I Am A Mormon

Over the past few weeks it has become more and more apparent to me that, in a very real sense that will never go away, I am still a Mormon.

It’s been more than a decade since my de facto exodus from the Church of Jesus Christ of Latter-day Saints, and nine years since I formally resigned my membership. I am not likely to become a member ever again, and I disavow many of the church’s truth claims. I never, ever wonder if I made the wrong choice, or if the Church is Really Actually True After All.

But as I continue to struggle to find my way spiritually through the world, and to navigate my relationship with God (and it’s a big struggle, and one I hope to talk more about in the coming few days), I have realized that one of the many issues I have to work through, spiritually speaking, is how to integrate all of my pieces.

The reality for me is that, as attracted as I am to unidirectional zeal, I am never just going to be One Thing. I’m never going to be a Methodist, and nothing but a Methodist, through and through. (I mean, I don’t think I’m ever going to be a Methodist at all, but that’s just an example). Every time I try to be just one thing, I wind up only able to hold it together for a little while and then I disintegrate again. Because it’s always a lie. The truth is that, spiritually speaking, I contain multitudes.

I have a lot of pieces and I have to figure out how to integrate them.

Some of my pieces are bigger than others, and one of the biggest pieces is that I am a Mormon, regardless of my membership status in an organization or my belief in a given set of truth claims. I am still, in a real and deep sense, a Mormon. I was raised in a devout Mormon family, I went to primary, I was baptized and confirmed at age eight, I was ordained to the Aaronic Priesthood at age twelve, became a deacon, teacher and then priest, I was active as a youth, I passed and blessed the sacrament every week for years, I graduated from Seminary, I received a Patriarchal Blessing, I was ordained an elder in the Melchizedek Priesthood, I made covenants in the temple, I served a full-time mission for two years, I returned with honor, I went to Institute, I met a girl and married her in the temple, I read the Book of Mormon fifteen times in two different languages, I prayed, fasted, and sought the guidance of the Holy Ghost, I spoke in Sacrament Meeting, I taught Sunday School, I served as Ward Mission Leader, I blessed my firstborn child in front of the congregation. I can walk away from that in the sense of formal disaffiliation from an organization, and my beliefs can evolve over the years, but come on. How am I going to say that all of that didn’t form and shape who I am as a person? Of course it did. To claim otherwise would be absurd.

My ancestors crossed the goddamn plains. How am I going to say that I am not Mormon?

When I talk about integrating my pieces, I am not talking about combining religions into some sort of weird syncretism, so much as I am just talking about figuring out a way to hold those pieces loosely together and not neglecting them completely. Because I am all of these pieces and if I just pretend I am not, then I think I will never be satisfied and never know God the way God knows me, becaue God knows me in all of my multitudes.

Of course, this also means, on some level, dealing with the fact that I will never be a full-insider in any religious community. And that makes me sad, because it’s something I want, but it’s also something that I wind up never really wanting, because the shoe never really fits right.

And I worry that it means that real spiritual depth might be elusive. I have an intuition that commitment to a spiritual direction is the key to truly diving deep. I hope that’s not the case, but I am afraid it is, because I want spiritual depth, but I just can’t pursue it at the cost of neglecting who I am spiritually. (Like, I literally can’t–I have tried and I always fail.)

So then, what does being a Mormon mean to me? Because, like I said above, it certainly doesn’t mean re-affiliating with the Salt Lake City church. Mostly, I don’t know what it means in terms of the big picture. I don’t really know what it means to hold all of my pieces together, even loosely, and still try to find and know and experience God in the middle of that. And I don’t know what it means in terms of navigating Sunday mornings, which are always complicated for me, no matter what I do. But I do know a few things that it means:

-It means I’m allowed to listen to “Come, Come Ye Saints” and still get choked up about it. And I can claim it as mine.

-It means I’m allowed to find this crazy nineteenth century prairie vision of Zion incredibly compelling. And I can claim it as mine.

-It means I’m allowed to still believe that families can be together forever (whether or not that has anything to do with what a bunch of octogenarian men say about The Temple), on a gut, visceral level. And I can claim that as mine.

