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Brittany Julious
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This Recording

is dedicated to the enjoyment of audio and visual stimuli. Please visit our archives where we have uncovered the true importance of nearly everything. Should you want to reach us, e-mail alex dot carnevale at gmail dot com, but don't tell the spam robots. Consider contacting us if you wish to use This Recording in your classroom or club setting. We have given several talks at local Rotarys that we feel went really well.

Pretty used to being with Gwyneth

Regrets that her mother did not smoke

Frank in all directions

Jean Cocteau and Jean Marais

Simply cannot go back to them

Roll your eyes at Samuel Beckett

John Gregory Dunne and Joan Didion

Metaphors with eyes

Life of Mary MacLane

Circle what it is you want

Not really talking about women, just Diane

Felicity's disguise

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Friday
Jul312015

In Which We Accept Margery Kempe As A Holy Person

This Creature

by ALICIA PUGLIONESI

Margery Kempe wrote one of the earliest autobiographies in the English language, except that she didn't write it. Kempe dictated her life story to a scribe because, like most medieval women, she was illiterate. This resulted in a number of strange effects, the most jarring of which is that the scribe replaced her first-person “I” with the phrase “this creature” throughout the text. It's possible that Kempe spoke in the third person as "this creature." Some scholars suspect that she was secretly literate and wrote the book herself, taking pains with the story of the male scribe and the elimination of personal pronouns in order to evade persecution.

Other scholars question whether Kempe existed at all because her story is so profoundly strange.

Already this creature leads us into a tangle of difficulties: was Margery Kempe a radical who cannily manipulated religious and social conventions in order to live a life beyond the limits set for women of her time? You wouldn't think so looking at her. In her book she sometimes seems like a wild, frightened animal in our modern sense of “creature." Or a creature in the sense of a monster, suddenly strange and frightening to herself, desperately seeking an escape into the divine. All creature really means in the fifteenth century, though, is a thing that God created, and over which he has dominion. The Book of Margery Kempe is about a normal woman who believes that God chose her – because of her lack of any special merit – to demonstrate how his divine love transcends all human conventions. The question, of course, is whether the bulldozing of those conventions was God's idea or Kempe's, and whether we could ever tell the difference.

People have wondered what was wrong with Margery Kempe for centuries: was she insane, possessed, divinely-inspired, or incredibly canny? She was known for weeping uncontrollably at inappropriate times – like in the middle of a church service, or while traveling with strangers, or while trying to persuade a local mob that she wasn't a heretic who should be burned at the stake. Kempe didn't see her incessant crying as a problem. She thought it was a gift from God – God had chosen her for this form of penance, a mark of difference and divine favor. She seems to have spent a lot of her time sitting or lying down and weeping for the soul of mankind.

This was the late fourteenth century, a time of some political tension and much religious strife in Europe. The Catholic Church was working hard to bring its authority to bear on heretical sects like the Lollards that claimed direct communication with God. The Church found that communication with God was a particularly slippery thing to regulate. A complex set of rules and hierarchies mediated Catholic access to the divine, but the religion was based on stories of ordinary people receiving unexpected revelations. This contradiction was becoming a sticking point. Margery Kempe is a footnote in the long and messy run-up to an even longer and messier schism; her hedge was that none of her words or actions were her own, a common-enough maneuver for speaking truth to power.

Medieval religious devotion was also passing through a sort of ecstatic sentimental phase around this time. Passion and weeping, fantastic love and impossible longing, became popular expressive paradigms, to the consternation of the Church which just wanted people to behave in an orderly fashion.

Since this “affective piety” was coded feminine, some interesting gender issues surfaced – there's talk of suckling at Jesus' teat and quasi-sexual encounters with the godhead. Revelations about the ecstatic nature of God's love came from a new class of religious mystics, many of them women cloistered in religious orders. Marie d'Oignes, St. Bridget of Sweden, Clare of Montefalco, and Julian of Norwich were popular subjects of the female sacred biography genre – texts usually written by male clerics which authorized the spiritual experiences of holy women. Because these women were nuns they could often read and write, but their stories had to be told by men in order to assimilate material that could otherwise pose a danger to the Church.

can I help you with that ma'am?

Margery Kempe claimed never to have read any of the mystic texts popular during her lifetime, although she would at least have heard some of them read aloud. She was the daughter of a wealthy merchant in Bishop's Lynn, a town a hundred miles north of London. The mature Kempe describes her young self as “set in great pomp and pride of the world.” This means she liked to wear fashionable clothes. She was never "content with the goods that God had sent her...but ever desired more and more.” This means that she had an entrepreneurial streak; she ran a brewery and a grist mill. This seems like a medieval approximation of our modern feminine ideal: a woman who runs her own local, independent business and looks good doing it.

