Evangelicals (Homophobia and Teaching Hate Using the Jesus Myth)

White Evangelical Interests Have Invested in and Assimilated Nigerians and Jamaicans Through Hate and Discrimination in the Name of Jesus:

First Video: PBS NewsHour report “Gay Nigerians face beatings, harsh prison sentences, even death” December 2015

Nigeria made same-sex marriage and gay rights activism illegal last January. Since then, gay Nigerians say abuse and extortion have become commonplace by state-sponsored vigilantes, police and public mobs. As part of a week-long series “Nigeria: Pain and Promise,” special correspondent Nick Schifrin reports on the threats and violence that LGBT citizens face in that country.

Micha Fink’s report on what Evangelicals call “the abominable crime” a PBS (AfroPOP) documentary about being gay in Jamaica, July 2013

Link to: NPR podcast and written interview about what is called the Abominable Crime in Jamaica (report by Micha Fink)

Jay Macpherson (selected poem: “The Natural Mother”) Video-Musical Suite Title: “Lullaby my God and all”

Tamboura and Tabla
“Tamboura and Tabla” illustration by K.J. Legry (from Girl Soda Atlas, first edition) Raga Lesson: The only Constant is Change. Theme: Constant Companions (Universal Drone and Beat)

Link to Featured Poet (muse): Jay Macpherson (Biography)

Link to: Tribute to Jay Macpherson by Writer Margaret Atwood

Featured Poem: “The Natural Mother” from the book Poems Twice Told the Boatman & Welcoming Disaster

Jay Macpherson (poems twice told) the boatman and welcoming disaster

The Natural Mother

All the soft moon bends over,

All circled in her arm,

All that her blue folds cover,

Sleeps shadowed, safe and warm.

 

Then lullaby King David’s town,

The shepherds in the snow,

Rough instruments, uneasy crown,

And cock about to crow,

 

And lullaby the wakeful bird

That mourns upon the height,

The ancient heads with visions stirred,

The glimmering new light;

 

Long rest to purple and to pall,

The watchers on the towered wall,

The dreamland tree, the waterfall:

Lullaby my God and all.

jay macpherson poet teacher

Video Musical Suite for “Lullaby my God and All”:

Green Assassin Dollar – Ahead 頭上

Bikini kill – Rebel Girl

KAALI MAA KA TANDAV (excerpt of theatrical film)

All of the above videos are being posted for artistically-subversive and or playfully-Feminist purposes only and for NO COMMERCIAL PURPOSES.  Don’t be frightened.  🙂

 

“L” is for Laurie and “A” is for Anderson (multimedia art and the artist in response to the fruits of war)

terror, torture, prisons, business, and the way words become a virus. . .

photo of artist Laurie Anderson
photo of artist Laurie Anderson

Link to Artist Website: Laurie Anderson

Link to Artist History: https://en.wikipedia.org/wiki/Laurie_Anderson

Laurie Anderson with a projection of Mohammed El Gharani in "Habeas Corpus" (photo by Karsten Moran for NY Times)
Laurie Anderson with a projection of Mohammed El Gharani in “Habeas Corpus” (October 2015, photo by Karsten Moran for NY Times)

“I am what is known as a “multimedia artist.” I chose that description because it doesn’t mean anything. Who isn’t multimedia these days? But it allows me to work in many different ways—music, writing, performance, film, electronics, and painting—without provoking the art police, who love to tell artists to get back into their category.

“As an artist, I am committed to seeing things the way they are, not the way I think they could be or should be. But faced with the facts of American racism, sexism, law breaking, and violence, I’m having a hard time maintaining my belief in the across-the-board openheartedness of my countrymen. Also, although there are journalistic aspects to this project, I am an artist first, so, if faced with having to choose between something beautiful and something true, I would choose the beautiful, because I trust my senses more than my rational mind.” ~ Laurie Anderson (quotation source: http://www.newyorker.com/culture/cultural-comment/bringing-guantanamo-to-park-avenue  regarding the show Habeas Corpus)

Laurie Anderson (Red Bull Music Academy 2015 Paris Lecture):

On November 16th, 2015, Laurie Anderson joined RBMA on the lecture couch in Paris in the wake of the devastating attacks in the city the previous weekend. She felt it was an important moment to talk about how art and artists respond to tragedy. In this talk, she outlined the circumstances behind her 2015 Park Avenue Armory work, Habeas Corpus, and how its themes relate to what took place in Paris on November 13, 2015.

