Loneliness

Thoughts on “The New Pope”

/ Rick Yoder / Leave a comment
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.

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A Letter on Loneliness

/ Rick Yoder / 4 Comments

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Christ in the Garden of Gethsemane, Veronese. Pinacoteca di Brera (Source)

My Dear Brother Josiah,

I received your last correspondence with a mixture of joy and sorrow. Joy, for all the good news you shared of our friends and familiars; sorrow, for those matters closer to your own heart that weigh so heavily upon your soul. Normally, I would not venture to offer unsolicited advice. However, as you have come to me seeking counsel, I will try to speak from what little light I have been granted. I will offer you, I hope, nothing but the constant teaching of the saints, nor anything I would not myself seek to follow. So much of what I must share is rooted in my own experience, the fruit of suffering not in all respects unlike your own.

You tell me that you worry about God’s blessing. You write that, in view of your griefs, you no longer trust that the Lord will bless you. This is a failure of Christian hope, but an understandable one. Faced with one reversal after another, it is easy to despair. I will point you first to the book of Job, a well from whose water I know you have already imbibed in more bitter times. What else could I tell you? The key practical thing is to recollect often those graces you have received. Savor them. Go over each, holding them close to your heart in memory. Make space in your week – better yet, your day – to ponder the grand and little mercies of God. I commend to you one of the very greatest pieces of wisdom I have received, that “a grace remembered is a grace renewed.” Continual recollection means that we are never really bereft of those graces once delivered unto us.

Look over your current state of life. The world, at least, sees your success. Many would desire your place. Thank God for what He has seen fit to give you so far.

But I know how incomparably small all of those worldly triumphs seem next to the losses you’ve suffered. I see what you mean when you say that you don’t trust God to bless you anymore. You aren’t speaking of those tangible blessings the world prizes in its vanity. You speak instead of the love of those taken from you. That golden blessing is worth all the others combined.

And so, we come to what seems to me to be the basic problem; not despair, but loneliness. The chill that stains even the brightest happiness and reveals the joys of this world to be fool’s gold. Have you considered loneliness in itself? Perhaps you have. It is a dark and loathsome thing. Perhaps you have found it buried down in your soul. A void. A hole that, like a carious tooth, aches and aches until it cries out for your full attention. A little black space at the bottom of things. You carry it around with you and never set it down. Grief carved it out, shaped it to its own image, and colors it even today.

I don’t know if you will always bear that burden. Some of us must. But I would encourage you to embrace it. That emptiness is, in the words of R.S. Thomas, “a vacuum he may not abhor.” Come close to the void. Peer at it. Ecce lignum crucis! It is the cross you have been given. Fasten your heart to its center with the very nails of Our Lord’s passion. Accept His invitation, and you will be able to endure those long and painful hours when hope fails. One day, when you are least expecting it, something may very well happen. You may be at prayer in your room. You may be savoring the Eucharist at Mass. You may be finishing the sorrowful mysteries of the rosary. But suddenly, unbidden, the Holy Ghost will visit you. The darkness will turn to dazzling light. By some strange alchemy known only in heaven, the emptiness will all at once turn into a full fountain of molten gold. The cavern will become a cup that runneth over. The silence will become song beyond sound or human voice. And your heart will be seized by the beautiful and terrifying realization that the Living God sees you. If only for a moment, you will know what it is to be “alone with the Alone.” Then will your heart become one with His. Then will you know a communion that obliterates all loneliness and a joy that erases all grief.

This moment cannot be rushed. God will not come but in His own way and in His own time. All the same, one can prepare.

First and foremost, take your loneliness and grief to the sacraments. When you are at the offertory or some other convenient point at the Mass, give your heart to the Eucharistic Christ. Ask to be alone with Him in the Tabernacle. Cleave to it as to the one rock of safety in a stormy sea. Consider, too, how Our Lord suffers loneliness in the Tabernacle. Think how He is neglected in His tabernacles through all the world. Think how He desires your consolation – yours! Truly, He wishes to make that emptiness in your soul His true and everlasting Tabernacle. Will you deny your Lord? For in the Tabernacle, He is at once most suffering and most glorious. So, too, where you are most suffering, He will render you most glorious.