-It means I’m allowed to find the Book of Mormon’s imagery and symbols compelling and meaningful. And I can claim them as mine.

-It means I can believe in Heavenly Mother. And I can claim her as mine.

-It means I can identify with and align myself with the people on the fringes of Mormonism (in and out). There are some pretty great people out there doing some pretty great un-correlated things. And I can claim them as mine.

I am a Mormon. I have always been a Mormon. I will always be a Mormon. It’s time that I made peace with that.

Postscript: I guess it’s interesting that I am thinking through this right at the time when the Salt Lake City Church, under Russell M. Nelson’s leadership, is distancing itself from the name “Mormon.” As silly as I think that is, I think it is infinitely preferable to the SLC Church trying to claim the term for itself alone and zealously police it’s use. Mormonism is a lot bigger than one organization.

Second postscript: My good friend Katie wrote a great post recently on similar themes, except hers is way more poetic, generous and Christlike and way less navel-gazing than mine.

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The Vague and Boring Year-Long Story of How I Inexplicably (and Apparently Suddenly) Became a Christian

Sometime in mid-2012, I turned to Jesus.

There wasn’t a day when I had a big spiritual experience, or made a conscious decision. So maybe some people will say I’m not really converted or not really born again. Maybe they’re right; I get nervous about it sometimes. But I do know that on January 1 of 2012 I still identified as a pagan, but on December 31 of 2012, I was a committed little-o orthodox Christian.

I hadn’t been much of a pagan in awhile, to tell you the truth. I was not particularly pious by then. I had pretty much totally stopped making offerings or praying or singing hymns to the gods at all. My paganism had sputtered out into just thinking pagany thoughts every now and then and reading pagan blogs. I was more into the Civil War, Southern literature and country music than I was into the theoi. And I tried to hold it all together into some sort of broad paganism that could include all of that stuff, but it didn’t ever really seem to fit right (Stonewall Jackson was a Presbyterian who talked about Providence all the time, Flannery O’Connor was deeply Catholic and it intensely informed all of her work, and Jesus is all over country music), and it was increasingly evident that the paganism was slipping away.

I also started getting more interested in pagany things that leaned a bit back Christianward. Tarot. Arthurian stuff. In fact, that was one of the first tipping points, really. I read Keith Baines’s rendition of Malory’s Le Morte D’Arthur in the spring of 2012, grail quest and all, and it moved things in my heart. I was back to thinking about Druidry and Vedanta a bit (again, trying to hold it all together). I read Gareth Knight and underlined all the references to Jesus and the Trinity (there are a lot). I started looking into the Gnostic gospels. I picked up some books about esoteric Christianity. And within a really short amount of time, I was earnestly reading the Gospel of John and then the rest of the actual Bible.

At the same time, my kids were getting older and getting literate. My oldest (then six) was starting to get interested in the Bible and Bible stories. We always had tried to be multireligious (my paganism, my wife’s Christianity), but it was plain that the kids liked Jesus best.

Flashing back for a minute–the day I knew I was going to marry my wife was the day I came back from Chattacon with my buddy James and we went straight to a Young Single Adult broadcast at church. I looked around for a place to sit, and I sat down by my friend Daniel. But then, a few rows up, I saw Katyjane, sitting by herself. So I hopped back up and went up to sit next to her. And when I sat down, it felt so insanely right. I was in trouble. I knew I wanted to sit next to her in church for the rest of my life.

So going to church with my wife, and now with my kids, was important to me. Even if I was a pagan. But we hadn’t been going to church regularly since we moved to Chicago, and I kind of wanted to start again. Especially since my kids were showing interest (and pWning me with the Bible, which is a story I’ll tell in another post). So my mind was inclined in that direction.

As I said above, I was also listening to a lot of country music (I still am), and that also meant basically relentless exposure to Jesus. I could not help but think about Jesus Christ because the music I listened to mentioned him over and over again and it moved me. It was troubling, uncomfortable, and kind of exciting.

