In 1995, Stuart Murdoch’s life did not seem to be moving anywhere fast. The twenty-seven-year old Scotsman had been suffering for upwards of six years from the effects of myalgic encephalomyelitis, better known as chronic fatigue syndrome. Because his condition made even playing on the piano an exhausting endeavor, he was unable to find work.
Living in Glasgow on public assistance, Murdoch joined “beat box,” a government program for the unemployed. He would later compare it to a “refugee camp for unemployed musicians.” The unemployed took a music training course and played music together. Once a month they were given access to a recording studio.
It was here that Murdoch first connected with the people who would form Belle & Sebastian; and it was here in the summer of 1996 that they recorded what are now widely regarded as two of the best albums of the 1990s, Tigermilk and If You’re Feeling Sinister.
Though the beloved indie band has covered a range of genres in their nearly twenty-year career, from folk to shoegaze to chamber pop, and has stylistically referenced bands as disparate as The Left Banke and The Smiths, the elegiac wistfulness of If You’re Feeling Sinister has become their defining sound. Even after they gained renewed critical acclaim and an unprecedented level of public attention with The Life Pursuit (2006), a collection of irresistibly danceable power-pop anthems, critics and long-time fans rightly pointed to their earliest work as their magnum opus.
Writing and recording twenty songs in the space of a few weeks would be a career-worthy accomplishment for any band. But Belle & Sebastian went a step further, crafting songs that seem to have been whispered out of the ether, songs that don’t so much seem to have been written as captured.
Take, for example, the Satie-like simplicity of “Fox in the Snow.” With piano, guitar, violin, and vibraphone, the band conjures up a serenely autumnal world in which soft-hearted youth have fallen on hard times. For me the special gift of Belle & Sebastian, my all-time favorite band, has always been its ability to evoke the rhythms and changes of the seasons, using lyrics and music to engage the senses so fully that it really feels as though the listener is standing on a wintry street corner in Edinburgh.
Fox in the snow
Where do you go
To find something you can eat?
Cause the word out on the street is
You are starving
If the lyrics are precious, they’re also devastatingly effective, compressing whole years of hope and despair and angst into the space of a few verses. “Fox in the Snow” showcases what would become one of Belle & Sebastian’s hallmarks, their knack for writing realistic, sharply observed character sketches about people who are young and lost and very much in over their heads.
Just prior to the recording of If You’re Feeling Sinister,Stuart had moved into a bachelor flat above a church. There he worked in the parish hall and sang in the choir in between writing songs for the album.
“I always wanted to write about normal people doing normal things,” he recallsin a Pitchfork documentary about the making of the album. “Because I wasn’t normal, I was out of the game. It was very attractive to me what normal people were doing.” So he set out to write songs about the “normal” folks he ran into in the streets and on the buses of Glasgow, though his own sly perceptiveness was always winking through, creating vividly eccentric figures who are instantly recognizable and yet somehow bigger than life: a track star who was driven to fame by the lure of getting to wear terry underwear; Hilary, who’s into S & M and Bible studies; Judy, who walks the streets dreaming of horses.
Of the ten songs on this album, the penultimate song, “Boy Done Wrong Again,” is the weakest, a slow sleeper that saps much of the energy from an otherwise rollicking back half. Like Tigermilk before it, the album begins in minimalistic fashion, with only the quiet plucking of strings to accompany Murdoch’s voice. But as “Stars of Track and Field” progresses, the rest of the band gradually joins in, adding new instrumentation (organ, trumpets) layer upon layer, building slowly and progressively to a powerful conclusion that promises good things to come. “Seeing Other People” is a near-perfect evocation of early morning and the ambivalence of two people trying to let go of each other but not being able to. “Me and the Major” explores the unbridgeable gaps between classes and generations with lyrics that are both spirited and resentful: “We’re the younger generation / We grew up fast / All the others did drugs / They’re taking it out on us.”
In terms of pure atmosphere, the next two songs are probably the album’s high point. “Like Dylan in the Movies” recalls Murdoch’s experience of having to walk through Kelvingrove Park, a shady Glasgow park. The combination of guitar, strings, and xylophone powerfully evokes a sense of the year ending, of autumn, and twilight. “Dylan” is followed by the wintry and underrated “Fox in the Snow.” The placement of these two songs on the album, and their musical kinship, seem to suggest that one is a continuation of the other. It’s worth listening to the two back to back.
