Dominic Preziosi is Commonweal’s digital editor.
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Here’s a mid-day roundup of response to Laudato Si’ from around the web (if you've already made sure to read Anthony Annett, David Cloutier, Michael Peppard, and Massimo Faggioli on Commonweal). Start with E. J. Dionne Jr., who, in a column posted to our website, says anyone who claims Francis is inventing radical new doctrines
will have to reckon with the care he takes in paying homage to his predecessors, particularly Pope Benedict XVI and St. John Paul II. He cites them over and over on the limits of markets and the urgency of environmental stewardship. Laudato Si’ is thus thoroughly consistent with over a century of modern Catholic social teaching, and if it breaks new ground, it does so within the context of a long tradition -- going back to St. Francis himself.
Similarly, Emma Green in The Atlantic:
Historical references … are peppered throughout the document, and they serve as an important reminder to an often-giddy media that loves to write about today’s revolutionary pope: In the Church, precedent is everything. Francis’s argument is deeply grounded in Catholic teachings dating back to the late-19th-century writings of Pope Leo XIII (and before that, Jesus). … This is far from the Church’s first foray into environmentalism. “I always remind my environmental friends that St. Francis was ours before he was theirs,” said John Carr, a professor at Georgetown and former staffer at the United States Conference of Catholic Bishops. “This didn’t begin with Earth Day or Al Gore. It began with Genesis.”
R. R. Reno at First Things:
In this encyclical, Francis expresses strikingly anti-scientific, anti-technological, and anti-progressive sentiments. In fact, this is perhaps the most anti-modern encyclical since the Syllabus of Errors, Pius IX’s haughty 1864 dismissal of the conceits of the modern era. … Francis has penned a cri de coeur, a dark reflection on the systemic evils of modernity. Like the prophet Ezekiel, Pope Francis sees perversion and decadence in a global system dominated by those who consume and destroy. The only answer is repentance, “deep change,” and a “bold cultural revolution.” If Francis continues in this trajectory, Catholicism will circle back to its older, more adversarial relationship with modernity.
But Josiah Neely, also at First Things, calls Laudato Si' “a more measured affair” that deserves fuller reading: “[T]here seems to be a fairly large disconnect between the criticism of (much of it made prior to the release of the actual text) and the encyclical itself.”
Francis X. Rocca in the Wall St. Journal zeroes in on “passionate language likely to prove highly divisive” and characterizes Laudato Si’ as a “broad and uncompromising indictment of the global market economy.”
What, George Weigel asks, does Francis write in the encyclical?
It can be trying these days for those not among the legions who hold Harper Lee in such high esteem. That’s not to say she doesn’t deserve her acclaim, resurgent in anticipation of a newly discovered and soon-to-be-published work. It’s just that I have nothing to base an opinion on. I’ve never read To Kill a Mockingbird.
It feels good to confess that. I’ve been carrying the secret around for years, since not having been assigned to read it in high school, and then not reading it on my own during college. Of course, the longer things went, the harder it got – job, marriage, family, you know – each passing year making it less likely I’d start a book everyone else seemed to have long since finished, and in adolescence at that. If I’d picked it up in 1999 when it was named “Best Novel of the Century” by Library Journal, it would have looked as if I was just latching on to an annoying retro trend. And now? The Guardian refers to it as a children’s book, so, not likely. At best it would invite well-meaning but embarrassed (and embarrassing) concern; at worst, ridicule. I’ve already been down that road, accosted at my previous job by a co-worker who saw me with a copy of The Great Gatsby (a novel I’ve read many times over, I just want to point out). “What are you,” he asked incredulously, “in high school?”
Also, I have not seen the 1962 movie version of To Kill a Mockingbird, though that seems the more venial of the sins.
I can’t really hide the truth anymore. It’s too hard when a friend makes thoughtful, earnest reference to Atticus Finch, or an old classmate expresses tender, unfading fondness for Boo Radley, or a neighbor brings their son/daughter Scout to a birthday party (“Guess who he/she’s named after! Go ahead! Guess!”). I know the names of the characters; I know their general relationships to one another. I know the main parts of the plot. But do I know the book? No. Because I have never read it.