When she was twenty, Kempe married a local merchant and quickly got pregnant. The pregnancy was rocky – she was sick and bedridden, and after a difficult birth she “despaired of her life, thinking that she might not live.” Fearing death, Kempe called for a priest and tried to confess to him a dark secret. Keep in mind that matters of Catholic dogma and heresy were very, very serious for ordinary people in the Middle Ages: Kempe's dark secret was that “she was ever hindered by her enemy, the devil, evermore saying to her that...she needed no confession but could do penance by herself alone, and all should be forgiven.”

She had arrived, on her own, at the heretical belief that one could deal directly with God without the church as an intermediary. This was so heretical that the priest wouldn't even hear Kempe out – he cut her off in the middle of her deathbed confession. Without a confession Kempe knew that she was doomed to Hell for all eternity. At this point, she went completely nuts.

no confession? too bad.

Or as she describes it: “This creature went out of her mind and was wonderfully vexed and labored with spirits for half a year, eight weeks, and some odd days. And in this time she saw, she thought, devils open their mouths, all inflamed with burning flames of fire...and [they] bade her that she should forsake her faith...she slandered her husband, her friends, and her own self...she knew no virtue nor goodness...she would have killed herself many a time with her stirrings, and have been damned with them in hell...save she was bound and kept with strength both day and night so that she might not have her will.”

Kempe was tied up in the basement for six months. This was a common medieval strategy for handling what we would call mental illness – modern readers have diagnosed her with everything from schizophrenia to postpartum depression. Finally, one day she had an ecstatic vision in which Christ appeared beside her and ordered her not to forsake him, “and anon the creature was stabled in her wits and in her reason as well as ever she was before.” Kempe's servants untied her and she vowed to devote her life to piety and prayer in thanks for her miraculous recovery. Except that she really liked nice clothes and money, and having sex with her husband. She basically went back to business as usual.

Only after her brewery and grain mill failed and she'd given birth to ten more children did Kempe have another mystical vision ordering her to forsake the things of this world and devote herself to Christ. She interpreted her commercial failure as God's punishment for pride and covetousness. And she wanted to interpret the voice in her head as the voice of God. This time, perhaps with less to lose, Kempe embarked on a mystical odyssey that would take her from Bishop's Lynn to London to Jerusalem, often penniless and at the mercy of suspicious strangers.

When she started weeping uncontrollably in public and preaching about the joy of heaven, her neighbors suggested that she was either mad or possessed by the devil. Kempe, herself fearing that this might be the case, sought explanations for her strange experiences. She consulted the female mystic Dame Julian of Norwich and many other ecclesiastical experts, all of whom reassured her of the authenticity of her visions. She worked her ecclesiastical connections hard – perhaps aware of the precariousness of her position, she shored up support wherever possible.

The biggest obstacle to Kempe's career as a mystic was her status as a married woman. At that point, the Church was advocating celibacy as the highest ideal for all of its followers – everyone who wanted to win God's love and forgiveness was supposed to give up sex. Previous female mystics had been celibate nuns, or widows who became celibate nuns, or virgins forced into marriage who got their husbands to take vows of celibacy before the deal was consummated. Virginity was the centerpiece of female holiness, but Kempe had been popping out babies for years and wasn't able to stop as long as her husband claimed his legal rights over her. She cut a deal that epitomizes her strange intermingling of sacred calling and worldly savvy: she got her husband to sign a vow of marital chastity in exchange for her paying off all his debts.

Even with a piece of paper certifying her (renewed) chastity, Kempe was a tough sell for many of her countrymen. People complained about her flamboyant weeping and wailing, accusing her of overacting. Kempe considered their hatred another test that God wanted her to endure – the more people scorned her, the more highly she would be rewarded in heaven. It seems like she was genuinely difficult to be around – her fellow pilgrims ditched her on the way to Jerusalem, and clerics back in England kicked her out of services because of her disruptive weeping. Her chaste husband, a remarkably loyal supporter of her work, tended to make himself scarce when Kempe started a scene in the public square.

