Religion of despair

Disciples of evangelism in the United States are often regarded with fear and suspicion. But for man

The engine that drives the radical Christian right in the United States - the most dangerous mass movement in American history - is not religiosity, but despair. It is a movement built on the growing personal and economic despair of tens of millions of Americans, who watched helplessly as their communities were plunged into poverty by the flight of manu facturing jobs, their families and neighbourhoods torn apart by neglect and indifference. They eventually lost hope that America was a place where they had a future.

This despair crosses economic boundaries, enveloping many in the middle class who live trapped in huge, soulless exurbs where, lacking any form of community rituals or centres, they also feel deeply isolated, vulnerable and lonely. Those in despair are the most easily manipulated by demagogues, who promise a fantastic utopia, whether it is a worker's paradise, liberté-égalité-fraternité, or the second coming of Jesus Christ. Those in despair search desperately for a solution, the warm embrace of a community to replace the one they lost, a sense of purpose and meaning in life, the assurance that they are protected, loved and worthwhile.

During the past two years of work on the book American Fascists: the Christian right and the war on America, I kept encountering this deadly despair. Driving down a highway lined with gas stations, fast-food restaurants and dollar stores, I often got vertigo, forgetting for a moment if I was in Detroit or Kansas City or Cleveland. There are parts of the United States, including whole sections of former manufacturing centres such as Ohio, that resemble the developing world, with boarded-up storefronts, dilapidated houses, potholed streets and crumbling schools. The end of the world is no longer an abstraction to many Americans.

Jeniece Learned is typical of many. She was standing, when I met her, amid a crowd of earnest-looking men and women - many with small gold crosses on the lapels of their jackets or around their necks - in a hotel lobby in Valley Forge, Pennsylvania. She had an easy smile and a thick mane of black, shoulder-length hair. She was carrying a booklet called Ringing in a Culture of Life. The booklet had the schedule of the two-day event she was attending, which was organised by the Pennsylvania Pro-Life Federation. The event was "dedicated to the 46 million children who have died from legal abortions since 1973 and the mothers and fathers who mourn their loss".

Recruiting tool

Learned, who had driven five hours from a town outside Youngstown, Ohio, was raised Jewish. She wore a gold Star of David around her neck with a Christian cross inserted in the middle of the design. She stood up in one of the morning sessions, attended by about 300 people, most of them women, when the speaker, Alveda King, niece of Dr Martin Luther King, asked if there were any "post-abortive" women present.

Learned runs a small pregnancy counselling clinic called Pregnancy Services of Western Pennsylvania in the town of Sharon, where she attempts to talk young girls and women, most of them poor, out of abortions.

She speaks at local schools, promoting sexual abstinence, rather than birth control, as the only acceptable form of contraception. She found in the fight against abortion, and in her conversion, a structure, purpose and meaning that previously eluded her. The battle against abortion is one of the Christian right's most effective recruiting tools. It plays on the guilt and shame of women who have had abortions, accusing them of committing murder, and promising redemption and atonement in the "Christian" struggle to make abortion illegal - a fight for life against "the culture of death".

Learned's life before she was saved was, like for many in this mass movement, chaotic and painful. Her childhood was stolen from her. She was sexually abused by a close member of the family. Her mother periodically woke her and her younger sister and two younger brothers in the middle of the night to flee landlords who wanted back rent. The children would be bundled into the car and driven in darkness to a strange apartment in another town. Her mother worked nights and weekends as a bartender. Learned, the eldest, often had to run the home. Her younger sister, who was sexually abused by another family member, eventually committed suicide as an adult, something Learned also considered. As a teenager she had an abortion.

She was taking classes at Pacific Christian College several years later when she saw an anti-abortion film called The Silent Scream. "You see in this movie the baby backing up trying to get away from this suction tube," she said. "And its mouth is open and it is like this baby is screaming.

"I flipped out. It was at that moment that God just took this veil that I had over my eyes for the last eight years. I couldn't breathe. I was hyperventilating. I ran outside. One of the girls followed me. And she said, 'Did you commit your life to Christ?' And I said, 'I did.' And she said, 'Did you ask for your forgiveness of sins?' And I said, 'I did.' And she goes, 'Does that mean all your sins, or does that mean some of them?' And I said, 'I guess it means all of them.' So she said, 'Basically, you are thinking God hasn't forgiven you for your abortion because that is a worse sin than any of your other sins that you have done.'"

