Orientalist Dreams of Poland as Catholiclandia (Part II)

Smoking! Lech Walesa leaves Gdansk's Shipyard to meet with Pope John Paul II.

Smoking! Lech Walesa leaves Gdansk’s Shipyard to meet with Pope John Paul II.

Yesterday kicked off a series of posts about the orientalization of Poland among Western scholars. The term “orientalization” denotes an image of a culture as “Eastern,” meaning exotic, backward, uncivilized, and possibly dangerous. The term has been used to describe Western stereotypes of Middle Eastern Muslims, but recent scholarship has expanded its semantic field beyond Edward Said’s original intentions in his seminal work Orientalism. The very notion of Poland belonging to “Eastern Europe” invites such analysis, especially since residents of the region have always insisted upon being called Central Europeans, residents of MItteleuropa, because that would, of course, allow them to orientalize the ever-threatening Russians.

Orientalism: the French think there are polar bears in Poland; the Poles think the Russians are polar bears.

Orientalism: the French think there are polar bears in Poland; the Poles think the Russians are polar bears.

My meditations on Poland are not meant to take Poland down a notch. Instead they’re meant to introduce the reader to a much more differentiated understanding of Polish Catholicism–its weaknesses, but also its strengths.

I should return to yesterday point about  religious diversity, especially the part where I said “Polish tolerance toward the Radical Reformation showcased the country’s traditional tolerance until the Jesuits showed up.” There is so much of diversity, when compared with the relative homogeneity of Western Europe, that I forgot to mention the Eastern Catholic churches that emerged out of the Union of Brest. Of course Eastern Catholic frequently feel forgotten by the Roman Catholics and the Eastern Orthodox, and, well, I unfortunately didn’t buck the trend.

Let’s fast forward to the 1980’s when Solidarity was breaking ground as a non-violent trade-unionist movement set against a totalitarian government. With this we’ll continue to explore Polish religious particularities that are too difficult for Westerners to understand. Although a few of them have written books about it, as we’ve noted elsewhere.

The left and Church came together.

Solidarity: The left and Church came together.

3. Solidarity was both a Catholic movement and a somewhat secular movement. However, there is almost no doubt that it was politically the single most successful worker movement in history. It helped to topple, irony of ironies, a socialist regime. Granted, that regime had declared martial law, was armed to the teeth, and its tanks and guns were aiming at civilians.

Solidarity was composed of simple pious workers, leftist intellectuals (such as Michnik, author of The Church & the Left) who were fellow-travelers of the Church, and finally clergy. The Church played a decisive role here, because churches, thanks to the sweeping influence of Polish clericalism and papist internationalism, were the only place where free debate was permitted to everyone (including the non-believers).

Solidarity went through several phases until this mixture of diverse groups began to splinter under communist pressure and this only continued once power was transferred to them.

4.  Consumerism: The unusual mix of intellectuals (not that they were all secularists) and the pious masses could not hold in Poland as the 90’s became a kind of Hobbesian free-for-all. The Gdansk shipyards, which anchored the whole movement, were precisely the sort of unwieldy state-run outfit most likely to collapse under the free market. Governments of both left and right cycled in and out, some out of of existence. The only constant was the austerity measures that caused misery for a decade and laid the groundwork for a relatively stable Polish economy, the spread of consumerism, and a creeping secularism.

This turn of events either demonstrates the power of consumerism as a natural opponent of religion, or it exposes the weakness of the earlier synthesis, or both. Either way, the seeds of destruction were probably planted in the movement of liberation that was Solidarity. Which is unfortunate, because the kind of collective communication, cooperation, and reconciliation fostered by Solidarity at its zenith is precisely the sort of thing snuffed out by an increasingly technocratic economy and style of governance in Poland.

Before our next installment of this series, take a look at yours truly trying to make sense of Krakow’s Solidarity past within the parameters permitted by capitalism:

For those of you interested in reading more about Solidarity and its legacy: there is a complete free issue of the Tischner Institute journal Thinking in Values devoted to those topics.

The Solidarity issue.

The Solidarity issue.

The third installment in this series will appear here, The first installment can be found here.

Orientalist Dreams of Poland as Catholiclandia (Part I)

The Papal States . . .

The Papal States . . .

. . . have Pope money!

. . . think the pope is money.

There are plenty of stereotypes floating in the seas of religious punditry. The so-called pundits are usually anchored in quite a circumscribed set of prejudices they project onto Poland. Both liberal and conservative leaning theologians like to think of my home country, for very different reasons, as a kind of Catholic Disneyland. Upon closer inspection these flattened Western pictures of Poland mirror what Edward Said labeled as Orientalism. They paint a picture of an exotic, backward, uncivilized, and at times dangerous culture. Poland as a mythical Catholiclandia is a haven for conservatives (where they have no NYT), while it’s a reactionary hell for liberals (possibly the only hell they believe in).

At the Dominicans in Krakow.

RJN singing the praises of Poland in Poland. The picture he presented was a bit fuzzy.

I remember seeing Richard John Neuhaus in Krakow (Summer 2007)  and being pleasantly surprised  by his Jack Nicholson voice. He spoke enthusiastically about Poland’s vibrant Catholic culture and its strong alliance with the United States against the secular-exception of Western Europe (in the context of a worldwide sea of religion) and added a few words in defense of capitalism. It was a (too?) bold reversal of the secularization thesis, which usually has Poland and the United States as the exceptions (in the tiny island of what used to be Western culture). I asked the poet Artur Grabowski what he thought of what Neuhaus said and he replied with, “I wish it were like that” (rough!). In retrospect it seems RJN was projecting a positively backward exoticism not only onto the homeland of Wojtyla, but also the USA.

Authors such as Hans Küng adopted different reductionist projects. Their Orientalist version of Poland was usually attached to an animus toward JP2 and an oversimplified picture of Poland’s past. They were convinced that someone who earned his chops in a black and white struggle against the commies couldn’t sees Poland as a place Church during the Communist era was clearly too simple. John Paul II didn’t connect with the complexities of the late modern West (questionable, but hey). My favorite example of this type of Orientalism was Peter Hebblethwaite who spent years hating John Paul II’s Polish stupidity. For years he was always the guy on CNN predicting who the next pope would be. The irony is he died before his book on the “next pope” was published, not to mention about a decade before John Paul II died.

With that quick setup  let’s start with the reasons why Poland, like Brazil, is not a Catholic utopia (and that’s OK):

Fr. Jozef Tischner grasped Solidarity.

Fr. Jozef Tischner grasped Solidarity.