Though if I didn’t know any better, there seem to be forces at work to get me to.
Anne Enright’s new novel is The Green Road, a title referring in part to the walking path across the rocky expanse of the Burren in Ireland’s County Clare. Enright has authored five other novels, including The Gathering, which won the 2007 Man Booker Prize, and three story collections.
As a twenty-year-old only recently freed from New York's Rikers Island after three years without a trial or being convicted of a crime, Kalief Browder seemed to exhibit a stark awareness of what had already been lost. “You just took three years of my life,” he said in a 2013 interview, addressing a dysfunctional criminal justice system he’d had the misfortune of being swept up in. “I didn’t get to go to prom or graduation. Nothing. Those are the main years. … And I am never going to get those years back. Never. Never.” What, tragically, he also appears to have been robbed of was the hope that something could yet be found. After several hospitalizations and multiple suicide attempts following his release, Browder hanged himself on Saturday. He was twenty-two.
Browder's story became widely known thanks mainly to the reporting of The New Yorker's Jennifer Gonnerman, who in October 2014 detailed an ordeal that began with his arrest on suspicion of stealing a backpack from someone on a Bronx street. But "ordeal" seems like an inadequate word for what followed (see Gonnerman's piece for the full account), which was basically the disappearing of an apparently innocent teenager, unable to make bail much less pay for competent representation, for more than a thousand days.
In London it’s become the fashion of wealthy homebuyers to supplement already sizable residences with cavernous subterranean lairs. In Manhattan it’s to move into a sky-high aerie, priced in the tens of millions, from which it’s possible to look down on the Empire State Building. In the Bay Area it’s to snap up anything inside the city limits of San Francisco, the near entirety of which has become a bedroom community for Silicon Valley’s most monied.
Wealth has always shaped cities, but its current role in the transformation of urban centers around the world seems unprecedented, probably because there’s so much more of it, concentrated in ever-fewer hands, moving ever more fluidly and mysteriously through lightly regulated and technologically enhanced channels. Oligarch, plutocrat, or ordinary multimillionaire, the highest-net-worth property-seekers want to be in cities, or if nothing else be able to park their money in one (real estate being a good place to hide it). It may be a cliche to talk about the divide between rich and poor in places like London, New York, and San Francisco, but some cliches bear restating, especially when the divide seems increasingly inconceivable in its breadth -- the very function of a system engineered to practically ensure its further expansion. “Darwinian upscale urbanism,” as Martin Filler termed it in the New York Review of Books in April, referring specifically to former New York mayor Michael Bloomberg’s vision for the city he ran -- a place where the wealth of wealthy property owners was to trickle down to residents but instead, a researcher found, had “deleterious effects... on small business, the middle class, and taxpayers.”
It may not be easy to dig an enormous basement or live in a condo eighteen-hundred feet above street-level, but it would be even harder if there were not banks, developers, lawyers, real-estate firms, contractors, and politicians dedicated to making it possible.
Ireland is holding a referendum on legalization of same-sex marriage on Friday, historic not just because of the matter at hand but also that it would be decided directly by national popular vote – not (as in the case of seventeen nations that have legalized it) by courts or legislators.
In the lingering aftermath (or afterglow, depending on your degree of fandom) of the Mad Men finale, it’s worth recalling The Paris Review interview of show-runner Matthew Weiner a couple of years ago. In it he explains his method of plotting and the influence of certain films (Apocalypse Now, North by Northwest, Days of Heaven) that resisted or flouted narrative convention.
People [like] to talk about “act breaks” and “rising action” leading to a climax, but what about Apocalypse Now? Someone’s on a journey, and sure, we’re heading toward a climax, but there are so many digressions. To me, those digressions are the story. People would say to me, What’s holding this together? Or, How is this moment related to the opening scene, or the problem you set up on page 15? I don’t know. That’s where the character went. That’s the story. So many movies in the seventies are told this way, episodically, and they feel more like real life because you don’t see the story clicking.