Second, make a point of consciously drawing near to Christ crucified in your daily prayer. One thing I’ve done in the past – though, I confess, I have lately been lax about it – is to pray the Divine Mercy chaplet and dedicate each decade to one of the Holy Wounds. Start by contemplating Our Lord’s feet, His physical presence on Earth during His lifetime and evermore in the Eucharist. Consider His comings and goings, and how He willingly ceases all of that to offer Himself to the Father on the cross. Then consider His left hand, the Kingly hand that holds the orb of the world. Ponder the ways of His Providence. Take heart in His mercy towards the penitent and His just judgment of the wicked. Praise Him for His true and final victory over the forces of evil, for scattering the proud in their conceit. Then, move to His right hand, the Priestly hand of blessing. Think of how He has transformed all things by the peace wrought with His right hand, under the sign of His blessing. Look forward to the world as it shall be on the day of His Wisdom’s Triumph. It is a world we can already enter at the Mass. Bring your gaze up to the Holy Face, wounded by the crown of thorns. Offer him your anxieties, your fears for the future, and all those worries that come from not knowing what you must do or why some calamity has transpired. Consider the crown of thorns as the mortification of your very reason. As Our Lord unquestioningly accepted the will of His Father, may you do the same. But remember to gaze into the Holy Face as into the very countenance of the Living God. Ponder Jesus Christ in His humanity. God is a person; nor is he just any person, but a person who suffered all that we suffer, and more. Finally, move to the wound in the Holy Side and the Sacred Heart. Give yourself up to as pure an expression of love for your Savior as you can muster. Consider the flood of water and blood that fell from those triumphant gates, so rudely torn open. Think, if you can, of the power so much as one drop of either precious liquid would have to redeem not just one soul, but millions and millions of universes teeming with the souls of the very worst sinners. Ponder what it means that you may receive the Precious Blood at even a low Mass. Fix your gaze beyond the Holy Side, passing into the darkness of Our Lord’s chest. Dwell upon the Sacred Hear in its quiet and eternal radiance. Know that Our Lord’s chest cavity is so very much like the void to which I have already alluded, and so like the Tabernacle. For in both, we find the Heart of God! Imagine yourself receiving the Sacred Heart in the Eucharist. Meditate upon the immense fire of Love pulsing there until the last shudder of death – and, as you come to the Trisagion, recall how that love blazed forth again on Easter Morn, never to be extinguished.

Third, keep in mind the words of St. Philip Neri. Amare Nesciri – “Love to be unknown.” One thinks of St. Benedict. In his rule, St. Benedict enjoins his children to overcome the temptations of lust with a similarly simple phrase, “Love chastity” (RB IV). St. Philip’s words carry many meanings. They are a wonderful program of humility, of perfection, of freedom, but also of loneliness and grief. Love to be unknown. Find God in the moment when no one else notices you. Don’t do what you do to be recognized, as the Scribes and Pharisees (Matt. 6:3, 16, Luke 18:9-14). Be content that God sees and knows you. It will take time to grow into this practice, but you will come to recognize its benefit. You may someday find someone to share or alleviate the yoke of your sorrows – maybe even someone to love. But until then, embrace Solitude as St. Benedict would have us embrace Chastity; that is, as a beloved spouse. Focus on that task, the one you have been given for now, and the rest will come to you as God sees fit in His own time. I would wager that it will make you happier and help you love others more perfectly.

Fourth, do not depart from under Mary’s mantle. If you wish to see the very picture of loss, I will show you the woman who, though the only one free of sin among the whole human race, suffered the loss of her parents, her husband, and her son. Turn your eyes to Mary. The sorrows of her Immaculate Heart demand your attention. We have no greater advocate and comfort in our own suffering than Mary, in union with her eternal spouse, the Paraclete.

Finally – hardest of all – you must forgive. Jesus’s death was not just a perfect sacrifice because He was an innocent and willing victim. He forgave His murderers. If we are to have a share in that death, we must learn the extremely difficult discipline of forgiveness. It is the only way we can be truly free.

I would be remiss in giving you these counsels if I did not add with all due caution that, insofar as any of it applies to me, I often fail. But I feel no shame in saying so, since Our Lord is magnified in weakness. Don’t rely only on my words, narrow and feeble as they are. If anything I have said is contradicted by the example of the saints and the teaching of God’s holy Church, refer to their superior model. After all, I’m not a priest. I’m not even all that well versed in theology. Seek out a spiritual father who can help your soul more intimately than a friend can.