1) Clericalism:  Fr. Jozef Tischner, Solidarity’s chaplain, Poland’s leading phenomenologist, spent the better part of his life fighting against Polish clericalism. The writings Poland’s leading literary figures, world class writers such as Witold Gombrowicz (atheist) and Czeslaw Milosz (Catholic), contain their fair share of anti-clericalism. With the help of phenomenology, personalism, and the mystics John Paul II put stress upon active lay holiness in ways unseen until his papacy.  Poles (including Polish clerics as you can see from the examples above) have always been healthily suspicious of Catholic clerics. You can figure out some of the reason for it by continuing to read below.

It's complicated.

It’s complicated.

2) Diversity: Until very recently Poland has always been a multi-ethnic and multi-religious country. This probably has something to do with the fact that for the better part of Poland’s history, pretty much since it came into existence in 986, the papacy usually sided with Poland’s enemies. This started with Rome’s favoritism toward the Holy [sic!] Roman Empire. Polish tolerance toward the Radical Reformation showcased its traditional tolerance until the Jesuits showed up. Poland also took in all the Jews who were expelled by Western Europe right around the same time. Nineteenth century Polish Romanticism, a significant political/literary movement (one of JP2’s greatest intellectual influences), also tended antagonize the hierarchy with its tendencies toward socialism and resistance against authoritarian regimes. Kloczowski’s A History of Polish Christianity is a magisterial overview of the variety of Polish Christianities, its history of religious pluralism and tolerance, plus it also covers intra-Polish-Catholic diversity.

Mickiewicz to Pius IX about the 1848 Revolution in France: "God's spirit is in the hearts of the Parisian people."

Mickiewicz to Pius IX about the 1848 Revolution in France: “God’s spirit is in the hearts of the Parisian people.”

Next I’ll tackle the following two interconnected phenomena: the collapse of Solidarity and the growing influence of Neo-Con inspired consumerism. [Catholiclandia II is now available here.]

Eternity in a Dunghill: Infinity & Perspective

Two spirits preside over the book: Alberti, the Renaissance author on art and architecture, whose passionate interest in perspective and point of view offers a key to modernity; and Nicolaus Cusanus, the fifteenth-century cardinal, whose work shows that such interest cannot be divorced from speculations on the infinity of God. The title Infinity and Perspective connects the two to each other and to the shape of modernity.

Publisher blurb: Two spirits preside over the book: Alberti, the Renaissance author on art and architecture, whose passionate interest in perspective and point of view offers a key to modernity; and Nicolaus Cusanus, the fifteenth-century cardinal, whose work shows that such interest cannot be divorced from speculations on the infinity of God. The title Infinity and Perspective connects the two to each other and to the shape of modernity.

You’ve no doubt encountered Blake’s “Auguries of Innocence.” It begins with:

To see a world in a grain of sand,
And a heaven in a wild flower,
Hold infinity in the palm of your hand,
And eternity in an hour.

I’ve stepped into a variation upon this theme. It appears in the remarkable work, Infinity and Perspective, by Karsten Harries (who seems to be a former student of Louis Dupre). Take in the full glory of my serendipity with this photo and caption tag-team :

" . . . God's creative power is fully present in every thing: even in the tree we were considering, even in a dunghill, God is fully present." --Karsten Harries

” . . . God’s creative power is fully present in every thing: even in the tree we were considering, even in a dunghill, God is fully present.” –Karsten Harries

In some ways this statement makes Timothy Treadwell’s nature mysticism more palatable and orthodox than it seemed when I first watched Herzog’s documentary Grizzly Man (“It’s her life!”):

Now, Infinity and Pespective roots the origins of (post-)modernity and its critique in the thought of Cardinal Nicholas of Cusa (1401-1464). Harries notes how this is due to a shift in metaphor usage (one that encourages my mash-up above) that occurs in the writings of Cusanus (not Copernicus [Kopernik in the Polish original], not Galileo, not Bruno):

“But what about Cusanus’s transference of this metaphor [of an infinite sphere whose center is nowhere and whose circumference is everywhere] from God to the cosmos? I suspect that to Cusanus it seemed only obvious. As a Christian thinker he believed that everything created has its origin and measure in God. As he puts it in book 2, chapter 2 [of On Learned Ignorance] “every created thing is, as it were, a finite infinity or a created god” (II.2, p. 93). Our tree, for example, is such a finite infinity. Like every part of creation it shares, if Cusanus is right, in infinity. It is a contracted infinity.”

Clerics, always up to no good. I recently read one of them also invented the fax machine. Anathema sit!

Clerics: always up to no good. I recently read one of them also invented the fax machine. Anathema sit!

He continues:

“Similarly Cusanus understands the universe as such a finite infinite: like God in its infinity, unlike God in that instead of divine unity, we now have a multiplicity, a manifold spread out in space and time. If both oneness and difference are accepted, not only will the metaphor’s transference from God to the cosmos seem justified; but, since the metaphor joins extension and infinity, it can be said that it does greater justice to the cosmos than to God, who is beyond extension.”

How much more exciting is this than our heresy of the definite, bounded, and measurable?  It is exemplified by words frequently attributed to Robert F. Kennedy (Eternal rest grant unto him!), “What gets measured, matters.”

All in all, I’d like to return to the Orientalization of Poland as Catholiclandia sometime. I’ve already gestured toward my native realm’s “finite infinity” in posts here, and in the comments section of a post here. Might as well start the endless hermeneutic, probably tomorrow.

Coetzee Demolishes Greek Harmony With Christian Agony

I tried to find an example of the "Unitarian with an attitude" bumper sticker I once saw in Portland, OR. This is what the search turned up. True story.

I tried to find an example of the “UNITARIAN WITH ATTITUDE!” bumper sticker I once saw in Portland, OR. This is what the search turned up. True story.

The best religious novelist of our time isn’t, as far as I know, a Christian believer. J.M. Coetzee completed his doctoral dissertation upon another Christ-haunted writer Samuel Beckett. He also is clearly influenced by the philosophical and theological writings of the Catholic (other than Bruno Latour) most-discussed in the secular academe. Of course, I’m talking about René Girard, whose work I’ve alluded to elsewhere.

Coetzee did attend a Catholic high school, plus he has both Dutch and Polish ancestry. Poland was not always the Catholic stronghold it is nowadays–Poles can thank the Germans, Russians, and the Jesuits for that. Actually, during the 16th century Poland was home to not only nearly all the Jews expelled from the West, but also of the Radical Reformation (so perhaps Coetzee has radical Calvinist or Unitarian roots?). In fact, it’s the only place where the Jesuits were successful at combating the Reformation. As the old joke goes:

Q: What is similar about the Jesuit and Dominican Orders?

