The Gospel According to Battlestar Galactica
Mitch Hanley, Senior Producer
Ever since Krista got me hooked on Battlestar Galactica a couple of years ago, I have noticed very few episodes that didn’t offer some not-so-subtle references to Judeo-Christian theological influences. There are countless examples throughout the program’s four seasons: a “chosen” or select group of survivors travelling great distances trying to find the prophesied “home”; the twelve tribes of mankind; transitioning from pantheism to monotheism, etc. But one of the more blatant is the refrain at the end of most speeches in BSG, “So say we all” — basically serving the same function when a congregation says “Amen” after a part of a church liturgy. And hearing the pantheistic human characters say “Gods damn it” still catches me off guard.
In this week’s program, "TV and Parables of our Time," USC professor Diane Winston notes how the writers of BSG would also weave issues found in today’s real-life news into their story lines. She cites the detainee abuse at Abu Ghraib as one example. Winston goes on to suggest that maybe we need good storytelling in order to process the events happening in our world, and that trying to understand the complexity of these events only through news media may not be enough.
As someone who finds the Bible in desperate need of an editor, I wonder if I would find the biblical stories more compelling if they had spaceships and cool sound effects and thrilling scores. Would I find the messages more relevant? I don’t know. It does makes me wonder if these modern narratives like Battlestar Galactica need to have familiar touch points, such as religious rituals and themes that we grew up with, in order to make a space-based story somehow more accessible to our terrestrial lives. Or do they just borrow from great stories, many of which can be found in religious texts? What do you think?
Trent Gilliss, Online Editor
[Editor’s note: I was combing through a test blog for SOF that never made it into production. One of the entries I posted I regretted not publishing. The piece is timeless, so I thought I’d re-post for you design lovers.]
The design house of mike and maaike developed a wonderfully elegant and simple bookshelf for a curated series of bookshelves. Its title: “religion.” Niches for seven influential religious texts are carved out of a three-foot-long piece of hardwood and reverently cozied up to one another. Included are the Bhagavad Gita, the Bible, the Qur’an, Confucius’ The Analects, the Tao Te Ching (translated by Stephen Mitchell), The Discourses of the Buddha, and the Torah.
You can get one of these lovely pieces, but it’ll cost you. The price: $2500.
A Historic Bible for a Historic Moment
Andy Dayton, Associate Web Producer
With all of our recent talk of ancient manuscripts, there’s another (not quite so ancient) book in the news today: Barack Obama has chosen to be sworn in on the Lincoln Inaugural Bible. Read a bit more on the Bible’s history in this short interview with Library of Congress’ Clark Evans.
(photo: Michaela McNichol/The Library of Congress)
The Process of Creating the St. John’s Bible
Trent Gilliss, Online Editor
Our show for this week — called "Preserving Words and Worlds" — focuses on the pioneering and valiant efforts of manuscript preservation being spearheaded by the Benedictine monks of the Hill Museum & Manuscript Library at St. John’s Abbey & University. The importance of the words and language of these precious handwritten texts is vital to understanding other civilizations and cultures, as Fr. Columba Stewart and Getatchew Haile point out.
But, these two scholars speak as much about the importance of the container itself. The vessel gives context to the manuscript, and to the people producing and using these texts. Elements like the type of paper used, the binding, the style of calligraphy, the marginalia, the general wear-and-tear all indicate how it was used, who used it, and, in essence, its innate value to those people using it and their ancestors.
When I think about it this way, I better understand why the same institution also commissioned a multi-million dollar project to create the first handwritten Bible since the printing press was invented. It’s what they did in medieval times and that monastic legacy is being carried on today, albeit with the expedience of modern technology and communication.
Artistic efforts like these I find true and sincere, not a fancy facade masking an ordinary box. Hearkening to ancient traditions and materials, this illuminated Bible incorporates hand-ground inks and eggs and feathers and vellum with platinum, gold, and silver foils. And, being a project of the modern era, it uses computers and sophisticated software programs and broadband connection to lay out the book and communicate with a host of overseers in making everything’s correct.
This short video about the St. John’s Bible project is instructive, to be sure, but it also gives me insight into the magic of creating a manuscript — and the monumental task of coordinating it.