Laurie Anderson (stories from the never ending war) Delusion 2010
Laurie Anderson (stories from the never ending war) Delusion 2010

In life. It’s the way you tell yourself, “I’m a person who has this job and drives this car and has this kind of relationship with people and talks this way.” That’s your story and you stick to it and you design it. Of course we inherit tons of things, but we also design a lot of stuff about who we are. So when you get a glimpse into the design structure, sometimes it’s really exciting. You go, “I put that there, it’s pretty arbitrary. I could change that because I made it up, this version of who I am.” It’s so transparent when politicians are doing it: telling stories about how they see the world, what it could be in the future, what it was like in the past, and people go, “Yeah, he’s right,” or “He’s crazy,” or whatever. But they evaluate it on what basis? As if they’re hearing about a movie? I’m trying to go back and forth between this dream world that we live in, and then this world of politics and so-called reality. It’s still amazing how easy it is to manipulate with misinformation. I think that people go in and out, in terms of being aware of it. ~ Laurie Anderson (quotation source: http://www.walkerart.org/magazine/2012/laurie-anderson-stories-never-ending-war )

the ugly one with the jewels album cover for Laurie Anderson

Mother Nature never asked,

“What do you want to be when you grow up?”

She knew you weren’t planting seeds to be a tree for nothing.

Offering Bowls and Party Favors illustration by K. J. Legry (excerpt from the Girl Soda Atlas, first edition)
“Offering Bowls and Party Favors” illustration & Mother Nature text by K. J. Legry (excerpt from the Girl Soda Atlas, first edition)

M is for Margaret (Atwood) ~ a featured author for the G.P.A. “book club”

Katy D. (Girl Power Academy staff member)
Katy D. (singer for RBS performing the “tale of the iron-lady handmaiden”) illustrated by K. J. Legry

Book Club: featured author Margaret Atwood

Featured Poem: Helen Of Troy Does Countertop Dancing 

Link to: Poetry Foundation Biography: Margaret Atwood

Recommended Book: Handmaid’s Tale

Atwood noted that “The Handmaid’s Tale does not depend upon hypothetical scenarios, omens, or straws in the wind, but upon documented occurrences and public pronouncements; all matters of record.” 

Question Posed:

Does The Handmaid’s Tale hold up?
Nolite te bastardes carborundorum
By Adi Robertson on December 20, 2014

http://www.theverge.com/2014/12/20/7424951/does-the-handmaids-tale-hold-up-dystopia-feminism-fiction

IF WE CAN’T BE TRUSTED TO NAME THE OBVIOUS, WHY SHOULD WE BE TRUSTED TO KNOW A DYSTOPIA WHEN WE SEE ONE?

"Pregnant" Award Winning Illustration by Balbusso Sisters for The Handmaid's Tale by Margaret Atwood
“Pregnant” Award Winning Illustration by Balbusso Sisters for The Handmaid’s Tale by Margaret Atwood

Adi Robertson wrote, “Almost any American I know would condemn Atwood’s patched-together hellscape. But plenty of people, male and (less often) female, think that pointing out anything but the most egregious misogyny is silly, distracting, anti-religious, or “misandry.” Women are 50 percent of the population, but let them get 33 percent of speaking time in film instead of 17 percent, or 30 seats in the Senate instead of 20, and we’ll be living in a matriarchal nightmare. We can’t even imagine what an equal world, a world where men and women face the same dangers, get the same opportunities, and have the same amount of power, would look like. To some extent, that equality probably isn’t even possible. But we’ve thrown ourselves into pretending that we’re already there, making do with an idea of egalitarianism where women are grudgingly tolerated, and the pay gap, abysmal rape statistics, and consistent underrepresentation in most of public life are simply matters of personal preference. If we can’t even be trusted to name the obvious, how can we say with any conviction that we’ll be able to recognize a dystopia when we see one?

The world of 1984 has never existed. Neither has the one of Brave New World, or A Clockwork Orange, or any of the other dystopias that are supposed to tell us about the human condition. But all you have to do to recreate The Handmaid’s Tale is go back a few hundred years or move to the right country. A paranoid, in this case, is just a woman in possession of all the facts.

illustrated cover for the Ladies of Literature Vol. 2 anthology by Colleen Tighe (The Offered) 2014
illustrated cover for the Ladies of Literature Vol. 2 anthology by Colleen Tighe (The Offered) 2014

Link to artist: Colleen Tighe http://www.colleentigheart.com/Offred

“The society in ‘The Handmaid’s Tale is a throwback to the early Puritans whom I studied extensively at Harvard under Perry Miller, to whom the book is dedicated.”

