I am pleased to announce I have another original horror story up at my Patreon. “The Hungry Field,” up in its entirety, is a short and terrifying jaunt through the Springtime landscape. Here’s the first few lines:
It must have been some strange perversion of heart, some peculiar twist of concupiscence, that made James Harvey want to read ghost stories at Easter. Joy and sunshine stirred only sepulchral thoughts. Perhaps some deep paganism inexplicably awakened under his conventional belief in the resurrection. I don’t know. But as the days lengthened on the fields of chrome-yellow rapeseed, he turned to books that fed an appetite for darkness.
“The Hungry Field” New on the Amish Catholic Patreon
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What follows is an original translation of L’Horloge de la Passion, a brief meditative text written by the Solitaire of Port-Royal, Jean Hamon (1618-1687), a doctor of medicine, mystic, and exegete. Hamon wrote L’Horloge for the sisters of Port-Royal to use during perpetual adoration of the Blessed Sacrament, perhaps during the Triduum. Perpetual adoration was a central feature of life at Port-Royal from 1647, when Mère Angélique returned from the unsuccessful venture of the Institut du Saint-Sacrement.
Each hour represents a different mystery of the Passion and is calibrated to follow the Passion narrative in real time. Hamon concludes with several prayers, probably composed first in Latin and then put into the vernacular. I have take the liberty of reproducing the Latin below while translating from the accompanying French.
This document, though originating from the heyday of Port-Royal, was only published in 1739 in the post-Unigenitus ferment of Jansenist print culture. It remains a very edifying text and a testament of the vitality of the spiritual life that characterized those wayward ascetics clustered around Port-Royal. I offer it here both out of historical interest for those who, like me, look at Port-Royal for academic reasons, and because I felt that such a text may be of some use and consolation to the faithful in this very unusual Holy Week, when death hedges us all around.
L’Horloge de la Passion
At six o’clock in the evening: Jesus Christ washes the feet of His Apostles. Humility. Help to our neighbor.
At seven o’clock in the evening: Jesus Christ institutes the Most Blessed Sacrament. Recognition and perpetual memory of this benefit.
At eight o’clock in the evening: Jesus Christ prays to His Father for the salvation and union of His Elect. To renounce everything that can stops us from being one with Jesus Christ and our brethren.
At nine o’clock in the evening: Jesus Christ is sad even unto death. Confidence in the weakness of Jesus Christ, who is our strength in our dejection and our miseries.
At ten o’clock in the evening: Jesus Christ prays to His Father to take away the chalice of His sufferings. Submission to the will of God.
At eleven o’clock in the evening: Jesus Christ enters into agony. To resist sin with courage.
At midnight: Jesus Christ, after having turned back the Jews by a single word, allows himself to be caught. To see God in all that man cause us to suffer.
At one o’clock in the morning: Jesus Christ allows himself to be carried off by the Jews. Sweetness and humility in ill-treatment.
At two o’clock in the morning: Jesus Christ is presented to the High Priest. To revere God in secular and ecclesiastical authorities.
At three o’clock in the morning: Renunciation and penance of St. Peter. Fidelity in confessing the name of Jesus Christ. Humble return to Him after our falls.
At four o’clock in the morning: Jesus Christ is presented before the Council of the Jews. To listen to the word of God as being truly His word. To adorer the Truth, never to raise ourselves against it.
At five o’clock in the morning: Jesus Christ mocked and outraged by the servants of the Priests. To suffer humbly both scorn and injuries.
At six o’clock in the morning: Jesus Christ is brought before Pilate. Adoration and imitation of the silence of Jesus Christ, when we are accused.
At seven o’clock in the morning: Jesus Christ is sent to Herod. To pass as foolish before men even though we be truly wise.
At eight o’clock in the morning: Jesus Christ is scourged. To take part in the sufferings of Jesus Christ and His members.
At nine o’clock in the morning: Jesus Christ is crowned with thorns. To adore Jesus Christ as our King. To suffer with him, is to reign.
At ten o’clock in the morning: Jesus Christ is condemned to death. To die to one’s self is to live in Jesus.
At eleven o’clock in the morning: Jesus Christ carries His Cross. Let us carry ours after him; he carries it with us.
At noon: Jesus Christ is crucified. To attach ourselves to Jesus Chris, and to desire to be attached by Him to the Cross.
At one o’clock in the afternoon: Jesus Christ is lifted up upon the Cross. To raise our eyes and heart towards the mysterious and divine Serpent.
At two o’clock in the afternoon: Jesus Christ speaks to His Father, to the Blessed Virgin Mary His Mother, and to St. Jean. Attention to these divine words that comprehend our duties.
At three o’clock in the afternoon: Jesus Christ gives up the ghost. To adore His death; to unite ours to him.