The Final Cut: Omitting the Samaritan Woman’s Story
Shiraz Janjua, Associate Producer
Some interesting reactions to the Vashti McKenzie program this past weekend, both positive and negative. This interesting e-mail in particular was mentioned during our Monday morning staff meeting, coming from Kathryn in Davis, California. She mentions a segment around 01:12:00 in the full interview that we cut out of the final production. The segment is about 6 minutes long, and survived through a couple of rounds of edits before it was ultimately cut out.
I am a big fan of this show and admire your talent, Krista. The editing on this particular show disturbed me, however. By her own account, and yours, the essence of Vashti McKenzie is discovered in the the story of Jesus’ encounter with the Samaritan woman at the well. It’s an incredibly profound teaching in the same way that Native American stories are so deeply wise and transformational. (One can understand how Christianity of the mainstream stumbled so badly by failing to understand the meaning of this core teaching. Rev. McKenzie finally gets it right.) And yet, it didn’t make the final cut.
When I look at what did make the cut — the emphasis on the Jeremiah Wright exegesis — and the timing of this interview, it tells me that you used Speaking of Faith and Vashti McKenzie to make an appeal to nervous undecided and conservative voters to support Barack Obama, much like the just released movie about George “W” Bush did.
This is your show, you can do that, and I hope it works. That said, the story of the Samaritan woman holds so much more meaning and value for viewers here and around the world than whether or not undecided voters now might feel a little better about Barack Obama’s Christianity. Rev. McKenzie’s teaching goes both to her core and the central mission of your show. Your rough cut managed to miss the mark on both counts.
There are a couple of things there. The first thing is the apparent support for a candidate. Depending on what we’re covering on a particular week, we often hear from listeners who think we’re supporting this or that political ideology. Just as an example with this program, some listeners suggested that even mentioning Jeremiah Wright at this stage meant we were trying to derail Sen. Obama’s bid. It seems to go with the territory no matter how much editorial rigor we subject a program to, and that’s fine, we’re happy to talk about our process.
But as with most Speaking of Faith programs, we try to contribute something to the conversation in the larger American community. Talking about race in the context of this presidential election might seem cynical, but I don’t know if there’s ever a wrong time to talk about racism.
Maybe the story of the Samaritan woman contributes to that larger conversation in a more enduring way than anything that can be said about the Wright controversy. Rather than reflecting an ulterior motive, this is where the desire to be newsworthy comes in. Krista is talking to someone who is a prominent leader in the African-American community, and who had close ties to Jeremiah Wright. There is a journalistic responsibility to address it openly. To be honest, in the full interview, I detected some reluctance in Bishop McKenzie’s voice as far as talking about the Wright controversy. There is more discussion of the controversy throughout the interview, but we edited a lot of that out because the segment we had in the final program addressed the issue without belaboring it. And there was some thematic redundancy between the story of the Samaritan woman and other parts of the interview. With our eyes on the clock, we make room for some things at the expense of others.
The show itself was meant to act as part of a reflection on how race and gender have been used in this campaign. And when we decide to re-broadcast this show at some future point, it’s highly possible that we swap out the Wright discussion — which will no longer be timely — with the story of the Samaritan woman.
For now, we’re still trying to draw something positive out of the uglier aspects of the campaigns. Bishop McKenzie talks about defining moments. In our public life, we often hear about missed opportunities to turn crises into teachable moments — “transformational” is a word Kathryn uses above. I don’t know, what do you think? Samaritan woman, or Jeremiah Wright reaction? Timely or timeless?
A Bible for the “Non Card-Carrying Christian”
Trent Gilliss, Online Editor
The FontFeed showcased a provocative and, in my opinion, a refreshingly dynamic take on the cover art for a contemporary edition of the Bible. The colors are vibrant and engaging, which reminds people that the Bible is a living text pulsing with lessons for 21st-century readers. And, the depictions of Adam and Eve in the Garden of Eden are playful and allusive, meant to conjure more questions than to answer them with overly weighty symbolism that would have bogged down the spaciousness of the art work. If you’re interested in opining on what the graphic designers missed or got right, Stand Firm, a blog devoted to “traditional Anglicanism in America,” has an active comment thread worth reading.
As Carl Rush, the founder of the UK-based design agency Crush that created the cover, points out, their intention was to make it the “must have accessory for any non card carrying Christian.” My regret? I can’t find a place where I can actually buy the tome. Help!
