books

Bites of the Best Books: August 2020

Five books that contain sentences and paragraphs and pages full of unique ideas that move our minds, touch our hearts, and fill our souls with light.

The Republic

Plato

“Is there any greater evil we can mention for a city than that which tears it apart and makes it many instead of one? Or any greater good than that which binds it together and makes it one? And when, as far as possible, all the citizens rejoice and are pained by the same successes and failures, doesn’t this sharing of pleasures and pains bind the city together? But when some suffer greatly, while others rejoice greatly, at the same things happening to the city or its people, doesn’t this privatization of pleasures and pains dissolve the city?”

Sometimes a well-worded question, thoughtfully considered, can light a fire for change. Surely we, living in a fractured and atomized world, would be wise to consider afresh these profound queries from Socrates in book 5 of The Republic

Revelations of Divine Love

Julian of Norwich

Julian of Norwich experienced remarkable visions in the 15th century. She taught well what the true object of Christian worship should be (not her, the messenger, but Jesus). As a Latter-day Saint, I find it a useful to imagine the passage below from Julian of Norwich to instead be the words of Joseph Smith or Russell M. Nelson or any other leader.

“I beg you all for God’s sake and advise you all for your own advantage that you stop paying attention to the poor, worldly, sinful creature to whom this vision was shown, and eagerly, attentively, lovingly and humbly contemplate God, who in his gracious love and in his eternal goodness wanted the vision to be generally known to comfort us all. … I am not good because of the [revelation], unless I love God better, and so may and should everyone that sees it and hears it with good will and true intention[.] … [Y]ou must quickly forget me, a paltry creature, you must not let me hinder you, but look directly at Jesus, who is teacher of all.”

The Gulag Archipelago

Alexandr Solzhenitsyn

We need frequent reminders that there are no purely evil or wholly good. Our choices and our desires determine our destiny. Solzhenitsyn learned this through the eight years of deep reflection enabled by the terrors of the gulag. He was once himself a decorated captain in the Soviet Army. But he was, in his mind, “a murderer, and an oppressor” who in his “most evil moments … was convinced that [he] was doing good.” Only after several years in the prison camp, on the receiving end of cruelty, does his soul take a dramatic step forward. 

“It was only when I lay there on rotting prison straw that I sensed within myself the first stirrings of good,” he writes. “Gradually it was disclosed to me that the line separating good and evil passes not through states, nor between classes, nor between political parties either—but right through every human heart—and through all human hearts. This line shifts. Inside us, it oscillates with the years. And even within hearts overwhelmed by evil, one small bridgehead of good is retained. And even in the best of all hearts, there remains … an unuprooted small corner of evil. Since then I have come to understand the truth of all the religions of the world: They struggle with the evil inside a human being (inside every human being). It is impossible to expel evil from the world in its entirety, but it is possible to constrict it within each person.”

A Gentleman in Moscow

Amor Towles

Being confined to house arrest inside the Metropol hotel by force of a Bolshevik tribunal does not prevent the fictional Count Alexander Rostov from learning and imparting some rather important life lessons. To wit:

“What can a first impression tell us about someone we’ve just met for a minute in the lobby of a hotel?” the narrator asks. “For that matter, what can a first impression tell us about anyone? Why, no more than a chord can tell us about Beethoven, or a brushstroke about Botticelli. By their very nature, human beings are so capricious, so complex, so delightfully contradictory, that they deserve not only our consideration, but our reconsideration—and our unwavering determination to withhold our opinion until we have engaged with them in every possible setting at every possible hour.”

The Good Neighbor: The Life and Work of Fred Rogers

Maxwell King

In this biography, Mr. Rogers reminds us that Jesus was not some untouchable, distant God whose perfection was imbued with a Stoic-like indifference to the pains and joys of life. Instead (and as the scriptural record shows), Jesus had his hands in the dirt with us. He felt things. He enjoyed things. And he did not mask his emotions.

