Author: Brenda J.R. Goodman

"I write because I do not know what I think until I read what I say." ~Flannery O'Connor. I often write through a theological lens, embracing mystery over certainty, opening to the expansiveness of wonder, writing and waxing poetic about theology, pop culture, politics, grief, and all things messy, painful, paradoxical, and beautiful, in sacred spectrums & both/ands. I am a chaplain, mystic, vegan, runner, waterskier, baseball fan, and writer, who loves photography, poetry, books, podcasts, art, theater, movies, good TV, and music (especially classical, jazz, and the 80's). Partner to JohnE, mama to Taylor and Nathan (my little, not so little anymore, theologians). I value connection, kindness, and compassion in all endeavors. I am an American Baptist Christian Agnostic. I believe paradox is an important teacher, woven throughout our living and spirituality. Still playing my trumpet, but the chops aren't what they used to be. I am a Myers-Briggs INFJ (strong I & J, on the fence leaning N & F), and an Enneagram 5, wing 4. I have recurring dreams about being able to fly, and exploring caves. “Here is the testimony of faith: darkness is not dark to God; the night is as bright as the day.” ~Barbara Brown Taylor "We die. That may be the meaning of life. But we do language. That may be the measure of our lives." -Toni Morrison

Are You Rushing or Are You Dragging; How Do We Live Into a Good “T” Tempo?

Here is my late night wannabe movie critic review and theological lens on the move, Whiplash:

You can’t have good art without enveloping the human element of relationship, and the foundation of love that sustains life. The teacher, Fletcher, in the movie, “Whiplash” is a beast, who tries to squeeze performance out of its needed humanity. He fails. There is no way a good jazz band would put up with teaching like that, not to mention play well. There was no connection, no camaraderie among the band members. They learned well from their teacher displaying contempt toward one another. The music “acted” as if they were connected- and this was the unrealistic (but enjoyable!) part of the film. I scoffed at Fletcher when he accused his student of not being able to find the tempo. Nice try, but there is no way anyone could find a tempo with such a short cue. His fusspot, to-the-tee, tyrannical teaching was no fit for the world of Jazz. Jazz is not so precise, but rather chaotic and creative like the order out of chaos in the Creation Story, and a God who likes to experiment…Jazz players, and the whole world of jazz genre, where freedom, creativity, and improv are at the heart of it, would never gel with that kind of pitiful pedagogy. Now, I only have high school and early college experience playing in jazz band, and my strength is in amateur classical trumpet, although I loved paying jazz; and I’m sure there are some tough, hard line instructors out there, but unless discipline (not abuse) comes with love, excellence comes at too great a cost. Since I cannot help but to watch movies with a theological lens, I see Fletcher as the God that deserved to be told “F*** you” as the student, Andrew did- mouthing the words to him as he played with confidence in the final scene of the movie. What price does one pay when trying to prove oneself to this kind of God? Almost death, as we saw. An abusive, vindictive, violent God will produce a cringing devotee, myopically focused on pleasing this “Most High” to the point where the devotee will be isolated, and blaming others, fearful, and dangerous, and there will be no community-an essentiality to life. Jazz, like Spirit is evident, but never within our grasp, as both teacher and student fail to realize. In the final scene where Andrew drifts into a state of euphoric trance, like that of a Sufi Whirling Dervish, the camera focuses on his chest, and you can almost see his heart pounding inside- is it made new?! Perhaps he achieves the perfection of love and discipline, and like that of the prodigal son, he came onto the stage after being embraced and kissed by his father, and perhaps he sees then and there that he didn’t make a fool of himself on stage, having been set up by Fletcher…no, he had been a fool in life, neglecting what truly matters. Does his performance reflect a new found balance between love and (not abuse, but) discipline (because you have to have both)? Does his sudden partnership and newly found connection with Fletcher that culminates in the grand finale end of “Caravan” signify forgiveness and transformation? Is that a reflection of the one scene we thought Fletcher might actually find redemption when he shared his grief over a former student’s death? Fletcher himself said he never had a “Charlie Parker” but he tried…well no wonder. We do not know how the story continues, but if they were unchanged, then surely Nieman and Fletcher will both die young.

If anything, watch this movie for the fine camera work, editing (although not quite as precise as could be if you’re a viewer with great attention to detail…some things were out of sync…but jazz, right?) and watch it for the jazz music, even though regrettably, getting the full taste of good jazz is almost, just almost, impossible due to the overarching despicable abuse of the teacher, and hubris of the student…If you can, filter that out, and enjoy what you hear. Acting was fairly top notch. 4 out of 5 stars! 