A: Well, they were both founded by Spaniards, St. Dominic for the Dominicans, and St. Ignatius of Loyola for the Jesuits.
They were also both founded to combat heresy: the Dominicans to fight the Albigensians, and the Jesuits to fight the Protestants.

Q: What is different about the Jesuit and Dominican Orders?
A: Well, have you met any Albigensians lately?

Mann saw through some of the intellectual fashions for Greece, but his not enough.

Mann saw through some of the intellectual fashions for Greece, but his Röntgen didn’t cover enough.

WHERE WAS I? In my mind J.M. Coetzee is the greatest Christian (why not Catholic?) novelist of our time, because his characters constantly mull over the significance and practices of Christianity. They make the Incarnation strange again by inviting the unsuspecting reader to look at it from new angles. But don’t let me be the judge; judge yourself.

Let’s start with a passage from Thomas Mann’s The Magic Mountain. I’m almost certain the passages you’ll read from Coetzee later are a polemic against this great German modernist writer. The Magic Mountain is a prime example of post-Christian attachment to an idealized Greece, even if some of the rough edges are briefly highlighted, instead of totally glossed over. The oneric section of the “Snow” chapter begins with the idealized beauty we usually associate with Greece:

“Youths were at work with horses, running hand on halter alongside their whinnying, head-tossing charges; pulling the refractory ones on a long rein, or else, seated bareback, striking the flanks of their mounts with naked heels, to drive them into the sea. The muscles of the riders’ backs played beneath the sunbronzed skin, and their voices were enchanting beyond words as they shouted to each other or to their steeds. A little bay ran deep into the coast line, mirroring the shore as does a mountain lake; about it girls were dancing. One of them sat with her back toward him, so that her neck, and the hair drawn to a knot above it smote him with loveliness. She sat with her feet in a depression of the rock, and played on a shepherd’s pipe, her eyes roving above the stops to her companions, as in long, wide garments, smiling, with outstretched arms, alone, or in pairs swaying gently toward each other, they moved in the paces of the dance. Behind the flute-player—she too was white-clad, and her back was long and slender, laterally rounded by the movement of her arms—other maidens were sitting, or standing entwined to watch the dance, and quietly talking. Beyond them still, young men were practising archery. Lovely and pleasant it was to see the older ones show the younger, curly-locked novices, how to span the bow and take aim; draw with them, and laughing support them staggering back from the push of the arrow as it leaped from the bow. Others were fishing, lying prone on a jut of rock, waggling one leg in the air, holding the line out over the water, approaching their heads in talk. Others sat straining forward to fling the bait far out. A ship, with mast and yards, lying high out of the tide, was being eased, shoved,and steadied into the sea. Children played and exulted among the breaking waves . . .”

The black book of Greek religion.

The black book of Greek religion.

Mann briefly spoils the lazy dream with the nightmare of homo necans we usually ignore:

“Scarcely daring to venture, but following an inner compulsion, he passed behind the statuary, and through the double row of columns beyond. The bronze door of the sanctuary stood open, and the poor soul’s knees all but gave way beneath him at the sight within. Two grey old women, witchlike, with hanging breasts and dugs of fingerlength, were busy there, between flaming braziers, most horribly. They were dismembering a child. In dreadful silence they tore it apart with their bare hands—Hans Castorp saw the bright hair blood-smeared—and cracked the tender bones between their jaws, their dreadful lips dripped blood. An icy coldness held him. He would have covered his eyes and fled, but could not.”

In the end Mann doesn’t let Castorp entirely forget the horror of the temple, yet he represses into an inarticulate muteness of a “silent recognition.”  With that the novelist still makes his character side with the myth of Greek balance and beauty even if he couches it in a decidedly Christian rhetoric of love:

“Death and love—no, I cannot make a poem of them, they don’t go together. Love stands opposed to death. It is love, not reason, that is stronger than death. Only love, not reason, gives sweet thoughts. And from love and sweetness alone can form come: form and civilization, friendly, enlightened, beautiful human intercourse—always in silent recognition of the bloodsacrifice. Ah, yes, it is well and truly dreamed. I have taken stock. I will remember. I will keep faith with death in my heart, yet well remember that faith with death and the dead is evil, is hostile to humankind, so soon as we give it power over thought and action. For the sake of goodness and love, man shall let death have no sovereignty over his thoughts. And with this—I awake. For I have dreamed it out to the end, I have come to my goal.”

Greece exposed!

Greece exposed!

I immediately thought of these passages passage from Mann when reading “The Humanities in Africa” chapter in Coetzee’s novel Elizabeth Costello. Bridget, the sister of the title character, is a nun and she has the following to say about our (unhealthy) obsession with Greece:

“‘You miss my point, Elizabeth. Hellenism was an alternative. Poor as it may have been, Hellas was the one alternative to the Christian vision that humanism was able to offer. To Greek society–an utterly idealized picture of Greek society, but how were ordinary folk to know that?–they could point and say, Behold, that is how we should live–not in the hereafter but in the here and now! Hellas: half-naked men, their breasts gleaming with olive oil, sitting on the temple steps discoursing about the good and the true, while in the background lithe-limbed boys wrestle and a herd of goats contentedly grazes. Free minds in free bodies. More than an idealized picture: a dream, a delusion.”

Not a pretty picture by Greek standards. Coetzee even notes it might be blasphemous for the Orthodox.

Not a pretty picture by Greek standards. Coetzee even notes the Eastern Orthodox might consider it blasphemous.

Bridget continues, refuses a merely “silent recognition,” and takes poor Elizabeth behind another woodshed:

‘Do you think, Elizabeth, that the Greeks are utterly foreign to Zululand? I tell you again, if you will not listen to me, at least have the decency to listen to Joseph. Do you think that Joseph carves suffering Jesus because he does not know better, that if you took Joseph on a tour around the Louvre his eyes would be opened and he would set about carving, for the benefit of his people, naked women preening themselves, or men flexing their muscles? Are you aware that when Europeans first came in contact with the Zulus, educated Europeans, men from England with public-school educations behind them, they thought they had rediscovered the Greeks? They said so quite explicitly. They took out their sketch blocks and drew sketches in which Zulu warriors with their spears and their clubs and their shields are shown in exactly the same attitudes, with exactly the same physical proportions, as the Hectors and Achilles we see in nineteenth-century illustrations of the Iliad, except that their skins are dusky. Well-formed limbs, skimpy clothes, a proud bearing, formal manners, martial virtues–it was all here! Sparta in Africa: that is what they thought they had found. For decades those same ex-public schoolboys, with their romantic idea of Greek antiquity, administered Zululand on behalf of the Crown. They wanted Zululand to be Sparta. They wanted the Zulus to be Greeks. So to Joseph and his father and his grandfather the Greeks are not a remote foreign tribe at all. They were offered the Greeks, by their new rulers, as a model of the kind of people they ought to be and could be. They were offered the Greeks and they rejected them. Instead, they looked elsewhere in the Mediterranean world. They chose to be Christians, followers of the living Christ. Joseph has chosen Jesus as his model. Speak to him. He will tell you.’

