transcendence – eyebeleave

Ravasi: Borges’ agnostic Christology

CHRIST EN CROIX CHAGALL

1691 words, 8 min read

I have just come across a great talk by Cardinal Gianfranco Ravasi on Jorge Luis Borges, given in Cordoba, Argentina last October in the context of the Courtyard of the Gentiles and his receiving an honorary doctorate from the Universidad Católica de Córdoba there. Ravasi gives some beautiful examples from Borges’ poetry that illustrate his approach to Scripture and Christ and where Ravasi underlines the richness of his understanding and the depth of his sincerity, which come from what Pope Francis speaks about as “periphery”. Note that the following is my translated transcript of the talk and that a more extensive version of it can be found here in Spanish.

To Borges, boundaries are always moveable and subtle. There is never an iron curtain between truth and fiction, between waking and dreaming, between reality and imagination, between rationality and feelings, between the essential and consequences, between concrete and abstract, between theology and fantasy literature, between Anglo-Saxon conjecture and Baroque emphasis.

Among his readings, an undisputed primacy was given to the Bible, as he had confessed: “I must remember my grandmother who knew the Bible off by heart, so I could enter literature along the way the Holy Spirit.” His paternal grandmother was in effect English and practicing Anglican and it was her who introduced the little Jorge Luis to the Scriptures and to the exalted English language. During a talk given at Harvard, dedicated to the art of storytelling, Borges, extolling the epic poem as the oldest form of poetry, lead to a triptych of masterpieces for humanity: “The Iliad, The Odyssey and a third ‘poem’ that stands out above the others: the four Gospels … The three stories of Troy, Odysseus and Jesus have been sufficient for humanity … Even though, in the case of the Gospels, there is a difference: I think that the story of Christ can not be told better.”

Let us now leave behind this specific topic of the literary and existential panorama of Borges to focus on a narrower scope that is particularly rich, so much so that here has exercised a small legion of scholars. Here we will deal with the aforementioned passion of the author for the Bible and we will do so through two examples.

The first is the story of Cain and Abel (Genesis 4:1-16) that had a poetic evocation in a short composition “The Unending Rose” entitled, as Borges often liked to do by revisiting Bible passages, “Genesis IV, 8”:

“In the first desert it was.
Two arms cast a great stone.
No cry. Blood.
For the first time death.
Was I Abel or Cain?”

Next to it we must, however, place the broadest reading of this Biblical scene in “In praise of Darkness” where the two brothers meet again after the death of Abel in an atmosphere of the eschatological court, even though the scene is set in the desert and the origins of the world. They sit, light a fire, while the day comes to an end and the stars, as yet unnamed, light up in the sky.

“By the light of the flame, Cain noticed the mark of a stone indented in Abel’s forehead and the bread he had raised to his lips fell before he could eat it and he asked whether his crime had been forgiven.

Abel answered:

“Did you kill me or did I kill you? I already cannot remember, and here we are, together like before.”

“Now, you must have forgiven me,” Cain said, “because to forget is to forgive. I will, too, try to forget.”

Abel replied softly:

“That’s right. While the remorse lasts, so does the guilt.””

Some have seen in this text a relativist moral conception by which an imperceptible transition is performed between good and evil, true and false, virtue and vice. Actually here we instead witness a process of transformation or alteration that we have indicated above and that Borges performs to show the infinite potentialities of an archetypal text. The same text allows continual re-transcriptions and in this case the aim is a paradigmatic celebration of forgiveness that makes the crime vanish completely: revenge is erased by forgetting and through it, the blame of the other becomes dissolved. What certainly remains always active is the fluidity of historical human reality and, therefore, of ethics that, in vain – in the eyes of Borges – also the “inspired” word tries to compress into defined and definitive certainties.

The second example is linked to the figure of Christ as Borges proposes in some of his many texts dedicated to this fundamental figure of Christianity.

“The black beard hangs down heavy over his chest.
His face is not the face from the engravings.
It’s harsh and Jewish. I do not see him
And will keep questing for him till the final
Day of my steps falling upon this earth.”