But again, there was no moment of clarity. No road to Damascus (unless the whole year was my road to Damascus). I mentally made peace with some sort of Green, liberal, vaguely Hinduish pagany kind of Christianity, but that was clearly just a threshold to walk through, since I spent basically zero time grappling with that. Instead I was just on a straight trajectory to orthodoxy. I picked C.S. Lewis back up and read Miracles, and was blown away by how much I had just glossed over things like the Incarnation when I was first grappling with Christianity as a post-Mormon.

That’s important: I left Mormonism mostly because I had an increasing sense that Mormonism and Biblical Christianity were not the same thing. But I really struggled with Christianity in the years after that because my notion of what Christianity is was really limited to the teachings of Jesus and the Atonement. I think I had an acceptable handle on those, but I understood them in such a radically different context that I just could not make the direct transition, and I didn’t realize the pieces I was missing. even when I read about them I just kind of glossed over them as secondary. No wonder I struggled.

But this time, coming to Christianity with fresh eyes after a couple of years of pagan detoxification, it was all just totally new, and totally amazing. I just found myself hungering for the Bible and for Jesus and the more I consumed, the hungrier I got. I still feel that way. Reading the Bible just makes me want to read the Bible more.

So Jesus just sort of gradually sucked me in.

By the end of the year, we had moved to Baltimore (that was unrelated, but not irrelavent), I was reading the Bible and praying every day for the first time in years, I was devouring N.T. Wright’s New Testament for Everyone, and I believed in Jesus Christ, my prophet, priest and king and my only savior. And then I spent 2013 continuing to grow. We were baptized. We joined a church. I kept reading the Bible. I prayed more. I put my trust in Jesus. I even read Augustine!

I have to eat a lot of crow to write this, and of of the reasons I have held off on spelling it all out is fear of being called out for wishy-washiness. “Oh, Kullervo’s found a different religion again. Must be a day that ends in -y.” I don’t have an answer for that either, other than to swear that this time it’s different. But of course I can say that all day. I can say that through all my pagan years, I always had a sneaking suspicion that I would eventually come back to Christianity, that like C.S. Lewis I had to learn to be a good pagan before I could learn to be a Christian, but I realize that’s easy to say and hard to believe. Maybe it doesn’t matter because it’s ultimately between me and Jesus anyway.

But I wanted to finally write it all out, mostly so that I can refer back to it in some other posts I want to write and not have to give a lot of background every time.

So there you have it. There’s a lot of different ways to look at that I guess. Country music and the Bible turned me to Jesus. A good Christian woman turned my heart to God. The Holy Grail and the blood of the Lamb called me straight from heaven itself. I finally dropped the pretense of exploring spirituality unbounded and settled down like I was always going to do anyway. However you want to look at it, that’s how it happened.

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Sometimes I Wish I Was a Preacher Instead of a Lawyer

I like being a lawyer, but lots of times I wish I was a preacher instead. Not a theologian or a religious academic, but a preacher. I’d run off to the mountains and preach Jesus Christ crucified and the Word of God with fire and forgiveness.

Don’t you know it.

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Best of Byzantium

I have been thinking about that widget over on the sidebar that shows my most popular posts. The problem with it is that it’s based on what people have been looking at over the last 24-48 hours, which means it is representative really of what google searches bring people here, and not what my best writing is. So I think I am going to add a new widget that indexes what I think are my best pieces of writing.

I’ll put it up later today, but for now, here’s my tentative tracklist for the “Best of Byzantium” album.

Postmormon Sexual Ethics
Shout at The Devil: Satan, Heavy Metal, and the Great God Pan
Say A Prayer For Lefty, Too
One Way Or Another: The Bacchae
Why It Matters Whether Mormons Are Christian
Eating Is Sacred
My Own Goddess
Aura Salve

Any of my readers think there’s any really good posts I have overlooked?

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Twelve Strangs

My 12-string guitar came i the mail yesterday, an Epiphone DR-212 that looks like this:

And I love it.

This makes three guitars in the house, all Epiphones (in addition to the new 12-strang, I have a cherry sunburst Les Paul Special II and my wife has an acoustic, but I can’t remember the model).

