Art and Vicarious Living

So, this “passion project” is something that we (believe it or not!) are still passionate about, despite the lack of activity on this blog the past six months... Alas, life seems to have gotten in the way of my literary passions.

Or maybe I shouldn’t say “alas.”

In order to avoid getting overly personal, I will simply say that I spent the last six months of my life decidedly apart from literature and academia, an entirely new and different thing for me. My pre-2013 life mainly comprised of going to college and grad school and doing all that that that entails—studying, researching, reading, writing, thinking, discussing problems and ideas with family, friends, professors, classmates, etc.—in other words, everything but living. At the moment, I’m wondering if writing this post will mark a return to that former life or if it will somehow transcend it and cross over into actual, real, here-and-now-life itself. Of course, the lines between life and literature have always been blurred for me, so maybe this post is my one last desperate attempt to separate them. Or maybe, after writing this, I’ll discover that it’s okay if those lines aren’t as clearly defined as I’d like. In any case, what you should know is that my purpose in writing this post is to explore the relationship between life and literature, or more specifically, the role of literature and art in vicarious living.

One of my favorite poems of all time is Lord Alfred Tennyson’s “The Lady of Shalott.” The poem is about this woman, the Lady of Shalott, who lives in a tower on an island all by herself and only sees the real world outside her window through a mirror she uses to weave this tapestry she’s making. Of course, she’s lonely and tired, but she sings as she weaves, which not only makes her a weaver, but also a musician—or more explicitly, an artist. Everything seems more or less fine until one day she sees Sir Lancelot’s face in the mirror and falls in love with him. She immediately decides to leave the safety of her tower and the isolation of her artistic world, but doing so leads to her premature death (she, unlike Anne of Green Gables, drowns in her boat on the river because there is no Gilbert to rescue her). When Sir Lancelot later sees her corpse on the shores of Camelot, all he can comment on is the beauty of her face, which, of course, is shallow and obnoxious. Or maybe it’s what the Lady of Shalott deserves for risking her life for the sake of Sir Lancelot’s beautiful face. Yes, the romance in this poem is purely superficial, but then again, that’s also how it is in Romeo and Juliet, which is, supposedly, the greatest love-story of all time (sorry, another rant for another time).

Why do I like this poem so much? Well, despite its lack of healthy dating advice, “The Lady of Shalott” provides an excellent metaphor to describe the conflict between art and reality. Central to this poem is the struggle between the need to be alone to create or experience art and the need to be with others to create and experience real life.

Is isolation a prerequisite for artistic creativity then? You could easily argue that if the Lady of Shalott’s art wasn’t created in isolation, it probably wouldn’t exist. She’d probably have a lot of others things to do, especially if she were married to Sir Lancelot and had to deal with his shenanigans and kids (and Genevieve and the monarchy). However, this leads to a difficult egg/chick, cause/effect debate. Does the Lady of Shalott create because she’s isolated, or is she isolated because she creates? Can a passion for art, literature, theater, film, music, or dance actually isolate someone from society with all the hours of isolated practice that these media require? I’ve always seen art as a means of bringing people together—of facilitating improved communication and deepened empathy. However, as I look at my own life and realize how in many ways I’ve been stuck in the world of art, I begin to question my ability to communicate and empathize with others who haven’t had the same exposure to art (and don’t necessarily speak its obnoxious, ivory-tower language) and who probably need the inspiration and hope it offers more than I do.

Of course, the Lady of Shalott doesn’t communicate or empathize with anyone either. In fact, anything she does experience in the real world is seen indirectly through the mirror she uses to see the progress of her weaving or her art: “And moving through a mirror clear / That hangs before her all the year, / Shadows of the world appear” (lines 46-48). Accordingly, the mirror itself represents art, since art can be used to mirror reality. Because the Lady of Shalott spends all her time weaving, she only sees the outside world (reality) through her mirror (art). Interestingly, if she looks directly at the outside world, she will be cursed, as stated in the poem: “She has heard a whisper say, / A curse is on her if she stay / To look down to Camelot” (lines 39-41).