At four o’clock in the afternoon: The open side of Jesus Christ sheds blood and water. Rest in the Side and in the Wounds of Jesus Christ. To honor the Sacraments established in the Church.
At five o’clock in the evening: Jesus Christ is buried, and placed in the tomb. To be buried with Him. To hope for the Resurrection.
Prayers – That one can say in adoring the Death of Jesus Christ
Ut beatam horam Mortis tuae adoramus, Domine, da nobis ut horam mortis nostrae, quam solus nosti, perfecto corde & vivendo & moriendo adoremus.
Vouchsafe unto us grace, O Lord, that in adoring the hour of Thy Death, we might adore, in living and dying with a heart perfectly submitted to Thine commands, the hour of our death, that is known to none but thee.
Domine Jesu, qui mori voluisti ne moreremur, sed de morte ad vitam transiremus, recordare Mortis tuae in tempore mortis meae, cum nec tui nec mei recordari potuero.
Lord Jesus, who hast desired to die to deliver us from death, and to cause us to pass from death to life, remember Thou Thy Death at the hour of mine, when I will be no longer in a state to think of either myself or Thee.
Mortem meam quae poena peccati est, tutetur & protegat Mors tua, quae tollit peccata mundi, ut jam pie cogitando quia mortuus es, tunc moriendo non moriar.
May Thy Death that nullifies the sins of the world be my protection in death, which shall be the penalty of sin; and in thinking with piety that Thou art dead, in dying even may I not die.
Versetur semper ante oculos meos tempus Mortis tuae, quae mihi sit fons vitae, cum vita mea defecerit, ut in Morte tua vitam invenire possim qui in vita mea mortem singulis diebus invenio.
May Thy Death always be present to me, so that it may be unto me a source of immortal life when I will lose this corruptible life; and instead of often finding death in my life, may I find life in Thy Death.
Fac, Domine, semper conjungam cogitationem Mortis tuae cogitationi mortis meae, ut quod in morte mea amarum esse potest, benedictione Mortis tuae dulcescat; sicque vitae permanentis amore, mortis transeuntis levem ictum non reformidem.
Vouchsafe unto me the grace, O Lord, of ever uniting myself to the thought of Thy Death in the remembrance of mine, so that what there might be of bitterness in my death might be sweetened by the blessing of Thine; and thus that the love of an eternal life might cause me not to dread anything of the blow, so light, of a voyaging death.
Bene vivam, Domine, ut bene moriar. Ut bene vivam, vivam de te. Ut bene moriar, moriar in te,. Vitam meam informet Vita tua, ut sancta sit; & mortem meam defendat Mors tua, salus nostra, ut sit salutaris,
Vouchsafe unto me the grace, O Lord, of living well, that I may die well. May I live in Thee, that I might live well: and to die well, may I die in Thee. May Thy life be the rule of my life, so that it may be holy; and may Thy Death, which is the cause of our salvation, safeguard my death so that it may procure unto me salvation.
I’m very pleased to announce that I have a poem coming out in the Emma Press’s new collection, The Emma Press Anthology of Contemporary Gothic Verse. From the press release:
The anthology was compiled from poems sourced in an open call for submissions launched towards the end of last year. 294 poets entered, of which 26 were chosen for the anthology. Editor Nisha Bhakoo says in her introduction to the book: “My hope for this anthology was to showcase poems that pointed to the uncanniness of our present time, giving traditional gothic tropes a compelling, contemporary flavour. I not only wanted the poems to hold up a mirror to our post-postmodern age, but also to challenge the norms and unwritten rules of it.”
Although I make no money from the sale, please consider buying a copy of the Anthology from the Press’s UK-based store. Small presses need as much support as we can give them, and the Emma Press has published some really great contemporary poetry. Pick up your copy today!
Over at Patreon, I’ve published the second part of my weird story, “Mirrors.” Novelist Jonas Beckley is having a more and more unsettling time in his new lodgings.
Here’s an excerpt:
There was a strange smell in the staircase today. Heavy, piercing, wet, rotten. Familiar, somehow, though I couldn’t place it. I think it must have been connected with whatever that black substance was on the stairs leading up from my floor. When I went to tell Wilson about it, he was nowhere to be found.
“Mirrors,” Part II – By Rick Yoder
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Over at Patreon, I’ve published the first part of a new weird story, “Mirrors.” A popular writer moves into new lodgings, only to discover that the odd neighbors aren’t the only thing strange about the place…
Here’s an excerpt:
I still have not met any of my other neighbors, but I have heard them. Last night, I was woken up some time past midnight by several large thuds from above. It sounded as if someone was dropping bowling balls again and again on the floorboards. Just when I got out of bed and was halfway to making up my mind about whether or not I should go complain, the noise stopped. I hope this will not be a nightly recurrence, as it will surely impact my writing.