~Margaret Atwood

“Fiction is not necessarily about what you know, it’s about how you feel. That is the truth about fiction, and the other truth is that all science is a tool, and we use our tools not to actualise what we know, but to implement how we feel.”

 ~Margaret Atwood

a young margret atwood at cambridge
The young Margaret Atwood in Cambridge, Massachusetts

Helen Of Troy Does Countertop Dancing

Poem by Margaret Atwood

The world is full of women
who’d tell me I should be ashamed of myself
if they had the chance. Quit dancing.
Get some self-respect
and a day job.
Right. And minimum wage,
and varicose veins, just standing
in one place for eight hours
behind a glass counter
bundled up to the neck, instead of
naked as a meat sandwich.
Selling gloves, or something.
Instead of what I do sell.
You have to have talent
to peddle a thing so nebulous
and without material form.
Exploited, they’d say. Yes, any way
you cut it, but I’ve a choice
of how, and I’ll take the money.

I do give value.
Like preachers, I sell vision,
like perfume ads, desire
or its facsimile. Like jokes
or war, it’s all in the timing.
I sell men back their worse suspicions:
that everything’s for sale,
and piecemeal. They gaze at me and see
a chain-saw murder just before it happens,
when thigh, ass, inkblot, crevice, tit, and nipple
are still connected.
Such hatred leaps in them,
my beery worshippers! That, or a bleary
hopeless love. Seeing the rows of heads
and upturned eyes, imploring
but ready to snap at my ankles,
I understand floods and earthquakes, and the urge
to step on ants. I keep the beat,
and dance for them because
they can’t. The music smells like foxes,
crisp as heated metal
searing the nostrils
or humid as August, hazy and languorous
as a looted city the day after,
when all the rape’s been done
already, and the killing,
and the survivors wander around
looking for garbage
to eat, and there’s only a bleak exhaustion.
Speaking of which, it’s the smiling
tires me out the most.
This, and the pretence
that I can’t hear them.
And I can’t, because I’m after all
a foreigner to them.
The speech here is all warty gutturals,
obvious as a slab of ham,
but I come from the province of the gods
where meanings are lilting and oblique.
I don’t let on to everyone,
but lean close, and I’ll whisper:
My mother was raped by a holy swan.
You believe that? You can take me out to dinner.
That’s what we tell all the husbands.
There sure are a lot of dangerous birds around.

Not that anyone here
but you would understand.
The rest of them would like to watch me
and feel nothing. Reduce me to components
as in a clock factory or abattoir.
Crush out the mystery.
Wall me up alive
in my own body.
They’d like to see through me,
but nothing is more opaque
than absolute transparency.
Look–my feet don’t hit the marble!
Like breath or a balloon, I’m rising,
I hover six inches in the air
in my blazing swan-egg of light.
You think I’m not a goddess?
Try me.
This is a torch song.
Touch me and you’ll burn.

nolite te bastardes carborundorum (don't let the bastards grind you down) anonymous was a woman tattoo
nolite te bastardes carborundorum (don’t let the bastards grind you down) anonymous was a woman tattoo

Link to: PBS Bill Moyers: Faith and Reason interview with Margaret Atwood (broadcast)  Running Time: 33:29

BILL MOYERS ON FAITH & REASON TRANSCRIPT
Bill Moyers and Margaret Atwood, July 28, 2006

BILL MOYERS: Hello. I’m Bill Moyers. Writers from around the world were in New York recently to open some doors of perception on faith and reason. They were here at the invitation of the PEN literary and human rights organization — PEN stands for poets, essayists, and novelists. Among their concerns is the threat to freedom of speech and conscience from religious extremism — and that’s a subject close to the hearts of the two noted novelists you’ll meet in this broadcast, Margaret Atwood and Martin Amis.

Both are agnostic — for them, ultimate reality is unknown and probably unknowable. Notice I said “probably.” Because as you will hear, when it comes to the mysteries of the universe, these two skeptics have left slightly ajar their own doors of perception.

Margaret Atwood told me her job as a writer is to describe the world around her — including, she said, “what is obscure or hidden”…the experience of people left out of the picture. Her latest novel, THE PENELOPIAD, turns Homer’s epic of The Odyssey on it’s head, so that we see it through the eyes of Penelope, the wife of Odysseus, and a chorus of twelve maids hanged when her husband returns from the Trojan War.

