CULTURE and the CHURCH BOOKS Children’S Book Illuminates Catholic Faith by DAVID a KING, Ph.D

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PAGE 28 DECEMBER 19, 2013 | THE GEORGIA BULLETIN CULTURE AND THE CHURCH BOOKS Children’s book illuminates Catholic faith BY DAVID A KING, Ph.D. stayed on his bedroom dresser for those great big crocodile tears I suppose all cultures produce Commentary 20 years. of an innocent child. He tried illustrated books for children that But my 6-year-old Secret Santa to smuggle a comic book for me become cherished touchstones of I got passed over by the Secret passed me by. under the Christmas tree. “It’s youth. In fact, for me one of the Santa this year. He was so busy choosing gifts OK,” I said, “really.” He tried to greatest joys of parenthood has You probably know how this for his mother and little brother give me a cardboard piggy bank. been introducing, and revisiting, works. Your child is allowed to (which I had encouraged him to Then he put a cracked wise man the beloved picture books of my shop for small gifts at school; it’s a do) that he forgot about Daddy. from one of our many broken own childhood. Reading Judith chance for the child to learn how When he got home from school Nativity scenes in the piggy bank. Viorst’s “Alexander and the to choose and give gifts to others, yesterday afternoon, he carefully Again I refused the gifts. “It’s Terrible, Horrible, No Good, Very and while the presents are usually put all his wrapped and tagged alright,” I explained. “You’ll have Bad Day,” or Maurice Sendak’s pretty cheap, they often end up gifts under the tree. There were other chances.” But still the tears “Where the Wild Things Are,” being treasured by the parents presents for Mama—even a ring— came, and I was deeply touched or Ezra Jack Keats’ “The Snowy who receive them. I once gave and presents for little brother, to watch my son confront the Day” to my own children has my father a plaster Georgia Tech and, well, nothing for Daddy. complicated emotions of shame allowed me to enter again that Yellow Jacket (he was a Tech fan My son sobbed the tears that and sorrow. marvelous world of childhood in a house full of Bulldogs) and it only a 6-year-old boy can cry, My boy didn’t realize, of course, imagination where some of the that he had actually given me most important lessons we will the best gift of all. His sadness in ever learn are encountered for having forgotten my cheap pres- the first time. children before him—will forever ent resulted in a display of love So I’ve spent a lot of time imagine Heaven as it is depicted for his father that I don’t think searching for meaningful Catho- on the book’s frontispiece. I will ever forget. In focusing on lic children’s books that will teach And there are books that while the material, he overlooked the my boys not only the importance not explicitly Catholic are so more meaningful spiritual gifts of of art and imagination but also obviously under the influence of sincerity and love. the gift of their faith. Catholic theology and identity I thought about this import- There are good books out there; that they must be considered ant lesson when I read again my older son adores, for exam- classics of religious literature; C. Josephine Nobisso’s marvelous ple, the classic “Picture Book of 28 Collodi’s big “Pinocchio” of 1925, picture book “The Weight of a Saints,” published for over 50 reprinted in 1969 and 1989 with Mass: A Tale of Faith.” years by the Catholic Book Pub- its iconic illustrations by Attilio The American picture book is a lishing Corporation. In fact, I sus- Mussino, immediately comes to national cultural treasure, though pect my son—like generations of mind. But sadly, there are also a slew of books that are didactic, edifying and so overly pious that children are immediately suspicious of them. Children, I have learned, are actually quite wise. They know, as Jesus knew