“Mirrors,” Part I – By Rick Yoder
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My short story “A Walk to the Pier” – a surreal tale of memory, guilt, and telephones – is now up on my Patreon. An excerpt:
With almost a week gone by, Seymour Groves was regretting his retirement. Everyone had said that moving to Etcham-on-Sea would be just the thing to do, a kind of neverending holiday. What they hadn’t mentioned is whether a neverending holiday was really desirable. After frequenting the music halls, the buffets, the toffee shops, and the boardwalk, Groves had decided in the negative. Part of it was boredom. The amusements of his youth looked more tired than ever. He couldn’t, in all dignity, ride the bumper cars again, nor frequent the clubs and bars that had so enticed him in the summers of his early adulthood. Everything was sagging, rust-lined, smelling of piss. The beach huts stood in a silent line, all quite beyond repair. His own small flat was hardly more than a bedsit with a couple faded posters that shouted “Etcham! Poseidon’s Paradise in the North!” Perhaps it had been so, once. But as he was alone, he would have to find something to do. Groves had never married – had, in fact, lost the one woman whom he ever loved, Mona Deane, on the rocky shore of Etcham. He had not come back since that night so many decades ago.
“A Walk to the Pier,” by Rick Yoder (your humble blogger)
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As my readers will no doubt be aware, most religious orders have a motto that encapsulates their particular charism. However, many of these are a bit tired and could use with some updating. Here are my proposals:
Benedictines: Prayer, Work, Monk-eying Around
Jesuits: Up to Something
Dominicans: Sed Contra
Franciscans: Need a Bath
Lazarists: Nolite Me Tangere o Pauperes
Carmelites: Better Than You
Oratorians: O Happy Flowers!
Trappists: Beer, Cheese, Keeping Death Daily Before One’s Eyes
I have just uploaded the third and final Chapter II of my short story, “The Baptism of the Archduke,” over at my Patreon. This rococo satire involves a formidable if exasperated Duchess and her plot to marry off one of her daughters at the occasion of a family baptism – in spite of some very strange obstacles.
Patron Saints of the blog can read all three parts of this humorous story. You, too, can become a Patron Saint today by pledging $10 a month, which will grant you exclusive creative content not available on my blog. Please consider joining today!
I have just uploaded Chapter II of my short story, “The Baptism of the Archduke,” over at my Patreon. This rococo satire involves a determined Duchess and her plot to marry off one of her daughters at the occasion of a family baptism – in spite of some very unusual obstacles. The third and final chapter will be coming out in May for Patron Saints of the blog, who can already see the first two parts. You, too, can become a Patron Saint today by pledging $10 a month, which will grant you exclusive creative content not available on my blog. Please consider joining today!
When the definitive cultural history of our late capitalist political moment is written, much will be said about the seminal influence of Willy Wonka and the Chocolate Factory. This 1971 film, emerging in the context of the Nixon administration, the War in Vietnam, and an ongoing reassessment of America’s place in the social, political, and ecological world, is still as fresh and potent as the first day it opened in theaters. Taken collectively with its originating text by Roald Dahl and subsequent re-make by Tim Burton, the Wonka Cycle constitutes one of the fundamental cinematic expressions of postmodern anxiety and self-reflexivity. Can it be any surprise that this complex contemporary fable has spawned a burgeoning field of scholarship?
While none of this will surprise Wonka specialists who seek out this volume, the lay reader may be surprised to know the extent to which Wonka as a text has risen to its prominent status in such a short time. For the benefit of such a reader, I will provide a brief literature review of the field.
Wonka Studies was initiated in 1987 with the publication of Jonathan Mortman’s “Oompa-Loompas of the World Unite: A Marxist Reading of Willy Wonka and the Chocolate Factory” (Forth 03, Fall 1987). Much has transpired since Mortman’s widely-acclaimed essay; the field has since evolved into an important sub-discipline of cultural and critical studies. The convening of the first Conference for Wonka Studies at Blippensbild College in 1992 disseminated various advances in Wonka scholarship made in the wake of Mortman’s intervention. Yet it was not until the following year that we start to see the first Wonka Studies seminars open on a test-case basis in various major research universities.
Scholars are divided as to the true political position of the Wonka Cycle. Heidi Zolker and Brian Stafford-Jones famously argued in their 1994 missive, “Oompa-Loompa Rights are Human Rights” (Force 17, Spring 1994) that the musical sequences of the film contain a carnivalesque critique of capitalist labor relations. This view would have become the established orthodoxy had not Leopold Öngg published his magisterial “Of Wonka and Wankers: The Golden Ticket as Phallocentric Signifier of Biopower” (Oberflächlichenstudien 03, Summer 1996). Drawing upon the insights of Foucault and Derrida, Öngg argued that the incentive-structure inscribed into the plot of Willy Wonka took an inherently apologetic stance towards the forces of patriarchal capital. Without denying the subversive elements identified by Zolker and Stafford-Jones, Öngg suggested that the anti-capitalist performances were akin to the economic logic of early National Socialism. “Wonka is a Strasserite. Behind and, indeed, beneath the Chocolate Factory, lurks the gas chamber,” wrote Öngg in a memorable and much-quoted phrase.
