A New Publication on Mother Mectilde de Bar

Some great news to finish the month. Angelico Press has released the first book by (or about) Mother Mectilde de Bar in English, The Mystery of Incomprehensible Love: The Eucharistic Message of Mother Mectilde of the Blessed Sacrament. Translated by a Benedictine Oblate and with a foreword by the Prior of Silverstream, this book of meditative excerpts is sure to inject a new and healthy dose of sound French spirituality into the veins of the modern Church. It will also, I hope, help generate new scholarly interest in the considerable spiritual contributions made by Mother Mectilde.

The cover. (Source)

The book is very reasonably priced, and would make great reading for Ascensiontide, Pentecost, and Corpus Christi. Please consider buying it today!

Elsewhere: A Review about Magic in Modernity

Portrait of Robert Boyle, Father of Modern Chemistry. A scientist distinguished by his open-minded and empirical attitude towards paranormal, supernatural, and magical phenomena. (Source)

I am pleased and proud to announce that I have a book review up at the Genealogies of Modernity Blog. I examine a compelling recent work by historian of science, Michael Hunter. The Decline of Magic: Britain in the Enlightenment (Yale UP, 2020) is well worth your time. I think it provokes really intriguing questions about the process of disenchantment – a transition that Hunter effectively describes as the methodological eclipse of Francis Bacon and Robert Boyle by Isaac Newton. You’ll understand what I mean when you read the review (and the book), so please head on over and give it a read-through!

Thank you to the GoM Blog for hosting my writing, and especially to Mr. Terence Sweeney for kindly asking me to contribute. It was an honor and a pleasure to write for a platform with such intriguing content.

Two Reflections on the Present Crisis

Fishermen’s Devotions, Étaples, Henry Ossawa Tanner, c. 1916 (Source)

I must refer my readers to two very moving pieces written by two dear friends of mine. Both are intensely personal and both are profound meditations on the present moment as a lived reality. The first is an almost Pascalian intervention from Mr. Jackson Wolford, who writes that our first task in this crisis – before any interpretations of what is going on all around us – is to witness the suffering. The second is a quiet reflection on impending fatherhood from Mr. Nathan Goodroe. He considers what it means to face the birth of a child in the midst of suffering through an extended look at the Holy Family’s trek to Bethlehem. We may be in Holy Week, but I still found his words to be very timely. In fact, both are. Please give them a read.

New Chant from Silverstream

“In the midst of life we are in death” (Source)

I must refer my readers to a new recording of some Gregorian chant from Silverstream Priory. The beautiful responsory, Media Vita, is very timely during this pandemic. Here is the translation, passed on by the Prior:

In the midst of life we are in death; from whom shall we seek help, save Thee, O Lord? Who for our sins art justly angered. * Holy God, Holy mighty One, Holy merciful Saviour, hand us not over to the bitterness of death.

1. In Thee our fathers hoped; they hoped, and Thou hast liberated them. * Holy God, Holy mighty One, Holy merciful Saviour, hand us not over to the bitterness of death.

2. To Thee our fathers cried; they cried and were not confounded. * Holy God, Holy mighty One, Holy merciful Saviour, hand us not over to the bitterness of death.

3. Glory be to the Father, and to the Son, and to the Holy Ghost. * Holy God, Holy mighty One, Holy merciful Saviour, hand us not over to the bitterness of death.

Translation of the Media Vita

I know I speak for the monks when I encourage you to give it a listen and take some comfort from this ancient prayer of the Church in a time when death is all around.

I would particularly note the highly idiosyncratic harmonic arrangement used here. I have not heard any other renditions of this chant like it. I grew up listening to the Benedictines of Santo Domingo do Silos, and although I like their hauntingly pure Media Vita, the Silverstream version has a complexity and depth that feels very different, if just as moving.

The accompanying film is also of very high quality. I have known the monks of Silverstream for six years. This is by far the best video I’ve seen from them. It does a good job capturing the peculiar beauty of that monastery in Springtime, as well as the powerful sense of holiness that radiates throughout the house and grounds from the Blessed Sacrament. And for those who care about such things, there’s a lovely conical requiem chasuble from 3:23 on.

