest Mormon women authors of the day: Eliza R. Snow,
Emmeline B. Wells, Emily Woodmansee, Hanna
19001925
After the 1890 Manifesto announced by Wilford
Woodruff, polygamy was officially forbidden by
the Church in obedience to the law of the land,
and Utah became an official state in the United
States of America. During the first twenty-five years
of the twentieth century, life in rural Utah was a
fairly constant battle between survival and death
from starvation or disease. Infant mortality was high,
which meant constantly wrestling with the reality
of death. Leonard J. Arrington wrote of his family
in Spanish Fork in September 1900:
During the winter, the entire family came down
with smallpox . . . the house was quarantined,
and they had no income. The family very
nearly starved this winter, saved only by their
dried fruit, tomatoes and whatever else Priscilla
had been able to can and by the help of ward
members and friends. . . . Elder Mueller, who
had baptized Priscilla, brought a large box of
Christmas food and clothing, including a dress
that Sister Mueller had made for Priscilla; the
family remembered it as a pretty dress and a
nice one. (Arrington, 474)
Jack, Elaine L. Read . . . One to Another. In The Doctrine and Covenants: A Book of Answers. Salt Lake
City: Deseret Book, 1996.
Kane, Elizabeth. A Gentile Account of Life in Utahs
Dixie, 187273: Elizabeth Kanes St. George Journal.
Salt Lake City: Tanner Trust Fund, University of
Utah Library, 1995.
Maxwell, Neal A. According to the Desire of [Our]
Hearts. Ensign 26 (November 1996): 21.
Nielson, Kimber. Personal interview. 8 November 2002.
R., Elizabeth. Interview. 26 September 2002. Provo, UT.
Rayvack, Ashley. Personal interview. 15 November 2002.
S., Virginia. Personal conversation. 9 February 2003.
Provo, UT.
Snow, Eliza R. Sketch of My Life. This sketch is dated
13 April 1885. Holograph, Bancroft Library.
Tanner, Annie Clark. A Mormon Mother: An Autobiography by Annie Clark Tanner. Salt Lake City: Tanner
Trust Fund/University of Utah Library, 1991.
165
It seems to me in my half-summer,
Two thousand feet above the river,
Years below the stars, and all
But one sense out of the range of snow,
There have been mistakes: the cut seasons
Of childhood and time drawn from the pulse
Marking wilderness with one worn path
Of mortality. Some effect of desert
Makes it seem a range of times
Inhabits distance, much as light
Skidding through water sets down tracks
Of fast and slow color. Or if time
Is relative, it is irrelevant,
Or all the same, or a figure men use
In the garden marketplace,
Like inch or ounce. Or confluence
Then longevity is not measure of things
Outlived, but how deeply the soul
Winds in the braid, like,
Two thousand feet below, the river.
Through intervals between storms
Light sweeps peregrine upon sandstones
Navajo, Windgate, Kayenta
Old eras made flesh and dwelt among
By generations of four tribes of wind.
Lightning crumples as its born,
Wearing white paths
Through rain-bearing clouds. Two ravens
Rise bickering on a draft. Beside me,
An unbloomed cliffrose whistles
As a gust out of the tempests tangles
On a black branch. The wet tick of rain
Flecks my skin; shadow falls;
The river bears down; the stones ascend.
Stone Mirrors
A light in sound, and sound-like power in
light. . . .
Samuel Taylor Coleridge,
The Eolian Harp
Some earth sings, having in inclinations
Of droplet, gust, grain, and glint
Brilliant proclivities to voice:
Leaves crinkling in a clench of breeze; arias
Of rockfall; echo-heaped woodnotes.
But some earth chants.
Raw, wild whoops of light
That stone mirrors fling back
168
171
Throughout much of the film, Charly is understandably unwilling to even consider the offer of
the Mormon boy, Sam, to teach her about the
Church. When she does begin investigating, her
conversion process is described in the film in a very
truncated version. But a turning point in that process is clearly a moment when she tells Sams mother
that she has developed a sudden urge to . . . can.