This central question – whether Wonka is a communist or a fascist – occupied much of the debate throughout the nineties. The important interventions by Julia Linley (Forts 16, Summer 1997), Oswald Glover (Forks 28, Fall 1998) and Eric Breedlove (Folks 30, Winter 1999) all respond to this controversy in some way.
Yet starting in 2002 with the rediscovery of early middle French theory, Wonka scholars began to move away into more reflexive and less strictly partisan approaches to the material. At the same time, more attention was given to the gender and class dynamics outside the Factory itself. Ernest Grenouille’s “We Are All Grandpa Joe” (Färt48, Spring 2003) was an important model of this “Humanizing” Turn. The wider socio-political, cultural, and economic troubles of the new millennium also found their place in the new scholarship. The significant upshoot of articles about Slugworth in the wake of the 2008 financial crisis (Karawasi 2009; Davison 2009; LeBocq 2010) are just one example among many.
Recent work has been equally attuned to our political moment. That much was clear to all the attendees and presenters at the 27th Annual Conference for Wonka Studies, which convened at South Mercury University and Ladies’ Seminary from 6-9 February, 2019. The essays included in this collection form the core of a radically self-conscious response to our era. For instance, Hilda Davis-Davies argues in her powerful intervention, “The Queering of Violet Beauregard,” that that character undergoes what is actually a transfiguration into a radically non-heteronormative and (more importantly?) non-speciesist physicality. Violet Beauregard thus becomes a model of praxis, and not without a certain jouissance. Jean-Claude LaMerde brings a psychoanalytic lens to the famous Augustus Gloop scene in his “Gloop/Narcissus: A Neo-Lacanian Reading.” LaMerde dares to ask, “Is the chocolate river in fact an objet a?” Fistula Pepper responds to the broader need to make Wonka Studies more interdisciplinary with her Film studies essay, “From Wonka to Cremaster: Interrogations of Late Capitalism in Cyclic Film.” Her comparison of these two masterpieces opens new cultural insights.
Yet all of the twenty-one essays published here break new ground. The future of Wonka Studies as a discipline is bright as a Golden Ticket.
Vincent Hingendingus, State University of Marshwater
Table of Contents
I. There is Nothing Outside the Factory: Derrida’s Of Grammatology and the Factory as Spatial Arbiter of Semantic Meaning in Willy Wonka and the Chocolate Factory
II. “I’ve Got Another Puzzle for You” : Strategies of Negotiated Subalternity and the Representation of the Racial Other in Willy Wonka and the Chocolate Factory
III. Does Charlie Bucket Punch Down?
IV. “I Want It Now!” : Veruca Salt as Model of Radical Feminist Praxis
V. “If You Are Wise You’ll Listen to Me” : Critical Re/Readings of Spivak’s “Can the Subaltern Speak?” in Willy Wonka and the Chocolate Factory
VI. The Chocolatier’s Two Bodies
VII. To Win is to Suffer: The Final Confrontation in Willy Wonka and the Chocolate Factory as Turnerian Rite of Passage
The Rev. Dr. Aldo von Krefeld-Lipniz
VIII. The Queering of Violet Beauregard
IX. Gloop/Narcissus: A Neo-Lacanian Reading
X. “Is the Hurricane A-Blowing?”: The Willy Wonka Boat Ride as Bourgeois Representation of 1960’s Radicalism
XI. Eco-Geographies of Consumption in Willy Wonka and the Chocolate Factory
XII. “Pure Imagination” and the Impure Imaginary of Late Capitalism
XIII. A Thousand Candied Plateaus: Latent Rhizomatic Constructions of Subjectivity in the Wonka Cycle
XIV. Post-Oedipal Constructions of Parenthood in Willy Wonka and the Chocolate Factory
XV. “The Candy Man Can” : Gender and Linguistic Power in Willy Wonka and the Chocolate Factory
XVI. The Factory as Simulacrum: Landscape, Consumption, and Constellations of Subjectivity in Willy Wonka and the Chocolate Factory
XVII. Wonkavision and the Ship of Theseus
Angus Leroy Huntingdon III
XVIII. From Wonka to Cremaster: Interrogations of Late Capitalism in Cyclic Film
XIX. Spectacles of Sweetness: Touring the Chocolate Factory with Guy Debord
XX. A Journal of Courage: A History of Wonkastudien