Give it a listen, and please consider supporting the monks through a donation or by shopping at their excellent online store. The monks are streaming their masses and some of their offices throughout this crisis, and I recommend following them for what will no doubt be a stirring and holy Paschal Triduum (albeit at a distance).

The Clock of the Passion

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.

Christ on the Cross, Philippe de Champaigne, before 1650 (Source)

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.

Christ on the Cross. Another treatment of the Passion by Philippe de Champaigne. c. 1655. Given by the artist to his sister Marie, a Beguine in Brussels. (Source)

Pierre de Bérulle on the Interior Sufferings of Jesus

For this Friday in Passiontide, we have another offering in the Lenten Spirituality Series. This time it comes from the great Cardinal Pierre de Bérulle (1575-1629), mystic, founder of the French Oratory, and sponsor of the Carmelites of France. Immersed in the Fathers and dedicated to the reform of the clergy initiated at the Council of Trent, Bérulle was perhaps the most influential writer of the French School of Spirituality. His vast corpus has been rarely translated in English, so I present my own translation here from his Oeuvres Complètes, pg. 1045-46. In this excerpt from the “Opuscules Divers de Piété,” we encounter one of the key themes of the French School – the interior life of Christ.

Jacques Sarazin’s monument for Cardinal de Bérulle (1575 – 1629), formerly at the chapel of the Carmelite nuns of the Rue Saint-Jacques, and now in the Louvre (Source)

Of the Interior Sufferings of Jesus – Of the Sentiments of the Son of God in Regards to His Most Holy Passion

If so many holy souls have been sacredly occupied with pious, devout, and admirable sentiments with regards to the Cross, the Son of God, who is the source, the principle, and the exemplar of the life of His saints, will not have been removed therefrom. On the contrary, He will have been occupied and filled with the same advantage that His incomparable life has over the life of the saints.

We adore and admire in the Son of God two types of life: the life of glory and the life of the Cross; two lives in the Son of God, two very different lives, two very busy lives, without either one of these lives and occupations impeding the other. On the contrary, that [life] of glory dignifies the sufferings of Jesus, in that they are established in the self-same glory: that only belongs to Jesus and to His sufferings, that had had these two privileges, to be established in the divine life, in the glorious life; instead of the sufferings of the saints that are only established in human life, in the holy life. The life of the Cross testifies to His grandeur and His power of finding and taking the same place of glory.

Each life has its object, its knowledge, and its sentiment, as it appears in the human life of the senses; how much more in the spiritual and divine life? The life of glory has its object, its light, and its suffering, which is its sentiment. The life of the Cross also has its object, its light, its suffering. The devout life has its objects, its thoughts, its sentiments. Oh! What are the sentiments of the life of glory! What are the sentiments of the life of the Cross!

These sentiments of the Son of God, in regard to the Cross, had been, as soon as its arrival in the divine life, glorious and passible, continuing during the whole course of His life, even unto death; some of anguish and others of languor towards His cross: Baptismo habeo baptizari, et quomodo coarctor donec perficiatur! “And I have a baptism wherewith I am to be baptized: and how am I straitened until it be accomplished?” (Luke 12:50 DRA)

These sentiments had been universal as those of glory, which spread through the soul, the powers, and the glorified body. His agony is one the sentiments of the Cross that had occupied and filled all parts of the Son of God’s body; because, by this mystery, all the parts of His body had been rendered capable and sensitive in view of the Cross.

Besides this mystery of agony…these sentiments of the life of the Cross occupied the heart, the soul, and the spirit of Jesus; everything therein had been penetrated, His heart had not waited even to be pierced by the lance to be pierced by this pain; this pain had wounded it living and the lance had pierced it in death.

Until we be introduced into the sanctuary of the life of the Son of God, let us adore these sentiments – so divine and so vast – upon a subject so grand.

