After struggling to find a less brutal characterization
I have to say that the Paris Review
has just published a Readers' Digest
article. The distilled Readers' Digest article. "I [Did a Far-Out Thing] and Found God." That is what the intelligentsia made fun of in the
fifties and that is what "Letter from Williamsburg" (Summer Issue,
2016) amounts to.
Kristin Dombek and her boyfriend find a woman
willing to go to their apartment and have three-way sex with them. After the first of these experiences
Kristin finds "a peace immanent and tangible
as a body, some kind of giant embrace in the air, and it was most definitely
not coming from my mind."
After the
third encounter she sees the Father, the Son, and the Holy Spirit, "The
one who watched, the one who did, the one who felt. The one with power, the one who suffered, the bliss."
In the end she presents herself in what
looks to me like a state of bliss. "There
was a world outside the world I’d known. I have never been so relieved in all my life. And the first thing I wanted to do, but
I did not do it, was pray."
In the Readers'
Digest piece you got both the thrill, often transgressive, of the thrust
into the exotic, and the comfort, at the end, of your provincial (US:
Mid-American) minister: God is everywhere and will reveal himself where you
least expect him. When you got on
to more sophisticated periodicals you realized how facile this was, how shaped
by editors for an unsophisticated audience. When you got to great religious literature— Dante, Thomas à Kempis, Donne, Herbert — you learned how hard-earned such visions were.
You, reader of this blog, knowing that the author started as an unsophisticated member of a Mid-American church and became, by
trade, a sophisticated reader of cosmopolitan articles, might predict his pulse
as he reads Dombek's piece. Sure
enough, excitement at the thrust into the exotic. He's a patsy, as of old, for the Readers' Digest editors.
If you think that's not predictable you need to know
that he's the kind of Mid-American who, when he first encountered toplessness
in the Bois de Bologne, couldn't keep his eyes on the path. No surprise now that he can't keep them
on the page.
But exotic transgressions draw him back as they
always do, and as cynical editors know they will do. He feels the old thrill. But then, "Wait
a minute. This is the Paris Review!" I need an explanation. Is there a higher Review?
I can't see behind the curtain of my age, and my
age's age. I can't see what the Paris Review editors see. I see only what's in front of the
curtain, and that looks like Readers'
Digest superficiality.
In the shadows, yes, I see something I might understand — instability so
great it hallucinates stability (God) anyplace, a need for goodness so strong it
steals words for their established goodness (as, "love" for a
moment's physical warmth), a quest in which the mundane is never worth a
look. Or, less sympathetically, I
see self-indulgence pushing for some justificatory vision at the end of an
indulgence.
And I feel pity because the writer has so far to
go. Romantics generally have a
long way to go but this one....I can't measure it. I get an idea, though, when I picture the man in Frances
Cornford's poem, bent over his love's "slight essential words" with
"attentive courtesy" before
they, like a man with his prized guitar, "begin to play." Or Lear picturing daily prison life with Cordelia, the two of
them chattering about "who's in and who's out" at court (see Post 349). Will this couple's threesomes ever arrive at chatter, vital chatter? The first of their partners has two
sentences, the second four.
Chatter apparently is limited to "those capable
of monogamy." (Oh, a glimpse,
a pang. Words to go back to, smart
analyst.) Is she the unfortunate
outsider looking in? Or has she
simply not tested her capability, not pushed it past the laundry-stacking boredom? She seems to know from the start that
God will never appear to the housewife loading the dishwasher. Nor to anybody in her church.
But back to that look over at monogamy, which I took
to be a longing look. That's not Readers' Digest. Is
this what the editors saw? A feel
for pain in the odd, an honest report from the cultural frontier — detailed, well-written, necessarily intimate
but rare and courageous?
Taking it that way has many attractions. It allows me to feel less a brute, and
more welcome behind the curtain.
I'm the open-minded, adult academic whose oath of objectivity keeps him
calm (what he hopes will be called cool) and his eyes on the page and the
path. Ah yes, threesomes. It's an acquired insouciance, but it
admits you to the company.
With it, though, comes the academic's alertness to
superficiality. And reluctance to
say, "I know," until he knows.
There's so much here I don't know. You're young, says Dombek of herself,
and you're trying to be good, and you're wrestling with God (who tells you what
good is), and you get tired.
"So you give up."
So. Therefore.
Everybody behind the curtain understands that. Every reader of the Paris
Review apparently understands it, the inevitability, the helplessness, without
editorial intervention or gate-keeping,
But I can't say I understand it. The problem is
compulsion. When is it resistible
and when not? When are you obliged
to resist it whatever your knowledge of its resistibility?
There is no doubt about what you do in two of the
great books in my Great Books Course, the Divine
Comedy and Paradise Lost. In them the formula
("algorithm" now), which happened to be the formula of my and most other
Mid-American ministers, was "reason over the passions." Compulsion to a passion was never
irresistible. In both Paradise and
Ohio your reason, feeling a passion, was supposed to suck it up and assert
control. That's what Adam was
supposed to do and that's what I was supposed to do.
Dombek glances at Adam when she finds "a new
kind of knowledge" in "just watching."
We [she and her live-in] had come
to think that this might be some part of why God forbade eating of the fruit of
the tree of the knowledge of good and evil: eat it and you can no longer
believe that your happiness comes from him or me, God or me, him this or her
that, or me this or me that.
Dombek tries, but I really need assistance here. The couple had "come to
think." How? I'm lost. Thinking happens.
What a contrast with Milton, who (through the angel Raphael) patiently
explains how happiness comes to a fallen creature: little by little, day by
day, using his reason not just to suppress the passions but to get the most out
of them. The one hope of regaining
the jouissance that came so easily
before the Fall. Raphael sees it
as "light after light well used," the light of sensible daily care,
familiar care, not the light of mystical vision.
If that's not understandable I can go back and note
that what Adam (in Milton's eyes) lost most damagingly was his ability to
respond. That's a loss of Paradise
whatever the external decline.
Getting it back takes work.
In a relationship it means listening to your opposite "with
attentive courtesy," working your way back to the essential chatter — in
which lies your, nay man's, nobility.
That's clear.
To oppose it I need a comparable clarity. Because I don't get it from Dombek I need help. From somebody on the inside. Until I get it all I'll see is what's
in front of the curtain, the Readers'
Digest.