The film brought her into the fight to make abortion illegal. Her activism became atonement for her own abortion. She struggled with depression after she gave birth to her daughter Rachel. When she came home from the hospital she was unable to care for her infant. She thought she saw an eight-year-old boy standing next to her bed. It was, she is sure, the image of the son she had murdered.

"I started crying and asking God over and over again to for give me," she says. "I had murdered His child. I asked Him to forgive me over and over again. It was just incredible. I was possessed. On the fourth day I remember hearing God's voice: 'I have your baby, now get up!' It was the most incredibly freeing and peaceful moment. I got up and I showered and I ate. I just knew it was God's voice."

Weimar lesson

In the United States we have turned our backs on the working class, with much of the worst assaults, such as Nafta and welfare reform, pushed though during President Clinton's Democratic administration. We stand passively and watch an equally pernicious assault on the middle class. Anything that can be put on software, from architecture to engineering to finance, will soon be handed to workers overseas who will be paid a third of what their American counterparts receive and who will, like some 45 million Americans, have no access to health insurance or benefits.

There has been, along with the creation of an American oligarchy, a steady Weimarisation of the working class. The top 1 per cent of households in the US have more wealth than the bottom 90 per cent combined. As Plutarch reminded us: "An imbalance between rich and poor is the oldest and most fatal ailment of all republics."

The stories that believers such as Learned told me of their lives before they found Christ were heartbreaking. These chronicles were about terrible pain, severe financial diffi culties, struggles with addictions, or with childhood sexual or physical abuse, profound alienation and often thoughts about suicide. They were chronicles without hope. The real world, the world of facts and dispassionate intellectual inquiry, the world where all events, news and information were not filtered through this comforting ideological prism, the world where they were left out to dry, abandoned by a government hostage to corporations and willing to tolerate obscene corporate profits, betrayed them.

They hated this world. And they willingly walked out on this world for the mythical world offered by radical preachers: a world of magic, a world where God had a divine plan for them and intervened on a daily basis to protect them and perform miracles in their lives. The rage many expressed to me towards those who challenge this belief system, to those of us who do not accept that everything in the world came into being during a single week 6,000 years ago because it says so in the Bible, was a rage born of fear, the fear of being plunged back into a reality-based world where these magical props would no longer exist, and where they would once again be adrift.

The danger of this theology of despair is that it says that nothing in the world is worth saving. It rejoices in cataclysmic destruction. It welcomes the frightening advance of global warming, the spiralling wars and violence in the Middle East and the poverty and neglect that have blighted American urban and rural landscapes as encouraging signs that the end of the world is close. Those who cling to this magical belief, which is a bizarre form of spiritual Darwinism, will be raptured upwards while the rest of us will be tormented with horrors by a warrior Christ and finally extinguished. The obsession with apocalyptic violence is an obsession with revenge. It is what the world, and we who still believe it is worth saving, deserve.

Those who lead the movement give their followers moral licence to direct this rage and yearning for violence against all who refuse to submit to the movement, from liberals and "secular humanists", to "nominal Christians", intellectuals, gays and lesbians, to Muslims. The leaders of the Christian right, from James Dobson to Pat Robertson, call for a theocratic state that will, if it comes to pass, bear within it many of the traits of classical fascism.

All radical movements need a crisis or a prolonged period of instability to achieve power. We are not in a period of crisis now. But another catastrophic terrorist attack on American soil, a series of huge environmental disasters or an economic meltdown will hand to these radicals the opening they seek.

Manipulating our fear and anxiety, promising to make us safe and secure, giving us the assurance that they can vanquish the forces that mean to do us harm, these radicals, many of whom have achieved powerful positions in the executive and legislative branches of government, as well as the military, will ask us only to surrender our rights, to pass them the unlimited power they need to battle the forces of darkness. They will have behind them tens of millions of angry, disenfranchised Americans longing for revenge and yearning for a mythical utopia, Americans who embraced a theology of despair because we offered them nothing else.