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“Children, I have Among these exceptions is No- award-winning Hungarian artist with all sorts of connections to need them. He or she will know bisso’s “The Weight of a Mass: A Katalin Szegedi, the baker rushes Catholic Christianity, particularly immediately, and intuitively, the learned, are actually Tale of Faith.” Like all truly great around his shop, piling the scale the real meaning of the Eucharist. truth embedded in the narrative children’s literature, the book higher and higher. Still, the scale The bread at the baker’s shop, the and the art. quite wise. They engages children even as it also does not move. miracle that occurs on a wedding So my son, like the baker and teaches the adult reader. The wealthy customers are day, the triumph of simplicity and his wealthy customers in their know, as Jesus knew The story, which Nobisso incredulous. The baker must be poverty in the face of the super- jaded kingdom, learned a lesson adapts from a European folk tale, a cheat! His scales are off! The ficial and the rich all correspond from the Secret Santa shop. It’s of them, that the concerns a poor widow who en- baker insists the scales are hon- to the fundamental lessons of the not the material gifts that matter, ters a wealthy baker’s shop to beg est; they’ve just been inspected. Gospel and Catholic teaching. but the gifts of the spirit that really important for a crust of bread. In exchange Yet when the baker fills the scale Nobisso even includes a sum- really sustain us. The mystery for the bread, the old woman with an enormous amount of mary of some of the story’s prima- and the miracle of the Mass are truths are much more promises to offer her Mass for the goods, and places the slip of paper ry Catholic symbols, and the so often overshadowed, not just baker. The Mass she is to attend is again on the other side, the note book concludes with an author’s at Christmas but throughout the compelling when in fact a wedding Mass of a King actually levitates the opposite postscript that explains the origi- year, by things that don’t really and his soon-to-be Queen. The scale. As the baker’s son exclaims, nal fable and some of the mira- mean anything. they are expressed in baker is not impressed. In fact, “The Mass intention weighs cle’s other consequences (which Josephine Nobisso’s simple he scoffs at the very idea of Mass, more than these!” “This can’t be,” I’ve not mentioned here, so as but beautiful book is a wonderful myth and narrative, and mocks it as a ritual intended protests the baker, yet even the not to spoil any surprises). Most reminder of the gift of the Eu- only for the sick and old. The royal wedding cake is outweighed impressively, Nobisso concludes charist, and while it will make a when they are kingdom, as the story explains, by the “One Mass.” her postscript with a quote from wonderful Christmas present for explained in stories.” “had grown cold and careless in As the cathedral bells began the Catechism of the Catholic children and their adult readers, the practice of their faith.” to toll to announce the begin- Church: “The Holy Sacrifice of it is a book that merits reading at ning of the Mass, all the wealthy the Mass—the Eucharistic Cele- any time of year when we need of them, that the really important As the baker’s wealthy cus- shoppers who had previously no bration—is the priceless source to focus on the essence of our life truths are much more compelling tomers buy lavish pastries and intention of attending the Mass and summit of the Christian life and our faith. when they are expressed in myth other expensive goods, the baker begin to make their way to the because in it, Christ himself is and narrative, when they are cruelly decides to deride the beg- church. Only the widow remains. truly present. In its unfathomably explained in stories. gar woman publicly. On a slip of The baker promises that the old deep richness lies the perfect There are exceptions to the paper, he writes the words “One David A. King, Ph.D., is an woman will be forever welcome in fulfillment of Jesus’ command heaps of saccharine children’s Mass.” He places the paper on one associate professor of English and his shop, “she’ll never go hungry to repeat His actions and words books of faith, and I should add, side of a scale. On the other side film studies at Kennesaw State again!” But the widow is content until He comes.” these books also provide an anti- of the scale, he begins to place University and an adjunct faculty with the small piece of bread she The adult reader will appre- dote to the abundance of secular bread, cakes, and pastries, but to member at Spring Hill College, wanted in the first place; it is, ciate these explicit reminders. “Christmas” books that should all his astonishment, the scale does Atlanta. He is also the director after all, all she really needs. The child who listens to the story be consigned to the ash heaps. not move. In a series of won- of adult education at Holy Spirit derful pages, illustrated by the The story is loaded, of course, and looks at the pictures doesn’t Church, Atlanta. 29 Love makes all the difference.