There are three different principles of these admirable sentiments: thought, light, and the powerful hand of God himself, imprinting these sentiments immediately upon the heart and the spirit of Jesus. The light of glory, clearly seeing God in His grandeur and His essence, had perhaps been employed in its efficacy to operate these divine sentiments. Thoughts at once devout, luminous, and efficacious, but ordinary for the Son of God, had also operated sentiments in His soul, albeit inferior to those that the light of glory and the immediate hand of God had worked there.

Abandonment on the Cross is one of these sentiments imprinted by the Eternal Father immediately.

An Interview on Anglican Occultism

Hermes Trismegistus (Source)

Recently I had the great honor of being interviewed on the podcast Poststructuralist Tent Revival (PTR) about my research into Anglo-Catholic hermeticism and occultism in the late 19th and early 20th centuries. Thanks especially to Jacob Given for a great conversation. Please consider subscribing to PTR‘s Patreon! They do some really great stuff.

And for those who want to learn a little more about the broader phenomena I discuss here, you might want to check my brief article in The Church Times, Dec. 2018, on the same subject. While it doesn’t go as deeply as my actual academic work did, it gives an overview of the landscape.

Thoughts on “The New Pope”

The Neon Nuns will remain as perhaps the most striking visual component of this season. (Source)

I reproduce below an adaptation of the notes I took after each episode of The New Pope, which were then posted in a private Facebook group of like-minded Catholics dedicated to the series. Rather than give a full summary evaluation of The New Pope, I thought readers would find this more process-based approach to be interesting, as it shows how my reactions changed over time. That said, I may post something a bit more all-encompassing later. A word of warning: what follows is spoiler-heavy.

Thoughts on Episode 1:

1) It’s gorgeous as ever.
2) Somehow I don’t get the impression that Paolo Sorrentino is very impressed with this pontificate.
3) I guffawed at the video game scene.
4) Looks like this season is going to be, at least in part, an homage to Hadrian the Seventh.
5) I was surprised by how rooted this season is in Italy’s migration crisis
6) The music continues to be brilliant.
7) Silvio Orlando really is an underrated actor.
8) Honestly I thought to myself “Neon Baroque could be my new aesthetic.”

Voiello and companions on an uncharacteristically antique and ornate British train (Source)

Thoughts on Episode 2:

1) Sorrentino doesn’t understand the English. He has made Brannox into a French decadent, not an English ecclesiastical peer. Though this episode makes me want to see Malkovich as Huysmans.
2) Gutierrez remains the best character.
3) We start to see again Sorrentino’s spiritual tendency for short, sometimes aphoristic enunciations of truth.
4) The continuing importance of the terrorist message makes me suspect Brannox will end like Hadrian VII, only with a jihadist in place of an Ulsterman.
5) Speaking of which, interesting echoes of a lot of English Catholic literary tradition here: Hadrian the Seventh, Newman, Brideshead, even arguably Oscar Wilde.
6) I can’t tell whether the line about the Church “thinking” is a criticism or not. I suspect it’s like Greenland’s ice.
7) Loneliness remains one of the central themes of the series.

Thoughts on Episode 3:

1) The last scene(s) manage at once to be extremely Baroque and extremely Gothic. I was reminded of Ann Radcliffe and Matthew Lewis.
2) Malkopope has arrived, he’s screaming, and I am so here for it.
3) I remain surprised by Sorrentino’s political imagery here. The massacre in Somalia is not the sort of thing one is used to seeing on HBO.
4) Fabiano looks like Michael Jackson and reminded me of the Purple Man in The Violent Bear It Away.
5) It’s still all about loneliness.
6) JP3 is an interesting choice of name. In view of his two speeches, I wonder if the emphasis on “fragility” is in some sense evoking JP2 specifically. Regardless, I suspect it foreshadows something yet to come, or perhaps some secret we have yet to learn.
7) The Meghan Markle jokes were great. Sorrentino’s much funnier – or rather, telling a lot more jokes – in this season.
8 ) Love the dwarf abbess. I wonder if the scene where she’s smoking is a reference to Nasty Habits?

