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Today, the White Mountain Independent ran a press release that I wrote about my mother-in-law (my M-I-L is the 2009 Arizona Mother of the Year). They didn’t put my name on it, but I wrote it.

That’s 2 things published in a month (if you don’t count the fact that I sent the New Era my story over a year ago). I’m on a roll!

Here is the link to the online version.

I just realized that I never posted anything about one of the greatest things to happen to me this year: I was published!

Last year, I sent a story about an experience I had with my dad several years ago to the New Era (the LDS magazine for youth). They accepted it and even paid me (a little) for it! But then I didn’t hear anything for a long time.

Finally, at the end of May this year, I got a large envelop in the mail with two copies of the New Era. And there, on page 24, was my story!

I was very excited.

Here is a link to the online version article in case anyone here hasn’t seen it.

Here is the link

Enjoy!

I finished the last class of my Master’s program today. It was … well, a little disappointing, since I still have to finish my book before they actually give me the degree and since they forgot the whole fanfare. But still, I’m done and that feels good.

For my last class, I took a video editing 1-credit. It was a lot of fun and I got to learn a lot of fun things about my new camera. For my final project, I put together the below video about my kids. I thought everyone would get a kick out of it so here it is. Joey was a real trooper and I think all the kids did a great job and had a little fun to boot.

Enjoy!

When I was younger, I had a poster hanging above my computer (okay, it really was the family computer but I sure used it more than anyone else). The poster showed Snoopy sitting on his doghouse with a typewriter in front of him. Above him were the words: “It’s exciting when you’ve written something you know is good.”

Man, what I wouldn’t give for a poster like that again.

Today, I finished Chapter One of Fallible and Flawed (my book about superheroes and 9/11) again. I finished it the first time a few weeks back but had some problems with it. First, it was WAY too long (over 50 pages) and it kind of lost focus after the first 20 pages or so. So, I decided to split the chapter in half, toss some unneeded sections away and add a new one that focused it better. Today, I finished that chapter. And, if I do say so myself, it’s pretty good.

That may sound conceited, but it isn’t really. I’m just saying that it is better than the original version (it’s only about 15 pages). And, just like Snoopy said, it is very exciting when you’ve written something that is good. It just feels right, like all the stars have lined up just for you or something like that.

I can’t wait to see Chapter Two!

I’ve been contemplating the world navel lately. No, seriously. I mean it. Stop laughing!

For anyone who has never heard of the world navel (um . . . everyone), it is an idea that comes from ancient mythology. Joseph Campbell wrote quite a bit about it in his landmark book The Hero of a Thousand Faces. And, after getting over the initial chuckle of reading the word “navel” a lot and the images doing so calls to mind, the concept is really quite fascinating.

To start with, you have to understand the modern concept of myth that began with the writings of psychologist Carl Jung, whose work informed Joseph Campbell. According to Jung, myth springs from the insatiable need of humans to understand their world and their place in it. Myths are symbolic instructions that guide the hero on the path to enlightenment. Essentially, myths represent the stages of life and warn (symbolically) of the dangers that those present.

A simple example of what myths do is the crossing of the threshold, when the hero steps from the world of childish innocence into the extraordinary world of the adult. The best visual representation of crossing the threshold is in Star Wars. In the movie, Luke Skywalker crosses the threshold when he agrees to go to Mos Eisley with Ben Kenobi. It is the moment when he fully vests himself in the adventure. Almost immediately afterwards, you see him literally cross the threshold of the cantina, which–at least in the original cut–is the first time you actually see the face of an alien. At that moment, he passes from his sunlit youth into the dark, extraordinary world beyond, just as a young man who leaves home for the first time to make it on his own.

Myths have been doing this forever. Jung speculated that many of the neuroses of our day are the result of not having the symbolic guidance–and, Campbell added, the aging ceremonies–civilizations had in the past. The argumen is that we, as human beings, require symbols–metaphors–to understand our world.

If a hero–a representation of ourselves–is successful, he wins a boon of some kind–a special power to “see beyond.” In Star Wars, the boon is the Force. In life, it is enlightenment.

And that brings us to the world navel.

The world navel is the wellspring of enlightenment. According to Campbell, “the effect of the successful adventure of the hero is the unlocking and release again of the flow of life into the body of the world.” The interesting part is that the “body of the world” is the hero himself. “The hero as the incarnation of God is himself the world, the umbilical point through which the energies of eterinity break into time.”