It came with shitty strings that won’t hold a tune for long, so I’ll have to replace those of course. But when it is tuned up and I play it, it sounds like delicious, musical rain. I took it to my guitar class at the Old Town School of Folk Music last night, and had a ton of fun passing it around the class to give everyone a chance to strum on it.

12-String guitars have sets of strings in courses, like a mandolin. The higher sets are both tuned to the same note, and the lower sets are tuned an octave apart from each other, so it has this full, chorus sound. A lot of amazing songs have 12-string guitars in them, but here’s one where the instrument is prominent, so you can tell what it sounds like:

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This Time, This Time

So, quick caveat: this song has nothing to do with my tenth wedding anniversary yesterday. Just putting that out there.

It has everything to do with me having a shitty day at work and feeling tense and taut like a wire. My first year here at the Firm was pretty rough: I was absolutely miserable and stressed constantly, to the point where I was sick all the time. Things have gotten better, but sometimes a day is nothing but a series of minor disasters and it feels like my first year again.

A lot of things got me through that first year when it was rough every day. My amazing wife. My wicked cool kids. Counting down the days until I could quit my job and not owe money to the Firm. Stuff like that. One of those things was Waylon Jennings.

I discovered Ol’ Hoss last summer when I got in a mood to throw more country music into the mix instead of just all metal all the time. I was starting to read western novels, and I was starting to get homesick for the South, and both of those deserve a country soundtrack. But I don’t really like suburban pop-country (I’m talking to you, Keith Urban), so I set about discovering all the old outlaw country legends, and Waylon Jennings jumped out at me like few things ever have.

You know how sometimes you hear a song and immediately, right from the first listen, you know it just knocked about three other songs from your top ten to just make room for it? That’s how it was with “This Time.” I first heard it on the bus on the way to work in the middle of one of the worst times of last year–I had an absolutely disastrous year-end review that I had been mortally dreading for months, and I was insanely busy right around a holiday when I had made plans to spend time with family. But this song came on my headphones and it changed my life.

So here it is, because today’s the kind of day when I need this kind of song.

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Townes In My Head

We’ve been playing some Townes Van Zandt songs in my Thursday night guitar class at the Old Town School of Folk Music: first “No Place To Fall,” which is just a gorgeous song in 3/4 time and fun to play with the ol’ capo on the second fret. Listen to it here (played by Townes, not played by me; I’m not nearly good enough to impose myself on you yet):

My guitar teacher also brought in “Pancho and Lefty” for us to play, which made my day. I have previously expressed my massive appreciation for that song.

So anyway, I have those two songs in my head now. And I’ve been practicing them. Seriously, if you have never listened hard to Townes Van Zandt, you are missing out like you have no idea.

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Shout at The Devil: Satan, Heavy Metal, and the Great God Pan

He’s the wolf screaming lonely in the night;
He’s the blood stain on the stage.
He’s the tear in your eye being tempted by his lies,
He’s the knife in your back; he’s rage!

You want to experience the Horned God right now? Go and grab a copy of Mötley Crüe’s Shout at the Devil and put it on the record player. Turn it up. Listen to it. Feel it. Get into it. There he is—lurking under the surface of the music, ready to burst out at any minute with a raging hard-on and an urge to do violence. This is the music your parents were afraid you would listen to, and for good reason. This is Pan’s music, and Pan is everything they were afraid of.

Rock music has a long tradition of flirting with the Devil, but with a few notable exceptions, these musicians don’t worship the actual Devil of Christianity. The Devil of rock and roll is not really anything like the Satan found in the Bible or in modern Christian theology. Some Christians might be bothered both by the content and the imagery of rock and metal, but not actually because they accurately represent the Christian Satan in a theological sense. The Christian Satan is a fallen angel who is miserable because he is separated from God, and as a result, he wants to make humanity as miserable as he is by tempting them to sin against God and thereby separate themselves as he is separated. That same motivation is often ascribed to the Devil of rock and roll, but it is falsely ascribed. It is a reaction, a fear-motivated impulse that rock and roll deliberately provokes because it pushes people’s boundaries and forces them to confront everything that rock and roll and its Devil stand for. But under the surface, it has nothing to do with Christianity’s Satan.