Celia Wren, writing in our current issue, raises valid points about the occasionally frustrating aspects of Mad Men’s seven-season unspooling. While the creator of a work should not be let off the hook for its shortcomings, I think some should be seen in the context of the general challenges of television production – actors leave, schedules are delayed, budgets and salaries change, as do perceived business needs – and to the particular production of Mad Men: ninety-two period-piece episodes engaging to lesser or greater degree the cultural, political, and historical issues of a decade, filmed over eight years about a half-century after the time depicted.
A time that many can remember first-hand, and that many more have relived or experienced second-hand, and vividly, through innumerable and infinitely replayed documentaries and TV programs. The audience thus viewed it through their own filtered stores of memory and recall – as well as with the expectations cultivated by deeply internalized notions of television convention. Unhappiness with the show was inevitable, and there were suggestions of it in how energetically the final-season prediction mill churned. Would Don Draper commit suicide? (Based on what – an opening-credit sequence that showed a suited man falling? Then what about his safe landing on an office couch in iconic draped-arm pose, cigarette dangling from fingertips?). Would he prove to be seventies myth-folk figure D.B. Cooper? (Why? This would be completely outside the dramatic universe Weiner so carefully constructed). Would Peggy find love, would Joan and Roger get together, would Sally become a Patty Hearst-like figure? There was an observable method to Weiner’s Mad Men, and it was not to go out with a shocker, address a nostalgic yearning, or tidy up storylines. Though some of that was delivered after all, which proved too much for fans like The New Yorker’s Emily Nussbaum: “There was nothing wrong with those other, often very pleasurable stories, in aggregate, although for a person like myself, who tends to like her finales like her men, without too much closure or wish fulfillment, the fan-service element made me twitch a few times.” You can’t please everyone, not even those who like you.
Kirstin Valdez Quade’s debut collection of stories, Night at the Fiestas, was published in March 2015. Her work, much of which is set in northern New Mexico against what she has called “the miracle-laden Hispanic Catholicism practiced in the region where my family is from,” has appeared in The New Yorker, Narrative, and The Best American Short Stories.
If Mike Huckabee violated campaign finance laws, would anyone take note? And who would do anything about it?
The Charlie Hebdo cartoonist Luz said this week he will stop inking images of the prophet Muhammad, explaining that it no longer interests him: “I got tired of it, just like I got tired of drawing Sarkozy.” His announcement comes as France also follows the case of Sarah K., the fifteen-year-old student sent home for wearing a long skirt her principal deemed an “ostentatious sign” of the girl’s Muslim faith – an action the Collective Against Islamophobia in France called “really an excessive interpretation” of the 2004 law prohibiting students to wear visible signs of their religious affiliation to school.
Meanwhile, the public spat among authors continues ahead of next week’s PEN gala in New York, where Charlie Hebdo will receive the PEN/Toni and James C. Goodale Freedom of Expression Courage Award “for its dauntlessness in the face of one of the most noxious assaults on expression in recent memory.” Six writers scheduled as table hosts announced over the weekend they would not attend the event, including Francine Prose, a former president of PEN American Center. About two dozen more writers (including Joyce Carol Oates and Junot Diaz) have since added their names as signatories to a public letter of protest over the award: “PEN is not simply conveying support for freedom of expression,” reads the letter, “but also valorizing selectively offensive material: material that intensifies the anti-Islamic, anti-Maghreb, anti-Arab sentiments already prevalent in the western world.” Prose and the five others who first withdrew have come under fire from, among others, Salman Rushdie -- who has called them “fellow travelers” of “fanatical Islam, which is highly organized, well funded, and which seeks to terrify us all, Muslims as well as non-Muslims, into a cowed silence.” (He used some other choice words too.) To which Prose has responded:
Why is it so difficult for people to make fine distinctions? … [We] stand fully behind Charlie Hebdo’s right to publish whatever they want without being censored, and of course without the use of violence to enforce their silence. … But the giving of an award suggests that one admires and respects the value of the work being honored, responses quite difficult to summon for the work of Charlie Hebdo. Provocation is simply not the same as heroism.
There’s a more irenic exchange going on at John Carroll University, as can be heard in a segment from today’s NPR Morning Edition on retired archbishop Michael Fitzgerald, an expert on Islam currently teaching a class on the Quran.