What does that mean? Well, it goes back to what Po Chang, a famous Bhuddist philosopher said. “The quest for enlightenment is like riding an ox in search of an ox. We are all perfect, we just need to find the ability to recognize this.” In this sense, enlightenment is simply coming into a full understanding of yourself and your place in the world.

Symbollically, the world navel is represented by a wagonwheel, with spokes all pointing to a center point. The center point is the navel. The spokes are the opposing forces of the universe: good and bad, happy and sad, etc. In the middle there is emptiness because the forces are mitigated, not by their elimination, but in successfully bringing them together. In the middle is peace and enlightenment.

The purpose of myth–even our modern myths found in movies, religion, and, yes, comic books–is to symbollically step us through the steps required to reach that middle point. They do so with archetypes–amplified examples that better show the path–and exaggerated conflicts, so that when we have our own problems, we can think of those examples and find the proper way to overcome whatever villain or trial lies in the way.

Cool, right (well, I think so, anyway)? But why the sudden contemplation?

In a presentation last night, a friend of mine talked about the idea of enlightenment in connection with mountains. He talked about the need we as human beings have to seek out the emptiness of the world navel, and he speculated that this is the reason we climb mountains. In his presentation, he quoted George Mallory, who died climbing Mount Everist. Mallory, who became famous for saying that he wanted to climb the mountain “Because it’s there,” wrote more elloquently: “If you cannot understand that there is something in man which responds to the challenge of this mountain and goes out to meet it, that the struggle is the struggle of life itself upward and forever upward, then you won’t see why we go . . . What we get from this adventure is just sheer joy. And joy is, after all, the end of life.
My friend pointed out that there are so many distractions of this world of ours, more now than ever before. All of the constant chatter and noise surge to fill up every ounce of emptiness. The spokes of the wheel pull us in many different directions and make it almost impossible to find that stillness that we all seek, that we secretly crave, that we need.

And so I contemplate the world navel, examining my own quest for it, and wondering what the world would be like if all of us could reach it.

Last Wednesday, Joey had one of “those days” at school. It was so bad that his teacher emailed us to let us know that he’d had a particularly rough day, especially in his math cluster, where he goes for more advanced math (he’s very good at math).

When Jenna picked him up from school, she said “Joey, your teacher emailed us today,” and he immediately responded. “Oh, it was about math cluster, huh?” Jenna nodded and told him that we would talk about it later.

A few hours later, after I got home from school and from taking Miranda to ice skating (she’s becoming such an ice princess), we sent the other kids to bed and sat down with Joey to discuss the problem.

“Joey,” I said, “what happened today?”

There was a long pause as Joey glanced nervously around before blurting out “I don’t remember.”

After a grueling, hour-long session with him, trying to get him to fess up, we finally got part of the story. But as I sat there watching him, I kept thinking, this is just like me!

I remember, very vividly, sitting his his place while my parents tried to get me to admit to something I’d done wrong. I remember the thoughts and even the facial expressions. I remember my parents frustration and my own terror that they would discover what I’d done (funny that I don’t remember what it was, just the interrogation).

And then I realized that now I’m the parent!

So, today, I just want to tell my parents that I am so very, very sorry for everything I put them through.

And now I can only hope that Joey has a kid just like him. Ha ha ha! Sweet revenge.

Which America?

I am worried about this country.

I’ve read several other blogs lately that started with the exact same line but meant it in a completely different way. I guess that just goes to show how we all love this country but in different ways.

And that, quite frankly, is what is worrying me.

I don’t have any problem with everyone loving this country in their own way. In fact, just the opposite. What concerns me is the tendency to believe that one version of America is the “true” one.

This came up in the presidential campaign, when Sarah Palin called small town America the “real America,” thereby insulting the majority of the population that lives in cities. But I ask, in all seriousness, what makes one version of America more “real” or “true” than another?

Back in the ’70s, during the Watergate scandal, Captain America had a crisis of faith. In a story that intentionally paralleled the Watergate scandal, he discovered that a high-ranking government official (assumed to be the president but never stated outright) had conspired with the Secret Empire (an organization bent on world domination, in case you couldn’t guess), to put the US completely under his control. When the Cap finally caught up with him and tried to stop him, the government official (code named “Number One”), committed suicide in order to escape prosecution.