What Tennyson exactly means here is hard to decipher. Certainly, his use of the word curse indicates that looking directly at reality, rather than looking at through art, would be a harmful thing to do. And yet, Tennyson’s use of the word shadows to describe art, along with the word curse to describe reality, also demonstrates his ambivalence about art as a way to perceive and interpret reality. While the word curse suggests that the Lady of Shalott would be wise to continue seeing reality through art, the word shadows indicates art’s limitations in representing reality. When shadows are compared to reality, they simply don’t measure up. However, when reality is looked at without art, the effect can certainly be depressing and sometimes feel meaningless. Can art truly mirror reality then? Can it at least help us cope with reality? Can it replace reality? And if it can do all or any of these things, should it?

In “The Propriety of Theatrical Amusements—Instructions Relative to Conducting Them,” Brigham Young discusses how theater and art can be used to experience evil and its consequences vicariously, precisely so that we don’t have to experience them in real life. In addition, Jeffrey Holland cites Shakespeare’s Othello in his address “How Do I Love Thee?” to demonstrate the consequences of being uncharitable in dating and romance. Holland’s main point is that while we do need to experience “an opposition in all things” (2 Nephi 2:11) to know and appreciate the difference between good and evil, we don’t necessarily have to strangle our spouse in his/her sleep to know that doing so is wrong. C. S. Lewis makes a similar point in his Mere Christianity in chapter 11 on faith when he discusses how those who resist evil are the ones who truly know and appreciate how strong it is. While some may view these ideas as didactic interpretations and uses of art (and snub and shun them as such), I think that can art can (and should) be a means to vicarious living because it can often increase our awareness and empathy.

Meridith Reed makes this same point in her blog post, “Why I Wasn’t Offended by Les Miserables and Other Thoughts on Mormons and Media,” more beautifully than I ever could. For her, art and media exist so that we can “respond to others in a sensitive, caring way.” Thanks to a play I saw while I was studying abroad in London, I became more aware of various forms of human suffering, and decided to serve a mission for my church as a result. Of course, the play also did a good job of exposing art’s limitations in solving world problems, which is why I realized that serving a mission might be a better way of helping others than studying theater and art in London and Paris. The irony of that play was that, as good art, it successfully exposed art’s failings and weaknesses.

The tragic irony in Tennyson’s poem, though, is that once the Lady of Shalott leaves her tower, she ceases to create and exist. Basically, the moment she decides to live is the same moment she chooses to die. I realize that this dichotomy between art and reality that Tennyson has set up here may be a false one. However, it is certainly something that he personally believed in and lived by. In Memoriam, arguably Tennyson’s greatest poetic work, took him seventeen years to complete. During that period, Tennyson mourned the death of his friend, postponed his marriage (yes, he had a seventeen-year-long engagement), and wrote some of his best poetry. Admittedly, Tennyson wasn’t secluded in a tower during those seventeen years, but perhaps he was socially isolated in other ways (by, maybe, not getting married and having kids just like the Lady of Shalott?). He also wrote many other poems featuring protagonists in isolated situations. Thus, his life-long focus on art in isolation, both in his own work and life, suggests that Tennyson, at least, viewed isolation as a prerequisite for artistic creativity, even though he was well-aware of the drawbacks of art as vicarious living.

And, even after writing all this, I’m still not certain if I agree with him.

Good Things Initiative: A Manifesto

Good Things Initiative

I. Objectives

This new initiative, what we hope will become a multi-platform and multimedia blog, aims to exult the positive effects of the media. This primary objective can be broken down into the following:

A. To promote charitable readings of the media and arts. Although the arts and humanities have, in many ways, been taken over by corporations, they weren't originally intended to be consumed. Rather, they were intended to be part of a greater conversation. As such, we seek to downplay dismissive attitudes toward content. Questions of intent, implication, and inclination will need to be discussed. We approach each piece of media with faith that the creator is not intending destruction.

B. To provide ample evidence that, contrary to popular belief, there is much good to partake of, that there are literally millions of gems, hidden and not-so, that can provide both enrichment and entertainment. We recognize that the products with the largest marketing budgets are often also those that may carry the greatest danger. Because of this, much of our work here will carry the weight of the awareness campaign. When we find a gem, we will celebrate it and share it.

C. To show that criticism need not be needlessly nihilistic, that commentary need not be crude, and that firm judgment and strong opinions can be expressed in ways that benefit more than the author's ego. Furthermore, we seek to do away with sentimentalities that encourage a lack of thought, as if thinking was somehow less fun or engaging. We will avoid letting our discussion of media become PR press pieces. We can acknowledge both the good and the bad in the art we are faced with.