How do post-colonial departments digest mysteries such as this one? One is reminded of the divisive rhetoric emerging from deep geographical divisions within the Anglican communion. These insights also square with Girard’s repeated claim that the victim is the only universal category everyone agrees to in our age. What’s more, the victim, as Nietzsche knew (and despised), is a Christian category first articulated by St. Paul and the Gospels. It would have never struck the Greeks to put something as ugly as that at the center of their world. Finally, Coetzee goes beyond scratching the surface with novels built around characters who are victimizers. He presses the issue of forgiveness in extremis, with characters who might be as despicable as Kermit Gosnell or George Zimmerman are to some, in novels such as Waiting for the Barbarians and Disgrace.

All in all, it’s because of sharp observations such as these, because of a novelistic intensity unmatched since Dostoevsky, that Coetzee is the most significant living writer of theological fiction.  This is also why I couldn’t wait until the American release of The Childhood of Jesus and bought myself the UK edition.

The cover of the Polish edition, because why not?

The cover of the Polish edition, because Coetzee might really bum out the kids if they’ve been raised on Disney.

Disconsolate Karłowicz & Dostoevsky Tarry with Theological Corpses

Hans Holbein, Dead Christ, 1522. Dostoevsky's inspiration in the Idiot.

Hans Holbein, Dead Christ, 1522. Dostoevsky’s inspiration in the Idiot.

My esteemed friend over at Catholic Culture and Society, a blog about organic Catholicism, has been chiding my obsession with the negative aspects of life.

Why not look at a happy integrated family, or the beauty of God’s creation? Why think about violence, death, and perversion?

I confess to writing mostly about the latter.  For example, I have written about Nowosielski’s dark iconic vision here, or Kristeva’s obsession with the Baroque here, or dirty Rabelaisian Catholicism here and here,  or even Cromwell as Karl Hungus here.

I talk abut these because they are aspects of my own experience that need to be integrated. You should also remember that I come from a country, Poland, that lost roughly one-sixth of its population during World War II.

What follows below is a florilegium that will hopefully suggest Manichean tendencies (of which I’ve been accused) aren’t the only thing behind these posts.

“‘The thought steps in, whether one likes it or no, that death is so terrible and so powerful, that even He who conquered it in His miracles during life was unable to triumph over it at the last. He who called to Lazarus, ‘Lazarus, come forth!’ and the dead man lived—He was now Himself a prey to nature and death. Nature appears to one, looking at this picture, as some huge, implacable, dumb monster; or still better—a stranger simile—some enormous mechanical engine of modern days which has seized and crushed and swallowed up a great and invaluable Being, a Being worth nature and all her laws, worth the whole earth, which was perhaps created merely for the sake of the advent of that Being.

‘This blind, dumb, implacable, eternal, unreasoning force is well shown in the picture, and the absolute subordination of all men and things to it is so well expressed that the idea unconsciously arises in the mind of anyone who looks at it. All those faithful people who were gazing at the cross and its mutilated occupant must have suffered agony of mind that evening; for they must have felt that all their hopes and almost all their faith had been shattered at a blow. They must have separated in terror and dread that night, though each perhaps carried away with him one great thought which was never eradicated from his mind for ever afterwards. If this great Teacher of theirs could have seen Himself after the Crucifixion, how could He have consented to mount the Cross and to die as He did? This thought also comes into the mind of the man who gazes at this picture. I thought of all this by snatches probably between my attacks of delirium—for an hour and a half or so before Colia’s departure.

‘Can there be an appearance of that which has no form? And yet it seemed to me, at certain moments, that I beheld in some strange and impossible form, that dark, dumb, irresistibly powerful, eternal force.”

—Dostoevsky, The Idiot, trans. Eva Martin.

Mantegna, Lamentation of Christ, c. 1480.

Mantegna, Lamentation of Christ, c. 1480.

“Holy Saturday. The drama of Holy Week dies down for a moment. However, our thoughts race ahead, because they are hesitant about stopping near scenes of mourning, at physically repelling pietas, or by the corpse of Christ that has turned blue (as Mantegna saw it during a moment of religious dread). It is difficult to stay with a dead God, if only because his very death negates the logic of all consolations—doubt strikes not only the object of hope, but also its very possibility. We run away. Even though the tortured body of Christ rests in its grave, we live in the inevitable arrival of Sunday. The encouraging signs: rolled away stone, empty grave, angels, glory! It’s as if the final battle with the gates of hell is already behind us. But why does God wait nonetheless? Why does he leave us at the grave? Why is the One who is capable of rebuilding the temple in three days incapable of rebuilding it immediately?

The temptation to run away from the silence of Holy Saturday is not new. These same waters—disgust with the foolishness of an actual incarnation and an actual sacrifice—water the Docetist heresy. In the apocryphal Gospel of Bartholomew (dated back to the third century) the harrowing of hell occurs already on Friday, even before the deposition from the cross.  However this only makes Christ’s tomb into a mere theatrical decoration, and Saturday a problem of rhetoric not philosophy. I believe that Irenaeus of Lyons, who thought the Savior was in hell from his death until his resurrection, has the backing of some weighty theological reasons.”

—Dariusz Karlowicz, Koniec snu Konstantyna [The End of Constantine’s Dream], my own translation.

Acquainted with the Night: The Art of Jerzy Nowosielski (An IMAGE Journal Essay)

What follows is an essay I published with IMAGE Journal with the help of the Starmach Gallery in Krakow (You too can own a Nowosielski!).

IMAGE needs your generous emergency donations more than ever. They are in serious financial trouble through no fault of their own.  I know many of you read IMAGE, so please step up.

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Jerzy Nowosielski. Wings of the Archangel, 1947. Oil on canvas.

I have stood still and stopped the sound of feet
When far away an interrupted cry
Came over houses from another street,
But not to call me back or say good-bye;
And further still at an unearthly height,
A luminary clock against the sky
Proclaimed the time was neither wrong nor right.
I have been one acquainted with the night.