Steve Rogers – the Cap – was so distraught over the plot that he lost his faith in the country and gave up being Captain America and eventually became “Nomad: Man Without a Country” (he later returned to being Cap after realizing that the nation needed a unifying symbol).

In one issue, his friends attempt, one-by-one, to convince him to change his mine. They argued that the country needs Captain America (much in the same way that Grant Morrison argued that the world needs Batman in Comic Con last year). At the end, he finally explained his rationale.

He explained that, when he became Captain America during World War II, the country was united against a common foe. Since he was reawakened in the ’60s (he had been frozen in a block of ice at the end of WWII and was rediscovered by the Avengers years later), he had always felt like a man out of time. So much had changed. People had grown different and apart. The unity that had existed when he was first created no longer existed. Now everyone was doing their own thing.

In one of the most powerful scenes of the issue he stands with a bewildered look on his face as images of several “Americas” float over him: black, white, construction worker, business man, hippie, men, women, young, old, etc. Today you could probably add Christian, Muslim, Atheist, liberal, conservative, Hispanic, gay, straight, and too many others to name. In the panel, the Cap asks, “When people look at me, which America do they see?”

Here’s what concerns me: everyone today thinks that their version of America is the “true” or the “real” one without stopping to consider that other points of view are just as valid. What makes small town America “real” and big city America – where something like 70% of the population lives – less real?

There is a predominant myth in American history, called the Edenic (as in “The Garden of Eden”) Myth. It is the tendency to view the frontier – the wild – as real and natural while the city is false and manufactured. In this myth (please remember that in Academia, “myth” means “metaphoric story,” not “lie”), nature is closer to God, which gives it the “realnesss.” It is seen as a place of peace and tranquility. The Edenic Myth fueled the naturalist movement (Thoreau on Walden’s Pond, for example) as well as to the race for the west, where people hoped to find their own Eden, at first on the plains and then even further.

The Edenic Myth has also been credited for the invention of the superhero (see The Myth of the American Superhero by Lawrence and Jewett). When the American “Eden” was threatened by either internal or external forces, it required a hero outside the law to come in and save them before fading into obscurity (incidentally, the American superhero myth is based upon the Messianic tradition from the Bible – Moses and Jesus being the two biggest examples).

Whether we are conscious of it or not, the Edenic Myth comes through in our speech. For example, we refer to farmers and laborers (again, those in rural America), as “the salt of the earth,” hearkening back to the biblical passage: “Ye are the salt of the earth; but if the salt have lost his savour, wherewith shall it be salted?” (Matt 5:13). In other words, calling someone “the salt of the earth” is really saying that they are true believers/followers of God – they are the “good” people. The implication is that anyone who does not meet that qualification (i.e. those that live in cities) are not worthy or that they are “evil” people. The comparison seems to be “salt of the earth” vs. “scum of the earth” with little in between.

Have you ever heard a lawyer or car salesman called “the salt of the earth?” Why can’t they give as much savor as a field hand? And why can’t a farm be the “scum of the earth?”

I am not trying to make this just about rural versus urban, though that is one of the biggest and most obvious examples. I have lived in both the city and the small town out in the middle of nowhere and found there to be equal measures of positive and negative in both (I think that both have more positive than negative). But beyond the urban vs. rural debate, there are tons of versions of this country and none of them seem to be able to find any merit to other versions: conservative vs. liberals, for example. Which one is the “true” America? Which one is “real?” What makes the difference? Having studied both sides of the political divide, I can easily see both positive and negative in both liberal and conservative ideologies.

Note that I said “positive and negative,” not “good and bad” or “good and evil.” Too often we cast things in starkly moral terms. I have heard commentators from both sides of the political divide use the word “evil” to describe the other side. But is the other political side really evil? Really? Evil is a big word. It conjures to mind comic book and movie villains like Lex Luthor and Darth Vader. So we’re saying that [insert opposing political party] are just as bad as Lex Luthor and Darth Vader who mercilessly kill millions? Really?

In the now-cancelled (and, for me, sorely missed) TV show, Joan of Arcadia, which was about a girl that routinely talks with God, Joan is instructed by God to ask a particular boy to a dance. The boy is a bully with a lot of hate and anger built up inside him. He is not a nice guy – definitely not “the salt of the earth” – and frequently lashes out at others, both verbally and physically. Joan protests to God that the boy is “evil,” which leads to the following conversation:

GOD: Evil is not a word to use lightly. It’s only the darkest end of a broad spectrum.

JOAN: You mean like light?