Margaret Atwood has over 12 novels to her credit and 15 books of poetry. THE HANDMAID’S TALE arrived like an earthquake in the dialogue between faith and reason. In it, she describes a woman’s fight to escape God-quoting oppressors who have turned America into a theocracy where women are stripped of their rights and torture is justified in the name of national security. Harold Pinter adapted THE HANDMAID’S TALE for the silver screen.

MOVIE: “You’re going to be Handmaid’s, you’re going to serve God, and your country.”

BILL MOYERS: As Margaret Atwood moved among the writers here for the PEN conference on faith and reason, naturally, the subject of fundamentalism and theocracy came up often.

BILL MOYERS: When you look back on it, was The Handmaid’s Tale true?

MARGARET ATWOOD: Was it true? Well, I had a man in an audience once who during question period said to me, “Well, this story must be autobiographical.” And I said, “How could it be autobiographical? It’s set in the future.”

BILL MOYERS: I took it as a prophetic possibility-

MARGARET ATWOOD: I don’t do prophecy.

BILL MOYERS: I know you don’t.

MARGARET ATWOOD: But it’s a blueprint of the kind of thing that human beings do when they’re put under a certain sort of pressure. And I made it a rule for the writing of this book that I would not put anything into it that human societies have not already done.

BILL MOYERS: People have said when they read The Handmaid’s Tale it could never happen here. But the fact of the matter is it had happened here. Under the Puritans-

MARGARET ATWOOD: Oh, yes.

BILL MOYERS: –the witch-

MARGARET ATWOOD: It happened-

BILL MOYERS: –the Salem — witches trial, for example.

MARGARET ATWOOD: Well, the Salem witchcraft trial is in my opinion one of the foundation events of American history. And it was an event where you can call it a clash between mythology and politics if you like. Because it depended very much on a belief in the invisible world. Cotton Mather, who was a very prominent divine at the time, wrote a book called THE WONDERS OF THE INVISIBLE WORLD, which was all about the behavior of witches.

And the devil. And this is what people believed. They weren’t being hypocrites when they did these things. They were actually scared of witchcraft and the devil. And they believed that the devil could work his way into their community through witches, so it was serious business. But it was also a hysteria. The surprise to me has been all of the stuff I learned long ago. I thought, “Nobody’s going to be interested in this again. You know what good is knowing 17th century theology ever going to be to me? Or anybody else. Surely nobody’s interested.” And now suddenly it’s all come back. Because things do go around in cycles.

BILL MOYERS: Seventeenth century theology? How would you sum it up?

MARGARET ATWOOD: The argument about predestination.

BILL MOYERS: Being the elect or the not elected.

MARGARET ATWOOD: Being the elect or the non elect. There is a heresy called the antinomian heresy. And somebody says that Tony Blair’s a member, but never mind that. Under antinomianism you’re convinced that you are one of the elect, alright that you are one of the elect, that you are destined to be elect from birth. That you’re going to be saved no matter what, and therefore you can do anything, because you’re already marked as one of the elect. So that of course just let’s you do all the most atrocious things you might be inclined to do, while still believing that you are justified.

I think it’s the kind of event that replays itself throughout history when cultures come under stress. When societies come under stress these kinds of things happen. People start looking around for essentially human sacrifices. They start looking around for somebody they can blame. And they feel if only they can demolish that person, then everything’s going be okay. And it’s of course never true, but there are these periods in history. If things aren’t going well, it must be the Communists. Let’s have Joe McCarthy. You know things aren’t going well. It must be them liberals. Whoever it may be.

BILL MOYERS: Well, what THE HANDMAID’S TALE illustrates so vividly is that society can give up its ideals. Its freedom. Its values. In an almost frighteningly normal way.

MARGARET ATWOOD: In an almost frighteningly rapid way. Conditions change. There’s too much turmoil or fear of some kind than people can handle. And that’s the point at which they will trade their liberties for somebody who comes along and says, “I’m a strong leader. I’ll take care of it. The trains will run on time.”

BILL MOYERS: If you wanted to take over the United States government today and set up your government, how would you do it?

MARGARET ATWOOD: Well, that is more or less how. And THE HANDMAID’S TALE is the answer to the question. If you were going to change the United States from a democracy into a totalitarianism, how would you go about doing it? Well, you wouldn’t say, “Let’s all be communists.” You wouldn’t get any takers for that. You might say a rather twisted sort of thing that would say, “In order to preserve our freedoms we have to give them up for now.” You might say something like that. Which is kind of, I think, what’s been floating in the breeze this last little while. In order to preserve freedom we have to demolish freedom. Something like that. But you’re more likely to say, “This is the true religion. Follow our flag.” That kind of thing.