It was already in the twilight of his existence when Borges writes these verses of “Christ on the Cross”, dating them Kyoto 1984. They are verses of high spiritual tension, that all quote when they want to define Borges’ relationship with Christ, a hoped for encounter, but one that hasn’t occurred fully, bearing in mind that we don’t know his “last steps on earth”. Maria Lucrecia Romera wrote that “Borges confronts the tragic Christ of the Cross … and not the [theological] doctrine of the Resurrection .. His is not the optics of the believer’s faith, but that of the restlessness of the agnostic poet”. However, one needs to add immediately that the general observation made by the French writer Pierre Reverdy in his “En vrac” applies to certain of Borges’ verses: “There are fiercely harsh atheists who are much more interested in God than some frivolous and light believers”. Borges absolutely didn’t have “the fierce harshness” of an atheist, but his was certainly a more intense search than that of many pale and colorless believers. His restlessness was profound, hidden under the bark of a rhythmic dictation and streaked with disinterest, and even irony.

This is the intuition of Borges: the face of Christ is to be sought in the mirrors that reflect human faces. On the other hand, it was Jesus himself who said that everything done “to one of his least brothers”: hungry, thirsty, strangers, naked, sick and imprisoned, is done to him (Matthew 25:31-46). Behind the, often deformed, contours of human faces hides therefore the image of Christ and in this regard, the writer refers to St. Paul for whom “God is all in all” (1 Corinthians 15:28) . It is here, then, that we find Borges’s invitation to follow him in this human quest for Christ in the faces of men:

“We have lost those features,
just as a magic number made up of ordinary figures can be lost;
just as an image in a kaleidoscope is lost for ever. We may come across the features
and not know them. The profile of a Jew on an underground train
may be that of Christ; the hands that give us our
change over a counter may echo those that some soldiers
once nailed to the cross.
Perhaps some feature
of the crucified face lurks in every mirror; perhaps the face
died and was erased so that God could be everyone.”
[Paradise, XXXI: 108]

Now, on the basis of Borgesian Christology, we undoubtedly find the humanity of Jesus of Nazareth who is born, dies, even proclaims himself Son of God, and, therefore, assigns himself a transcendent quality. The writer does not ignore this interweaving of divine and human, of absolute and contingent, of eternal and time, of infinity and the limit and, even while witnessing the side of humanity, does not hesitate to interpret Christ’s consciousness in a poem of extraordinary power, as is that of the original Gospel matrix that generates it.

Here the title is, certainly, more explicit still: “John I, 14” (in “In praise of Darkness”). The verse is cut from the that literary and theological masterpiece that is the anthem-prologue of the Fourth Gospel: “The Lógos (Word) became sarx (flesh) and made his dwelling among us.” A verse that is a counterpoint to the solemn opening words of the hymn: “In the beginning was the Lógos, and the Lógos was with God, and the Lógos was God.” (1:1). Let us consider how John’s Lógos intrigued Goethe so much that in Faust he proposes a range of meanings to express its profound semantics: the Word is, certainly, Wort, word, but also Sinn, meaning, Kraft, power, and Tat, act, in line with the value of the parallel Hebrew word dabar, which means word and act/event. Let us read a few sentences from this surprising “autobiography” of the Word that is eternal (“Is, Was, Is to Come”), but is also “time in succession.”

“I who am the Was, the Is, and the Is to Come
again condescend to the written word
which is time in succession and no more than an emblem. …
I lived under a spell, imprisoned in a body,
in the humbleness of a soul. …
I knew wakefulness, sleep, and dreams,
ignorance, the flesh,
reason’s roundabout labyrinths,
the friendship of men,
the blind devotion of dogs.
I was loved, understood, praised, and hung from a cross.”

***

During the round-table discussion after his talk, Cardinal Ravasi then made a very significant gesture of appreciation towards Borges:

“Borges could be the best patron of the Courtyard of the Gentiles. Because he is not only in the courtyard of the gentiles, and he is not only in the courtyard of the believers. He was, instead, on top of that wall that divided the two spaces. That wall allowed for a good view both from one side and from the other. And Borges is a bit of a believer, in his own way as he said, and also a gentile. And it is because of this that the Courtyard of the Gentiles that takes place here in Córdoba or in Buenos Aires, in his hame, is the best Courtyard of the Gentiles.”