D. To demonstrate through said media and arts that we're more alike than different, that while set pieces and costumes may change from scene to scene, we are all very much engaged in the same narrative. The creation of media provides strong unification. A participating audience can leave a greater collective, having brought their varied experiences into the same theatre, movie house, museum, or book club and left with shared experiences. These shared experiences can prove to be tremendously important in the building of communities.

II. Methodologies and Ideologies

Many of us have grown up with dialogue about media that has taught us to be distrustful and even fearful of what we're presented with. In no way do we seek to dismiss those feelings. There are indeed, pornographies being produced, violent acts being exulted, and a tremendous lack of charity presented in much of popular culture. However, our experiences with the artistic have also brought us to greater understanding of ourselves, our communities, and even God Himself. Were we to only listen to the expressions of terror, many of those transcendent experiences would have been missed out on.

Some will dismiss our positive emotions about the arts as emotive romanticism. "I only go for entertainment and relaxation!" they may cry. As the weeks, months, and even years go by on this project, we'll hopefully discuss the positive effects the media has on the audience member who doesn't recognize his/her own transformation.

Setting up specific methodologies and objectives is important. They lend focus to the work, keeping it all from rambling, and allowing specificity to rise to the occasion. However, we fully recognize that such methodologies and objectives are subject to change as we ourselves change. That being said, here are a few approaches and ideologies we hope to utilize to achieve the aforementioned objectives:

-We have struggled internally to define "arts and media." Is a cake a work of art? If we're to say the historical site isn't art, could one argue that the accompanying visitors center is? The bulk of our work (and it will be work) will be focused on traditional (i.e., common) definitions of art: literature (fiction and non), film (in the theater or on the home screen), theatre (live or recorded), music (etc.), dance (etc.), visual art (etc.). While we may not be able to discuss the mountain itself, we will be able to discuss the photograph of the mountain.

-As we aim to highlight the good things out there, we hopefully will not be limited to the printed word. While initial discussions will be held through traditional blogposts, we hope that posts will converse with each other. We hope to expand into photographic conversations, to filmed panels,  testimonials, personal essays, and to whatever other medium we can come up with to discuss the various media we're approaching.

-While we will review media, we will strive to avoid the "thumbs up/thumbs down" rhetoric of the contemporary commercial critic. We'll discuss what's being accomplished and why it's being attempted but we'll resist the urge to say "Five stars for fabulous" and other simplistic statements. As acknowledged already, we will openly comment on the positives and negatives of each piece of art, but we will do so to capture the whole rather than to capture the ticket buyer's affection or disdain. In our critical conversations we'll avoid accusatory, dismissive language. We’ll also avoid overly superficial discussion - while we’re here to promote the idea that there’s more good than bad out there, if we get overly sunshiny about the things we’re discussing, we’ll become little more than marketing, the art we’re talking about will be reduced to products, and readers will be left feeling like customers rather than as engaged participants.

-Personal and academic readings will be encouraged and occasionally dealt with but not required. A critical studies approach will be frequently taken but with an understanding that this is not a project for academic consumption but for the layman. A feminist or Mormon reading will always be welcome but if it's unfriendly to the uninformed it will have missed its purpose. When scholarship is discussed, a conversational tone will be aimed for.

III. Inspiration

General Thoughts:

-"The act of viewing (and hearing) can be just as creative, and as satisfying, as activities usually ascribed to filmmakers and other artists." (Thinking About Film: A Critical Perspective, Dean Duncan)

-"Challenge can be invigorating. Attention to these additional contexts can remove the reader, if he or she is willing, from the passive, self-centered demand for mere entertainment and escape that is so characteristic of contemporary film culture." (Thinking About Film)

-"We go on learning, after we have read a text, by sharing our interpretation with others, and by letting their interpretations enrich our own... The interpretive community thus becomes a resource not only of ideas but also of the processes by which ideas are formed and shaped." (Bridging English, Joseph O. Milner, Lucy M. Milner, and Joan F. Mitchell)

-"Learning is not waiting for the revelation but making it, not absorbing knowledge but creating it." (Bridging English)