“Get Me Away From Here, I’m Dying” is a light rocker about a naïve young man. Musically it’s as good as anything on the album, but the lyrics are achingly, almost embarrassingly sentimental. “I always cry at endings,” Murdoch sings, and then, as if already regretting this exercise in vulnerability, adds in the next verse, “Oh, that wasn’t what I meant to say at all.”
However, the shortcomings of this song are more than offset by the eerie brilliance of the one following. If You’re Feeling Sinister’s title track is also the album’s standout, with a backing track of children playing and enigmatic lyrics that have been variously explained as a satire of organized religion and the final thoughts of two people preparing to kill themselves.
Finally, “Mayfly” is a jangly guitar ballad in the style of The Byrds, while “Judy and the Dream of Horses” closes the album in high spirits with an almost pure distillation of pop craftsmanship.
Not satisfied with the production quality of the original recording, Belle & Sebastian recorded a live performance in 2005 for All Tomorrow’s Parties. It’s worth hearing just to assess the differences between the two recordings—in 1995, the band was young and unproven, while in 2005 it was one of the most successful indie rock bands in the world. But the original is the reason for their breakout success, and it remains the better version of their best album.
On the night I returned home from a long trip at the end of January, I called Booth and he filled me in onwhat had happened in Alvinduring the week I was gone.
Winter had taken over our high school. Friends were behaving differently, not like themselves at all. They were grumpy and depressed. They walked through the halls with scowls on their faces, barely lifting their heads to greet one another. Even the timid and pure were drinking, throwing wild parties, having sex. Booth had been invited to an orgy, but politely declined: he could see what the lure of sexual temptation was doing to the rest of his friends, and it scared him.
But the biggest changes of all had taken place in Brandon. He had injured himself playing soccer and was no longer sure he would be able to attend the school of his dreams. His teammates had held him down and shaved his head. Now he was bald and wore a hood all the time like a Sith lord.
And he hated me. “I hate Boze,” he told Booth. “And you’re turning into him!”
For much of the first half of the school year Booth had been skeptical of our prophetic encounters and the battle that Adriana and I both felt was coming to our campus. But now he was beginning to reconsider. He told me how Brandon had yelled at a girl and threatened her with a baseball bat because she took a kitten that he wanted. He related how Mr. McGowan had snapped in the middle of class and started running through the room with a pair of scissors, screaming and laughing.
“I walk through the halls in the mornings,” said Booth, “and all I can see are faces of despair. I look into their eyes, and there is no hope. One by one, it’s overtaking everyone.”
It was after midnight. Booth told me to hang on for a second and put down the phone. When he returned a moment later, there was a note of worry in his voice.
“I don’t know what that was,” he said. “There was this thing, this noise… I think it was coming from under my bed…”
And then, without any warning, he began yelling hysterically.
He took the phone and ran from the room. From the safety of the kitchen, clutching a knife, he explained to me what had happened. There was a heavy breathing sound, and at first he thought it was the cat. But the cat was in the other room, and the noise was getting louder, and closer…
When Booth’s parents found him sleeping in the hall the next morning, they grounded him. But it didn’t matter. He knew what he had heard that night, and for the first time all year we were unequivocally on the same side. Too long had the darkness lingered. It was time to take back our campus.
* * *
Over the Christmas holidays Blazes O’Reilly had returned home and summoned a council. Though I had not mentioned to him the specifics of Adriana’s prophecy, I told him I felt they needed to become better acquainted, so the three of us gathered one wintry night in a back room of his parents’ house.
The reception was not cordial. From the beginning of the meeting Adriana sensed a dark aura around Blazes, “the darkest I’ve ever seen.” At one point when he left the room to make tea, she confided, “My voices just told me not to trust him, because he’s been tempted”—an assertion that was seemingly affirmed a moment later when he returned and told her as much of his story as he had already told me. How could she possibly have known that? I wondered.
For his part, Blazes swore he could see spirits of deception circling around Adriana. “There were three of them,” he explained with a casual air. “They were each taking turns whispering lies in her ear.”
Oddly, though, Blazes couldn’t deny that he felt a strong sense of destiny about her. “I just have this feeling about her, like our fates are intertwined. Like we’re destined to fight to the death. Kind of like Lucifer and Gabriel, only I’m not sure which of us is which.”
Adriana was sure, though. “My voices have shown me,” she said, “that Blazes is the Antichrist!”