—Robert Frost

Lately I’ve become acquainted with the night coursing through my veins. Like any good diabetic, I have to draw murky drops of blood several times daily to measure my sugar levels. This all began with a hospital visit some seven months ago. That was when I discovered my bloody secret. Around midnight I was led into a darkened hospital room which would be my home for the next week. My two octogenarian companions lay sleeping. Their diapers filled our temporary camp with a smell that outdid anything the corpse of Father Zosima could have emitted.

You might wonder what a grad-student-for-life does in situations like these. He reads this in Nietzsche’s The Gay Science: “After Buddha was dead people showed his shadow for centuries afterwards in a cave—an immense frightful shadow. God is dead: but as the human race is constituted, there will perhaps be caves for millenniums yet, in which people will show his shadow.” The Prussian was probably right. The shadow of God has accompanied me since time out of mind, yet I continually reach for his light—never overcoming the shadowy impression that I’m neither quite wrong, nor really ever right.

The Bible’s sacred history is typically associated with the metaphor of light—the blinding light of revelation banishing darkness. But what, someone might ask, does revelation have to do with the murky ambiguity of so much human experience? For many of us, the light of revelation seems to leave the dim regions of our lives untouched. The paintings of Jerzy Nowosielski address the shadowy, opaque dimensions of experience. His art proposes a spectral shift in our reading of the biblical story—and therefore of our own stories. Nowosielski’s paintings seem to imply that there is something deeply human, and therefore perhaps also divine, about the darker aspects of our existence. No wonder one Polish art critic called him “the most secular religious artist and the greatest theologian among secular artists.”

But before we look at his paintings, we should dim the lights theologically. If we look at the foundational events of the Bible, the ones that guide the lives of Jews and Christians, we cannot help but notice the obscure register that reigns there: God appears to be a creature of the night, hidden when he reveals himself, seen “as through a glass, darkly.” One of the first things we read is, “Darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters.” A bit later, the foundation of the Israelite religion is built upon Moses receiving the tablets from a God clad in a cloud of darkness. During the Exodus, God’s people are saved by the dark waters which consume Pharaoh’s soldiers. Think also of Jesus in Mary’s dark womb, the dark night of the nativity, the midday darkness falling upon the land during the crucifixion, the darkness of the tomb and the descent into hell; add to it all the blindness of Paul en route to Damascus. I could multiply the examples here (for example, the Apocalypse, a dark unveiling indeed), but I’ll leave that up to you.

The darkness of the Bible is murky but enriching, a bit like a blood transfusion—and the paintings and icons of Jerzy Nowosielski share this quality. Nowosielski inscribes the canvas with the full range of our fears, disappointments, cruelties, and passions (in both senses of the word). “We must honestly admit to ourselves that we find ourselves on the edge of an immense metaphysical black hole,” he says. Yet something more is going on here: he dips his brush into these dark regions and then proceeds to mix them with a transfusion from the clouded streams around the Sacred Heart. Echoing Dostoyevsky’s dictum that “Beauty will save the world,” he writes: “Everything will capsize into the other side. Only art will help us carry our reality onto that other side. Art will save us.” Grace does not cross nature out; even at the general ressurection, we will still bear the marks of our humiliating sufferings, but then they will be accepted and transfigured—just as Christ still had the marks of his passion after his resurrection.

When I think of abstract painting (with the possible exceptions of Congdon, Kandinsky, and Rothko), I think of a personalized vision that dims all connections with reality. Personally, the schizophrenic solipsism of abstract art can be so bleak that it makes me want to stop reproducing and consider suicide.

So how did somebody like Nowosielski, who trained to become an Orthodox monk and icon writer during World War II in a Kiev monastery, first come to public attention with a series of abstract paintings? These works took the theologically saturated Polish art scene by storm during a 1948 exhibition in Krakow. A long-time resident of that city recently told me that the two poles of Sunday recreation that year were the Dominican church and the gallery where Nowosielski and his like-minded friends, the Krakow Group, displayed their paintings.

Nowosielski said that he lost his faith sometime during the Second World War. Though he never systematically addressed why it happened, he came to see that loss as a religiously fruitful experience. It led him to a state where “there is no metaphysical reality, which in essence is a highly metaphysical state, when the consciousness hits some absolute rock-bottom.” For Nowosielski, the way down turned out to be the same as grappling in the dark for the way up. “I started seeking the metaphysical roots of painting in this state of certain uncertainty about what I’m doing in art and where I stand. That’s when my ‘abstract painting’ was born,” he says. His statement echoes the Eastern Orthodox practice of apophatic mysticism (known in the West as the Via Negativa). In this tradition one begins by “cleaning the house” of one’s mind, negating all images of God and letting go of all ties to the world. Paradoxically, the practice has a positive and practical aim: clearing our minds of the concepts which screen us from the immanent energies of the transcendent God.

In the 1947 painting Wing of the Archangel, playful, wing-like dark blue triangles poke through in several locations, seeming to push out of the blue-gray areas on the sides and bottom of the canvas [see front cover]. This activity creates an expanding, luminous area of subtly variegated blue calm in the center portion. The orange rectangle and triangle just to the right of the middle emanate a sense of controlled passion.

Theology aside, abstract works like these were in part a rebellion against the mandatory Socialist Realist style imposed by the Soviets, kitschy art that papered over the gray reality of life in the Warsaw Bloc after World War II, a land overwhelmed by memories of atrocities and beaten into the ground by brutal foreign domination that would continue for four more decades. Then again, history is always theological. If there is one thing we learn from Nowosielski’s art it’s that there is no clear distinction between the sacred and the profane, believer and atheist. Everything can and must be taken into the eschatological realism proposed by the resurrection. As Karl Barth loved to say, God’s “no” also contains his ever greater “yes.” Nowosielski continued to follow his abstract intuitions throughout his career and later came to see them within a theological horizon. “The angel is abstract painting,” he once said—albeit sometimes a fallen angel.

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Plate 1. Jerzy Nowosielski. Woman in Darkness, 1971. Oil on canvas. 31 ½ x 47 ¼ inches.