Chris Hedges, a graduate of Harvard Divinity School and Pulitzer Prize-winning ex-foreign correspondent for the New York Times, is the author of "American Fascists: the Christian right and the war on America" (Jonathan Cape, £12.99)

This article first appeared in the 29 January 2007 issue of the New Statesman, Climate change

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Seasons change, Gilmores stay the same

Gilmore Girls is fundamentally about two things: inheritance and community. The four seasons are crucial in exploring those themes.

If you’re out on the road, feeling lonely and so cold / All you have to do is call my name / And I’ll be there. The Gilmore Girls theme, a special version of Carole King’s “Where You Lead” featuring extra vocals from her daughter, plays each episode over images of autumnal New England foliage, and always reminded me of another song on Tapestry, “You’ve Got a Friend”. Winter, spring, summer or fall / All you have to do is call / And I’ll be there.

“Winter”, “Spring”, “Summer” and “Fall” are the episodes that make up Gilmore Girls: A Year in the Life, Netflix’s revival of the Noughties TV series. Fans won’t be at all surprised to see Netflix lean on the four seasons to organise the new show, a fundamental principle of the original series. This integral structure remains even as they dispense with other structures of the previous seven seasons, instead of the original 22-episode year, there are just four episodes used to narrate the Gilmores’ 2016, and each one has ballooned from 45 minutes to 90. And that familiar opening? Gone.

MISS PATTY: And flutter, flutter, flutter, flutter, flutter… and leaves! Where are my leaves? I got pumpkins, I got Pilgrims, I got no leaves.

Until 2016, every episode of Gilmore Girls included the same opening credits, with shots of red and gold leaves, a Connecticut town in the throes of autumn. So, those leafy fall shots would appear at least once an episode, even though the show’s picture-perfect town, Stars Hollow, would spend each series transitioning in and out of each of the four seasons. Of course, Stars Hollow is not a real place under the influence of real changes in the weather: it’s filmed on the perpetually sunny Warner Brothers lot in Los Angeles. And New England is so inextricably associated with autumn splendour, Stars Hollow so relentlessly idyllic, you might have expected the makes of Gilmore Girls to suspend Stars Hollow in a perennial fall, with Rory and Lorelai clutching hot coffees as they tread autumn leaves underfoot all year round. (It might make thematic sense, too: Gilmore Girls’ narrative of a precocious 16-year-old, brimming with brains and potential, slowly failing to achieve her own impossible goals fits both with the season’s connotations of academic beginnings and promise, and with its longer-standing cultural affiliation with maturity, pensive reflection and wistfulness.)

DARREN: Stars Hollow is charming. The last time we drove through there, there was a pumpkin patch.
LORELAI: Sounds like us.
DARREN: In March.
LORELAI: Oh, that would be the year the pumpkins arrived late.

The idea of Stars Hollow in perpetual autumn even comes up in a few episodes. Pumpkins arrive in March, autumnal events continue until the very end of November. Fall decorations are seemingly mandatory for local businesses.  But while every Gilmore Girls viewer can immediately conjure an image of Stars Hollow in fall, so too will they have an equally memorable selection of images of the town in winter, spring, and summer. No season goes unmarked. In fact, in the hyperreal utopia of Stars Hollow, seasons are exaggerated and picturesque: an overabundance of harvest vegetables, fluffy snow, budding blossoms, or falling leaves.

LORELAI: Grass is just not this green — not outside of Pleasantville, it isn’t.
CHRISTOPHER: So, what exactly are you saying?
LORELAI: I’m suggesting they brought in sod.
CHRISTOPHER: You suspect sod.
LORELAI: Yes, or spray paint. Maybe they spray-painted the grass when they spray-painted these trees, ‘cause, I mean, there’s autumnal foliage and then there’s autumnal foliage. It’s over the top, people.

But the seasonal obsession is more than just a way to emphasise the perfection of Stars Hollow. It’s an organising principle for the show’s structure, action and themes.

***

When Kelly Bishop (the actor who plays the most senior Gilmore girl, Emily) received the script for Gilmore Girls, she was stunned by the sheer weight of it. “I kept flicking it over, and looking at the thickness of it,” she told EW. “It was too thick to be a sitcom.” Gilmore Girls, consisting of hour-long episodes that make little sense out of order, but with its emphasis on witty dialogue over dramatic plotlines, hovers in a strange space between sitcom and drama.