Interstellar: It’s all Relative

Interstellar: it’s all relative. I could just stop there. Or maybe, Interstellar: We’ve only just begun. Simple, short, true. But, then again, this is a blog, so I’ll write a few more words. I watched Interstellar a few months ago. I don’t think I was able to respond to it right away. I had to ponder it for a while. I’ve been journaling about it off and on. Wow, what a trip! If you’re familiar with Christopher Nolan, you know he writes with complexity and so many nuances.
 
Here’s my take on Intersteller, watched through a theological lens. First, interconnectedness, and timelessness as in eternity: I often thought about how our concept of time as compared to God’s (chronos and Kairos) was revealed in the film. I think it mirrors the concept of eternity as not linear.. And of course, it’s all theoretical, both physics and theology. What kinds of forces are permeating the three dimensions we are only currently using? And, are those forces within us? Perceptions of the finite may actually hold the infinite (God within and around- more dimensions).
 
And of course, I appreciate movies like this with high intellect, showing that science and faith don’t have to be mutually exclusive, and that both carry a sense of awe and wonder. This brings me to what I found to be most applicable to my theology in the movie, and that is embracing the unknown, and how when we let go of certainty, when we embrace what we don’t know, that is when humanity shines (and yet, can also reveal the worst in us). Which will we choose? With passion, searching for love, for discovery, and possibility is the ultimate act of substantial faith, and perhaps why humans are even here! And what of resurrection? (Loved the use of “Lazarus”)
 
The environmental message is always showing up in this movie, and it quite smartly, has both personal yearning juxtaposed with the universal reality- the need, in order to truly “survive”, to think beyond ourselves.The concept of hope: This movie shows that edge of humanity, where it is quoted that we define ourselves by overcoming the impossible. There is a motivating factor that comes out of hopelessness, and we “prove” who we really are by when in the face of hopelessness, we still act. One of my seminary professors, when talking about injustice, would clearly state that he is hopeless, and students would try to convince him that there is always hope. Is there? There was an exchange once where one character said something about impossibility…it’s impossible, and Coop responded by saying that it was necessary. A mentor of mine introduced me to a quote by Valcav Havel that reads, “Hope is definitely not the same thing as optimism.  It is not the conviction that something will turn out well, but the certainty that something makes sense regardless of the outcome.” Well, there you go! What’s irrational, but necessary in matters of faith? I also like the idea of thinking that we have only just begun- whatever this journey is…

 
So many things about kinetic energy are evident in this movie: body intelligence- how exchanges on a cellular level are also a massive, cosmic reality. Carl Sagan said we are all made of star-stuff! Oh, and he also said, “For small creatures such as we, the vastness is only bearable through love.”  Isn’t it compelling to think that love is what can make life bearable in moments of death, loss, chaos, and that realization may be simple and grounding, but the mystery of love and its capability to transcend is almost too much to grasp? To bear? And ultimately, what is it about? Love. Dr Brand said, “Love is the one thing that transcends time and space.” Great conversation in that scene of the movie about which planet to choose to explore for viability. 
 
I have to say, my favorite part of the movie is when Coop explains to his daughter that her name, “Murphy” and Murphy’s Law doesn’t mean something bad, but that whatever can happen will. This has some pretty great implications for what we assign labels of good and bad to. Theodicy? Remembering the discussion about nature- as not evil. Dangerous, but not evil. Perhaps the Meaningful lives in the idea that NOT everything happens for a reason. Yet, we can also talk about how space exploration will not rid the problem of evil. The nature of humanity is the paradox of the Imago Dei and our selfish drives, a constant struggle of being human and in self-discovery. 
 
I must also point out, that as a musician, one of the most relevant things for me in greatly made films is the musical score. It can be the maker or the breaker in what makes a good film, in my opinion. And Interstellar‘s score (Hans Zimmer!) is not only brilliant and stellar (no pun intended) but it has theological themes. First of all, there’s an organ! 🙂 It was ethereal, and as much a part of the film, rather than a half-ass attempt to support it. It also allowed profound moments of necessary silence, nothingness and yet total expansiveness. The music was very well woven into the scenes and themes of the movie. The music and themes revealing the ways humans are always trying to grasp the unknown- and some of us do attempt that through religious practices and grappling with faith and in what to believe.
 
And what of colonization? Oh boy, we could go on about that topic…I just wish this movie walked away with more awards than it did. It certainly deserved them.