For all that, be assured of my prayers and affection. I hope you find the hope that can only come from the Lord, my dear brother. May He bless you and keep you, and make His face shine upon you, and be gracious to you; may He turn His countenance upon you, and give you peace.

In Christ,

RTY

The Five Idols of Christmas

/ Rick Yoder / 2 Comments

ChristmasScene

A beautiful Christmas scene. (Source)

Five Golden Rings

Christmas is a time of great joy. At the heart of it all is the birth of our savior, Jesus Christ, true God and true man. Yet often, we let lesser things get in the way of the worship we owe to Him in this privileged season of grace. I don’t believe it would be too much to call these distractions “idols.” As the Catholic Encyclopedia puts it, “Idolatry etymologically denotes Divine worship given to an image, but its signification has been extended to all Divine worship given to anyone or anything but the true God.” Many of us unknowingly allow a number of idols into our lives during the holiday season. All of them are good things in themselves, but taken out of proportion, they distort our sense of the feast’s true message as well as our connection with the Living God. I’d like to examine five of these idols, “five golden rings” that often form the chain of our seasonal bondage.

Material Goods

Of all the idols, this one is perhaps the most readily apparent. It seems like each year, we hear new complaints of the commercialization of Christmas—only to watch the process get worse with every passing holiday. Advent washes upon us as a season of cluttered ads rather than prayerful penance. Sacred carols have been reduced to shopping mall muzak. Charlie Brown’s 1965 complaint rings just as true today as it did in the years of the Johnson Administration. For many, Christmas seems to be a time to show off their wealth to the neighbors, to cook and consume lavish amounts of food, or to receive a whole panoply of toys and gifts—and little else.

After all, isn’t this what most children look forward to each Christmas? Santa isn’t popular because he’s a jolly old man who likes milk, cookies, and Coca-Cola. He brings gifts! Of course kids love Christmas. The unfortunate thing is that this mentality is extremely hard to break, even for those well advanced in age. Nor does the culture help. After all, Christmas is a nearly half-trillion dollar industry. There’s no reason to think that commercialism in all its forms will go away any time soon.

Happiness

Beneath the idol of material goods—whether that means gifts, food, or all the decorations that beautify our houses—hides another idol. Perhaps you’ve seen it elsewhere, at other times and places.

I was blessed enough to go to Disney World a few times as a child. When I later went back as a teenager, though, I noticed something. A kind of frantic, urgent energy pervaded the place. Everyone smiles a bit too widely. Everyone rushes from one amusement to another. And here and there, a tantrum erupts like a tiny pool of scalding water. Why? Because everyone who comes to Disney comes to have a good time—or else. If you don’t enjoy yourself, then something is wrong with you. You must have fun.

The regime of forced fun becomes universal at Christmas time. How many of us come away from the holidays in a state of utter exhaustion? How often have we stopped to think that maybe, just maybe, we’re trying too hard? The Christmas narrative is blissful. But we have substituted the quietly abiding “comfort and joy” of Christ for the plastic and fleeting pleasures of our own culture.

Our fruitless pursuit of happiness is one of the reasons that holiday depression is so rampant. The endless pageants and parades and parties, not to mention all of the work that goes into them, can be such a drain that it leaves us with little energy left for the spiritual life of the holiday. And that’s just when our plans succeed! We’re even more distraught and distracted when things don’t work out as we hoped. How greatly we differ from Mary and Joseph, who dealt with the disappointment of being turned away at the inn with a calm trust in Providence.

Traditions

One thing that bolsters the idol of forced happiness is the idol of tradition. Perhaps more than any other American holiday, Christmas is about the way traditions bring us together. But too often, those traditions can become unbalanced and rigid. Surely we all have one or two thoughts like this upon occasion. If the tree is not up and decorated by a certain day, all is lost! If we don’t make Christmas cookies on Christmas Eve, all is lost! If we don’t do the Elf on the Shelf this year, all is lost! And so on. Instead of a time of refreshment, Christmas becomes a daunting list of tasks and chores. Our freedom and ease vanish.

As Catholics, we need to remember that the only really necessary thing is Mass. That is the still point at the base of our lives and holiday. Taking a step back and detaching from our seasonal traditions can be a salutary reminder that we are not in control. God is. And if our traditions don’t serve His glory, then we should rework them and reclaim our freedom. Chances are, we’ll be saner (and happier) if we do so.