* * *
For my own part, God had revealed to me during the break that Lauren and I would be sexually tempted in the first week of March. Each of us who were called to be players in the end-time drama would be tempted by the end of the trimester. Whether we passed on to the next stage of our mission would depend on whether or not we passed the test.
As if to confirm my suspicions, my first week back on campus I was propositioned by a sweet blonde girl with a twangy East Texas accent and her best friend in gym class. They wanted to know if I would have a threesome with them. I reached into my tote bag and pulled out a copy of the most recent edition of the school newspaper, in which I had written a long article about the importance of saving yourself for marriage. They read the article with expressions of deep fascination and thanked me. I implored Booth not to tell anyone else, but the whole school knew before lunch.
As a result of some back-room finagling, I began giving a short message on the intercom every morning right after the Pledge of Allegiance. I urged the campus to pursue joy and beauty and resist the darkness that was seeking to devour. Together Booth and I wrote six pages in the next issue of the newspaper exclusively devoted to that subject. Booth even penned an article about the “Economics of Joy” in which he graphed the school’s GDP: “Good Deeds Potential”:
I negotiated with Mr. McGowan to let me teach European History for an entire week. On Friday I announced that I had brought in a motivational speaker, Mr. “Ebenezer Scrooge” of Scrooge & Marley’s. The entire class groaned as Booth strode up to the front of the room. Then, as if out of nowhere, music began playing. Scrooge and I spontaneously broke into a dance and were joined by a guy in the third row who knew all the lyrics to the original song (from the 1970 Scrooge musical). For four and a half minutes we twirled around the room and sang about the pleasures of enjoying life:
Where there’s music and laughter
Happiness is rife!
Why?
Because I like life!
The entire class watched with mounting incredulity, and by the end of the song Lauren was in tears. “That was the most bizarre thing I’ve ever seen,” she said sadly. Booth and I sat quietly back down as though nothing had happened.
* * *
We waited for the first week of March, for the end of the second trimester.
I began having utterly terrifying dreams in which I seemed to be traveling out of my body at night and wandering through the rooms and halls of the trailer in which I lived. There were things in my bedroom I had never seen before. I heard footsteps in the hallway and saw strange lights outside my window.
I received my letter of acceptance from Southwestern University. I wondered if it was wise to go. I thought about staying in Alvin and fighting alongside my friends in the battle that was soon to come.
And then the trimester ended. We all settled into our new classes. And nothing happened.
There was no battle, no moment of tempting. Lauren started dating a guy she had met two weeks before. And I could feel the ground giving way beneath my feet.
* * *
On a quiet and warm afternoon near the end of that week, Booth, Adriana, and I sat facing Mr. McGowan from across the desk in his classroom. We were all disconsolate and hoped he could give us answers.
Adriana told the story of how she had nearly died the summer before, and how she began hearing the voices shortly after. Booth and I tried to explain all that had happened since Christmas, but it was clear from the moment we began talking that Mr. McGowan didn’t believe us. And by the time we related how Adriana learned that Blazes was the Antichrist, and how Blazes himself seemed to think that he was, and how we had briefly debated using physical force to try and subdue him, small beads of sweat were breaking out on the sides of his round face.
I watched him imploringly. I just wanted someone to explain what was going on. My prophetic gift had never been wrong before. Why had it failed me now, at the most critical time?
“First of all,” he said, in a very low and quiet voice, “what you’re going through is not unusual.”
I’m not sure what I had been expecting, but it wasn’t this. “Are you serious?” I asked.
He nodded. “For one, the three of you are reading from a shared text. Whenever three or four people read from a shared text, it’s not hard to induce shared delusions.
“Second, I think you’re scared. You’re scared because you’re about to graduate, Boze, and you two will be graduating in about a year. And you’re leaving the only home you’ve ever known, and that’s an incredibly traumatic experience. And it’s not uncommon for students who are juniors and seniors in high school to start having apocalyptic visions, because it’s their way of expressing kind of the terror they feel at the future.
“Because, let’s face it, the world may not be ending, but the only world you’ve ever known is ending. You know how they say, ‘You can’t go home again.’ You may come back in a few years, but the school that you knew will be gone. Reality won’t live up to your memories. When you go away to college, you’ll forget about me. And when you think about me at all, you’ll think of me as some sophomoric teacher who liked to pretend he knew everything. But I don’t. And some day you’ll realize that.”
My entire experience of the last eight months, all I had felt and foreseen and suffered, was slipping away. The apocalypse wasn’t going to happen, it might never happen, or else it had been postponed. But I was determined to hold on.