GOD: Exactly like light. Nobody is born in total darkness. Most of you live on the gray end of the spectrum, a lie here and there, jealousy, wrath. But you only get to absolute evil by doing one thing after another ’till, eventually, you’re transformed.

JOAN: Like . . . into a monster?

GOD: A monster is a creature with no conscience. They’re extremely rare, but they do exist.

JOAN: Have you watched the news? I’m not sure they’re so rare.

GOD: Almost everyone has light somewhere. And that light is always worth fighting for.”

I think the same is true about the versions of America. They all have merit but you have to look for it. Most of the time, you don’t have to look very hard. But that merit – that light – is always worth fighting for. Even if it comes from the opposing side.

I am not saying there isn’t bad or evil out there. And I’m not saying that some points of view don’t have more merit than others. What worries me is the absolutism. “I’m right, you’re wrong. I’m good, you’re evil.”

We are dividing. We are turning into individual tribes with separate ideals, separate leaders, and separate destinies. We no longer seem to have the ability to look for the good in others. All we see is the bad. And it is that division that worries me. After all, to quote another scripture, “Every kingdom divided against itself is brought to desolation; and every city or house divided against itself shall not stand” (Matt 12:25).

Last week, in church, I gave a lesson on living in harmony with others. I asked if anyone knew what harmony was. There was a long pause before someone finally said, “singing together.” And, yes, that is true, at least to a point. Harmony is singing together, but it doesn’t mean singing the same thing. In fact, “harmony” means singing many different things at once. Dictionary.com defines it as “the simultaneous combination of tones, esp. when blended into chords pleasing to the ear.” When a choir sings in harmony, they are all singing different notes but they blend together in a way that is far more beautiful than any single note could ever be on its own.

The same can apply to life. Just because we are singing different notes doesn’t mean that others are singing wrong. And just because they are singing something different it doesn’t make us wrong either. If we can come together, with all our distinctness and diversity still intact, it can be very right and very beautiful.

To me, it is in that harmony, that we find the “real” and “true” America.


Eight years ago, I was diagnosed with a somewhat rare – about 1 in 1000 of people with eye problems have it – eye condition called “keratoconus” (literally “cornea cone”). It means that my corneas – the clear lens on the front of the eye – are thinning. As they thin, the pressure of the eye pushes them out, which forms a cone on the front of the eye. As can be expected, the cone distorts vision, mostly by causing light to flare out. Sometimes, the condition is called being “blinded by light.”

The condition is progressive. It tends to start in the late teens or early 20s (I was 23 when I first discovered it) and progresses through the 40s or 50s when it usually stops. Currently, keratoconus cannot be cured or stopped. Hard contacts can slow it down, but they can’t stop it. Laser eye surgery is not an option (in fact, it would be dangerous for me because my corneas are too thin). The only way to really fix the problem is to do a corneal transplant, where they cut out the cornea and put a different one (from a deceased donor) in its place. But that is only used for extreme cases. Most of the time, contacts work just fine.

On Wednesday, I learned that my left eye had progressed so far that it is likely beyond help from contacts – it pops the contacts right out because they high-center on the cone. That means that a corneal transplant has suddenly become very real possibility.

Since I found out, I have been going through the Stages of Grief. The stages include: denial, anger, bargaining, depression, and acceptance. They typically focus on grieving for someone that has been lost or is dying, but they can be applied to any tragic situation. Losing a job, for example, can send someone through these stages (Frasier once did an episode with this as the theme). Going through the stages can happen very quickly or it can take years.

I think I am somewhere between bargaining and depression right now. I think I skipped right over anger.

Wednesday morning, I was most definitely in denial. When the doctor told me, I was just fine. It was like hearing the most normal thing in the world. As If saying “I think that you may have to have a part of your eye cut out and part of a dead person’s eye put in its place” was as common as saying “the sun came up today.” When I called Jenna afterwards and told her about it, she gasped, and her reaction made me think “I should be more upset than this, shouldn’t I?” I wondered if something was wrong with me.

It wasn’t until I was taking Miranda home from ice skating that night (she is learning to figure skate and is amazing!) that it first started to sink in. I was explaining to Miranda what a corneal transplant was and I suddenly realized that I was talking about myself! The thought, “In order for me to see well again, someone has to die,” hit me pretty hard and really shook me.