The Devil of rock and roll is a different Devil: he is instead the Devil of the occultists, the magicians, and the romantic poets. And whether the Christian Devil was in fact deliberately distorted in the Middle Ages to look and act like a pagan horned god or whether that idea is a modern conceit, the romantic occult Devil, who came much later, was most definitely and intentionally modeled on the pagan Horned God. This intoxicating devil inspired the poets and magicians who inspired the musicians of the twentieth century. It’s no accident that the first real heavy metal album, Black Sabbath’s self-titled record, is completely and totally immersed in the imagery of Satan. This Devil was a god of libido, of power, of freedom, a god of fear and lust, a god of the revel, of nature, of the night, a god of secrets and rage, a god who stands as a guardian of or even a living embodiment of the inexhaustible wellspring of the universe’s raw, primal, and sublime essence. His worship ran counter to the Church and its theology, but not because he was a part of the Church or its theology. He was a Devil, but he was not Christianity’s Devil: he was in fact Pan. Pan, the horned god of the Greek shepherds, whose music inspired fear and panic and sexual lust, Pan the god of the wild places and the lonely, magic, dangerous corners of the earth, the Great God Pan. When the romantics and occultists looked to the gods of the ancient pagans, Pan stood out from all of them because he represented a direct, divine connection to that raw stuff of the universe that the Church of the Middle Ages did its best to monopolize, control, and intermediate. Pan stood out and invited the occultists to come and feel his power directly, through ritual but most importantly through the revel. And heavy metal gives us both, in spades. Heavy metal gives us the real Devil, the Devil that human beings hunger and thirst for.

He’ll be the love in your eyes, he’ll be the blood between your thighs
And then have you cry for more!
He’ll put strength to the test, he’ll put the thrill back in bed,
Sure you’ve heard it all before.
He’ll be the risk in the kiss, might be anger on your lips,
Might run scared for the door…

People fear Pan because Pan cannot be controlled. Pan is wild; Pan is free. Pan is unpredictable and the unpredictable makes us uncomfortable. It doesn’t fit in our neat categories; it doesn’t follow our made-up rules.

By invoking his imagery and creating music that is a perfect channel for his divinity, heavy metal has served him and worshipped him more purely than perhaps any other modern human endeavor. Heavy metal stands as a dangerous and powerful testament that despite Plutarch’s report and the wishful thinking of Milton and Browning, Pan is not dead at all. Like nature itself, and like his sometime father Dionysus, Pan can never die. Pan returns and demands that we deal with him. Pan has a hold on all of us, whether we like it or not: we are all dark and dangerous, we all have the urge to create and destroy, we are all animals playing at being human. And when we hear a song like “Shout At The Devil” we can’t help but feel who we really are.

But in the seasons of wither we’ll stand and deliver—
Be strong and laugh and
Shout! Shout! Shout!
Shout at the Devil!

Feel the swagger, the sexuality, the aggression in the music. Feel it in your body, as your body answers. That is Pan. Pan’s music is rough and savage, but no less powerful and intricate than Apollo’s hymns. Apollo calms us, but Pan arouses us. Pan shows us a side of humanity that is frightening but real, and even essential. It’s not evil—it’s who we are. Modern pagans shy away from talking about the Devil because they are afraid of being misunderstood or maligned. And maybe that’s fair, but I think it’s a mistake. Pan is the Devil, and that’s a good thing. He is the Devil in the best way possible, and I say embrace that. Put the record on. Turn it up. Throw up his sign. You know how it’s done.

Listen to it! Listen, and shout at the Devil!

(Article originally published in Hoofprints in the Wildwood: A Devotional Anthology for the Horned Lord; song lyrics from Mötley Crüe’s song, “Shout at the Devil” written by Nikki Sixx)

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A Good Song

Allison Moorer, “A Soft Place To Fall.”

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Say A Prayer For Lefty, Too

Before you dismiss this post as just being about music and not spirituality (again), hang with me for a few minutes, because I’ll get there. “Pancho and Lefty” is a song written by Townes Van Zandt, one of the greatest songwriters who ever lived, and like Jim Morrison, one of the tradition of young musicians who bit into something too intense somehow, too young, something too big for them to handle, and it raged through them, used them up, and left them dead too soon. If you haven’t listened to Townes Van Zandt much, shame on you.