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His important 20th-century apologist for cinema as both pop- best known films remain staples of both art-house revivals and televi- ular entertainment and serious art form, said of the rela- sion retrospectives and are as relevant to ordinary audiences as they are R critics and cinephiles: “Stagecoach,” “The Grapes of Wrath,” “Young tionship between movies and our collective imagination: Mr. Lincoln,” “The Quiet Man,” and—of course—“The Searchers.” “We live in a box of space and time. Movies are windows “The Searchers” was shot, like so many of Ford’s great Westerns, in its walls.” primarily on location in Monument Valley. It stars Ford’s greatest Binx Bolling, in Walker Percy’s novel “The Movie- collaborator, John Wayne. It is perhaps Ford’s greatest visual achieve- goer,” affirms Ebert’s statement. As Binx says, “People, ment; shot in a widescreen aspect ratio, it almost has to be seen on a big so I have read, treasure memorable moments in their lives. screen to be fully appreciated. The critic and filmmaker John Milius has … What I remember is the time John Wayne killed three said of Ford’s work in “The Searchers” that “Ford was having a love af- men with a carbine as he was falling to the dusty street in fair with the land,” and this quality is apparent in almost every shot. ‘Stagecoach.’” In these characteristics alone, Ford reveals himself as a fundamen- Both Ebert and Binx are right: one great connection tally Catholic filmmaker. He relies upon, and trusts in, the iconography we all share is our sense of collective memory of experi- associated not only with the Western genre but also the movie star John ences at the movies. In the dark, we come together as Wayne. He recognizes humanity’s often lonely and isolated existence strangers, and when the projector illuminates the screen, in the natural world, and yet he insists that the individual is nonethe- we become participants in a ritual charged with the over- less part of that natural world. Most importantly, as the film eventually tones of a religious ceremony. It’s no surprise that the asserts, human beings cannot be alone; as part of nature, and as part of great director of widescreen epic films, David Lean, said community, they were created to love one another. of going to the cinema that for him it was like entering a The film is based upon a true story of a girl who was kidnapped cathedral. by Comanche Indians, but Ford shifts the emphasis from the Indians In American cinema, only a very few filmmakers to that of the man who searches for the girl. The film opens as Ethan have fully understood the power of the motion picture to Edwards, played by John Wayne, returns to his brother’s home follow- engage audiences in a world that is paradoxically entirely ing the Confederate defeat in the Civil War. Edwards is hardly recon- separate from their own reality, yet mirrors that reality at structed; indeed, he still wears his Confederate uniform. And he’s bitter, the same time. Of them, John Ford is perhaps the most both about the defeat of the war and the family’s acceptance of Martin remarkable, and his 1956 masterpiece “The Searchers” of- Pawley, a young man of mixed Indian and white ancestry who insists fers the best introduction to his defining style and compelling themes, many of which are informed by his Catholic imagination. 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26 www.georgiabulletin.org MAY 23, 2013 THE GEORGIA BULLETIN Culture And The Church T upon calling Ethan “Uncle.” Shortly after Ethan’s arrival, a Comanche turing social rituals: the sharing of meals, the reading of letters, helping raid upon the homestead results in the violent deaths of Ethan’s family. one’s neighbors. There is even a wedding, a favorite Ford device. Ethan and Martin, who have been lured away by a Comanche ruse, re- In “The Searchers,” Ford made a film that nearly 60 years later has turn home too late. They discover the bodies of the dead, and they learn endured as an essential part of the canon of motion pictures. Decade that the youngest daughter—Debbie—has been taken by the Indians. after decade, it appears on the famous Sight & Sound Top Ten poll, and Ethan vows to search for Debbie; Martin insists upon coming with him. any list of the best Westerns always includes it as one of the greatest As the film Through the course of their search, Ethan and Martin discover that Deb- Westerns ever made. The movie has all the action one expects from bie has been taken by a Comanche chief named