After that, I slid into bargaining. That night and the next morning, I prayed very hard that the contacts will work (we’re going to try one more time and there is at least a sliver of hope, but even then it will only be a delay tactic, not a solution). It was odd. I’ve lived with keratoconus for several years now and I thought I had accepted the inevitable. But this has suddenly made it more real than ever before.

Last night, I went to Westminster College to be measured for my cap and gown (yay!) and stuck around to attend an awesome presentation on the Geography of Buddha by Jonathan Duncan, a fellow student of the MPC program. The measuring only took a few minutes so I got to the presentation very early. As I waited for it to begin, I slipped into depression – mild depression, but depression all the same.

I began to wonder about things I’ve never thought about before: Is there a waiting list? How long will it take? Will it be painful? Will I have to stay in the hospital? Will the world look different afterwards? Can I just ignore it like I’ve ignored contacts for the past 8 years (I have a terrible fear of putting things in my eyes)? Eyepatches are cool, aren’t they? Maybe that will work instead?

It is a weird, existential experience to think of having part of someone else physically grafted into your own body. It is so different from when they added a titanium plate and several screws to my leg. That is man-made and artificial. This will be “real.” Over the past two days, I have often thought about the donor, who I will likely never meet. I don’t know how the donor process works for corneas, but my guess is that the person is alive right now – a living, breathing human being that, whether they know it or not, is about to die. There are so many questions: Are they sick and suffering? Are they healthy? Are they a good person? Are they the scum of the earth? What kind of life have they lived? Do they have a family that will miss them? Are they anticipating death or will it come quickly? Will it be peaceful? Will it be violent?

So many questions . . .

I know I’m jumping the gun somewhat. After all, there is still a chance that contacts will still work for me. And, even if that fails, I don’t know how long the process takes or if there is a waiting list or really anything about it. I’ve been living fine without contacts for 8 years already, so maybe it won’t be a big deal for a while. But it makes you think, you know?

And in my case, it apparently makes me grieve.

I hope I reach acceptance soon.

In this post I discuss Watchmen at length. I include several spoilers for both the book and the movie. If you do not want them spoiled, you might want to skip it.

On Saturday, I went to see Watchmen. My purpose in going was research. The last chapter of Fallible and Flawed is going to be about Watchmen, the graphic novel, so it was important for me to see the movie. I’m glad I did, because they made some significant changes that speak directly to my thesis. But more on that later.

Honestly, I was expecting to dislike the movie, largely because I have never actually decided whether I like the book or not. I fully respect what Alan Moore and David Gibbons succeeded in doing with the book, but the whole thing made me feel very uncomfortable. The story is extremely dark and very violent. To top that off, it has a very low opinion of humanity and, more than anything else, that really got under my skin. So I was surprised that I actually enjoyed the film.

That being said, I don’t really recommend it. It is kind of like The Passion of the Christ. Both of them are very good movies. They are exceptionally well made and have the ability to reach their audience in profound ways. However, they are both extremely difficult to watch. The violence in Watchmen is over-the-top (it is so gut wrenching in a few places that I actually gasped), the sex and nudity are as explicit as they can be without getting an NC17 rating, and the story is a real downer. It isn’t really a fun experience.

So you may be wondering why I enjoyed it if is was so bad. I think that the only answer to that is that I knew what I was getting into and, even more than that, I knew what the story was trying to say. I have no idea what someone without any background in the novel or the philosophical debates around it would think of the movie. My guess is that they wouldn’t get it and, as a result, would hate it. But that is just a guess.

The story is a perfect example of post-modernism. It is an incredible example of deconstruction focused on what really lies beneath the mask of a superhero. Alan Moore said that he wrote the book as a statement against hero worship. He said that he couldn’t believe that anyone would trust their lives or their salvation to some of these “heroes” and he set out to show that heroes aren’t all they’re cracked up to be (incidentally, this dovetails nicely with my recent post about flawed heroes ). And so the book is an examination of what it would be like if superheroes existed in the real world.

The story, which takes place in an alternate 1980s universe where America won Vietnam and Nixon has been elected to a fifth term (he asked Dr. Manhattan to intervene in Vietnam which won the war within a week and, as a result, became so popular that he got the term limits repealed), focuses on a group of masked “heroes:” the Comedian, Dr. Manhattan, Nite Owl, the Silk Specter, Ozymandias, and Rorschach (for the uber-fans out there, yes, I do know that it is actually “Nite Owl II” and “Silk Specter II”). Of them, only Dr. Manhattan, who was created in an accident in a nuclear physics laboratory has any super powers. And, due to the Keane Act passed by Congress years earlier, only Dr. Manhattan, the Comedian, and Rorschach are still active – Dr. Manhattan and the Comedian because they are government sponsored, and Rorschach because he refuses to give up.