The patron [saint] of the Catholic Church’s dialogue with non-believers is an agnostic!

God is dead

Today the Church remembers that Jesus – fully man and fully God – was dead for over 24 hours – from Friday afternoon until the early hours of Sunday (Sunday, which in the Jewish week starts at sundown on Saturday). Just like Good Friday is an opportunity to remember his suffering and self-sacrifice, and Easter Sunday is a celebration of his resurrection, so today – Holy Saturday – is a day for remembering his death. The death of God.

I have always found the Easter Triduum a very special moment, since it is set up for a contemplation of Jesus’ death and resurrection in real time. The services are timed to coincide with the times recorded in the Gospels, which allows for a meditation on the Easter events at the pace at which they happened. They give a sense of scale.

This morning, when I went to pick up my son from the altar servers’ rehearsal for the evening’s vigil, I arrived early at the church and went straight to the side chapel where the tabernacle is located. As soon as I entered, I was reminded that today was an exceptional day, since the tabernacle, where the Eucharist is usually kept, was open and empty. Like the hospital room of a recently deceased patient. An absence with a very clear and strong message.

As I sat down, I realized that I won’t be spending time in Jesus’ presence and I quickly decided not to pretend otherwise and pray as if everything was normal. The emptiness of the tabernacle had to be taken seriously and responded to sincerely and honestly.

God is dead.

What must it feel like to believe that? To believe that there is no God, that there is no beloved in and beyond everything. Instead of paralysis, my thoughts turned to my close friends who are agnostics or atheists – the pull of transcendence was too strong. To be fully myself, I had to go beyond myself (to paraphrase Pope Francis’ Evangelii Gaudium, §8) even as I tried to stop short of rushing to God. A great conversation with my überbestie JMGR – in the midst of a buzzing conference – then came to mind, when I asked him about whether transcendence meant anything to him as an agnostic (as I was thinking about Kenan Malik’s article). Together we arrived at a definition in the absence of religious belief – that “my transcendence is another’s immanence.” Thinking more about it now, I see that this definition works also for a Christian – only an “other” becomes the “Other.”

As I thought of my atheist or agnostic friends, I felt a particular closeness to them and a joy even as I attempted the impossible – to imagine what it is to be like someone else. This joy of closeness, reminded me of Pope Francis declaring closeness to be Jesus’ own method of spreading his message (EG §269). Feeling pulled to return to a direct conversation with Jesus and away from my trying to contemplate his death, I made another attempt by trying to experience the physicality of the chapel as if it were a Serra. Since it wasn’t, that was a bit of an effort :), but the morning light that filled the simple space and the perspective that the rows of chairs emphasized, nonetheless gave me joy too. The joy of being, of relating, of seeing, of experiencing. Again, I couldn’t help but delight in God’s creation and feel his sustaining presence.

Even though my attempts at imagining the death of God ultimately failed, I was grateful for the opportunity that Holy Saturday gave me. An opportunity to think of my friends, to feel the wonder of being and to have the focus directed to a world where God’s presence is absent, but where there is friendship, goodness and beauty.

Paraphrasing Giles Fraser’s great Guardian article from this morning, I can say that I am about 1/365th atheist. And with that, it’s off to the Easter vigil.

Humanist transcendence in religious art

A couple of weeks ago I read an excellent article in the Guardian, by the philosopher and Distinguished Supporter of the British Humanist Association, Kenan Malik. While it is an article that clearly positions religion as deprecated, inferior and outmoded (sentiments I certainly don’t share), it nonetheless makes some very positive moves.

Malik starts out by recognizing a piece of Christian writing as “wonderful, luminous,” able to “discover the poetic even in the most mundane,” and proceeds to argue that the awe that inspires religious artists and the spiritual force that drives them to create are “a celebration of our ability to find the poetic and the transcendent,” which is “something very human.” It is this attitude of recognizing value in the work of another, whose beliefs the author of the article does not share and even opposes, that made me like Malik’s approach from the start.