This song is the kind of song that worms its way into your head and just gets more interesting the more you think about it. The lyrics have a gloss of conventionality, but it’s a trick–Van Zandt wrote a song that comes across as simple but is anything but. Once you get past the impression of the words, you see that the songwriting is far more complex and poetic. This is not a generic ballad. This is something interesting:

Living on the road my friend
Was gonna keep you free and clean
Now you wear your skin like iron
Your breath’s as hard as kerosene
You weren’t your mama’s only boy
But her favorite one it seems
She began to cry when you said goodbye
And sank into your dreams

Pancho was a bandit, boys
His horse was fast as polished steel
Wore his gun outside his pants
For all the honest world to feel
Pancho met his match you know
On the deserts down in Mexico
Nobody heard his dying words
That’s the way it goes

All the federales say
They could have had him any day
They only let him hang around
Out of kindness I suppose

Lefty he can’t sing the blues
All night long like he used to
The dust that Pancho bit down south
Ended up in Lefty’s mouth
The day they laid poor Pancho low
Lefty split for Ohio
Where he got the bread to go
There ain’t nobody knows

All the federales say
They could have had him any day
They only let him slip away
Out of kindness I suppose

The poets tell how Pancho fell
Lefty’s livin’ in a cheap hotel
The desert’s quiet and Cleveland’s cold
So the story ends we’re told
Pancho needs your prayers it’s true,
But save a few for Lefty too
He just did what he had to do
Now he’s growing old

A few gray federales say
They could have had him any day
They only let him go so wrong
Out of kindness I suppose

Most interpretations of this song that I have encountered seem to assume that it is about two different people: Pancho, the Mexican bandit who is betrayed and killed by one of his own men, Jesse James-style, out in the desert, and Lefty, the one who killed him, who fled Mexico and settled down to an ordinary life in Cleveland, Ohio.

But I think they’re wrong. That’s much too easy, and it’s also not clear from the lyrics. Nobody heard his dying words. His death was told of by the poets, not the witnesses. Pancho “died” out in the desert, after a hard outlaw’s life, and then, from nowhere, this Lefty flees to Ohio. What’s Lefty fleeing from? Where did Lefty come into the picture? Was anyone chasing Lefty? Was anyone after him to get revenge? Does Lefty live his life nervously like the Ford brothers, reviled for killing a popular outlaw? The song says nothing about that.

That’s because Lefty is Pancho. Pancho let the poets tell of his death because it was the only way out. And he moved to Cleveland and lived under an assumed name and spent the rest of his life living in a cheap hotel with his demons and his regrets, wondering who he is and what could have been. And if anyone could have tracked him down, nobody tried too hard. They let him go because it was enough.

So what’s spiritual about this? Why does this matter? The thing is, this story is mythology. It’s not non-fiction, but there’s a bite and a life to it that crackles with something more than just a made-up story. It might not have actually happened, but it’s certainly true.

Wrapped up in this mythic ballad is some powerful stuff about strength, manhood, what it means to be human and alive, and living life close to the quick. More importantly, it’s about the hard choices that lead a man to give all of that up, and what’s left when he does, for better or for worse. There’s an authenticity to Pancho and Lefty that radiates significance because at the end of the day it cuts into the heart of the big things, the raw, the stuff that makes us remember we’re alive. And I say this over and over again, but that’s what spirituality is really about: making sense of mortality.

And then there’s this, from an interview with Van Zandt: “I realize that I wrote it, but it’s hard to take credit for the writing, because it came from out of the blue. It came through me and it’s a real nice song, and I think I’ve finally found out what it’s about.” This song came to him from out of the blue. He put it to paper but he didn’t make it up. Don’t believe in the Mousai? This stuff comes from somewhere. Someone out there is trying to tell us something important and they are using people like Townes Van Zandt to do it.

Chew on that while you listen to a live version the song:

And then there’s the popular version by Willie Nelson and Merle haggard. Listen to it, too:

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