I think this is a moment fraught with significance. Conversion for Charly clearly involves a
good deal more than repentance and baptism. At
no time does the film suggest that marriage to Sam
could involve his moving to New York. Shes a
painter; she has to live in New York. Sams a computer guy, vaguely defined; he could easily find
work in her town. And her apartment, what we
see of it, is clearly large enough for both of them.
But no, the film clearly argues for the necessity
that Mormons live in Utah. Indeed, Charly commits that most extraordinary of sacrifices for her
new culture; she gives up a rent-controlled Manhattan apartment. Her art changes. She stops painting reasonably interesting still lifes and begins
painting in a style that I can describe only as early
Liz Swindle.
Charly, the film, suggests very little possibility
of cultural negotiation. We all know, of course,
that it is perfectly possible for someone to be politically liberal, an intellectual, an artist living in
Greenwich Village, and an active Latter-day Saint.
I knew a man in Norway who was both an LDS
bishop and an abstract impressionist. But those
choices, or others like them, are never even offered
to us by this film as possibilities.
Now, one could argue that Charlys decision to
paint sentimentally is the sin for which God punishes her with death. More seriously, one could point
to evidence in the film that Charly, after marrying
Sam, finds Utah Mormon culture congenial. She
obviously enjoys shocking the sisters in Relief Society with her openness about sexuality, for example.
Still, this depiction of Mormon insularity is discomfiting. Charlys negotiations with Mormon culture, in this film, feel more like surrender to cultural
imperatives than any actual give and take. When
Charly reveals an interest in canning, for example,
175
Sams mother (an otherwise agreeable and strongwilled woman) could easily have laughingly told
her, honey, thats great. But you sure dont have to
can to be Mormon. That is, after all, true.
The Singles Ward is a film about which I am
somewhat reluctant to speak. I have, after all, been
quite outspoken on the subject of this film on
AML-List. It does seem, however, far and away the
closest match to Big Fat Greek Wedding of all
the recent LDS film releases. It is, after all, a film
about a protagonist, once comfortably ensconced
within a culture, who has become alienated from
it, who then forms a romantic attachment that
enables him to reconcile with his cultural past.
Structurally, there are at least superficial similarities
between the two films.
When we examine this film in terms of this
theme of cultural negotiation, however, these similarities between Singles Ward and My Big Fat Greek
Wedding become less significant. It is quite true that
both films show their respective cultures in fairly
broad and comical terms. But Singles Ward is a
depiction of characters who are outcast from their
culture. Theyre comically inept losers, poor dancers
in unfashionable clothes and ugly haircuts. My Big
Fat Greek Wedding, on the other hand, depicts characters who are perfectly comfortable in their culture. Jon, the protagonist of Singles Ward, is troubled
primarily by his inability to fit into Mormon culture, which is conceived in terms more monolithic
than insular. Tuola, on the hand, initially is perceived by her family as fitting nicely in Greek culture. But shes not happy. And she wont be happy
until she learns how she can be herself first.
Singles Ward relies throughout on a kind of
cultural short hand, in which images of cigarettes
and beer become signifiers for unrighteousness and
worldliness. This is not done, I think, in satirical
terms, mocking those Mormons so narrowminded
that they really think theyre better than anyone
else because we dont smoke or drink beer. On the
contrary, in this film, were made to think that Jon
is in spiritual peril because hes alone in a room
with a girl who drinks beer.
This leads to the key scene in the film, Jon, a
professional comedian, performs for his love interest,
176
178
we have. I dont see myself as in any way a mainstream cultural Mormon, but I do see myself as an
active and faithful Latter-day Saint. I have carved
out my own space in the culture, as, I surmise, has
every person in this room. Within my own ward I
see as much vitality and energy and boisterous good
humor as Tuola eventually finds in her own Greek
world. We neednt deal with Mormon weddings, or
make romantic comedies about Mormons, to joyfully celebrate our own sense of difference and otherness and humanity. We know, in our hearts, were
as big, and as fat, as any Greek.
both ideologies. The labor ideas that could potentially subvert the system speak only through a (misguided) capitalist aide to the Senator. Though
recorded, the alien voice is recorded only in the
language of the dominant ideology, and thus it is
only as convincing as the dominant ideology
allows it to be.