Here’s the image unadorned with titling and text. Click for better detail:
(Images courtesy of Crush Design & Art Direction)
SoundSeen: Prepping (Smelling) Manuscripts with Columba
Trent Gilliss, Online Editor
Yesterday, a few producers (Colleen, Mitch, and I) drove about an hour northwest of Minneapolis to the town of Collegeville to scout locations for Krista’s interview with Father Columba Stewart. This small Minnesota town is home to the Benedictine monks of St. John’s Abbey and University, and the Hill Museum & Manuscript Library (HMML, or “himmel” as I’ve heard it pronounced).
If you’ve heard of their work, it’s most probably for the St. John’s Bible, a project commissioning the first handwritten, illuminated Bible since the printing press made its appearance in the 15th century. But, these archivists also preserve and digitize an incredibly large number of manuscripts from places all over the globe, including the world’s largest collection of Ethiopian manuscripts and continuing projects in Syria, Lebanon, Malta, Ukraine, India, and many countries in Europe.
For this morning’s interview, Mitch asked Columba to bring a few examples. So, he and Wayne Torborg pulled out a few and gave us a preview. If only you could smell them. Ooh la la!
Biblical Stories Are So Catchy
Alda Balthrop-Lewis, Production Intern
What is it about Bible stories? For me they can be like catchy music; I’ll get one stuck in my head and then, while I wait for the bus or cut up vegetables or fold laundry, the story will run on repeat, offering its melodies, harmonies, dissonances. These ancient stories — so full of existential drama — can become obsessions.
I’ve been thinking constantly for the past year or so about the Book of Ruth. (Read the whole book yourself here.) Naomi, her husband and sons all dead, is in mourning. She’s planning to move home to Bethlehem. She tells her newly widowed daughters-in-law to go back to their families; they can remarry in their native towns. But Ruth, Naomi’s daughter-in-law, insists on moving with Naomi back to Judah. We don’t know exactly why.
Then, Ruth makes a speech as she announces her intention to stick by Naomi, and it’s one of the most famous speeches in the Bible: “Your people shall be my people, and your God shall be my God,” she says. Ruth chooses radical commitment. She becomes a foreigner, abandons the life she knew, and moves bravely into a new one. I think about the courage that would take.
I like retellings of Bible stories too. One of my favorites is told on an episode of This American Life, “Sink or Swim.” (You can listen to it in their online audio archives. It comes in at about 44:20). In this story Noah is old and crotchety. He calls his sons “dummies.” His “old-school” work ethic demands that he teach his children right from wrong using most severe methods. God, in this story, likes Noah’s style. He chooses him, therefore, to save the animals and repopulate the earth after the flood. It’s a wild story that casts God as a big grouch.
In light of these adventures into the Bible, I appreciatively stumbled on an interesting blog over at Slate.com. Blogging the Bible is David Plotz’s analysis of “what’s really in the good book.” He spent a year making his way through the Hebrew Bible and writing about how the stories struck him. If you have any favorite stories, check out his perspective. It may give you new ideas to run through. Over and over.
Colleen Scheck, Producer
I was a history major, and I love learning history through its physical artifacts. Last summer I visited Gettysburg for the first time. While I was brought to tears standing on its hallowed battlefields, I was also riveted by the stories behind the many Civil War relics there — stories told through well-researched exhibits, and then extended to mini-dramas in my own imagination.
So I was intrigued when I received an e-mail that the personal Bible of Johann Sebastian Bach (a commentary Bible) was going to be on display at a local choral concert. We’ve received suggestions to do a program on Bach and his personal faith — an item on our very big, very long list of show ideas. For now, I wanted to take advantage of the opportunity to see Bach’s Bible up close, hear about its history, and learn what it reveals about his faith.
Dr. Thomas Rossin kindly gave me the opportunity to photograph the Bible and talk to him about it. Rossin did his doctoral work on translating the handwritten notes in Bach’s Bible and tracing its history. He’s the founder and conductor of Exultate Choir and Chamber Orchestra, and he was allowed to take two of the Bible’s three volumes on tour with him to display during Exultate’s recent performances of Bach’s Mass in B Minor (never will all three volumes travel at the same time). He describes how Bach’s Bible has 350 entrances that give evidence to Bach as a person of faith (II Chronicles 5:12-13 “In devotional music, God is always present with His Grace”), and his understanding of those entrances greatly impacts how he approaches performances of Bach’s works.
An aside: the story of Bach’s Bible reminded me of one of my favorite movies, The Red Violin, a fictional story about a 17th-century, hand-crafted violin that travels over three centuries. It includes a beautiful score with violin solos by Joshua Bell.