“What about all the others?” I asked. “We’re not the only ones. What about Blazes?”
Mr. McGowan shook his head. “There’s something very dark and unnatural about that man,” he said. “He went wrong somewhere… became something different than what God intended.”
He stood up summarily from his desk, as though to suggest that the meeting was over. Together the four of us walked to the door.
Booth turned in the doorway and faced him.
“I do have a question,” he said. “Was it you? Were you the one who orchestrated… you know, all of that?”
Mr. McGowan stared at him quizzically. “No,” he said with finality.
We waited. I looked at him, more confused than ever.
“Do you mean, was I pandering and manipulating you?” He laughed lightly. “Oh, of course.”
He clapped us both hard on the shoulders. “It was quite fun, actually. I’m honestly kind of sad it took y’all that long to figure it out. Your senses were picking up on stuff, but I was putting a spin on it. It’s good that you wanted an order to life, but you have to want it in order to see it. That’s why the super-sensible is so hard for empiricists to get.”
He closed the door behind us. Adriana and Booth and I walked forward into the harsh sunlight.
* * *
It’s been ten years since that conversation in Mr. McGowan’s room, but the course my life has taken since graduation has been in a lot of ways a vindication of his warnings. Sociologists tell us that conspiracy theories and apocalyptic thinking are deeply intertwined, and that wherever you find one, you’re likely to find the other. It’s a pathology in the American psyche, a sickness, this fascination with the end times. There’s something deeply un-Christian about it. It’s as though Jesus and the Bible have become nothing more than cultural totems with the power to drive us mad.
I’ve held on to my faith, but just barely. The realization that I was not a prophet was devastating, but what has been much worse is seeing the damage caused by End-Times fanaticism, the toll that it takes. I’ve seen it drive otherwise sane people to the brink of madness. I’ve watched it transform them until they were no longer recognizable, until they were willing to do the most horrible things to even their closest friends. I’ve seen it claim the life of one of my dearest friends in the world.
So I find myself thinking about the events of that year, and the great disappointment of third trimester, and Mr. McGowan’s explanation for what had happened to us. I think about it whenever a good Christian whom I respect is incredulous that I’m not prepping for the end times, as though it makes me some lesser species of Christian that I don’t have an opinion about when Jesus is coming back. I think about it when I’m sitting on the shuttle next to a man who wrote a 200-page book about the role of the nephilim in the last days that he’s trying to sell me,when I’m in a meeting with Christian counselorswho are demanding that I pray out loud to accept my calling to battle the forces of the Antichrist. I think about it whenever someone on Facebook tells methey can’t wait to be martyred, that they hope they continue to laugh long after their head has been severed from their body.
“Boze, where do you find these people?” Bethany once asked me, the first time I recounted my story—back when the dangerous group was just forming.
And sometimes I listen to that song, “Lake Geneva,” by The Handsome Family, about a woman whose husband is hospitalized because he sees visions of the heavens in the stumps of falling trees:
“You remember how he cried
When they strapped him to the stretcher
Convinced his arms were burning
With electricity from heaven
“You remember how he told you
Black holes were like Jesus
And the crucifix was a battery
That filled the air with fire”
And I hear that and I think, isn’t that my story, and the story of our country? That we’d rather read aboutthe mysterious codethat foretells the day of judgment than lift a finger to help the teeming masses on whose treatment the nations will be judged? And aren’t we a sick society, when conspiracy theories and end-times mania, the province of the young and confused and deranged and scared, are mistaken for true worship?
After my last conversation with Mr. McGowan, I accepted the nature of the fantasy I had been living in. I was no prophet. I wasn’t destined for greatness. The only certain thing in my life at that moment was graduation.
And instead of running away from it, as I had been doing all year, I learned to accept it. I embraced my own normalcy, and in doing so I found freedom and a certain measure of happiness.
And at the end of May I graduated and left high school behind me. I worry that some of us are there still.
A good story, whether in the form of a song, novel, TV series, or movie, should give the illusion that you’re experiencing something new and unprecedented. There’s a moment near the end of the story where the heroes find themselves in a unique situation facing extraordinary challenges, and the hair on the back of our necks stands on end because we know we’re witnessing the culmination of a series of choices, and if any of those choices had been different, this moment would never happened.
It’s thrilling. It gives us a rush because we know life is like that. There’s a grandeur that invests even the smallest moments because we have a dim appreciation of what it took to get here.