Thoughts on Episode 4:

1) Kind of a boring episode overall.
2) We’re in the slump of sin, where all the characters are at their lowest. Or at least will soon be.
3) Cardinal Assente dancing at the end was fun, but also strangely sad. He’s dancing alone. There is a poignant metaphor here – I was reminded of some of the sadder passages in Frédéric Martel.
4) The Marilyn Manson bit and the further Meghan Markle jokes were hilarious.
5) Return of the Willendorf Venus!
6) This is such a continental show.
7) Malkopope is really starting to grow on me.
8) Gutierrez remains the best because he repents of his sin immediately and receives sacramental absolution.
9) The scene with the gropey priest is like something out of a bad French novel of the 1760s.
10) With Sister Lisette et al., I think Sorrentino is satirizing activist nuns.

Not gonna lie, I want one of those hoodies. (Source)

Thoughts on Episode 5:

1) Really getting the impression that Sorrentino is a low-key reactionary. Giving a fair explanation of Catholic teaching on homosexuality, implicitly deriding the banality of contemporary Catholic artistic culture, discussion of jihadist attacks on Christians in Europe? Obviously this might reverse in future episodes, but it’s noticeable at this point.
2) Finally getting some proper Sorrentinean surrealism at last.
3) Favorite line in the whole episode came from Sophia – “The Pope produces symbols. The vulgar act of interpretation must fall to others.”
4) The scene with Girolamo and Don Mimmo was beautiful, and I thought, quite moving.
5) I just noticed that Sophia’s name is…well, Sophia. I’m starting to wonder if this is meaningful.
6) Pursuant to point (1) above, I think it’s telling that Gutierrez’s ongoing fling (affair?) with Freddy coincides with a relapse in his alcoholism. This is astounding, given that today the normal depiction of such a relationship would be as a celebration of liberation. Sorrentino suggests it’s the opposite.
7) Disappointed that the strategy is not to “punish” pedophiles, though perhaps the emphasis there was more on adult sexual scandals…?
8) Also Gutierrez in general has been sorely neglected on the whole. He’s not moving the plot anywhere. At all.
9) Based on what I’ve seen so far, I do think Sorrentino is commenting on church politics a good deal more here than he did in The Young Pope. Francis II, Sr. Lisette’s strike, JP3’s elevation of a manifestly corrupt Cardinal…these all have wider resonances in recent church history. And I do wonder whether the cult of Lenny Belardo is in some sense a moment where Sorrentino is reflecting on some of the reception of the show itself.
10) The “No!” at Lourdes reminds me of John Paul II’s “We want God” moment in Poland.

“Hey, hey, hey, the gang’s all here!” (Source)

Thoughts on Episode 6:

1) Fr Leopold Essence is probably the devil but he mainly reminded me of the Cowboy from Mulholland Drive. He’s literally an accuser, and he accuses by drawing attention to distorted love.
2) He’s an American, too. The only other major American character in this show, without Sister Mary, is Lenny. Is Lenny then the most intelligent man on earth?
3) Wasn’t there some 19th c. Ultramontane who made a comment about the Pope being the most intelligent man on earth because of the charism of infused infallible knowledge?
4) So God is a millipede and the devil is a cockroach?
5) Relatedly, that opening scene is so well shot. It’s just a master class in cinematic art.
6) The dancing midget nun is giving Cardinal Essente a run for his money
7) Creepy old incest mom has a German accent. This seems potentially significant. Atanasio (interesting, unusual name) has had “Nature turn against him.” All of Esther’s storyline, up to now largely detached from the main plot, feels increasingly like a parable. In any other hands it would all seem really very trite like some cheap Victorian novel. But Sorrentino somehow elevates it.
8) Voiello’s sidelining under JP3 reminds me of the similarly disastrous personnel decisions made by JP2
9) The Kabul exile of Hernandez reminds me of Bugnini
10) “There is no room left for poetry” – a great line and a cutting diagnosis. Also, the fact that this line comes where it does in that scene confirms my hypothesis about the broader point of the nuns being a satire of activist sisters as well as liberal/feminist Catholics more generall
11) I wonder if that same line can be taken as a Sorrentinean commentary on gender relations writ large? The struggle for rights has deprived us of poetry…
12) What a surprise; wealthy incest lady is also a racist. She also has a perverse vision of sanctity based on “human warmth.” Interesting.
13) There’s an interesting parallel between Brannox’s interview and Lenny’s Venice speech. Both collapse in their separate ways while their disapproving parents are (potentially) watching.
14) I called the drug addiction early on.
15) This addiction puts Brannox in an interesting parallel with Gutierrez.
16) The moment when Atanasio embraces Esther is I think when that storyline really changed. It was such a terribly sad moment…one could suddenly see past the sexuality of it and instead perceive the fundamental tragedy of the situation, the total lack of human connection and the joyous simplicity of human touch. And yet it also reinforces the underlying loneliness of all parties involved.
17) Good to see Lenny’s still a Saint.
18) Spalletta, thy name is Dziwisz.
19) Increasingly I think Hernandez was invented to de-Sodanoize Voiello for the Italian audience. Voiello in Season 2 gets to engage in the heroic acts that Voiello in Season 1 (clearly modeled on Sodano and Bertone) never could.
20) Voiello really kinda is the center of the whole series isn’t he? In sort of the same way that the bureaucracy or the civil service outlasts pontificates.
21) Brannox on evil, like Brannox on tenderness, really reminds me of JP2 in his more anti-communist and moralistic moments.
22) Sex is so sad in this show.
23) It occurred to me for the first time how silly those Lenny sweatshirts are. He never allowed himself to be photographed, so how did they get a photo of him in cope and tiara? Little details that get overlooked…

“Follow the looove” – Leopold Essence’s arrival is Sorrentino at his most Lynchian, and his most enthralling. (Source)

Thoughts on Episode 7:

1) I was struck by how Sorrentino uses motion and stillness in this episode. When we meet the doctor’s wife, she is rigid and almost lifeless. As she becomes more open to happiness again, she’s able to walk like a model again – to walk beautifully, even artistically. Yet upon her return to her son, she returns to a statuesque stillness. The difference is that now, her stillness is itself artistic – a close imitation of the Pietà, seen a few times throughout the episode. It’s as if there’s a return to suffering, but now it has been transfigured into a kind of beauty (by grace?).
2) A Pope paralyzed by his own physiological problems, surrounded by evil counselors, and unable or unwilling to respond to crimes in the church? No wonder they named Malkopope John Paul III.
3) I’m somehow strangely reassured by the fact that Lenny is the same old Lenny.
4) Really getting tired of all the magical disabled people tropes. Eric is the fourth or fifth this season alone.
5) Venice at night is so typically Sorrentinean. I was reminded of “Youth.”
6) Gutierrez remains the soundest bearer of truth. His words in the confessional were, I thought, quite moving.
7) The “Purification” scene was aesthetically stunning. It was as if Gustav Klimt and Anselm Kiefer had collaborated on a film. The second time I watched it, I struggled not to get emotional. The silent desperation, the simplicity, the beauty – it’s all so moving.
8) Eric’s miracle is the inverse of Sister Antonia’s, I think – both find death at Lenny’s prayers, but one achieves heaven.
9) The opening scene on the heavenly beach was very funny. I also think it was a kind of reverse foreshadowing of the “Purification” scene, the other moment on a beach in this episode.
10) It occurred to me for the first time how fixated Sorrentino is with the upper classes. Almost all of his work focuses on elites. One wonders if he chooses such stories in part just to film in such gorgeous locations as the doctor’s palace.