The heroes are amalgams of popular superheroes. Both Rorschach and Nite Owl are parts of Batman. Dr. Manhattan is a take on Superman. And the Comedian is something like Captain America in that he goes to war for the country and has the government’s backing. But the most important aspects of these characters are their problems. That is what it is all about, and to miss that is to miss the entire crux of the story.

Dr. Manhattan (the blue one) is a perfect example. After the accident, he becomes, essentially, a god. What would happen to someone who was given limitless power? Would they be able to maintain their humanity? Would they have any connection to Earth at all? As Dr. Manhattan says “In my opinion, the existence of life is a highly overrated phenomenon.” As the story progresses, he moves further and further away from humanity. Visually, this is shown by him losing more and more of his clothing until he wears nothing at all.

Rorschach, on the other hand, is mentally deranged but morally exact. He enacts retribution on the guilty in the most violent manner possible, typically ending in their death. But he is certain in his morality and never wrong. When he attacks someone, you can be sure that they are, indeed, guilty. In the same way that, when Batman takes down a criminal, you know they deserved it. The difference is Batman’s “one rule” to not kill, which Rorschach abandons after he tracks down a kidnapped child and finds that her kidnapper raped her, cut her into pieces, and fed her to his dogs. After that, there is no mercy for him, only justice.

The Comedian is, as Dr. Manhattan says, “the most amoral man” you have ever met. He believes that humanity is one big joke and relishes in retribution and anarchy. In the course of the movie he rapes two different women and, when one becomes pregnant, he murders her in cold blood. And yet, his actions are fully sanctioned by the government.

Ozymandias, the world’s strongest/smartest man, on the other hand, is a megalomaniac that only wants to make the world a better place. This is actually brought out more in the film than in the book. In the book, he is just a very successful businessman who capitalized on his alter ego. In the movie, he working with Dr. Manhattan to find clean, renewable energy. He wants to make the world a better place but is willing to pay any price for it. In this way, Ozymandias is the most like a comic book villain. He is like Lex Luthor if Luthor’s intentions were noble instead of selfish.

Nite Owl and the Silk Specter are the normal of the group, but even they have their issues. The Silk Specter has mommy issues (and daddy issues when it turns out that the Comedian, who raped her mother, is her father) and Nite Owl has adequacy issues which he compensates for with the costumes and violence.

All in all, not the nicest bunch of people. And they’re the “Watchmen,” those set up to protect humanity.

And, in the end, they do – sort of. To prevent nuclear war and the complete elimination of mankind, Ozymandias orchestrates a scheme that wipes out millions of people but unites the world against a common – albeit, imaginary – enemy. This was the one place where the movie differed dramatically from the book. In the book, the plot involved a giant squid and a supposed invasion from outer space. The movie, it involved framing Dr. Manhattan.

This change – which fans will no doubt debate for all time – was very interesting. It was definitely a statement, though an obscure one. It is almost a philosophic statement about religion in that Dr. Manhattan is set up as a god who is “up there watching them” and who punishes the wicked. It suggests that belief in God is just as risky as trusting these heroes – that mankind must look to itself for salvation. Very interesting given the political climate today.

As I said, this isn’t a fun story, and anyone who heads to the theater thinking that it is going to be just another superhero flick is going to be seriously put out. Instead, it is an examination of what makes people heroic, what makes people villainous, and what makes people human. Like the superhero stories it deconstructs, it uses archetypes – amplified examples – to prove its point. The only difference is that these archetypes are not the nice kind.

But the most fascinating part of the movie came towards the end. In the beginning, Laurie (the Silk Specter) goes to see her mother (the original Silk Specter) about the murder of the Comedian. Her mother, who had been one of the women raped by the Comedian is unable to condemn him and actually speaks affectionately of him. At the end of the movie, after discovering that the Comedian was her father, Laurie’s mother asks. “How could I condemn him when he gave me you?” Earlier, Dr. Manhattan is awed by what he calls miracles, including the fact that even someone as amoral and “evil” as the Comedian could produce someone like Laurie. Those two moments struck me as being more redemptive for humanity than the book was for me. They spoke to our ability to forgive, repent, and move past our mistakes. They speak of our ability to improve life, no matter how bad or how bleak.