BILL MOYERS: I keep in my notebook something you said once. You wrote, “What is needed for really good tyranny is an unquestionable idea or authority. Political disagreement is political disagreement. But political disagreement with a theocracy is heresy.”

MARGARET ATWOOD: That’s exactly right. If your government says, “Not only am I your government, but I represent the true religion,” if you disagree with it you’re not just of another faction. You’re evil.

BILL MOYERS: But you don’t imagine that could happen here?

MARGARET ATWOOD: Want to bet? Want to lay some bets as to that?

BILL MOYERS: I would never bet against Margaret Atwood.

MARGARET ATWOOD: You’d have to have quite a lot of uproar first. But it’s amazing how quickly people rolled over for the Patriot Act. You know they were scared enough so that they just said, “Oh, okay. If that’s how we solve it, fine. Just don’t tell me. You know I don’t want to know. Don’t tell me.”

BILL MOYERS: Did you anticipate that you would be so vilified for suggesting in The Handmaid’s Tale that theocracy could happen in America?

MARGARET ATWOOD: Well, what has amazed me is the theocracy that I’ve put in HANDMAID’S TALE never calls itself Christian. And in fact it never says anything about Christianity whatsoever. Its slogans, et cetera, et cetera, are all from the Old Testament. So what has amazed me was the rapidity with which a number of Christians put up their hands and said, “This is an insult to us.” What did it mean? It meant they hadn’t read the book. You know they hadn’t read the book.

Because in the book the regime does what all such regimes immediately do. It eliminates the opposition. The Bolsheviks got rid of their nearest ideological neighbors, the Mensheviks, as soon as they had the power. They killed the lot. You know? Too close to them. They got rid of any other socialists. They wanted to be the only true church brand of socialists. So any theocracy in this country would immediately eliminate all other competing religions if they could. So the Quakers in my book have gone underground.

BILL MOYERS: Right.

MARGARET ATWOOD: And the regime is wiping out little pockets of resistant Baptists here and there. And stringing up nuns, et cetera. Which is exactly how they would operate, because that’s what happens under those kinds of arrangements. You want to be the power, the only power. Anybody who could be a rival power, you’d get rid of them. So I am one of those people who does believe in the America of Thoreau, for instance.

BILL MOYERS: Of–

MARGARET ATWOOD: Thoreau the conscientious objector. Thoreau the man who stood upon his principles. Who refused, for instance, to pay taxes to a government that was waging a war he considered to be unjust. Went to jail for it. That is the sort of essence of the kind of American that we evolved– looked up to for many years.

BILL MOYERS: It’s also Henry David Thoreau who said, “To affect the quality of the day is the highest of the arts.”

MARGARET ATWOOD: Well, there you are. Yes.

BILL MOYERS: Is that what keeps you writing?

MARGARET ATWOOD: What keeps me writing? I don’t know what keeps me writing. It’s one of those things I don’t know.

BILL MOYERS: But I know you were kidnapped by literature when you were young. And you’ve never wanted to be ransomed?

MARGARET ATWOOD: That’s true. Yes, that’s absolutely true. Sometimes people play these silly games. They say, “What would you have been if you hadn’t been a writer?” And I say, “A ballet dancer,” which is palpably absurd, because I get dizzy. So the answer is really nothing else. I can’t imagine anything else I would rather be.

BILL MOYERS: In church on Sunday, we sang a 200 and some odd year old hymn, Franz Josef Haydn. With some contemporary words. And the words go, “God, you spin the whirling planets, fill the seas and spread the plain. Mold the mountains, fashion blossoms, call for the sunshine, wind, and rain.”

Now the scientists wouldn’t have put it that way. The scientists would have said there is an explanation for why the planets whirl, for why the rain falls, for why the seas rise, for why the mountains form. But knowledge isn’t enough for us. It’s not enough to know why– how these things happen. We need the poetry don’t we. Are we hard wired to seek that kind of meaning in life that only poetry, religion, and writing can give us?

MARGARET ATWOOD: Okay, probably so, because we are a symbol making creature. We seem to need, create, and exist within structures of symbolism of one kind or another. We seem always to have done that as human beings. We usually date humanness from the point at which we discover some form of art. Art is always symbolic, okay.

So, we’ve even found Neanderthal graves. There is an argument about this that some people say, “Okay. This was a like us burial.” That is, people put flowers in it. They put implements. It wasn’t a burial that indicated that people thought, people who did this thought- the soul was going somewhere else. And that is part of the symbolic structure in which the visible world is only part of reality.