Greenblatts third method of subversion,
explaining, is evident in this same instance. As
Greenblatt notes, it is potentially subversive for the
capitalists to explain in unusual circumstances
certain parts of the ideology that at most times are
merely assumed.14 One of the Senators aides justifies the use of premeditated violence against the
laborers: I claim that it is not enough to have
power merely to punish violence already committed. We should have the right to use measures to
prevent the deed. The Senator continues this line
of reasoning: It is my settled conviction that there
is but one way in which to meet this question,
and that is to face terrorism with its own mask and
weapons. Certainly all other methods have failed;
and we have either to meet this problem with some
such effort, or submit our lives to the ceaseless anxiety and fear occasioned through their threats and
attempts at violence.15 These statements are
potentially subversive because they are not wholly
convincing. The Senator must explain why force is
justified, and, as Greenblatt suggests, this process
of explaining is intense and unsettling because
there is the nasty sense that [the explanations] are
at once irrefutable ethical propositions and pious
humbug designed to conceal from . . . [the speakers] the rapacity and aggression that is implicit in
their propositions.16 The subversive moment is
contained when the Senator receives a terse telegram
reading, A crisis is at handcome at once.17 The
telegram proves that the laborers are plotting
injury and that the Senator and his aides were correct: terrorism may be necessary to deal with such
vicious persons.
More Subversion
Though the signs of containment are evident in
these three small examples, the subversive insights
Salt Lake, and let the Hall fill with water, drowning
everyone inside. Not one listener rejects the idea or
even voices disapproval of the Senators plot.
The Senator proposes that terrorism justifies
terrorism, but the mere rumor of labor violence
contrasts with the casual and inhumane capitalist
violence. The only definite reference comes from
the wife of one of . . . the workmen living further
up the canyon. The woman, who couldnt hear
all that was said, believes she heard something
about dynamite and a ball at the Senators house
tonightand of getting rid of the whole crew of
millionaires and robbers at a blow. Despite the
capitalists reiteration of these claims, the story
unequivocally notes that this woman has a garrulous and indiscreet tongue and repeats her gossip
with thorough enjoyment.24 Moreover Allan
clarifies by the end of the story that rumors of labor
violence were merely rumors, though he does condemn the laborers for determin[ing] in your
hearts to think of a violent plan.25 In essence, the
laborers never enacted physical violence nor even
planned violence, though they had convinced
themselves that violence was necessary.
Allans angelic characterization, the laborers
lack of real violence, and the capitalist murder
attempt work together to justify the laborers at the
expense of the capitalists. Simplistically, the laborers seem good while the capitalists are evil. The
linguistic elements, literary characterizations, and
the plot itself challenge Spencers capitalist audience and culture. As expected, these extensive
subversive elements are skillfully and subtly
though perhaps not whollycontained by the
storys conclusion.
More Containment
As already noted, Allan Glenfaun becomes a leader
of the labor movement despite being born into the
capitalist class. Even with his supposed support of
the labor movement, he cannot allow a labor insurrection. This is most evident in Allans repeated
condemnations of violence during his speech at
Factory Hall. Though he apparently speaks for some
time of the certain and indefensible injustices and
182
evils of capitalism, this alien voice is not explicitly recorded. Instead the speech takes a new tone
and Allan [pleads] in forceful words for the
laborers to [denounce] the policy of violence and
claims that violence results in worse bondage. He
calls on the laborers to use the one way alone
by which . . . redress can happen: the ballot. He
declares, In your right to the ballot alone lies your
power to control conditions.26 Demonstrating his
complete belief in the system, Allan argues that they
placed themselves in their repressed situation. He
claims that they have sold their votes for promises
of place or pecuniary reward, and in so doing
they have voluntarily given into the hands of a
selfish class, power to fasten upon you the conditions at which you repine; and your only escape is
to take from them by peaceful force of your franchise.27 With Allan as labor leader, violence and
class warfarethe means of change based outside
the systemwill be halted. He does not seem to
recognize the government as a tool of the dominant class nor to recognize that laborer votes will
not change the system as a whole.