The following are three of my favorite storytelling moments across all media, moments where a protagonist revealed his or her true quality and the brilliance of the narrative mechanisms on display were like nothing I had seen before.
.
. “I made a promise, Mr. Frodo”: Fellowship of the Ring (2001)
With all the computer-effects wizardry and operatic spectacle of the later films, it can be easy to forget the promise of Peter Jackson’s first foray into Middle Earth, The Lord of the Rings: The Fellowship of the Ring. The genius of the first movie (and, to a lesser extent, The Two Towers) is that they somehow married the scale of an epic fantasy story with the intimacy of a small character drama. This was never more apparent than in the under-stated denouement of Fellowship, in which human warrior Boromir dies protecting two Hobbits after nearly betraying Ring-bearer Frodo Baggins. Frodo makes his escape by boat, thinking to finish the journey alone. But his gardener Sam Gamgee has other plans, and it’s in showing how the two of them end up together that the films have one of their best moments.
The Death of Krishna: The Mahabharata (1989)
The ancient Indian epic The Mahabharata, the longest poem ever written (two million words in 17 volumes), has a cast so large and a story so convoluted it rivals the Lord of the Rings, featuring demons, gods, weird monsters, vengeful reincarnations, and a magical weapon with the destructive capacity to annihilate an entire planet. But the narrative thread holding the story together (and keeping it from buckling under its own weight) is the conflict between the Kauravas and Pandavas, two halves of one family who are determined to exterminate each other.
Hovering in the background of this out-of-control family quarrel is the mysterious figure of Krishna, who for much of the story seems to be just another member of the family (albeit one who is revered by all parties), but who reveals himself, in the poem’s most famous set piece, to be more than they had ever guessed. Naturally the question arises, “If you are a god, why can’t you stop this massacre?”
Peter Brooks’ five-hour 1989 film The Mahabharata plays up the more enigmatic aspects of Krishna’s character, suggesting that perhaps there’s a more sinister agenda behind his ostensible attempts at peace-making. But the film’s best moment comes at the end when Krishna, wounded and dying, reveals that he’s just as confused and vulnerable as anyone else in the story. A young boy asks him, “Krishna, tell me quickly: why all your tricks and your bad directions?” Krishna responds with his last words: “I fought against terrible powers, and I did what I could.”
“One Day More”: Les Miserables (the Musical)
Victor Hugo’s sprawling, relentlessly poetic 1,400 page novel Les Miserables, which tells the story of an 1832 student uprising in Paris, boasts some of the most brilliant character arcs in literature. (The culmination of the longstanding feud between Javert, the police inspector, and Jean Valjean, the criminal-turned-mayor whom he has hunted for twenty years, deserves its own place on this list).
The musical Les Miserables takes all this plot and condenses it into a lyrical and at times devastating two-and-a-half-hour saga of war, vengeance, grace, redemption, and romance. The entire last half of the story functions as a series of climaxes. And while the tear-inducing lament of Marius on re-visiting the barricades where his friends met their grisly end is probably the emotional high point of the play, in terms of sheer narrative power, praise is owed to the entire sequence where Marius, Cosette, Eponine, and their love triangle is introduced, and especially the song “One Day More,” which takes the emotional journeys of ALL the characters, crystallizes them into a few simple verses and chorus, and reveals that in spite of their many conflicts, our heroes (and villains) have far more in common than they would ever admit.
It’s not hard to see how an environment dominated by authoritarians can rapidly take on the contours of a nightmare.
For example, in a 1989 criminal case, psychology student Mary Wegman realized that some of her fellow jurists could not remember important pieces of evidence, invented evidence that did not even exist, and drew faulty conclusions from the evidence that everyone could agree on. (Subsequent tests indicated that each of these jurists scored highly on the RWA scale).
Imagine being the defendant in a trial in which certain jury members, perhaps because of the color of your skin, already presume your guilt and are literally incapable of seeing anything that might contradict it.
It sounds more like a situation out of Franz Kafka or The Twilight Zone, and yet it really happens.
In 1982 seven people died from taking poisoned Tylenol pills. Within two months 31 million bottles had been recalled. The New York Times covered the story over fifty times in the final three months of that year. The FDA immediately established new packaging guidelines and made product tampering a federal crime.
That same year the AIDS epidemic first burst into the national consciousness. Of the 771 people who had been infected, 614 had already died. Yet although this was ten times the number of Tylenol deaths, the New York Times ran only three stories.
