Arts & Culture
By Gabriella Clare Marino via unsplash.com.
I know enough to know what I don’t know.
The stories we're reading this week offer a binary-rejecting spin on a classic riddle.
Writer and actor B.J. Novak in 2012 | photo via Wikimedia Commons.
Have you ever noticed how certain things seem to have a life of their own? Let me explain: From time to time, a piece of art, a song, a book, or even a face unexpectedly receives universal approval and then there seems to be no end to how it can be referenced, advertised, TikToked, or memed.
In a scene from Colin in Black & White, Colin Kaepernick watches actor Jaden Michael play a teenaged Kaepernick. Image courtesy of Netflix.
The six-episode series available to stream on Oct. 29 is the co-creation of Kaepernick and celebrated director Ava DuVernay (Selma, 13th, When They See Us). The series tells the story of Kaepernick’s teen years, when he grew both as an athlete and an individual. Kaepernick must repeatedly decide if he’s going to be true to himself or to who others want him to be, whether it’s how he wears his hair or what sort of future he pursues. It’s a relatable coming-of-age story, but the racial dynamics that Kaepernick confronts make for a more complicated high school narrative.
I’ve never been a fan of Halloween. I’ve always been more of an All Saints’ Day kinda guy. Just joking; truth is I try to resist the impulse to constantly make distinctions between “the world” and “the church.” The lines between sacred and profane, monster and human, are not easily distinguishable.
‘The Vale of Rest’ by Sir John Everett Millais, Bt. Oil paint on canvas, 1858-1859. Photo via Tate / CC-BY-NC-ND 3.0 (Unported)
In Lauren Groff’s newest novel, Matrix, monastic life in the High Middle Ages serves as a stunning backdrop for the story of Marie, a nun who feels “her greatness hot in her blood.” Marie arrives at an English abbey as a reluctant teenager, at the appointment of her queen, Eleanor, who expects Marie to become abbess and save the Crown from the public shame of a royal abbey where nuns die of starvation and disease.
Illustration by Colleen Tighe
Each word I choose
carries a different rucksack load for each of you
like I’m the fox slinking along rail lines
thinking by instinct & appetite & you’re
the commuter passing through
like I’m the moon whose same beams call
to a weeping child to a prowling owl
to shivering rodents in the grass
How to Have an Enemy: Righteous Anger and the Work of Peace, by Melissa Florer-Bixler. Herald Press
THE WORK OF peacemaking has been long beset by the stereotypes of it being “nice” work, polite to the point of being inoffensive. In her new book, Melissa Florer-Bixler wants to disabuse us of the idea that making peace means having no enemies. If anything, as she argues, Christians should have enemies well. Having enemies does not mean that the Christian who pursues justice incurs the resentment of others, but that their witness is direct, pointed, and takes sides.
The church, she writes, is “not to unify as a way to negate difference or to overcome political commitments,” but to sharpen those disagreements between the gospel and the world, particularly where reconciliation conceals power inequities. It does no one any favors, she suggests, to resolve moral disagreements within the church in a way that “disregards how coercion and force shape the lives of enemies.”
How the Word is Passed: A Reckoning with the History of Slavery Across America, by Clint Smith. Little, Brown and Company
THE STATUE OF Liberty, author Clint Smith tells us, was supposed to celebrate the abolition of slavery. Early models depicted the iconic copper lady holding a raised torch in one hand and a pair of broken shackles in the other, but the final version included only a piece of broken chain at the lady’s feet. With slavery shifted to the periphery, Ellis Island’s visitors could imagine liberty was, and is, possible without abolition.
In How the Word Is Passed, Smith visits multiple historic sites to offer a mosaic portrait of how different places tell, or do not tell, the truth about slavery. The book meditates on the capacity of our collective symbolic infrastructure to prepare us to rectify persistent material inequalities. If we frame slavery as something that “happened a long time ago” or leave unchallenged the warping of the Confederate commitment to enslavement into myths of honor and heritage—if, in a word, we misremember the wound—then we will not summon the will nor the proper know-how to heal it.
Alexandria Ocasio-Cortez attends the Met Gala 2021 / Kevin Mazur / Getty Images for the Met museum / Vogue
THE MET GALA is fascinating. Part chaos and part fundraiser, the Gala has created a treasure trove of cultural touchstones and meme-worthy content over the past few years. Created in the 1940s to benefit the Metropolitan Museum of Art’s Costume Institute, the Gala is, at its core, a paean to the sartorial arts. In many ways, it’s the gift that keeps on giving, especially if you, like me, are not opposed to a lot of pomp and very little circumstance. However, in the thick of my 2 a.m. behind-the-scenes-at-the-Met video binge, a thought occurred to me that I’ve been turning over ever since: America may not have bread, but it sure has circuses.
From Passing / Picture Films
Shifting Identity
Adapted from Nella Larsen’s 1929 novel, Passing explores a Harlem Renaissance-era relationship between two reunited childhood friends, one of whom now passes as white while the other lives as a Black woman. The black-and-white film, which debuted at Sundance, moved to Netflix on Nov. 10. Picture Films.
From Petite Maman
OVER THE LAST year we’ve had to reconsider our definition of what makes a “sacred space.” When churches and temples closed due to the pandemic, our homes became places of worship for many of us.