His arguments are framed largely in terms of
Christian ethics. This is potentially subversive
because religion, in Marxist theory, is also a tool of
the State; if the laborers cause is religiously right,
then perhaps the dominant classs hold over religion is not solid. The mysterious speakers comments seem to validate the subversive Christian
support for laborers; he claims that when mists of
selfish strife are cleared away from periods of present action, [Gods] hand may be seen, writing in
characters of new social systems and methods,
truths which shall be for the regeneration of the
world.28 Containment occurs when Allan uses
the same ethical rhetoric to pacify the laborers. The
Christian ideology of brotherhood and peace
ensures the repression of the lower class by acting
as a placebo, causing the laborers to desert their
radical methods and accept the vote, a capitalist
tool that will never bring about fundamental
change. The leaders of the new peaceful (capitalist)
society will be characters such as Allan who
have won the respect of the laborers and yet have
placated them so subtly that the laborers do not
4. Spencer, 26.
5. Stephen Greenblatt, Invisible Bullets: Renaissance
Authority and Its Subversion, Glyph 8 (1981): 47.
6. Spencer, 15, 16.
7. Greenblatt, 47.
8. Spencer, 16.
9. Ibid., 18.
10. Greenblatt, 49.
11. Spencer, 2425.
12. Greenblatt, 51.
13. Spencer, 26.
14. Greenblatt, 51.
15. Spencer, 27, 29.
16. Greenblatt, 52.
17. Spencer, 30.
18. Ibid., 29.
19. Ibid., 42.
20. Ibid., 4950.
21. Ibid., 52.
22. Ibid., 6162.
23. Ibid., 64.
24. Ibid., 5657.
186
is not completely at fault for his continued perspective that Clory is a child. To some degree, his
feelings are probably beyond his control. Even
when children are adults, parents can still see the
young boy or girl in the man or woman their children have become; Abijah is certainly no exception
to this.
Over the years, there is little change in Abijahs
relationship with Clory. Even after they have children
together, he continues to treat her like a woman/
child, alternating his passion with his tendency to
parent her with reprimands and behaving punitively towards her. The only letter he ever addresses
to Clory when he is on his mission has only one
line for her alone, and he says, This trouble is
Gods judgment on you, Clorinda Agatha (436).
Interestingly, Sheba has lost a child too, and Abijah
does not dare make such a statement to her. There
is much that he does not dare to try with Sheba
because Sheba is his equal, if not his superior. Clory,
on the other hand, he considers to be his inferior.
His indifference to her needs and desires culminates
in his taking young Julia Hansen as his fourth wife
and leaving for Logan without so much as discussing
it with Clory until the deal had already been made.
Sadly, Clory does not experience a satisfying love
with her husband, not so much because his other
wife stands in their way, but because her husband
never really gives a part of himself to her.
Although Abijah could have done more to mitigate the strain between his wives, this certainly
does not mean Sheba does not contribute more
than her fair share to the hostile marital relationship. Angry and hurt, Sheba arms herself with bitterness, jealousy, and manipulation. Reflecting on
her step-daughters marriage to her husband, Sheba
thinks to herself, What kind of God was it who
could betray such long generous mothering with
that scene at the Endowment House? . . . And blind
with suffering, she had placed that childs hand in
his and waited for his second kiss (105). With this
thought, the reader glimpses the depth of Shebas
suffering and vulnerability. She feels deeply betrayed
by both Abijah and Clory. Although Sheba is brusque
and demanding, she loves them both; to be replaced
by a girl she raised and nutured (and to have her
husband be so eager about it) was no doubt devastating. Clory is vivacious and young and beautiful.