Nowosielski’s love for painting the female body saves him from an abstract, heavenly escapism. He has painted sportswomen, housewives, women fully dressed, women in front of mirrors, women near windows, half-nudes, nudes, Madonnas, women in the ambivalent situations of ancient mystery rites, even women undergoing torture. As regards the last three categories, he once said that “art must always be suspect, because it redeems hell.” He meant all of his art, but what subject needs more redeeming than our representation of the female body, reproduced endlessly and demeaningly on billboards and internet sites? Something of this predicament is present in Nowosielski’s Woman in Darkness (1971), a work that suggests a coming to terms with painful secrets or fears about the future [see Plate 1]. The painting uses a dividing wall reminiscent of icon painting or the Stations of the Cross. Here, however, the boundaries seem permeable, intertwined. The bodies participate in a circling exchange, like the perichoresis of the Trinity. The ocher body is either screaming at or reconciling herself to the part of herself in blue, divided from her by the deep gray-blue wall. At the same time, some ochre part of herself seems to pass through that wall. She is merging with or emerging from the blue aspects of herself, which are turned away from us in a gesture of shame or despair.

A bold aspect of many of Nowosielski’s secular paintings is how they resemble icons. The rumor is that Eastern Orthodox faithful often complain that they cannot pray with Nowosielski’s actual icons, because his work consciously breaks so many conventions. I must admit that I would have no qualms about praying with one of Nowosielski’s nudes. I believe him when he says, “When it comes to my so-called secular paintings I am convinced that my theology of the body expressed there ‘speaks’ about problems similar to the ones expressed by the pope in words.” (He refers here to the late John Paul II’s collection of 129 Wednesday audiences on the theology of the body in which he says, among other things, that sexuality can potentially be an image of the Trinity.)

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Plate 3. Jerzy Nowosielski. Black Half-nude, 1971. Oil on canvas. 39 x 32 ¼ inches.

Compare the theology implicit in Nowosielski’s Black Half-nude (1971) [see Plate 3] with any of the nudes by the consensus nude painter par excellence, Lucian Freud. Freud’s cadaverous nudes, like the rest of his paintings, seem to be overwhelmed by the weight of sin, which they bear reluctantly like the tree which bore the weight of Judas’s body. For example, search for the painting of the pregnant Kate Moss entitled Naked Portrait. What should be an annunciation of life, Freud turns into a bloodless and dispiriting vivisection, despite his almost Polaroid realism. On the other hand, Nowosielski’s Black Half-nude is all the more real for all the elements of iconic abstraction it employs. Thanks to this, there is a gravity to the body which I can only compare with Michelangelo’s Pietà. Then come all the theological quotations: The white towel around her hips resembles a perizonium (the cloth usually worn by Christ on crucifixes). She sits on a heavenly azure seat, an iconic convention of both East and West in early Christian mosaics representing the coronation of the Virgin.

The cloth around her face creates a mix of theological and secular ambiguities. It could be Veronica’s veil with an imprint of a suffering face, invisible to us, or maybe the woman is taking off her blouse. In a secular inversion of da Messina’s Annunciation, perhaps she is anticipating a sexual encounter with the person facing her: the viewer. While enunciating a theology of the body, the painting playfully breaks with the iconic convention of concentrating upon the face and eyes. To paraphrase an Image editorial [from Issue 41], if we cannot incarnate God in our blood, guts, shit, piss, semen, saliva, bellies, knees, and breasts—he vanishes into the ether. Then again, our conventional iconic expectations are not completely denied: her torso, breasts, and shapely stomach are arranged to resemble a face smiling back at us. I don’t know if they’re telling us to change our lives, but that ambiguity is just how Nowosielski would have it. Finally, there is the orange and yellow glow around her, which at first looks like the neon of a red-light district. But the glow also resembles what Pavel Florensky called “admixtureless light”—that is, gold, the color of the backgrounds of icons. And yet, iconic conventions are again turned inside out here. The background is black, and black penetrates most of the body. According to the painter, this mixing of boundaries is part of the plan of salvation, and therefore art: “There is a mysterious bond between sin and holiness. It can be partly seen with the aid of art. Eros illuminates matter, but this cannot be described with words. Some small part of it can be painted.” Then again, the connection between religious art and eroticism has been part of the tradition for a long time, running from the Song of Songs to any number of Saint Sebastians (most notably Mantegna’s), Bernini’s sculptures, and Donne’s poetry, to name just a few examples.

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Plate 4. Jerzy Nowosielski. Mountainous Landscape, 1955. Oil on canvas. 25 ½ x 30 ¾ inches.

Despite his redemptive vision, Nowosielski shows a marked pessimism in his landscapes. This is not because he has any distaste for nature. Quite the contrary. Mountainous Landscape (1955) is typical of his complex understanding of the natural world [see Plate 4]. This landscape has less to do with saccharine Hudson River School canvases than T.S. Eliot’s Wasteland—that is, the metaphysical black hole applied to the natural world. The scorched brown of the mountain turns into black. The green pasture is infected by a mold-like brown. The only unspoiled element is the little blue lake at the top of the mountain. A tiny abstraction built into the scene, integrated yet standing apart, it is a small window of hope. From a purely aesthetic vantage point, there is as much alienation here as in all of de Chirico’s claustrophobic cityscapes (which employ similar compositional structures). But why?

The real subject of the painting can be interpreted as absence. Nowosielski’s theoretical writings are especially helpful here. Asking most modern painters to explain the worldview behind their works is usually as fruitful as asking an art critic to paint something: vanity of vanities. But Nowosielski’s writings and paintings co-inhere, one interpreting the other. Poland is a nation where meat is served at almost every meal. Pretty much the only vegetarians are practicing Catholics on Fridays—and this despite a thriving Franciscan community. In this context, one of the more controversial aspects of Nowosielski’s writings is his outrage at our instrumentalization of the animal world. Orthodoxy is historically more sensitive to the suffering of animals and puts an emphasis on the salvation of the whole world: man, animal, vegetable, and rock. Even so, statements like these from Nowosielski have caused considerable outrage among both professional Catholic and Orthodox theologians: “We all participate in the suffering and death of Christ. Animals also participate, as does the whole of nature. For example, the Paschal Man is not named a lamb as a symbol; it is not a symbol! The suffering of animals is the real suffering of God.”

Mountainous Landscape shows us an apocalyptic nightmare of a world without animals—a world after an environmental Armageddon which might not be that far off. In the negative sense, this landscape is also in the image of fallen man, much like the lonely city-wrecks of de Chirico. It is a prophetic lament for a devastated creation and for a humanity unconsciously losing a salvific opportunity through an ecological crisis. The antidote to all of this could be an embrace of the Christian roots of the environmental movement, which cannot and should not be divorced from the doctrine of creation. Rid of its current quasi-soteriological and Manichean tendencies, environmentalism might become more appealing to a wider group of people. Its historic connections with a more generous worldview are there, if one is willing to look. The green and the sustainable-community movements were heavily influenced by the book Small Is Beautiful, published by Catholic economist E.F. Schumacher during the energy crisis of 1973. And there are ecumenical patron saints of conservation waiting in the wings: Seraphim of Sarov, Francis of Assisi and, more recently, Wendell Berry.