There was still suspicion that Kempe “had the devil in her.” She carried on extensive conversations with God, Christ, and various saints, who she describes as speaking directly to her mind or soul, but the trick of medieval demonology is that demons could masquerade as holy figures in order to plant seeds of evil. Most of the ecclesiastical experts who Kempe consulted chose to interpret her visions through the lens of divine revelation, but many laypeople assailed her motivations as selfish, and her voices as demonic. Madness wasn't off the table either: one friar banned Kempe from his sermons on the grounds that she was not having visions, but rather suffered from a mental disease.

ways to be mistaken for a witchThe thing is that Kempe could be awfully convincing. Claiming illiteracy, she impressed religious authorities by reciting obscure Biblical passages and offering exegeses. She made accurate prophesies and fielded theological queries. Many ordinary Catholics accepted Kempe as a holy person and paid her to weep (copiously) for the salvation of their souls. Kempe won for herself freedoms and intellectual possibilities that were completely off-limits for most women of her time. Just in terms of mobility, she made a pilgrimage to the Holy Land and visited scholars and mystics all over England, when most women weren't allowed to leave their villages without the permission of husbands and church officials. At times she publicly criticized the Church for corruption, and urged women to leave their husbands and become brides of Christ.

To call Kempe's career subversive, though, would be to overlook the very real affective power of faith in medieval life. Maybe she got something she wanted – freedom to think and travel, freedom from endless childbearing – but she was also tormented by desire for what she had given up. The “things of this world” were the things that had offered her the most satisfaction; she particularly struggled with the demands of chastity. Her visions were sometimes terrifying and visceral, and she describes these traumatic episodes as tests of her love for God. Perhaps the deeply Catholic worldview of her age drove Kempe to a life of torment and self-denial, perhaps it equipped her to make sense of destabilizing psychological experiences.  For a lowly creature who had surrendered her will to God, she managed to leave a highly personal record of her interior world – Kempe's voice is incredibly rich, simultaneously familiar and strange. This richness of voice may be all we need to know about her.

Alicia Puglionesi is the senior contributor to This Recording. You can find an archive of her writing on This Recording here. She tumbls here.

"Giorna" - Jeremiah Jae (mp3)

"Fallen Saints" - Jeremiah Jae (mp3)

Thursday
Jul302015

In Which Mr. Robot Feels Especially Insecure

Watching You

by ALEX CARNEVALE

Mr. Robot
creator Sam Esmail

Sam Esmail directed a small romantic comedy featuring goofy Justin Long and wretched Emmy Rossum in major roles. 2014's Comet was not a success by any measure, and watching it made feel like you wanted to destroy from space anyone who thought these two smug millennials were sympathetic or interesting in any way.

In his USA series Mr. Robot, Esmail has magically used his talent for writing characters that are insensitive and annoying to his advantage. It is hard to know even why Mr. Robot is so bizarrely joyful in the way it sees its dark, dangerous settings and maladjusted set of characters. Mr. Robot never cringes at clichés — the show simply runs head-on into them.

Elliot Alderson (Rami Malek) is an employee at Allsafe, a cyber security firm that is pretty terrible at its job. Like any fictionalized depiction of computer crime, Mr. Robot segues into some lame hacking sequences to describe for laypersons what Elliott is doing in his free time when he uses backdoors to penetrate private networks. This is the least interesting part of Mr. Robot, since it duplicates the issue all such dramas have had since Sandra Bullock's seminal 1995 film The Net: watching characters intently stare at screens gets a bit dull.

Irwin Winkler directed The Net when he was 64 years old, and certainly had no idea what was possible or even feasible about hacking or identity fraud. Then again, The Net was silly, but it also featured a basic kind of truth to how easy it made this type of thing seem. If stealing secure documents was so difficult, then it wouldn't be happening every single day, especially to governments. 

Mr. Robot presents the schizophrenic Eliot as a kind of hero, since he wants to subvert existing power structures through nonviolence, unlike the rest of his hacker group fsociety. Under the advisement of older man who calls himself Mr. Robot (a horrendous Christian Slater), Elliot explains how fsociety can infiltrate a secure facility in upstate New York that contains the data backups for an Enron-esque company termed Evil Corp by its adversaries.

Elliot's next-door neighbor is a sweet young woman named Shayla (the phenomenally talented Frankie Shaw). She sells him drugs and solicits his protection against her abusive dealer boyfriend. When its cliffhanger serial about corporate destruction is not unfolding, Mr. Robot concerns Eliot's technological advantage in creating revenge for his friends in the real world. It would be white knighting if Malek's glue-faced Elliot were not an Egyptian-American.