She is all of the things Sheba used to be, but is not
anymore. Clory is the kind of girl Sheba is proud
to call her daughter, but resentful and jealous of as
a sister-wife. The comparison between Clory and
herself is painful. Interestingly, Sheba is arguably
more angry at Abijah for his third marriage than
she is at Clory. It was all very well for Abijah to . . .
remind her that polygamy was holy . . . the light in
Abijahs eyes was sometimes far from holy . . . there
just wasnt much he could fool her about (5). Sheba
never suggests it, but Abijah probably could have
made a convincing argument against marrying Clory
on the grounds that he was her father, adopted,
yes, but still her father, and therefore not an appropriate choice for a husband. He did not make such
an argument against the marriage because he simply
did not want to, and Sheba knows it all too well.
She does not make Abijah the primary target of her
bitterness, thoughpartly because she loves him
so much, thinks of him in complete surrender
(148) and does not want to lose any more of him
than she already has, and partly because Clory is
an easier target. Repressing her anger and sadness
towards Abijah, Sheba allows her emotions to leak
out and wash over everyone else around her.
Subsequently, after her marriage to Abijah, it is
almost impossible for Clory to find any sanctuary
with her adopted family (except with Willie). Her
polygamous marriage does not bring glory and
holy honor, but loneliness and regret.
Clory also is caught between the rigid expectations of the Mormon community and her own
individual nature. The St. George Saints adhered
to strict standards that regulated their manner of
work, leisure, dress, worship, and behavior. Religion permeated every aspect and nuance of their
lives. Clory loved pretty clothes and bright colors,
but Abijah believed they were unseemly for a proper
Mormon wife. Clory expressed herself in song and
laughter, laughter that was too loud, according to
Abijah, and singing that was too merry for a good
Latter-day Saint. She is not even allowed to complain about her circumstances without violating
Mormon expectations of humility and faith. When
190
her and loves her. If God had been real to her, her
situation still would have been difficult, but bearable because she would have believed it was meaningful. Finally, if Abijah had been more willing to
think of her instead of only himself, and/or if
Sheba had been able to discipline herself to be just
a little softer with Clory, the security of a family
working together and loving each other would have
offset her depressing circumstances of little food,
isolation, and ambivalence regarding religion.
There is safety and peace in being loved as part of a
family, and Clory had little of either one.
Sadly, there was no relief for Clory as she was
assaulted on all three levels of her person; the mind,
the body, and the spirit. The three commanding and
demanding forces of polygamy, religion, and land
join hands and circle Clory MacIntyre, picking up
where one left off, filling in all the white space of
her life that might have been overlooked, until they
overwhelmed and consumed her, and she finally dies.
robably the most valuable thing that ever happened to me as a poet was that when I was fifteen
years old at Jewish summer camp and complaining
that I, as a girl, wasnt permitted to chant Torah
someone said to me: What difference does it make?
Even if we let you, you wouldnt know how. Needless to say, I learned how. And I eventually moved
to Utah, where there just werent that many people
who had this particular skill. So I found myself
chanting from the Torah quite a bit, as well as from
the Prophets, not to mention yearly gigs doing
Jonah, Lamentations, Song of Songs, Ruth, and
Ecclesiastes. As you might imagine, when you go
over these texts again and again, they seep into
your consciousness. And the more closely I attended
to the Hebrew Bible, the more I realized what I
should already have known: there was a reason
people thought these were holy words. This was
my great good fortune in life. Here was the best
writing Id ever encountered. And it wasnt someone elses. It was mine.
One thing we poets can dooblivious as we
often are to the world around usis to concentrate
on our poems. Indeed, sometimes I think thats all
writing poetry isridiculously intense concentration. This is alsoat its bestwhat chanting is.