-"Readers' personal involvement in the text will affect the trajectory of their entire lives as literate and ethical people who know themselves more perceptively and see beyond themselves more empathetically." (Bridging English)

-"President David O. McKay (1873–1970) was inclined to awaken daily at 4:00 a.m., skim read up to two books, and then commence his labors at 6:00 a.m. He could quote 1,000 poems from memory. He referred to the grand masters of literature as the 'minor prophets.'" (Our Refined Heavenly Home, Douglas L. Callister)

-"After the first performance of The Messiah, Handel, responding to a compliment, said, 'My lord, I should be sorry if I only entertained them—I wish to make them better.' Haydn 'dressed in his best clothes to compose because he said he was going before his maker.'" (Our Refined Heavenly Home)

-"Your Father in Heaven has sent you away from His presence to have experiences you would not have had in your heavenly home—all in preparation for the conferral of a kingdom. He doesn’t want you to lose your vision. You are children of an exalted being. You are foreordained to preside as kings and queens. You will live in a home and environment of infinite refinement and beauty, as reflected in the language, literature, music, art, and order of heaven.” (Our Refined Heavenly Home)

From the Standard Works of The Church of Jesus Christ of Latter-Day Saints:

-"We believe in being honest, true, chaste, benevolent, virtuous, and in doing good to all men; indeed, we may say that we follow the admonition of Paul - We believe all things, we hope all things, we have endured many things, and hope to be able to endure all things. If there is anything virtuous, lovely, or of good report or praiseworthy, we seek after these things." (Articles of Faith 1:13 - emphasis added)

-"But behold, that which is of God inviteth and enticeth to do good continually; wherefore, every thing which inviteth and enticeth to do good, and to love God, and to serve him, is inspired of God... It is given unto you to judge, that ye may know good from evil... Every thing which inviteth to do good...is sent forth by the power and gift of Christ; wherefore you may know with a perfect knowledge it is of God... Wherefore...if ye will lay hold upon every good thing, and condemn it not, ye certainly will be a child of Christ. And now, my brethren, how is it possible that ye can lay hold upon every good thing?" (Moroni 7:13, 15-16, 19-20)

-"Nevertheless, I do not write anything upon plates save it be that I think it be sacred. And now, if I do err, even did they err of old; not that I would excuse myself because of other men, but because of the weakness which is in me, according to the flesh, I would excuse myself. For the things which some men esteem to be of great worth, both to the body and soul, others set at naught and trample under their feet." (1 Nephi 19:6-7)

-"For in many things we offend all. If any man offend not in word, the same is a perfect man, and able also to bridle the whole body...Who is a wise man and endued with knowledge among you? Let him shew out of a good conversation his works with meekness of wisdom." (James 3:2, 13)

-"Let no corrupt communication proceed out of your mouth, but that which is good to the use of edifying, that it may minister grace unto the hearers." (Ephesians 4:29)

-"Who hath ears to ear, let him hear. And the disciples came, and said unto him, Why speakest thou unto them in parables? He answered and said unto them, Because it is given unto you to know the mysteries of the kingdom of heaven, but to them it is not given. For whosoever hath, to him shall be given, and he shall have more abundance: but whosoever hath not, from him shall be taken away even that he hath. Therefore speak I to them in parables: because they seeing see not; and hearing they hear not, neither do they understand... Blessed are your eyes, for they see: and your ears, for they hear." (Matthew 13:9-13, 16)

-"If thou art merry, praise the Lord with singing, with music, with dancing, and with a prayer of praise and thanksgiving." (Doctrine and Covenants 136:28)

IV. Conclusion

This is a passion project. The individual passions of the current contributors (Emily, Rachel, and David) are varied but find unity in celebration of the creations of man. Victor Hugo famously wrote that "to love another person is to see the face of God" and we have found such proximity to God as we've explored the expressions of our brothers and sisters.

An accidental arrogance may arise in our expressions. We're enthusiastic about what we've discovered and what we'll share. We'd feel ungrateful, uncharitable even, if we failed to share the things we've seen, heard and felt. But we're the first to admit that our knowledge is limited. None of us has seen it all and our responses will be far from definitive. As a result, this passion project is one that will require the active and vocal participation of its readers. Challenge what we say. Notify us of the life-altering song you recently discovered. Volunteer to write for us! A communal experience is the optimal experience here.