Elliot's major adversary is an executive at E Corp named Tyrell Wellick (Martin Wallström). Mr. Wellick is a Patrick Bateman-esque sociopath, and his morally bereft character is so fun to watch that he is on the verge of becoming Mr. Robot's secret protagonist. Encouraged by his sadistic wife, Wellick has gay sex to commandeer a rival's phone for information, and seduces the wife of his superior by telling her how boring her husband is. Elliot is the only character in this reduced world over whom he has no power.

Wellick is major part of what makes Mr. Robot like nothing else on television. It is so tiring to watch shows where every scene is the exact same length. The peripatetic switching back and forth between characters at an identical pace never allows the viewer the satisfaction of not knowing where she will go next. Mad Men and The Sopranos succeeded partially based on their avoidance of this patterned structure, and Mr. Robot features long, ambitious set pieces that measurably heighten the drama and suspense.

Esmail's signature visual style also represents a refreshing shift. Instead of putting human faces in the direct center of the screen so that they can still be viewed comfortably on standard-definition televisions, he uses the entire widescreen canvas on offer, often displaying the action from low or high angles. This strategy always places the individual characters of Mr. Robot in contrast with their disparate environments, giving Mr. Robot an authentic feel it desperately needs among its silliness.

Michael Mann released his own hacking movie Blackhat earlier this year, and it was a tremendous failure for the same reasons that Mr. Robot emerges as a triumph. It had no fun with the absurdity of the world it inhabited — it made cybersecurity seem like any other field rife with criminals and greedy thieves. That isn't what is entertaining or true about the subject at all. The compelling part of internet wars is that they attract people for reasons other than money, showing how little finance means to us. People are motivated by so many more interesting things.

Alex Carnevale is the editor of This Recording.

"Drunched In Crumbs" - Albert Hammond Jr. (mp3)

"Power Hungry" - Albert Hammond Jr. (mp3)

 

Wednesday
Jul292015

In Which We Come Up With A Plan For The Ages

Hard to Say is This Recording’s weekly advice column. It will appear every Wednesday until the Earth perishes in a fiery blaze, or until North West turns 40. Get no-nonsense answers to all of your most pressing questions by writing to justhardtosay@gmail.com or by dropping us a note at our tumblr.

Hi,

My stepsister Joann recently got married to a wonderful man and is pregnant with her first child. The two are planning a wedding before the baby arrives. With the prospect of a baby shower, an engagement brunch (no clue what that is), a bachelorette party, bridesmaid dress and other incidentals, Joann's fertility is probably going to cost me in four figures. I don't have the kind of income where I can absorb these expenses; on the other hand I don't want to let my stepsister down. What should I do?

Kate T.

 

Dear Kate,

Marriage is a wonderful institution, except when Lauren Bacall married Humphrey Bogart: that was completely gross. 

Whatever you do, do not bring this problem up to Joann. Create an entirely independent drama that requires your attention. For example, your car broke down and needs a new hamburglarator. She has bigger issues on her mind, she's not going to check if it's actually part of a car. For a more plausible excuse, humbly reveal that you have to take a weeklong trip during her bachelorette party to accomplish a continuing education bonafide. For some reason, using the word "education" justifies any expense or behavior.

Failing that, is there the possibility of suggesting Joann's fiance may not be the father? Because that could really shake up this loathsome set of obligatons on your plate. Also, when you lie, don't touch your face.

Hey,

My boyfriend Kyle and I have a great relationship. We spend almost all our free time together and we rarely argue or fight. He's really supportive of me and never criticizes anything I do. 

There is one problem though. Kyle fancies himself an amateur gourmet. He is always planning some recipe composed of farm-to-table ingredients. Once he smiled at a lobster he was about to boil, which was a little strange, but the larger issue is that Kyle can't really cook. His meals are so adventurous that they're frequently inedible. He consumes them with aplomb and never seems to notice my lack of enthusiasm. How can I make him stop without getting in leg-deep shit? 

Angela D. 

Dear Angela,

Just come up with some strange diet plan that requires cooking things that even this Julia Childish can't screw up. 

Preface your lie by saying that you had an allergic reaction to one of his terrible meals (preferably rabbit, since humans should not consume rabbits except as a direct fuck you to Beatrix Potter). Explain that you were tested for allergies and it turns out you have some rare condition which involves never consuming the worst of his preparations in any form whatsoever. 

NB: We've received some electronic mail recently complaining that our solution to every problem is to lie. This is an untrue accusation. When a lie is for someone's own good, it's just called a compliment.

Illustrations by Mia Nguyen.

"Without Me" - Mac DeMarco (mp3)

"My House By The Water" - Mac DeMarco (mp3)