There you are, uttering aloud for the entire congregation these unbelievably affecting words. Even
if you dont believe in God, even if seventy-five percent of the people in the synagogue arent paying
attention, babies are crying, kids are running up
and down the aislesthere you are, with a silver
pointer in your hand and holiness emerging from
192
my Christian people reject as sinful? I was dissatisfied with the ways that many novels or stories or
films worked this problem out, portraying Christians as sexist, racist, backwoods hypocrites, or else
strange mystics removed from the ins and outs of
daily living. Such works always end up seeming
to me like late-night episodes of Inside Edition,
trafficking in conspiracies, exposs, and spectacles,
and hardly ever providing honest representations
of religion in the lives of modern people searching
for happiness.
Fortunately, the same laws that apply to secular
folks apply to the faithful, and no new literature
needs to be forged to describe or explore contemporary religious faith. Anyone honest with him- or
herselfreligious or notwould admit that he
or she is, in fact, hypocritical, as well as flawed and
fallen, a creature of desire and habit and choice. All
humans attempt to live by certain principles and
then spend much of their lives navigating their
consistent failure to be as principled as they would
like. Religion names the failure to adhere to our
principles as sin, thus structuring in a second
layer of moral responsibility to humankind and to
God. Nonetheless, it is a very human thing we are
talking about, this process of sin and the need for
redemption.
Writing about redemption is difficult, especially
in contemporary society, because so much of the
world denies religion as a viable means of redemption. Flannery OConnor writes in Mystery and
Manners, The supernatural is an embarrassment
today even to many churches. The naturalistic bias
has so well saturated our society that the reader
doesnt realize that he has to shift his sights to read
fiction which treats of an encounter with God
(163). I know what OConner means. In my own
experience as a writer and as a Christian, I have
observed that many peoplemany Christians in
factdo not believe that sins can be atoned for
vicariously. Thus any movement toward God in a
piece of fiction is often looked at as sentimental,
cheap, or a deus ex machina. And in religious writing it becomes precisely those things, so long as we
let our characters off too easy or judge them too
194
quickly. In order to write about a characters relationship to the supernatural, to God, we have to
understand their intimate relationship to their personal shortcomings, to their failures. It is not enough
for me to say, Joe is a drunk or Susie is an adulterer; I have to understand why they did what
they did, what need their sin promised to fulfill and
the extent to which that sin fulfilled or failed to fulfill them.
In Burning Down the House, Charles Baxter
expresses a similar sentiment:
Sometimesif we are writerswe have to
talk to our characters. We have to try to persuade them to do what theyve only imagined
doing. We have to nudge but not force them
toward situations where they will get into interesting trouble, where they will make interesting mistakes that they may take responsibility
for. When we allow our characters to make mistakes, we release them from the grip of our
own authorial narcissism. Thats wonderful for
them, its wonderful for us, but its best of all
for the story. (Baxter, 15)
195
impose on the scene in front of her. The surprise of her presence will either force Richards
boot down harder on the cat or release it and
off-balance Richard and send him toppling over
backwards to crack his head open on the sharp
corner of the coffee table. She sees the reckoning in the scene before her, mans boot on cats
spine. Richard is alive, she imagines, as she felt
alive as she gave birth to the boys. Life passed
through her then as it passes under Richard here.
Nausea rises again in Terrys throat. It was
she who brought Spice home from the shelter
on Lennys first birthday, a ginger fur ball for
the baby to chase and pet. Terry thinks of the
minutes which preceded this one, the ones before
her unexpected early arrival: Richard coming
into the living room on the way to his workshop, seeing the cat asleep on the floor, the cats
spine long and elegantly arced, exposed against
the thick carpet. Something moving in him or
occurring to Richard; the ordinary domestic
scene of Richard passing through their living
room, a room strewn with the toys of their
three boys, rupturing, tearing for an instant long
enough to turn the otherwise wholly expected
scene into an extraordinary one; a new way of
seeing, doing, taking hold, shifting in the other
Richard that Terry knows from this morning:
Now, rather than stepping over the sleeping cat
on his way to his workshop, he can step on the
cat; not walk over the cat as if the cat were a
stepping stone on the path to his workshop,
but to step on the cat for the purpose of stepping on the cat. To step on the cat as if the cat,
stretched out in its perfect catlike way, is meant
to be stepped on. Today, unlike any other day,
Richard entered the living room not to pass
through on his way to his shop of woodworking tools, but to stay, and to put his boot on
the spine of the cat which now lies, ready, at
his feet.