“I believe that Jesus gave us an eternal truth about the universality of feelings,” Mr. Rogers said. “Jesus was truthful about his feelings: Jesus wept, he got sad; Jesus got discouraged; he got scared; and he reveled in the things that pleased him. For Jesus, the greatest sin was hypocrisy. … Jesus had much greater hope for someone like [a tax collector or prostitute] than for someone who always pretended to be something he wasn’t.”

About the author

Samuel B. Hislop

Samuel B. Hislop is a writer in Utah.
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The Room Next Door Review

“The Room Next Door” is the latest example of arthouse social engineering.  The film is about a troubled woman, Martha, who in the midst of cancer treatments decides to commit suicide. If this bothers you, the film implies, it is because there is something wrong with you. This is all the more troubling, because the film, in many ways, is beautiful. It is directed by Pedro Almodóvar, one of the most acclaimed living film directors, in his first full-length film in English. And you can’t help but be taken by the beauty of it all. The film is suffused with the soft colors of the woods. Despite being an entire screenplay full of little except two friends talking, the camera work keeps the film alive and moving. And Julianne Moore and Tilda Swinton who play Ingrid and Martha once again give impeccable, engaging performances, that you can’t help but admire.  But all the beauty in this film is in service of a story that is decidedly ugly—but not self-awarely so. Our two main characters are old friends who met as young writers. Ingrid has published a best seller recently, where she writes about how she can’t accept death. On her publicity tour, she learns that Martha is in the hospital with cancer. She goes to visit her and reignite their friendship. We learn through the conversations that these characters aren’t bad people, necessarily, they just struggle to see a world outside of their own desires and consciousness. They have repeatedly avoided building relationships or having families. Martha does have a daughter. But she chased her father away, then lied to her about who he was her whole life, and then proceeded to be an absent mother so she could chase the romanticism of being a war correspondent.  Now that she is sick and dying, she notices that she has no one in her life. The movie comments on this like an unusual quirk, rather than the inevitable result of a life of bad decisions. We learn early on that cancer treatment can be a roller coaster with euphoric peaks, and miserable nadirs. During one such rut, Martha purchases a suicide pill, and decides she will kill herself. She reaches out to Ingrid and asks her to come on vacation with her, so that she will have someone in the house when she does it.  Ingrid agrees. And although she early on expresses some discomfort, she quickly respects Martha’s wishes to largely pretend nothing is happening. They have a lovely vacation in upstate New York watching old movies and reading books. While they are there, Ingrid reconnects with Damien (John Turturo) an ex-boyfriend of both hers and Martha’s. He is horrified at the state of the world, and seems to only live for sex (or to constantly talk about sex.) Damien is not a sympathetic character, and perhaps the audience is supposed to read that his unpleasant and helpless politics are akin to Martha’s helpless approach to life. If so the audience hardly has time to ponder it under a heavy heaping of affirmations about the power to choose, and the dignity to die.  Eventually, Martha does exactly what she promised to do. There is a brief police investigation where the officer (Alessandro Nivola) expresses concern that Ingrid would have knowingly not gotten help for her friend. A lawyer comes and helpfully tells the audience we can ignore that concern because he is a religious fanatic. This is the kind of movie that alludes to James Joyce not just once but three times. It is so pleased with just how artsy it is. And for a film with a message like “life isn’t worth fighting for,” the best comfort is that it’s so artsy not a lot of people will watch it.  The only people I would recommend watching this film is for those studying how society has devalued human life, and how good tools can be misused to harm people. The film is rated PG-13. It includes several normalized same-sex relationships, and some joking about polyamorous relationships. But obviously the biggest warning is the way it normalizes and glamorizes suicide. If you watch it with older teenagers, I would focus on questions about the choice that Martha made, and how family and relationships could have helped her make better choices. I might ask about how Ingrid could have been a better or more caring friend. One out of five stars. “The Room Next Door” will be released in theaters nationwide January 17, 2025.

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