It’s very interesting to talk to people about dreams and experiences they may have had. And if you tell me your dream, that is an experience you have had that is part of the invisible world. I can’t see you having that dream. I can’t prove that you had it. I’ve only got your say so. And I can’t then tell you, “No, you didn’t have that dream. No, that wasn’t real. You didn’t have that dream.” It’s an experience that you had. It says nothing about whether there is a material reality attached to that. They can have a profound influence on you that can alter how you’re seeing life.

BILL MOYERS: Are you suggesting that in the same way that the dream is a reality that we cannot measure, cannot prove except that our experience of it confirms it for us, that religious language, the language of the Bible is also symbolic of the reality that we do not comprehend–

MARGARET ATWOOD: Some of it is.

BILL MOYERS: Some of it.

MARGARET ATWOOD: Yeah. It’s a very mixed bag as you know.

BILL MOYERS: The Bible?

MARGARET ATWOOD: Yeah. Because the Bible is what it is. That is it’s self-contradictory. It’s very mixed literary modes. It changes as you go through the Bible. The point of view changes. The way God is perceived changes. It has been very schismatic. That is, people will take a bit of the Bible, build a religion on that, more or less ignore the rest or say the rest doesn’t matter. And there all kinds of groups like that, that have differentiated themselves once the Catholic church split. At the time of the reformation there were an infinite number of a large number of other splits. So, little groups have pulled off and developed their own theology really, based on certain passages in the Bible.

BILL MOYERS: So, when you–

MARGARET ATWOOD: So you can say the Christians, but you can’t make a generalization about that group called the Christians except that they all seem to have something to do with this figure called Jesus of Nazareth. And they seem to have something to do with New Testament, but which parts of it is the question. There are some so called Christians who do nothing but think about the Book of Revelations with great delight contemplating the future spectacle of everybody frying to death except them.

BILL MOYERS: The Rapture.

MARGARET ATWOOD: Yeah. Well, in the Rapture, it never happens to be you who doesn’t get Raptured.

BILL MOYERS: What does the Rapture say about religion and the imagination?

MARGARET ATWOOD: Well, as far as I’m concerned, it’s a heretical belief. The Rapture idea which seems to consist mostly of fun on a cloud while other people suffer– that I think is just opening the door to some of the worst impulses in human nature, which is-

BILL MOYERS: How do you explain it?

MARGARET ATWOOD: –revenge and gloating. Well we have a great capacity as human beings for being self righteous and judgmental about other people, despite the admonition, “Judge not lest ye be judged.” We do judge. And some people take it to an extreme.

BILL MOYERS: If you were asked to design a new human being as an improvement on the current model, would you eliminate the hunger for God?

MARGARET ATWOOD: Well, that’s a very good question. I think the answer is could you eliminate such a thing? It has been tried. It has been tried. It wasn’t much of an improvement as I recall.

BILL MOYERS: Where?

MARGARET ATWOOD: Well Soviet socialists in-

BILL MOYERS: Oh sure.

MARGARET ATWOOD: –yeah, replaced the Christian Western structure with its own which is in fact another version of it. It didn’t seem to be that much of an improvement. So I don’t think it’s a question of God or not God, or religion or not religion. It’s what people do with their belief system. How they use that belief system. Whether they use it to really improve things, rather people. Or whether they use it to tyrannize over other people.

BILL MOYERS: So I come back to the question, if you could design a new human being, improving on the present model, would you eliminate the hunger for God?

MARGARET ATWOOD: I could not eliminate the hunger for God without eliminating language. I might, however, eliminate the desire to use God as a weapon. In other words, if I could I would confine the hunger for God to the personal realm so that it would not become something that people use to bash other people with.

BILL MOYERS: Does that mean you take your stand on the side of faith?

MARGARET ATWOOD: No, no having been raised a strict agnostic.

BILL MOYERS: A strict agnostic?

MARGARET ATWOOD: Strict agnostic.

BILL MOYERS: Not an atheist?

MARGARET ATWOOD: No, atheism-

BILL MOYERS: What’s the difference?

MARGARET ATWOOD: — is a religion.

BILL MOYERS: Atheism is a religion?

MARGARET ATWOOD: Absolutely.

BILL MOYERS: You mean it’s dogmatic?

MARGARET ATWOOD: Absolutely dogmatic.

BILL MOYERS: How so?

MARGARET ATWOOD: Well it makes an absolute stand about something that cannot be proven.

BILL MOYERS: There is no God.

MARGARET ATWOOD: You can’t prove that.