Scar. The quest for ven- a Western, yet that is not what draws people to it year after year. We asserts, human geance against Scar becomes an obsession for Ethan, a maniacal quest watch “The Searchers” on one hand because it is visually stunning; driven more by hatred for the Indian than by love for the missing girl. against the backdrop of the buttes and canyons of Monument Valley, beings cannot Ethan’s racist hatred becomes the real emphasis of the film; it’s the we project ourselves into the universe they are meant to represent. We be alone; as part story that really interests Ford more than a conventional chase film, and see ourselves as small, perhaps even insignificant. Yet we also see what certainly more than the familiar aspects of the Western. Like all great Ford, as a Catholic, most wants us to see—that we are connected to of nature, and Westerns, what the critic Andre Bazin called “the American film par one another; that we are capable of redemption, even from ignorance excellence,” “The Searchers” transcends the stereotypes associated with and hatred; that each of us has a purpose and a responsibility to the as part of the genre to create something ultimately more compelling and univer- greater good. sal. In the film it finally becomes clear that what Ethan is really search- community, they Ford had seen the effects of hatred in World War II. He knew the ing for is his soul. At the conclusion of “The Searchers,” in one of the consequences of unchecked power, as he lived and worked during the most iconic shots in the American cinema, John Wayne stands in a were created House Un-American Activities Committee hearings that placed the film doorway not as soldier, nor stranger, nor even savior. He stands as a to love one industry at the center of the anti-communist witch hunt. He knew, as a seeker. He stands, truly, as a pilgrim. citizen of the United States in the 1950s, the tragedy of racism and the another. challenges of the civil rights movement. He came to “The Searchers” as one might approach confession; the making of the film became for him David A. King, Ph.D., is an associate professor of English and film like an examination of conscience. studies at Kennesaw State University and an adjunct faculty member At the same time Ford confronts the issue of racism, he also affirms at Spring Hill College, Atlanta. He is also the director of adult educa- his great themes of the frontier, the family, and the community. For tion at Holy Spirit Church, Atlanta. Ford, like all great Western directors, the allure of the frontier represents the great American myth, a mythology unique to this country, and one particularly appealing to the immigrant. His insistence upon preserva- tion of the family is a motif that runs throughout the film. Most of all, he asserts that we are all part of a singular human community. As a Catho- You and your family lic, Ford intuitively understands the rituals we associate with family and and friends are cordially community. The movie includes a number of subplots, all of them fea- invited to attend a SOLEMN MASS Deceased Pet Care for the Feast Day of St. Josemaría Escrivá Funeral Homes founder of Opus Dei 27 Individual Pet Cremations the Shugart ORDINARY Family LIFE IS A Est. 1972 and Burials PATH TO SANCTITY

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THE GEORGIA BULLETIN MAY 23, 2013 www.georgiabulletin.org 27 PAGE 32 SEPTEMBER 26, 2013 | The Georgia Bulletin CULTURE AND THE CHURCH MOVIES A view of “The Godfather” trilogy from a Catholic perspective are always informed by hope for “The Godfather” films, while filled with THE GODFATHER the better. the graphic violence of organized crime, There are three key Catholic TRILOGY moments in the trilogy: the bap- portray the themes and images of the tism in Part I, Fredo’s murder in The multigenerational saga Part II, and Michael’s confession director’s Catholic background of the rise and fall of the in Part III. All three moments are Corleone crime family deeply atmospheric and uniquely BY DAVID A KING, Ph.D. watched yet again Francis Ford Catholic; all also raise interest- Commentary Coppola’s masterful “The Godfa- Year: 1972, 1974, 1990. ing, even profound, theological ther” trilogy. questions. In his brilliant book “Art and “The Godfather” is a profound- Director: Francis Ford The climax of the first Godfa- Scholasticism,” the great Catholic ly Catholic work, and it is without Coppola. ther film occurs at the baptism of philosopher and theologian question a wonderful series of Michael’s goddaughter (the baby Jacques