Sorrrentino never skimps on ecclesiastical finery. Would that our own prelates would take note! (Source)

Thoughts on Episode 8:

1) I applaud everything Lenny says to the nuns, which is absolutely spot-on. Sorrentino deserves more credit for his understanding of Catholicism.
2) Brannox’s comments on loneliness are one of the more movingly human moments of the series – as are the strange, not-quite-erotic snatches of intimacy between him and Sophia.
3) Voiello’s eulogy was a bit saccharine. Of all the three “speeches” in this episode, his was the weakest. But it was sort of a nice moment of growth for Voiello overall.
4) Assente is awful and I’m glad he got what was coming to him. Voiello proves himself to be that immortal archetype of Italian literature, the crafty, pragmatic priest who snatches victory from the jaws of defeat (I am reminded of Father Pirrone in “Il Gattopardo”).
5) I have reversed my evaluation of Essence. He and Bauer may instead be avenging angels rather than devils, especially in view of their ambush of Spalletta and Co.
6) Why does Bauer use such an outdated phone?
7) Sorrentino really manages to get some beautiful rooms as sets.
8) It really bothers me that the clergy were all wearing the wrong color at the funeral. Requiems – except for Popes – don’t use red! Also, the Latin was incorrect (right?), though I appreciated the effort.
9) One of the key motifs of this episode was the tease. We see moments of relational, almost erotic, teasing from Sophia in her interactions with Brannox at the chalet. Don Camillo’s trick with Assente is a kind of emotional teasing. Lenny teases Voiello with ostensible knowledge about the upcoming football season. There were, I think, a few other examples. I don’t know why Sorrentino relies upon this motif here, but it was really noticeable.

Malkopope and Cardinals in The New Pope, Episode 9. Featuring (l-r) Javier Camara, Ramon Garcia, Silvio Orlando, John Malkovich. (Source)

Thoughts on Episode 9:

1) That scene in the Sistine Chapel when Pius XIII is lined up with all the cardinals and John Paul III – an extremely powerful aesthetic. Matched only by the Neon Nuns in this season.
2) I really loved Malkovich’s speech from the balcony, which was the strongest in the episode. It was theologically rich, poetic, and delivered in that certain screaming je ne sais quoi that only Malkovich possesses.
3) It occurs to me that there are, as it were, four titular “New Popes” in this series. Francis II, John Paul III, the reformed Pius XIII, and Voiello.
4) The twist with the terrorists is a kind of inversion of Hadrian VII’s ending, which is interesting given the extent to which this season draws upon that narrative throughout.
5) Unclear to me whether Gutierrez (criminally underutilized in this season on the whole) and Brannox have in fact ended up betraying their vows of chastity? We can probably presume the young nun has. Is Sorrentino taking a left turn and endorsing love and sex for all? I don’t know. It would be uncharacteristic and a huge leap from the rest of the series. But perhaps the whole point is in the ambiguity. Isn’t that, after all, the ultimate message of Lenny’s last speech? We don’t have all the answers, and worrying about them too much spoils things.
6) Speaking of speeches, it seems that Sorrentino still doesn’t quite grasp how rhetorical binaries work. Lenny’s “Am I x or am I y” bit echoed the “Are we a or are we b” in the Venice speech on the Blessed Juana. And as then, I’m not sure it really worked.
7) Esther’s story was deeply sad. I’m not totally sure what to make of it – I no longer think it’s a parable (at least not from Episode 7 onward). But it does seem like a critique of a certain kind of an especially Italian devotionalism. It rhymes with his treatment of Tonino Pettola in Season 1, just as Francis II rhymes with Sister Antonia. Sorrentino seems to hate fanaticism.
8) On that note, I absolutely loved the Tonino Pettola call-back at the last shot.
9) I would have liked one last appearance from Leopold Essence since we got so much from Bauer. The scene with the American general was quite funny, though.
10) It seems that, in the end, most of the main characters ended their arc with some kind of love. Brannox gets his parents back. Lenny gets the love of the people, then dies and becomes a real saint. Sophia gets the love of a man she admires (though it’s unclear whether or not their love is sexual). Voiello has a new child to care for, the only love he really knows how to show. Gutierrez may be back with Freddy, but if nothing else, he seems to have kicked his alcoholism and is very happy. Our Romeo and Juliet of the Vatican are reunited with their child. The doctor and his wife are expecting a new baby. Even Bauer is going to marry his escort, like Hosea marrying a prostitute. Perhaps this is the point – the chief thing, the real happy ending, is love. If the question of the series is loneliness, the answer, insofar as we can find one (and Lenny would say the answer belongs to God), is love.
11) And thus, no one except Esther ends up lonely in the end. There seems to be a kind of narrative cruelty in this. But then again, don’t kill priests if you don’t want to go to prison.
12) What the hell was on the walls when Brannox and Lenny have their final confrontation? Very weird, disturbing art.
13) The insistence upon Don Antonio being a “good priest” is encouraging and, I think, representative of Sorrentino’s particular take on Catholicism. Alongside all the aestheticism and insistence on mystery (Pius XIII), there’s both a certain moderation when it comes to the rules (represented by both Voiello and John Paul III) as well as a recognition of real heroism and sacrifice (the various martyrs throughout this season).
14) That said, I think what I most missed in The New Pope was the witty spirituality, that sort of esprit d’escalier of the soul that Sorrentino peppered throughout The Young Pope. There were, to be sure, a few great zingers this season, but nothing that matches “The weight of God” or “Absence is presence” or “What’s under all that ice?” from The Young Pope. Which is odd, I think, since John Paul III seems like an aphoristic character.
15) I guess my other criticism of the season as a whole is that it was, at times, a little too diffuse. Part of what made TYP so powerful was the network of relations radiating out of the fascinatingly complex central character: the agon with his mentor, Cardinal Spencer, the loss of his brother, Dussolier, the foster-motherhood of Sister Mary, the rivalry with Voiello, the unfolding friendship with Gutierrez, and of course, the pain of his abandonment by the parents who leave him again in Venice. Although TYP hardly possesses a linear plot, it at least managed to dive deeply into the psychology and spiritual development of one character. It had a shape. It easily became iconic. But as good as The New Pope is, it doesn’t quite cohere in the same way. It loses itself at times, in part because it’s never quite clear whose story it is.
16) Even the surrealism has been weaker throughout. Remember, the very first scene of TYP is Lenny crawling out of a pyramid of babies at St. Mark’s Square. Where was the equivalent of the kangaroo? A dog doesn’t rise to nearly the same oddity and is thus a far weaker visual and narrative symbol. No one was lusting after the Willendorf Venus this time. No one saw all the Popes of history lined up in a semi-dream sequence (again, another great zinger – “Power is a banal platitude”), or anything like it. The closest we ever got was that absolutely wonderful, Lynchian scene with Leopold Essence and Sophia in the Vatican cantina. More of that would have been salutary.
17) On the whole, though, this was the best thing on television for the last few months, bar none. And even in view of its imperfections, I do think the show says something valuable about Catholicism, about loneliness, and about love. Although COVID certainly complicates this – and I’m not sure it’s strictly necessary – I think I would like to see a third season about Voiello’s papacy. We shall see.

Seven Years a Catholic

Triptych of the Mystic Bath, Jehan de Bellegambe, 16th c. (Source)

Seven years ago, on the evening of March 30th, 2013, I was received into the Church at the Easter Vigil. I took St. Thomas Aquinas as my patron saint, and I was confirmed by our pastor at St. Brigid’s Church, John’s Creek, Georgia. He has since gone on to become a bishop and is now the Ordinary of Memphis. I, meanwhile, have had many ups and downs in the life of the spirit. From 2014 on I have consecrated each year to a different Holy Person. I have not always been faithful to the spirit of these consecrations. I have often been useless and even actively unhelpful in my service to God and my neighbor. I have been known to set a bad example, and I know that from time to time I have offended or scandalized others. For that, I am truly sorry.

But throughout the years, I have never lost trust in the grace of God and my hope in the Blessed Sacrament.