Sitcoms are, by definition, situational — they often rely on characters thrown together in a confined space, be it the family living room, friends flatsharing or colleagues in a shitty office space. Comedy is often drawn from the familiarity of the specific surroundings: as a result, fans of The Simpsons or Friends or The Office could accurately draw floor-plans of the shows’ unchanging sets. So, too, could you draw a map of Stars Hollow, if you’ve seen enough episodes (trust me, I’ve done it). The action of a sitcom is often suspended in time and space: episodes end back where they began, the next opening as though nothing of note has happened since. Dramas, though, tend to thrive on progression of both character and plot; casts moving inexorably forward through time and space.

LORELAI: God, the town looks beautiful.
LUKE: Same as always.
LORELAI: No, it’s always different this time of year. It’s magical.
LUKE: If you say so, sure. Oh look, there’s the magical plumbing supply store where I bought a magical float for my toilet last week.
LORELAI: You disappoint me.
LUKE: Oh look. There’s the magical Luke’s Diner, right underneath the apartment that Jess magically lit by leaving every stinkin’ light on.

So, for Gilmore Girls to straddle both these genres, Stars Hollow must hold most of the show’s action and the majority of its ensemble cast, while still allowing the passing year to make its mark on the town. The seasons allow this. Much of this work is done in the background, as the set design changes from episode to episode, but characters are also constantly remarking on the changes in the town with each passing month, as Lorelai does when snow envelops the square.

The result is not just a keen sense of place, but of a place moving through time.

***

TAYLOR: Every other store in town has fall decorations.
LUKE: Hoorah for the mob mentality.
TAYLOR: We’re talking a few streamers and a paper turkey. How’s it gonna hurt to have a paper turkey?
LUKE: No turkey, no squash, no pumpkins. Nothing colored orange.
TAYLOR: OK, you don’t like orange. That’s fine. Autumn has many varied hues to toy with. This is the Autumn Festival. Your shop is right across the street from the Horn of Plenty! You’re smack dab in the middle of everything. You have to decorate.
LUKE: I don’t have to do anything but serve food.
TAYLOR: We’re talking about the spirit of fall!
LUKE: You know where you can stick the spirit of fall?

Gilmore Girls, with its principle cast of family members, and its sprawling ensemble cast of Stars Hollow residents, is fundamentally about two things: inheritance and community. The four seasons similarly become an important device for exploring those themes.

Small rural communities have long organised themselves around the seasons. Stars Hollow is no different — except in the ridiculous extent of its embrace of all things seasonal. Each season of Gilmore Girls is organised around the constant onslaught of annual festivals: the End of Summer Madness Festival that, well, ends summer, the Teen Hayride, the 24-Hour Dance Marathon the Autumn Festival complete with Cornucopia Can Drive and Horn of Plenty, November’s Old Muddy River Bridge Knitathon, the commemorations of the Battle of Stars Hollow, the Winter Carnival, the Snowman-Building Contest, the Christmas Procession, January’s Founders’ Firelight Festival, the Bid-on-a-Basket festival, Groundhog Day, St Patrick’s Day, the Purim festival, a whole host of springtime weddings and engagement parties, the springtime Movie Night in the Square, the annual Easter Egg Hunt, the Hay Bale Maze at the Spring Fling Festival, and the Festival of Living Pictures are just selection of the events honoured in Stars Hollow.

LORELAI: Oh, hey! Turn out the lights.
LUKE: For what? It’s not the real procession, it’s just the rehearsal.
LORELAI: So, it’s pretty.
LUKE: And why do they need to rehearse it? It’s the same thing every year.
LORELAI: Come on Luke, please. It’s hard to imagine living somewhere else isn’t it?

These aren’t just background quirks, lending us an increased sense of familiarity with the town as we’re told over and over that these events unfold in the same, strange way every single year. They’re linchpins which hold key plot events in place. Both Jess and Dean tell Rory they love her, with less than positive consequences, during the supposedly romantic Founder’s Firelight Festivals. Rory’s romantic relationship with Jess speeds up when he bids on her basket at the Bid-on-a-Basket festival, which is also where Sookie and Jackson become engaged. Her relationship with Dean ends (the second time) in spectacular fashion at the Dance Marathon. Luke begins his romantic relationship with Lorelai when dancing with her amidst springtime decorations in the town square at Liz and TJ’s wedding. The list goes on.