The government largely ignored the problem until the end of the Reagan administration. Evangelical Gary Bauer, Reagan’s chief domestic policy advisor, blocked a report from the surgeon general on AIDS in the United States because he believed those who had AIDS deserved to die from it. Nor was this a fringe position. Jerry Falwell said, “AIDS is the wrath of God upon homosexuals.” Said White House communications director Pat Buchanan, “With 80,000 dead of AIDS, 3,000 more buried each month, our promiscuous homosexuals appear literally hell-bent on Satanism and suicide.”
What the media, and the White House, and the general public largely seem to have missed is that actual people were actually dying of a devastating plague, and that a significant number of these cases had not resulted from gay sex. Yet the meme persisted. “People need to awaken to the reality that this so-called love story does not have a happy ending,” said a recent essay, almost gleefully, going on to claim (erroneously) that the average homosexual male has between 200 and 250 partners in his lifetime. AIDS was obviously a gay pandemic (no matter what “science” tells us), and no one who’s gay could possibly be a true Christian… so, largely ignored by the rest of the Christian community, nearly 450,000 Americans died within a twenty-year period.
“We were secluded from the rest – sequestered from the rest of the world so it was like where we were living . . . it was war and everywhere else it was peacetime and they didn’t want to know, and that’s how we lived.”
“To be that threatened with extinction and to not lay down, but instead to stand up and fight back – the way we did it, the way we took care of ourselves and each other. The goodness that we showed, the humanity that we showed the world is just mind-boggling, just incredible.”
Yet AIDS victims and gays continued to be demonized. Just as the Jews were held responsible for the Black Death in 1348, the homosexual community was blamed for terrorist bombings, earthquakes, hurricanes, tornadoes, “and possibly a meteor.” Those who were suffering the most now had to contend with insane allegations about inflicting suffering on others.
The Moment I Realized That Other People Were Human
As one who was raised in a deeply religious and conservative environment, I was good at demonizing other people. Really good at it. In junior high I would gather in the courtyard every morning and give sermons on the dangers of gays, Catholics, and girls in short skirts, which won me a certain amount of popularity. Later in college, the end-times cult that I co-founded aligned itself with a nationally famous, far-right Evangelical ministry that said Jesus was going to return and physically kill thousands of people with his own hands. We were taught to beware the “gay agenda” and to view Christians in other denominations with suspicion. There’s a mass movement of young people doing works of justice, they told us, but because they don’t profess the name of Jesus, it’s a “false justice.”
As I absorbed these teachings my behavior changed radically, and so did that of the cult’s other members. I was belligerent and aggressive towards my gay and atheist friends. My thinking became compartmentalized and I was suddenly unable to have logical discussions. Yet the other cult members told me not to worry about it, said I was being “persecuted” for contradicting “the world’s” teachings. When a fellow student, who had been involved in peaceful demonstrations and interfaith dialogues, was accidentally run over, we celebrated his death as a sign of God’s wrath being poured out on campus.
But then when I moved to Kansas City and started getting punished constantly, something changed inside of me. Something deep and drastic.
It was a long process, but I think the pivotal moment happened one night as I listened to the community praying together from the floor of my bedroom, where I had been consigned following a series of truly disturbing events. Each night the group would gather in a circle and listen for two or three in minutes in silence to hear what “God” was saying. Then they would discuss what they had heard. On this particular evening a woman began the discussion by saying, “I feel like we’re being attacked. There are demons of control coming against us right now.”
The group prayed in silence for a moment longer. Then one girl said, “It’s Boze.” And another girl said, “I just heard the same thing.”
And they spent the next hour praying against me. As I sat there in my room listening to their prophecies about how God was going to “punish” me, at first I wondered what I could have possibly done to upset them. But then I realized: They’re wrong about me, and their prophecies are wrong, and the things they’re hearing from God are wrong. And I can prove it.
And gradually in those next weeks I quit being afraid of them. And though I wouldn’t have said it in so many words, I realized that I could never again single out any other group or person for shame and condemnation. I had been on the wrong end of that, one too many times now. I resolved to become an advocate for all who were trapped in nightmares.
Frozen is one of those movies that stay with you. I’ve been thinking about it ever since I watched it again last week. Like most people I could empathize with Elsa’s longing to disappear into the mountains, away from friends and family, free of their rules and expectations, free to quit pretending, to be me. It’s a universal feeling, one that I think we’ve all felt.