O Precious Blood of Jesus, source of all life and grace, have mercy on us (Source)

And it is in view of that hope that I consecrate this next year of my Catholic life to the Most Precious Blood of Jesus. I have long had a devotion to the Precious Blood, and I hope that this coming year will bring a renewed gratitude for that Blood so plenteously shed for the whole world.

Father Faber, in that marvelous book on the subject, writes,

The Precious Blood is invisible. Yet nothing in creation is half so potent. It is everywhere, practically everywhere, although it is not omnipresent. It becomes visible in the fruits of grace. It will become more visible in the splendors of glory. But it will itself be visible in Heaven in our Lord’s glorified Body as in crystalline vases of incomparable refulgence. It belongs to Him, the Second Person of the Most Holy Trinity, although its work is the work of the whole Trinity. In its efficacy and operation it is the most complete and most wonderful of all revelations of the Divine Perfections. The power, the wisdom, the goodness, the justice, the sanctity, of God, are most pre-eminently illustrated by the working of this Precious Blood.

Fr. Faber, The Precious Blood.
Source

It seems to me somehow appropriate as well to repair unto the Precious Blood in a time of tumult and pestilence, when dead seems to be all around. Every Christian, if a Christian he truly be, is only so by the merits of the Precious Blood. It is our common inheritance as adopted Sons of God.

And what a cause of joy! Is it any wonder that some of the finest hymns praise the Precious Blood with an exuberance and a delight that anticipates what we shall feel in the Parousia? Perhaps this is one of the great attractions of the devotion, at least for me. As someone with a pessimistic temperament and a profound sense of the centrality of suffering in the Christian life, I sometimes struggle to cultivate a joyful approach to faith. But can there be anything that kindles more joy than the absolute gratuity, liberality, and efficacy of the Precious Blood in redeeming us? I wish we could all feel what Father Faber felt when he contemplated the gift of the Precious Blood, which is neither more nor less than the whole mystery of our salvation:

The Word delights eternally in His Human Blood. Its golden glow beautifies the fires of the Holy Ghost. Its ministries beget inexplicable joys in the Unbegotten Father. I was upon the seashore; and my heart filled with love it knew not why. Its happiness went out over the wide waters and upon the unfettered wind, and swelled up into the free dome of blue sky until it filled it. The dawn lighted up the faces of the ivory cliffs, which the sun and sea had been blanching for centuries of God’s unchanging love. The miles of noiseless sands seemed vast as if they were the floor of eternity. Somehow the daybreak was like eternity. The idea came over me of that feeling of acceptance, which so entrances the soul just judged and just admitted into Heaven. To be saved! I said to myself, To be saved!

Then the thoughts of all the things implied in salvation came in one thought upon me; and I said, This is the one grand joy of life; and I clapped my hands like a child, and spoke to God aloud. But then there came many thoughts all in one thought, about the nature and manner of our salvation. To be saved with such a salvation! This was a grander joy, the second grand joy of life: and I tried to say some lines of a hymn; but the words were choked in my throat. The ebb was sucking the sea down over the sand quite silently; and the cliffs were whiter, and more day like. Then there came many more thoughts all in one thought; and I stood still without intending it. To be saved by such a Saviour! This was the grandest joy of all, the third grand joy of life; and it swallowed up the other joys; and after it there could be on earth no higher joy. I said nothing; but I looked at the sinking sea as it reddened in the morning. Its great heart was throbbing in the calm; and methought I saw the Precious Blood of Jesus in Heaven, throbbing that hour with real human love of me.   

Fr. Faber, The Precious Blood.
Source

Pray for me in this coming year, dear readers. Know that I will be praying for you and commending you always to the source of all life, all joy, all love, all purity, all sanctity, all wisdom, and all grace – the Most Precious Blood of Jesus. To whom be all glory, in the Name of the Father, and the Son, and the Holy Ghost, as it was in the beginning, is now, and every shall be, world without end. Amen.

The Eucharistic Man of Sorrow/Mystical Vine, Anonymous, Mexican, 19th c. (Source)