So, in the end, I think I enjoyed it for what it was: an examination of humanity and heroism with all its warts and dark little secrets laid bare. It isn’t an easy film to watch, but I think that, despite its flaws, it was a worthwhile experience. Just know what you are getting into before watching it.

A few weeks ago, I was listening to the radio on my way to work. They were talking about Michael Phelps being caught smoking marijuana. Both newscasters expressed great disappointment in the Olympian and then one said something that really made me think. She said: “I wish that, just once, someone would stay on that pedestal.”

It wasn’t the first time I’d heard someone say something like that in the past few weeks. Earlier, I was talking to a co-worker about Phelps and she made a very similar comment. And even before that, people were saying the same thing about a cop here in Utah that, at great personal risk, saved a lot of people in the Trolley Sqare shooting a few years ago but is now being charged with sexual assault (he pled “No Contest” to the charges last week).

It all got me to thinking about my favorite topic – heroes – and why we are so disappointed to find out that they are human. I mean, if you think about it, just because a man can swim faster than just about anything alive doesn’t mean he is a moral or virtuous person. And just because a man risks his life to save others, doesn’t mean he is a good guy. Yet we persist in thinking of them that way and, as a result, are extremely upset when they fail to live up to our expectations.

And we don’t just do this to sports figures and cops. We also do it for religious and political leaders, teachers, friends, and just about anyone else. I can guarantee that a lot of people will be very disappointed with Obama in the same way that many people were disappinted with Bush. Both are human and, as such, aren’t capable of living up to all the expectations placed on them. It simply isn’t possible and the fall from the pedestal can be pretty far and damaging.

It makes me think of the movie White Christmas (bet that wasn’t what you expected, was it?). Specifically, I think of the scene where Bing Crosby is talking to Rosemary Clooney in the kitchen (yes, Katie, I remember the movie) and she says something to the effect that he is her white knight. He tells her to be careful who she puts up on that white horse because he’s likely to fall off. Of course, in the next scene he does just that – or at least she thinks he does – when she overhears him making what seems to be a pretty coldhearted deal with a TV star. This being Hollywood – and this being Bing – he didn’t actually do anything wrong, she just thought he did.

What is most interesting is that, by the end of the movie, despite the experience, she puts him right back up on the horse. Again, this being Hollywood, everything ends happily. But I wonder what happens after the fade out when he does something else she perceives as wrong – when he turns out to be human. The words “AAAAIIEEEEEEEE! Thump!” come to mind.

I think that the problem is that our hero tales deal with extreme examples. In programming, they would be called “edge cases” because they are at the extreme edge of possibility. They are examples of how to live, goals for life. It is important to remember that negative aspects have been stripped of those characters to better emphasize the desirable qualities (the goal of postmodernism is to peel back those layers and see the reality underneath – Watchmen is all about doing that for superheroes). The problem is that we often try to apply the same standards to our real life heroes. We tend to believe that, if someone does something heroic – even once – they must also be morally pure, when, in fact, they may be the scum of the earth.

Recently, Joss Whedon (Buffy the Vampire Slayer, Firefly, Dollhouse) released Dr. Horrible’s Sing-along Blog, an Internet TV show (of sorts). It is basically the origin story of Dr. Horrible, an “evil” genius who battles Captain Hammer, his heroic nemesis. Through the course of the show, however, you realize that Dr. Horrible isn’t that horrible and Captain Hammer isn’t that heroic. In fact, Captain Hammer is a jerk and Dr. Horrible is really a shy, introverted person who is just craving attention. They are really just human beings with varying levels of moral ambiguity. Their heroism and evil are really just products of how the media spins events rather than their actual actions.

While the show is far from realistic and extremely hilarious (if you haven’t seen it, I highly recommend it), it’s take on heroes and villains is thought-provoking. Isn’t that really why life is like? Aren’t we all a little bit of a hero and a little bit of a villain? So why does it surprise us to learn that our heroes are the same?

In the conclusion of Heroes & Villains, Mike Alsford makes a very valid point. He says that it is important to remember that, no matter how much we strive for heroism and villainy, it is important to remember that we don’t have to be heroic or villainous all the time. And while it is good to shoot for the moral surety of Superman, it is important to remember that we aren’t Superman or Wonder Woman.

We are just human.

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