I love the second verse especially:
It’s funny how some distance
Makes everything seem small
And the fears that once controlled me
Can’t get to me at all
It’s time to see what I can do
To test the limits and break through
No right, no wrong, no rules for me
I’m free!
There’s something so stirring about seeing a heroine growing in confidence, casting off the constraints that have bound her and soaring through wind and sky. Haven’t you ever felt that calling, that longing to forget what everyone else tells you you have to be and just be what you have to be?
And yet I don’t for a moment think the writers fully endorse Elsa’s perspective. I got to wonderinghow they made Frozenand was surprised to learn that initially Elsa was supposed to be the villain. But when Kristen Anderson-Lopez and Robert Lopez sat down and started writing “Let It Go,” they began trying to imagine what it would be like to be her, to carry her emotional burdens: “this concept of letting out who she is, that she’s kept to herself for so long, and she’s alone and free, but then the sadness of the fact that the last moment is she’s alone. It’s not a perfect thing, but it’s powerful.”
Elsa’s self-imposed isolation is hurtful to her sister and ruinous to the kingdom. The writers aren’t encouraging this, as is clear by the end of the movie. “Let It Go” comes at a place in the movie where the heroine is just beginning her emotional journey, hurt and confused but filled with a longing to transcend her meager surroundings and be confident and powerful. But to understand what the movie thinks about all this, we have to follow that emotional journey all the way to the end.
It’s a precarious balance, but I think the writers got it mostly right. Because we could so easily say, “Elsa was wrong to feel that way!” But the truth is, while her feelings may not always be what we’d want them to be, what they “should”be, they’re a part of the human experience, and that’s beautiful.
We have grace for Elsa because she’s so human. And I wish we could read the Bible in the same way we watch Frozen.
So many people have tried to argue with me about the meaning of the Scriptures. You see, they don’t think I take the Bible seriously enough because I have reservations about some of the scarier passages in the Old Testament, the ones about killing children (Ps. 137:9) or stoning women who are raped (Deut. 22:23-25) or slaughtering whole nations. These are the ones they demand I believe in. “If you don’t believe the whole Word of God,” they insist, “you’re a false teacher!”
And it raises some interesting questions, like: Why these passages? Why does no one ever demand a “literal reading” of, “Love your enemies,” or, “If you forgive others, you will be forgiven”? Why are you making, “Destroy all that they have, and do not spare them” the hill that you die on? What does that say about you?
The truth is, like Frozen, the Bible has some very human elements. Human writers and human heroes expressed things that are often not appropriate. They did not always hear God correctly, and their image of God was not always accurate. Because the Bible is a story, and in order to grasp its full meaning you have to read it all the way to the end. There’s a twist at the end of the story, and the twist is Jesus.
The Psalmist said, “Happy is the one who takes your little ones and dashes them against the rocks.”
Jesus said, “Let the little children come to me.”
Moses said, “You shall conquer them and utterly destroy them.”
Jesus said, “Put away your sword.”
David prayed, “Let there be none to extend mercy.”
Jesus prayed, “Father, forgive them.”
In the same way our knowledge of Hans, Anna’s fiancé, is dramatically altered by his self-revelation at the end of Frozen, the Israelites’ perception of God is dramatically altered by the self-revelation of Jesus.
In the first case, the one we had trusted turned out to be a villain and deceiver.
In the second, the one we had feared turned out to be gentle and good.
And that’s really the message of the whole Bible: we thought God was like this; but all along, he was really like this.
We thought God was proud and lofty. But he was meek and lowly.
We thought he would execute vengeance. But he himself was executed.
We thought he would take up the sword and kill. But he took up the cross and died.
It’s the greatest of all surprises—a twist like no other.
But we’ll never grasp what it means unless we read to the end. You can cut up the Bible into piecesand make it say whatever you want, just as you can take “Let It Go” out of Frozen and make a compelling argument for isolation and selfishness. But the true heart of the story is found in its closing scenes, in sacrifices made and love rekindled.
In 1995, Stuart Murdoch’s life did not seem to be moving anywhere fast. The twenty-seven-year old Scotsman had been suffering for upwards of six years from the effects of myalgic encephalomyelitis, better known as chronic fatigue syndrome. Because his condition made even playing on the piano an exhausting endeavor, he was unable to find work. 
She’s ubiquitous
Sketches By Boze 