Plate 2. Jerzy Nowosielski. City Landscape, 1959. Oil on canvas. 23 x 32 inches.

Plate 2. Jerzy Nowosielski. City Landscape, 1959. Oil on canvas. 23 x 32 inches.

City Landscape (1959) reverses the schema, showing an urban setting as a desert [see Plate 2]. The streets are sparsely peopled, the trams seem more symbolic than real, scantily clad women (or are they mannequins?) stand behind windows on either side of the street, and a possible flasher or drunkard in a yellow coat walks briskly away from the viewer, as if he has something to hide. Townhouses oppressively press upon the earthy brown of the streets, and at the top of the painting, the tram tracks fork into the shape of a snake’s flickering tongue. The man in white pants and black coat, despite his dandy hat, has downcast eyes and keeps his hands in his pockets in a reserved, modest, self-aware, almost pious gesture. Is he thumbing rosary beads in his pocket? The colors of his outfit are probably not incidental, as a mysterious drama of good and evil plays itself out at the edges of the painting. Why shouldn’t we see this man as a modern-day Saint Anthony, fighting temptation, loneliness, and maybe a hangover in an urban desert? The strange women and the drunkard-flasher seem to fit this motif, and the trams slither like demythologized serpents.

All of this is seen from above, as if from a bird’s-eye, or God’s-eye view. Nowosielski frequently uses this perspective in otherwise lonely and bleak paintings of cities. It forms the impression of a downward movement toward the earth, as if we are seeing through the eyes of one of Wim Wenders’s angels or the “descending Dove” of Charles Williams. Madeleine Delbrel, sometimes called the French Dorothy Day, captures this iconic vision of the modern urban desert better than anyone I have read: “In those crowds marked by the sins of hatred, lust, and drunkenness, we find a desert of silence, and we recollect ourselves with great ease, so that God can ring out his name: Vox clamans in deserto.” Elsewhere she describes the intersection of this desert of urban sin with the dark ray of divine love in words borrowed avant la lettre from Nowosielski: “Our Christian life is a pathway between two abysses. One is the measurable abyss of the world’s rejections of God. The other is the unfathomable abyss of the mysteries of God. We will come to see that we are walking the adjoining line where these two abysses intersect. And we will thus understand how we are mediators and why we are mediators.”

There are chronological and intellectual reasons to save a discussion of Nowosielski’s explicitly religious works for last. First of all, he regained his faith fairly late in his life and creative career, some time in the late 1950s. Also, his journey back to the church, and to icons, was quite original. Surprisingly, the importance of modern art cannot be underestimated here. “Who is responsible for my being this way? Certainly my fate, but also experience, the lessons of surrealism,” he says. Surrealism proved to be a liberating experience for Nowosielski, because it opened him up to viewing art of all periods, especially Orthodox iconography, as a living and anarchically liberating reality. This freed him from the widespread prejudices of nineteenth-century historicism, which saw art simplistically as a march of progress that consigned all so-called “archaic” forms to the dustbin of history. The spiritual pedigree of the modern avant-garde is well attested theoretically and artistically by Kandinsky (among others), a Russian who drew inspiration from icons.

Ever since the late fifties, Nowosielski has consistently produced sacral art of the highest quality and inspiration. However, he had greater aspirations: “From childhood on I dreamed about designing a sacred space. I worked with architects, made polychromes, but these were just fragments. I wanted to create something from the ground up.” Nowosielski got his chance in 1992 in the small town of Biały Bór, population about 2,200. The town is a center of Orthodox and Greek-Catholic culture in northwestern Poland. This unique geographical and cultural situation led Nowosielski to some creative solutions. The dark and womb-like interior has both a traditional and modern feel to it. Its modernity is not in the way of most American churches, which often feel little different from Starbucks.

Plate 5. Jerzy Nowosielski. Church in Biały Bór, Poland, 1992-97. View of Main Nave from the Entrance.

Plate 5. Jerzy Nowosielski. Church in Biały Bór, Poland, 1992-97. View of Main Nave from the Entrance.

Nowosielski’s modernism digs deep into history without turning into archaeology. The church’s center area, where the liturgy is performed, is notably lower than the raised sides where the faithful congregate [see Plate 5]. This is a direct quotation from the Greek stage, as are the columns and the triple red arches, which imitate the doors through which Greek actors used to enter the stage. It is not incidental that these doors through which the Trinity enters into the drama of the congregation’s lives are colored red, the liturgical color of the Lord’s passion—and also of sexual flush. This understanding of the liturgy as a transforming drama where our salvation and damnation are at stake is confirmed by the artist himself: “As a person who is well nigh obsessively concerned with liturgical questions, I consider the Christian liturgy to be a transformation of the Greek theater, and also as a kind of sacred circus.”

The interior’s color is difficult to render in a photograph, which tends to make it look black; it’s actually a very dark shade of green. In the Orthodox Church green is the liturgical color of several feasts and seasons: the Feasts for Ascetics and Fools for Christ (that is, the holy circus), Pentecost, and Palm Sunday. It is also the liturgical color of hope and resurrection, but as the list suggests, it is a hope achieved by going into the darkness (even the darkness of madness) with God instead of circumventing it with Prozac. At the center is the tetrapod upon which icons are placed for veneration. Directly above, like a top hat floating down upon the congregation below, is a cupola with Christ as Pantokrator. This setting is one of the best spatial representations I know of the Pauline imperative to put on Christ’s mind. Really, it seems like it might fit. We just have to be raised toward it.

Plate 6. Jerzy Nowosielski. Church in Biały Bór, Poland. Exterior.

Plate 6. Jerzy Nowosielski. Church in Biały Bór, Poland. Exterior.