Richard sets his boot over the cats back. At
first his boot hangs there, lightly caressing the
fur of the sleeping cat. He dares himself to lean
his weight forward onto the cat, to think of
the cat as a piece of the floor. He eggs himself
on. He leans. The cat wakes up and rises underneath his boot. It wants to get away from what
woke it up. It wants to go into the kitchen for
some food but it cant move more than a slight
198
ormon films are arriving, and Mormon readers had better pay attention. Mormon literature has taken the last thirty years to achieve its
now respectable stride, but in the last three years
Mormon celluloid has come careening into the
culture as fast as a car chase sequence and perhaps
as recklessly. Whatever we may think of its beginnings, we have not seen its end.
Perhaps we must face the fact that in the cultural economy of today, the motion picture has
more capital than literature. I know I did not want
to face that fact as I sat on the lawn of the Doheny
library of the University of Southern California in
the spring of 1994. In cap and gown, ready to
receive my Ph.D. in literature, I was upstaged by
George Lucas and Stephen Spielberg, who were
receiving honorary doctoral degrees. In his speech,
University President Stephen Sample rhapsodized
that film had become more significant than Shakespeare. Having just finished five years of studies in
Renaissance literature, I found myself a bit ruffled
by this remark. And now, as an academic in an
English departmentone of the guardians of the
literary traditionI twinge each time a student
rents the video instead of reading the book. I think
there is an entire generation that has grown up
believing that Moses and Nefretiri are one of the
greatest love stories inscribed in holy writ.
Popular media have a way of shaking established traditions by changing the terms of cultural
commerce, establishing new patterns for how
stories are conceived, retold, and understood. It
happened, for example, in Europe following the
invention of the printing press. Victor Hugo documented the threat of the printed word to the establishment in his Notre Dame de Paris. In a revealing
moment, the archdeacon Dom Claude points to
one of these newly printed books with one hand
and with the other, to the magnificent Notre
Dame cathedral in Paris, and says ominously,
This will kill that (190).
Printing did not kill religion but it completely
reshaped it. Indeed, as Eisenstein and others have
pointed out, printing was a cultural revolution. No
longer could authority be centered in the literal
church or in the narratives told by priests or by
stained glass windows. Protestantism and democracy were made possible not just by ideas, but by
the new form in which religious and political
notions were replicated and distributed.
While I do not believe that this [the medium
of film] will destroy that [literature], I do believe
that we who take literature seriously must take film
seriously as well. As the book once was to the
cathedral, the film has become to the book. It is
more popular and may prove more broadly influential. Indeed, when I teach Shakespeare I must
come prepared to talk with the students about
Leonardo DiCaprio as Romeo or Mel Gibson as
Hamlet, because that is what they know. We must
be prepared to deal with the cinematic realization
of Mormon stories, for that is what both LDS and
non-Mormon audiences will increasingly know
and believe. The last quarter century has seen a
great rise in the publication of Mormon imaginative literature, but with so many Mormon films
199
204
Order Form
AML Membership
Includes IRREANTUM magazine subscription, book-length AML Annual, and discounted preregistration to AML
events. Options for annual dues include the following:
___
___
Regular: $25
Full-time student: $20
___
___
Contributing: $50
Sustaining: $100
IRREANTUM Magazine
Please note that IRREANTUM is included with AML membership. Use this section of the order form only if you are
subscribing to IRREANTUM without an AML membership.
___
___
___
Donations
The AML is a 501(c)(3) nonprofit organization, so donations are tax deductible. We seek donations for several purposes: improving the quality of Irreantum and our website, bringing more of the big names in Mormon letters to
the annual meeting and the writers conference, and creating an endowment to ensure the AMLs future financial
stability. Your donation of any size will help these endeavors.
___
Name
Address
________________________________________________
________________________________________________
________________________________________________
________________________________________________