Maritain writes, “By films; indeed, the first two movies Writers: Mario Puza (novel, in the scene is actually Coppola’s Christian art, I do not mean in the trilogy represent one of screenplay) and Francis Ford own infant daughter, Sofia). This Church art … I mean Christian the greatest accomplishments in Coppola (screenplay) scene is perhaps the most bril- art in the sense of art which bears world cinema. Yet many people liant realization of D.W. Griffith’s within it the character of Chris- who see the films for the first Stars: Marlon Brando, parallel action, or crosscutting, tianity. … Everything belongs time focus solely upon their Al Pacino and Robert De Niro Catholic mise en scene, or atmo- narrative technique. Michael has to it, the sacred as well as the graphic and operatic depiction sphere. The Church is every- agreed to stand as godfather to profane. It is at home wherever of organized crime and violence. Source: IMDb.com where in “The Godfather” films: his niece; in doing so, he must af- the ingenuity and the joy of man Repeated viewings of the films his greatest character Michael baptisms, funerals, confessions. firm and renew his own baptism. extend. Symphony or ballet, film reveal more meaningful insights Corleone can. Coppola has often Catholic iconography is espe- At the same time, Michael has or novel, landscape or still-life, into the universal human condi- said that his favorite word is cially prevalent. Images of Jesus, engineered the elaborate mur- puppet-show libretto or opera, it tion and the Holy Spirit that—to “hope,” and it is that sense of Mary and various saints appear in ders of the heads of the five New can just as well appear in any of use Gerard Manley Hopkins’ hope and belief in redemption scene after scene. And, of course, York mafia families; the killings these as in the stained-glass win- word—“broods” over it. that best defines “The Godfather” there is sin. Lots of sin. But those take place at the same time as the dows and statues of churches.” Though Coppola himself has films as Catholic art. who focus only upon the crimes baptism. In essence, Michael is In writing my monthly column struggled with his Catholicism, Though the films are full of are missing the ideals Coppola in- being baptized twice: once as he 32 on great 20th century Catholic his imagination is so steeped Catholic themes, including jus- sists necessitates the crimes: love renews his own baptismal vows, art and artists, I often think of in Catholic practice and atmo- tice and mercy, fate vs. spiritual- and protection of family, belief and secondly as he is “baptized” Maritain’s words. I thought of sphere that he can never fully ity, the dialectic between family in idealism for the betterment of into an almost inescapable union them especially last week as I abandon the faith, any more than and country and community, the group, and justice. Now the with crime. the letter and the spirit of the manner in which the Corleone Coppola masterfully merges law, and time and timelessness, family upholds these values is the pre-Vatican II baptism with they are also charged with a deep wrong, but still, their methods the preparation for and commit- ment of the killings. The pre- dominantly Latin rite of baptism provides a voice-over for the scene; the swelling church organ underscores the operatic design of the sequence. The actions of the priest, who administers salt, anoints with chrism oil, and pours water, are matched Highlights perfectly to the actions of the gangsters preparing their crimes. 3 Course Dinner with wine Most powerful are the juxtapo- sition of Michael’s profession of Cash Bar faith and rite of exorcism with the crimes. 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to the men Michael commands is beyond redemption. But the when he witnesses the brutal confession and his vow of truly otherwise. Because “The Godfa- as they prepare to commit acts world is not the Church. In Italy, death of his daughter. The scene contrite repentance, knows that ther” affirms this hope, the films completely contrary to the Trin- Michael meets Cardinal Lam- is punctuated by an unforget- what Michael has finally found at deserve to be seen again from a ity and the Church. Even more berto, a man destined to become table scream, Michael’s howl of last is peace. Catholic perspective. shocking are Michael’s replies to the next pope (the implication in anguish. It is as though all the When asked what he hoped the questions “Do you renounce the film is that he becomes John sorrow and guilt of the world God