The exterior facade of the church deliberately resembles an iconostasis (the wall of icons that separates the nave from the sanctuary in an Orthodox church) [see Plate 6]. In part, this is an outgrowth of demographics. During the ordinary parts of the liturgical year the church serves a small congregation. However, during the high holidays, the region’s widely dispersed Polish Greek-Catholic flock comes to this sanctuary. During those times, the church cannot hold the crowd, and so the liturgy moves outdoors. The facade prominently features two archangels flanking a Mandylion. The Mandylion is something like the Orthodox iconic version of the Shroud of Turin. This image, faithfully reproduced by iconographers, shows the imprint of Christ’s face. It is not Veronica’s veil, but a cloth used by Christ to wipe his face during the passion, which was passed along to a servant of King Abgar of Edessa, who was later healed of an incurable sickness thanks to it. It is usually acknowledged as the first and most authentic image, ikon, of Christ. Nowosielski has made many such icons, including one for the Franciscan Church of the Immaculate Conception in Krakow [see Plate 7]. The placing of this image so prominently on the exterior of the church in Biały Bór, facing the elements, invokes for me Nowosielski’s sacrificial logic of the collision of the world with the self-emptying God: “If the earth were not so saturated with evil, there would be no need for the coming of Christ. I am thinking of the kenotic descent of God into such an earth.” The end result of that descent, death, is not easy to swallow, but Christ’s life is normative as an example for anybody who wants to become a Christian. All of reality must be irradiated by the shadow of this suffering face if reality is to be taken up into the life of the Trinity.

Plate 7. Jerzy Nowosielski. Mandylion, 1978. Acrylic paint on board. Franciscan Church of the Immaculate Conception, Krakow, Poland.

Plate 7. Jerzy Nowosielski. Mandylion, 1978. Acrylic paint on board. Franciscan Church of the Immaculate
Conception, Krakow, Poland.

What I have written may seem like an odd art essay, with its swerving into theology, politics, and sex. But the imperative to soil the clean white gloves of high aesthetics is dictated by the oddity of Nowosielski’s art itself, which mishmashes these taboo subjects and opens them up to comparative inquiry. His painting forbids an aestheticized, abstracted “view from nowhere” and instead demands a Christian, personalist engagement with the rough edges of reality. Nowosielski has said that he sees himself as making icons for westerners, for Catholics and Protestants. The West, he says, “properly grasps the spiritual issue of the mystagogical role of art,” an attitude he believes will bear fruit.

Plate 8. Jerzy Nowosielski. Theotokos Oranta with Fathers of the Church, 1984. Greek-Catholic Church in Lourdes, France.

Plate 8. Jerzy Nowosielski. Theotokos Oranta with Fathers of the Church, 1984. Greek-Catholic Church in
Lourdes, France.

Several years ago I went to Lourdes with two of my best friends. We did it all: confession, masses, Stations of the Cross, shopping for the finest religious kitsch, and we got dipped in the chilling healing waters. After the bath I noticed a palpable change in myself: I got a sinus infection and spent about two weeks battling it. As we left, I remember seeing a beautiful church with golden cupolas from our moving train. It was Saint Mary’s Ukrainian Catholic Church. It immediately charmed me and I wondered what hid inside the dark walls. I had no idea what I missed until I looked at a book of Nowosielski’s works. He painted the whole interior of this little Greek-Catholic church in 1984. Right behind the altar is an immense depiction of the Theotokos in prayer with the Doctors of the Church below her [see Plate 8]. The whole composition is bathed in a deep blue background of a shade that has very little to do with the light-blue ceilings of medieval Catholic churches. Her face is a study in patience learned through suffering. Her eyes (and sinuses) are shadowed by a darkness that she seems to face without flinching, never flagging in the welcoming gesture of her praying arms: she is not afraid of being infected by our sins.

The Greek verb used to describe the making of icons, graphia, means both “to paint” and “to write,” and this is why the whole process is often called “icon writing.” This is how God communicates his image to people in painting. All of it finally brings us to the form of the biblical text, or any other text. Take a look at this page. How is it that the words I write here resound in your mind?

The whiteness of the page is not shouldering the message. It is not the white background, but the ray of darkness of the text which is doing all the work.

Likewise, Nowosielski’s art teaches us to get acquainted with the night of our blood, guts, shit, piss, semen, saliva, minds, gender, environment, cities, diseases, art, and politics, and not fear them, but live them out rightly as the coming of God’s darkness as it incarnates itself within the whole of our mind, body, and soul—especially when they are wracked by suffering. As we contemplate an image like the 1978 Mandylion, its apophatic darkness shows us that our concepts cannot capture the great price and music of the hypostatic union: a God who was fully human, a man who was fully God. In the muddy darkness of daily experience, Nowosielski’s paintings are a visual answer to the question asked by Job: “Where is God my Maker, who gives songs in the night?”

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Update: I recently noticed that Amazon has one copy of the best catalog of Nowosielski’s work. It’s reasonably priced so snap it up here before someone else does.

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Debunking Science & Religion Myths: The Copernican Revolution Wasn’t a Demotion

Whoa, he's Polish!

Whoa, he’s Polish!

The science and religion debates are chock-full of ideological myths.

Nowadays the scientific side usually has the upper hand in the construction of history.  This position means its stories should arouse healthy suspicion and invite demythologizing.

Everyone has rehearsed all those terribly touching stories, perhaps even with a tear in the eye, about the persecution of the brave scientific martyrs by the ecclesiastical Grand Inquisitor(s).  Let’s ignore the fact the Inquisition had more respect for due process and evidentiary rules than the Bush-Obama White Houses and explore something more moving.

The shifting of the Earth from the center of the universe, coupled with the setting of the planet in motion around the sun, is usually presented as a real cosmic bummer from which we’ll never recover.

John Hedley Brooke, in Science and Religion: Some Historical Perspectives, says nothing could be further from the truth (if you take 16th century cosmology into consideration),

“Even if men and women were removed from the center of the cosmos, this was not necessarily to diminish their status.  The center of the geocentric cosmos had not been salubrious.  It was the point to which earthly matter fell, the focus of change and impurity, the physical correlate of humanity’s fallen state.  To be placed on a planet was to move upmarket.  It was to be delivered from a dump that was, in reality, diabolocentric.  Galileo was certainly conscious of this, rejoicing that there was an escape from the refuse.  Kepler, too, spoke of an enhanced status for the earth.  At last it enjoyed legal citizenship in the heavens.  Not surprisingly, John Wilkins was to say that a prevalent objection to the Copernican system was not man’s dethronement but an elevation about his true stature.”

Oh merde!

Oh merde!

Feel free to annoy your starry-eyed science-geek friends with these newly-learned facts.  Why not also pass along the story I published here and the conclusion to the one here while you’re at it?

By the way, the above passage from John Hedley Brooke was cited by Larry Chapp in his groundbreaking tome The God of Covenant and Creation.  You’ll be hearing about it a lot more in the near future.  I’m still reading it (with great enthusiasm).

I could only find an untypically modest-sized picture.

I could only find an untypically modest-sized picture.