Family

Perhaps the easiest idol to miss is the one that often generates all the others: family. Surely, we may think, there can be nothing wrong with putting our families at the center of the holiday? Isn’t being with family one of the greatest and purest joys known to man? And isn’t the meaning of Christmas bound up with God entering into a human family?

These are all natural notions. But the truth is, we often have a disordered affection for our families. This disorder is frequently expressed in counter-intuitive manifestations. The holiday is poisoned by all the evident ways our own families don’t live up to our (possibly quite unrealistic) standards. So many of us use Christmas to penalize those in our families who are different from us, and who thus shatter our little ideal of what family should be. We make Christmas the occasion of settling scores or sniping about our petty differences. Or, on the other hand, we altogether ignore issues that might be very important. A kind of artificial peace may prevail, even though deep cracks open below the surface. But this is not the “peace on earth” that Christmas promises.

Families are always sites of intense friction and drama, as even the most cursory review of Western literature shows (not to mention our satires). Making family the center of Christmas merely injects that propensity for drama into a holy day where it doesn’t belong. Moreover, our ideological insistence on making Christmas all about family has been particularly hard on single people. Those with no family are left out in the proverbial, and sometimes literal, cold. One poisonous fruit of humanizing the divine holiday in this way is the terrible loneliness we have needlessly exacerbated for thousands.

Family is a high good, but not the highest good. When we forget that, we do an injustice to God. And we cannot love our families (or our lonely neighbors) properly if we don’t love God first.

Spiritual Consolations

I suspect that most of us idolize family at some level. It’s become such a dominant cultural value that even non-Christians who celebrate Christmas are susceptible to its malignant influence. But one idol may only occur to those who see Christmas as a time of potential spiritual gain.

Every Christian runs the risk of valuing God only insofar as he grants us His gifts. Sometimes, this takes fairly low forms. The Prosperity Gospel, for instance, is essentially a quasi-Christian materialism that equates the love of God with his financial blessings. They turn God into a sugar daddy. More subtly, some of us act like God’s fair-weather friends. We’re perfectly happy offering Him our heart as long as we feel we’re receiving some kind of spiritual consolation. It’s almost as if we think that God owes us something if we keep praying through the season, and we’re unnerved when nothing comes. No one likes aridity in prayer. That feeling can be even harder, and an even greater temptation, when it comes to us at Christmas time.

As Catholics, we shouldn’t worry if Christmas isn’t a time of tremendous spiritual growth. Just because at Christmas you’re not experiencing profound graces or consolations, doesn’t necessarily mean that you are doing anything wrong. Even a well-kept Advent may not produce discernible feelings of anticipation or contrition. Too much of a focus on the interior life can distract us from the objective glory of the feast.

God has come down to earth in the Incarnation. He has seen fit to take up human nature for our salvation, transfiguring all by the light of His face. And we who were born so many centuries after Him can nevertheless meet that same Incarnate God at the altar. But none of this depends on us. It doesn’t matter what we feel; the marvelous truth of it all is that God has done this work in an entirely gratuitous way.

That is why Christmas Mass is so important. It grounds our devotions in Christ. And as He did at His first coming, He still sweeps away all of our idols from His new home on the altar.

The Eucharistic Alternative

Christmas doesn’t have to be like this. All of the “idols” I have listed above are good in themselves. It is only our inordinate attachment to them that has twisted them into ugly perversions and distractions from the Incarnate God.

True, our culture has pressed many of these idols onto us, or at least exacerbated them. But we are complicit. We go along with the whole rigmarole. We have made these five golden rings into five golden calves. It follows that in our own small ways as Catholics, we can and should resist.

Instead of focusing on material gain, let us contemplate the poverty of the babe at Bethlehem; instead of mindlessly pursuing happiness at all costs, let us seek a healthy and realistic equilibrium; instead of rigidly clinging to our traditions, let us run in the freedom and flexibility of the Gospel; instead of taking a disordered view of our families, let us love them as creatures of the Most High; and instead of pining for a flood of sensible graces, let us be content to dwell adoringly at the side of the Infant God asleep.

It may all be more easily said than done. But the spiritual life is always a challenge for those who truly seek God. And what aid does Our Lord offer us in the Sacraments! If we avail ourselves of confession and the Eucharist, we will have made a very powerful start. Only then, to paraphrase Dickens, may we honor Christmas in our hearts, and keep it all the year.