This cemented what’s always been true: Sacred space is a fluid thing. It can be a place of deep personal meaning or shared memories with people we care about. A sacred space doesn’t even need to be a physical location. It could also be the spiritual space created whenever we’re with those we love or remember people we’ve lost.
Céline Sciamma’s tender film Petite Maman speaks to this. A little girl, Nelly (Joséphine Sanz) and her mother, Marion (Nina Meurisse), grieve the death of Marion’s mother and clean out Marion’s childhood home. Sciamma’s movie becomes a meditation on everyday sacred spaces, including those that can exist within mother-daughter relationships.
Jumaane Williams (center) leads a silent March for Black Lives across the Brooklyn Bridge in June 2020 / Shutterstock / Kevin RC Wilson
AS NEW YORK CITY'S elected public advocate since 2019, Brooklyn native Jumaane Williams is the ombudsman for more than 8 million people in all five boroughs, charged with overseeing city agencies and investigating citizen complaints. And, starting in 2016, when he was a member of the New York City Council, he has performed in more than 40 staged readings of plays, most of them classical tragedies, with Theater of War Productions.
Starting in 2009 with a performance of scenes from “Ajax” and “Philoctetes” by Sophocles that highlighted the issue of military PTSD, Theater of War Productions has presented dramatic readings of classical Greek tragedies and other plays followed by guided discussions linking their themes to contemporary social issues. It now has a repertory of more than 20 works addressing a wide range of complex social issues—from racism to refugees, gun violence to sexual assault, frontline medical worker mental health to criminal justice, and more. Essential to the experience are post-performance discussions in which audiences engage with the play’s themes, creating cathartic release and deepening understanding. During the pandemic, Theater of War has gone online, reaching a vast international audience.
George Gavriel poses for a portrait after an interview with Reuters in his home studio in Kokkinotrimithia, Cyprus, September 22, 2021. REUTERS/Yiannis Kourtoglou
Cypriot artist George Gavriel almost lost his job as a high school headmaster after his works depicting Jesus in unconventional settings and also taking a swipe at politicians drew the wrath of religious and government leaders.
Gavriel, 62, uses his art as a protest medium to take aim at what he considers the ills of society.
A photo of the type of Hasselblad cameras used on the moon, in the “NASA - A Human Adventure” exhibition at the ArtScience Museum in Singapore. By superjoseph, via shutterstock.
The most incredible part of landing on the moon is not the making it there, but the safely making it back. NASA’s missions to the moon and back were feats of engineering, math, and creativity. The stories are oft retold from a variety of angles and perspectives, and I will never tire of it.
Some people may not know that when we went to the moon, we left a lot of junk there. Lighter space crafts can escape gravity easier, so anything that didn’t need to come home didn’t. Included on the list of things that didn’t need to come back from Apollo 11 through Apollo 17: Twelve Hasselblad camera bodies and lenses. (Another fun fact: Until recently, one of the cameras that was supposed to return had been missing for nearly 50 years.)
A statue of Sherlock Holmes in London on Oct. 18, 2012. Photo: sergomezlo / Shutterstock.com
One of the best things I ever found at Goodwill was a complete set of all Sir Arthur Conan Doyle’s Sherlock Holmes stories — a major coup for middle-school, mystery-loving me. Unfortunately, the books smelled as if they had spent a few decades in the smoke-infused den of Holmes’ Baker Street lodgings. I sandwiched dryer sheets between the pages and read them all cover-to-cover.
Jason Isaacs and Martha Plimpton in ‘Mass’ / Courtesy of Sundance Institute
What kind of parent raises a mass murderer? What would the aftermath of a school shooting be like for the parents of the child who shot his classmates and then took his own life. Unimaginable? Mass, Fran Kranz’s writing and directorial debut, immerses viewers in these questions, challenging us to consider our capacity for forgiveness.
Ah, the sweet escapism of sci-fi and fantasy. From The Hunger Games to The Force Awakens, women and people of color are presidents, space commanders, and leaders of the resistance without protest or fanfare from those around them. Dystopian America and a Galaxy Far Far Away know no racism or sexism, it seems. But that’s not necessarily a good thing for those of us in the audience. As Atencio wrote of For All Kind, “The willingness to embrace fictional diversity … but an unwillingness to deal with the tensions that would follow, is maybe the farthest stretch on the show.”
Father Paul in 'Midnight Mass' / Courtesy of Netflix
Midnight Mass is the latest from horror filmmaker Mike Flanagan (creator of The Haunting of Hill House and The Haunting of Bly Manor), who excels in slow-creeping, character-based horror. It’s also a project through which Flanagan, a former Catholic, processes his feelings about scripture, religion, and the church. As an artistic representation of someone deconstructing their faith, Midnight Mass employs horror tropes to explore the ways religion responds to pain, both in ways that heal and ways that destroy.
Pauli Murray / Coutesy Amazon Studios
What does a trailblazing Episcopal priest, a lawyer whose work helped to shape the Brown v. Board of Education case, a founding member of the National Organization for Women (NOW), and a close friend of Eleanor Roosevelt all have in common?
They are all the same person. And My Name Is Pauli Murray, a new documentary from Amazon Studios, tells the fascinating story.