BILL MOYERS: So you become– what’ a strict agnostic?

MARGARET ATWOOD: A strict agnostic says, you cannot pronounce, as knowledge, anything you cannot demonstrate. In other words if you’re going to call it knowledge you have to be able to run an experiment on it that’s repeatable. You can’t run an experiment on whether God exists or not, therefore you can’t say anything about it as knowledge. You can have a belief if you want to, or if that is what grabs you, if you were called in that direction, if you have a subjective experience of that kind, that would be your belief system. You just can’t call it knowledge.

BILL MOYERS: When you were growing up, reading the Bible regularly, what did the word God mean to you?

MARGARET ATWOOD: Well no. It’s a very nebulous word. God in the Bible even changes the way he appears, changes the way he interacts with human beings. Appears in a number of different forms, burning bush, chariot of fire, back parts as seen by Moses, walking in the Garden with Adam, Ancient of Days, later on– Still Small Voice, voice saying, “Samuel– ” you know sometimes He’s heard, sometimes you get-you never actually see an old man with a beard floating in the clouds. Not in the Bible. Nobody says anything about that.

Dove descending, you know spirit descending, never an old man with a beard in the clouds. So where did we get that? Well we probably got it from Zeus — the old Greek god– that picture, that portrayal of God as an old man with a beard in the clouds is a lot like the Greek and Roman sculptures of Zeus. It was given or Jupiter who was given a beard to show his seniority, okay. So Blake used to say that there was God which was the real God and then there was other person called Nobodaddy-

BILL MOYERS: Noba?

MARGARET ATWOOD: Nobodaddy which is the false picture of God that human beings create for themselves, okay. So the false picture of God seems to be the one that a lot of people believe in. Instead of believing in the living spirit, they believe in a tyrannical, angry person who’s going to squash you basically. So they believe in a series of rules and restrictions imposed by Nobodaddy because they have a desire for rules and restrictions.

BILL MOYERS: Did you read Jack Miles-

MARGARET ATWOOD: I love Jack Miles.

BILL MOYERS: –his biography of God won the Pulitzer Prize. And he says in there, God that this God is a God of radical unpredictability and terrifying moral ambivalence, the God of the Old Testament.

MARGARET ATWOOD: That’s right. Well what everybody of course has been fascinated with forever is the Book of Job. Why did God behave that way? His answer in a few words is, “I’m God and you’re not.” Another interesting question to me is why didn’t Jesus write down the Book of Jesus? Why didn’t Jesus write down the equivalent of the Ten Commandments? Why didn’t Jesus write a book? Here’s the Jesus figure contained in a book, but Jesus Himself doesn’t write, how come?

BILL MOYERS: Yes, go ahead.

MARGARET ATWOOD: I think because once you write something down it becomes a permanent fixture and it becomes dogma, which is in fact what has happened with a lot of things that have been written down.

BILL MOYERS: What’s the difference between dogma and a story?

MARGARET ATWOOD: I think that the story, if you wanted to call it that, or let’s call it the oral tradition, they have to be transmitted by one person to another person or group of people. So it is the breath, which is the spirit, the spirit moving from one person to another. And as we know in the oral tradition, every time the spirit moves it takes a different shape. Myths for instance in the oral tradition exist in different forms and different places. So possibly He wanted to keep His spirit, the spirit of what He was saying possibly He wanted to keep it fluid rather then causing it to be fixed and permanent and therefore unchanging.

BILL MOYERS: But before that we have God writing down the Ten Commandments for Moses. That’s quite a change.

MARGARET ATWOOD: Exactly. Well that is the usual contrast that is made between the letter and the spirit, the letter of the law and the spirit of the law. But it is not a contrast that you can see being acted out in a lot of religious groups. They much prefer the letter.

BILL MOYERS: I heard you once say that human nature hasn’t changed in thousands of years.

MARGARET ATWOOD: Yes.

BILL MOYERS: How do we know?

MARGARET ATWOOD: Oh. Because we’ve read the myths. And the myths lay out pretty clearly what’s on the human smorgasbord. What we want. What we fear. What we would like to have. What we would very much not like to have. Heaven and Hell, for instance. Heaven, what we want. Hell, what we very much don’t want. Okay?

So we’ve always wanted to fly. In the myths, the gods fly. We don’t. We’ve now arranged it so that we can fly. Not quite in the same way. But everything that we do and every piece of technology we make is an extension of either a fear or a desire. And those human fears and human desires really have not changed. And they’re reflected in the myths that have been with us for a long time.