The result is that the lives of our main characters, the lives of the smaller Stars Hollow characters, and small-town seasonal events are all inextricably linked to the same calendar. Particularly in the early seasons, every significant relationship, for both Rory and Lorelai, becomes rooted in the community of Stars Hollow. Public acts of citizenship and private expressions of love overlap. To live in Stars Hollow is to live every aspect of your life communally, communing with others, and with nature itself.

LORELAI: Do you know that the best things in my life have happened when it snowed?
RORY: Why, yes, I do.
LORELAI: My best birthday.
RORY: Your first kiss.
LORELAI: Your first steps. They all happened when it snowed.

***

The seasonal structure of the show also brings with it a sense of inevitability, as, in the midst of these reliable annual ceremonies, Gilmore Girls explores ideas of inheritance across the generations. In the grand houses of Emily and Richard’s world (and Lorelai, Christopher and Logan’s youths) inheritance both metaphorical and literal is an encouraged part of family life: but it feels forced and uncomfortable, restricting individuality in favour of decorum and reputation. In Stars Hollow, inheritance functions in a different, but no less crucial, way: more subtle and natural, as constant and eternal as the circles of life. For children who grow up with their parents in Stars Hollow, inheritance seems predestined, even if it didn’t seem so to the characters it affects.  

Many characters are surprised by what they inherit from their parents: Luke never expected to care so much for his father’s old hardware store, Lane is shocked to discover that after years of aching to break out of her mother’s conservative ideals, she’s not comfortable with having sex before marriage. Jess never thought he would pick up a book on intimacy from his uncle Luke, let alone read it sincerely, nor to learn so much valuable advice from him about communication in relationships.

LUKE: You do not want to grow up to be like your mom.
RORY: Sorry, too late.

Of course, that sense of inescapable legacies is taken to extremes in Rory and Lorelai’s relationship: in the very first episode, Lorelai exclaims to her daughter, “After all, you’re me!” While Rory at 16  is, in some ways, a vision of everything Lorelai at 16 was not (responsible, excited by her education, chaste, keeping a constant, serious eye on her future), as the series unfolds, that changes, as Rory becomes more impulsive, reckless and romantic. Viewers are relentlessly confronted by parallels between Rory and Lorelai’s romantic choices: Christopher is to Lorelai as Logan is to Rory, Luke is to Lorelai as Jess is to Rory. Seasons change, Gilmores stay the same.

LORELAI: He kind of looks like Christopher.
LUKE: The grocery kid?
LORELAI: Yeah. He looks like Christopher.
LUKE: And Christopher is Rory’s dad?
LORELAI: The hair, the build, something about the eyes. He reminds me of Christopher.
LUKE: Well that’s not too surprising.
LORELAI: You’re going to quote Freud to me? ’Cause I’ll push you in front of a moving car. This talk was going so well.
LUKE: You and Rory are a lot alike. It’s not surprising you would have similar tastes in men.

It is an inexorable, unavoidable logic, then, that sees Gilmore Girls: A Year in the Life, a show with more interest in the unfolding seasons and the passage of time than ever, that sees Rory finally become her mother. The show’s much-anticipated final four words (“Mom,” “Yeah?” “I’m pregnant”) see Rory at 32, the same age as her mother when the series began, in a similar position to her mother at 16: single, pregnant, unfocused in her career. Some found it frustratingly obvious and pessimistic, others found it optimistic and apt. I’d sum it up in the same way Lorelai comments on her repeating circumstances with her own mother: with a grimly ironic toast “to the circle of life”.

But however you feel about the ending, Gilmore Girls has pulled off one impressive feat. As Lorelai and Rory sit together in the bandstand, and the show cuts to black, it doesn’t feel like the show has ended at all. The fictional landscape of Stars Hollow has a life that extends beyond the screen, as inevitable as the seasons themselves.

Anna Leszkiewicz is a pop culture writer at the New Statesman.