would say to him if he gets David A. King, Ph.D., is an Satan,” “And all his works,” Paul I). Lamberto is, in Michael’s comes forth from him. And in a to Heaven, Coppola replied, associate professor of English and “And all his pomps.” As Michael words, “a true priest.” sense, they have. “Welcome.” film studies at Kennesaw State replies “I do” to each question, One afternoon, in a church gar- Michael dies old, half-blind Many people would never University and an adjunct faculty the camera cuts to a murder—all den, Michael and Cardinal Lam- and alone. Many see his death as accept that a man like Michael member at Spring Hill College, of them graphic—then back to berto are talking together. The pathetic, but the Catholic viewer, Corleone could be welcomed Atlanta. He is also the director Michael’s face, an expression of cardinal is explaining to Michael who takes into account the in Heaven, but the Catholic, of adult education at Holy Spirit resignation and guilt. Finally the how modern Europe, and by ex- sacramental grace of Michael’s believing in endless hope, knows Church, Atlanta. priest asks, “Michael, will you be tension Michael himself, have not baptized?” “I will,” says Michael, been penetrated by Christ. While as the camera cuts to final shots they are talking, Michael is over- of the carnage he has designed. come by a fit of hypoglycemia; he His two-fold baptism is indeed requests something sweet, which complete. is given to him. As he regains his Michael’s full initiation into strength, Michael explains that organized crime reaches its most these attacks frequently come terrible apex when he orders when he is under stress. The the murder of his older brother Cardinal understands, and says, Fredo, who has betrayed the “the mind suffers and the body family, and therefore according cries out.” He then urges Michael to the mafia rule of omerta must to make his confession; he senses, be killed. Fredo’s murder takes rightly, the burden Michael car- place on Lake Tahoe while he ries. “It’s been 30 years,” stam- fishes with the assassin Al Neri. mers Michael, “I’d take up too As a child, Fredo had once gone much of your time.” fishing with his brothers, and “I always have time to save he attributes his success on that souls,” says the cardinal. Michael trip to the fact that he said a Hail replies, “I’m beyond redemption.” Mary before each cast. In the boat Yet he makes his confession. with Neri, in a medium long shot, Something about the cardinal we see Fredo fishing, and hear compels him to confess. In one of him say the words of the Hail Al Pacino’s greatest performanc- Mary. At the line, “pray for us sin- es, Michael reveals all. Even the ners,” the camera cuts to Michael cardinal is shocked as Michael, who is observing the scene from weeping, confesses “I killed my a boathouse. We hear a gunshot, mother’s son. I killed my father’s then the camera cuts back to the son.” Before he grants absolu- boat, with only Neri visible under tion—a beautiful moment for a stark and gloomy sky. the Catholic viewer, for even this 33 That scene is so memorable most terrible sin is forgiven—the that Coppola actually uses it cardinal says, “Your life could be again at the beginning of “The redeemed. But I know you do not Godfather Part III.” Michael is believe that.” being granted papal honors; he is I think Michael does believe it. being conferred into the Order of In spite of all that follows his con- St. Sebastian. As Michael is hon- fession—scandal at the Vatican, ored, he remembers his greatest multiple murders carried out by sin, and Coppola shows it to us his successor, the murder of his in full. The effect is powerful. own daughter—Michael desper- Decades have passed, yet Michael ately wants to change. He prays, remains burdened by his sin. He “I swear on the lives of my chil- knows, even as he is given a papal dren, give me a chance to redeem blessing, that his life is one of myself and I will sin no more.” complete hypocrisy and deprav- Michael can never fully escape ity. sin or its consequences. As he This is where Coppola’s Cath- says, he knows it’s not fully olic concept of hope comes to possible “in this world” to escape the fore. Michael has betrayed justice. Even the cardinal has told and blasphemed the Church in him, “your sins are terrible and it a mockery of baptism. He has is just that you suffer.” committedmarys.pdf the murder 1 of 2/8/10 his 1:04 PMMichael’s greatest suffering, own brother. To the world, he his greatest punishment, comes

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