BILL MOYERS: Are they true?

MARGARET ATWOOD: What is true? True means more than one thing. True means proved. You know, it has to be proven. It could mean that. And, in a very materialistic society, that’s all it means. Which is why people keep searching for the remains of Noah’s Ark. You know that it’s not going to be true unless you can find the actual piece of wood. Ok, that’s one kind of true.

Another kind of a true: is it true about human nature? Is it true about who we are? Is it true about how we behave? People are of divided opinion about why myths continue, and why they’re important, and what they are. Some people say they’re maps of prehistory. Some people say they’re maps of the human mind and psyche. And some people say that they’re language dependant events.

BILL MOYERS: What do you mean by that?

MARGARET ATWOOD: It’s one of the characteristics of human beings, is they have very elaborate languages. And these languages all have grammars. And the grammars all contain past tenses and future tenses. Now dogs have languages, too. But we don’t think that any dog has ever said to any other dog, “Where do dogs come from?” You know? What is the origin of dogs? And what about before that? What about before there were any dogs?

But because we have the kinds of languages we do, we go back in time as far as we can get in our imaginations. We want a beginning of the story. And we go as far ahead in the future as we can. We want an end to the story. And that’s not going to be just us getting born and us dying. We want to be able to place ourselves within a larger story. Here’s where we came from. Here’s where we’re going in some version or another. And when you die, this is what happens. And some of those stories are happier than other of those stories. But there’s always more. There’s always and then. And then what happened?

BILL MOYERS: And then and then and then.

MARGARET ATWOOD: And then and then and then. Once we have that kind of language, we’re going to have to postulate either a God entity or an unknown. Even, for instance, a physicist, will say: Okay, instead of “Let there be light”, there was the Big Bang, which must have been actually quite brilliant visually. And then you say to them, “But what about before that? What happened before that?” And they will say, “Well there was a singularity.” And you will say-

BILL MOYERS: A singularity?

MARGARET ATWOOD: Yes. You will say, “What is a singularity?” And they will say, “We don’t know.” So at some point in the story, there’s going to be “We don’t know.” Okay, so think of it as a stage like this. And in the wings, there is “We don’t know.”

Let me put it another way. A book came out called THE LIFE OF PI, by a guy called Yann Martel. And it begins by saying, “I’m going to tell you a story that’s going to make you believe in God.” Then he goes off on this completely seaman’s yarn about getting lost in a life boat with a tiger and so on and so forth. And many strange and wonderful things happen to him until he pitches up on the shore of North America — South America, sorry. Where upon, according to him, the tiger jumps off the boat and runs off into the woods. And he’s found starving on the shore, and he’s put in the hospital. And then these three Japanese insurance inspectors turn up to find out what happened to the boat that blew up at the beginning of the story.

Then he tells them this whole story. And they confer it among themselves and they say, “We think that maybe your story isn’t true. And that there was no tiger.” And you know he says, “Well that may be so, but tell me this, which story do you like better? The story with the tiger or the story without the tiger.” And the other men confer amongst themselves and they say, “Well actually we like the story with the tiger better.” And our narrator starts to cry and he says, “thank you.”

So we like the story with the tiger better. We like the story with God in it better then we like the story without God in it. Because it’s more like us, it’s more understandable, it’s more human.

BILL MOYERS: More human with God?

MARGARET ATWOOD: More human with God.

BILL MOYERS: How so?

MARGARET ATWOOD: More human with God because the story without God is about atoms. It’s not about somebody we can talk with in theory, or that has any interest in us. So that the universe without an intelligence in it has got nothing to say to us. Whereas the universe, with an intelligence in it, has got something to say to us because it’s a mirror of who we are. How about that?

BILL MOYERS: Does a strict agnostic believe that we have a soul?

MARGARET ATWOOD: A strict agnostic could believe that but could not state it as a matter of knowledge.

BILL MOYERS: What do you think we mean by the word?

MARGARET ATWOOD: The soul?

BILL MOYERS: Yes.

MARGARET ATWOOD: It’s another one of the things that we know what we mean. We know what we mean ,or we think we believe we know what we mean. But it’s not something you can measure or prove, so it has to exist in the belief system. I prefer to believe that we have a soul because I like the story with the tiger better then the story without the tiger. And I like the story with the soul better then the story without the soul, it’s a better story.

BILL MOYERS: Margaret Atwood thank you very much.

MARGARET ATWOOD: And thank you.

"up in the tree" Illustration by Margret Atwood
“up in the tree” Illustration by Margaret Atwood