Having established an openness towards religious art, Malik asks whether “non-believers can truly comprehend the meaning of religiously inspired art.” The answer he provides not only addresses this interesting question, but serves as a basis for even broader dialogue between religion and atheism:

“[W]e can think about the sacred in art [… n]ot so much as an expression of the divine but, paradoxically perhaps, more an exploration of what it means to be human; what it is to be human not in the here and now, not in our immediacy, nor merely in our physicality, but in a more transcendental sense. It is a sense that is often difficult to capture in a purely propositional form, but one that we seek to grasp through art or music or poetry. Transcendence does not, however, necessarily have to be understood in a religious fashion, solely in relation to some concept of the divine. It is rather a recognition that our humanness is invested not simply in our existence as individuals or as physical beings but also in our collective existence as social beings and in our ability, as social beings, to rise above our individual physical selves and to see ourselves as part of a larger project […].”

Malik then proceeds to sketch out a brief history of transcendence in philosophy and art, noting its roots in religious belief and proceeding to present attempts made to transplant it into humanist soil in the 15th century, e.g., by Dante Alighieri in his Divine Comedy and by Dirk Bouts, whose “The Entombment” (shown next) Malik analyzes to great effect, arguing that it is an example of a “changing conception of the sacred” that reveals a “humanising impulse.”

Malik is quick though to point out a “growing suspicion of the very idea of transcendence” in the post-Enlightenment period when “the very rootedness of the idea of transcendence in religious belief made it an uncomfortable concept.” These were accompanied by a gradual ebbing away of the “optimism about human capacities that had originally suffused the humanist impulse,” leading – through the horrors of 20th century history – to a “darkening perceptions of humans.” At the same time, that century also witnessed a “revolution in the way that artists were able to conceive of the human.” Here Malik points to “Olivier Messiaen’s Quartet for the End of Time to Mark Rothko’s paintings, from Barbara Hepworth’s figures to Pablo Neruda’s odes” as “astonishing works of art,” but proceeds to declare that “[i]t makes little sense to call such works of art “sacred”.”

What is curious though is that Malik next quotes Mark Rothko as saying: “The people who weep before my pictures are having the same religious experience as I had when I painted them,” but decides to consider Rhothko’s being religious merely a being “religious”:

“What Rothko calls “religious experience” is not what would traditionally be seen as such. It is rather an attempt to grasp the meaning of our humanness not in its immediacy, nor merely in its physicality, but, to borrow a religious term, in a more apophatic sense.”

If anything, saying that something is apophatic is to align it with the most traditional and deep-seated of religious intuitions about God’s otherness, put particularly starkly by Blessed Duns Scotus: “We do not know what God is. God Himself does not know what He is because He is not anything. Literally God is not, because He transcends being.” or by St. Cyril of Alexandria: “For we explain not what God is but candidly confess that we have not exact knowledge concerning Him. For in what concerns God to confess our ignorance is the best knowledge.” To Christians, God is – to borrow Malik’s words from a different context – “difficult to capture in a purely propositional form.” And this is not just the opinion of fringe elements or of eccentrics from a distant past – it is clearly stated in the Catholic Church’s current Catechism: “God transcends all creatures. We must therefore continually purify our language of everything in it that is limited, image-bound or imperfect, if we are not to confuse our image of God — “the inexpressible, the incomprehensible, the invisible, the ungraspable” — with our human representations. Our human words always fall short of the mystery of God.” (§42). If that’s not apophatic, then I don’t know what is …

The above is not an attempt at an “aha!” or a “gotcha” though – instead it is meant just to suggest that what Malik sees as an areligious or a meta-religious transcendence – a “break[ing of] the shackles of the sacred while maintaining the sense of the transcendent”, in fact has the hallmarks of what I would wholeheartedly label as religious.

What I’d like to take away from Malik’s thought is a very positive point though, which is that the transcendence understood very differently by Malik and myself nonetheless seems like the one transcendence to me that we both appreciate and relate to. In spite of Malik’s efforts to distance contemporary expressions of transcendence in art from any and all religious associations, that exact same art is to me deeply religious and connects to the scared when I view, hear or read it.

Ultimately Malik’s moves can also be seen as a mirror to Pope Benedict XVI’s quoting Simone Weil saying that “all art of the first order is, by its nature, religious.” I have to say I like this picture: atheists claiming religious art is not really religious but humanist, and religious people claiming that secular art is religious after all. To my mind these are both profound compliments and a source of joy :).