Discussion Questions for The New Mormon Mysticism

Here are the discussion questions for the eighth email in the AMV Deep Dive of Marden J. Clark’s essay collection Liberating Form.

If you haven’t signed up for the email, you can read it (and sign up to receive future ones) here: The New Mormon Mysticism.

Please note that comments are moderated, and the goal is to make this a place welcome to Mormons of all stripes (as well as folks with an interest in Mormonism).

  1. Which works of Mormon (or non-Mormon) literature wrestle with these paradoxes, challenges, and strengths in a robust way?
  2. Of the concepts Clark discusses, which do you think has the most potential for fruitful dramatization in Mormon art?
  3. What other notions that could be classified under Mormon mysticism (whether new or not) do you find interesting?

Discussion Questions for We Have Our Standards (For Mormon Writers)

Here are the discussion questions for the seventh email in the AMV Deep Dive of Marden J. Clark’s essay collection Liberating Form.

If you haven’t signed up for the email, you can read it (and sign up to receive future ones) here: We Have Our Standards (For Mormon Writers).

Please note that comments are moderated, and the goal is to make this a place welcome to Mormons of all stripes (as well as folks with an interest in Mormonism).

  1. Is writing for the market really literary dishonesty? In what ways can it be dishonest and in what ways honest?
  2. What are Clark’s blind spots here? What are works/genres that he might consider dishonest that you don’t? What are works/genres that he might consider full of honesty and integrity that you think are still dishonest in one way or another? And why?
  3. Why is literary excellence so difficult to achieve and/or recognize? How could individuals and communities better support it? Is it even the right phrase for what we think we Mormon artists should strive for? Why/why not?

Discussion Questions for Science, Religion, and the Humanities

Here are the discussion questions for the sixth email in the AMV Deep Dive of Marden J. Clark’s essay collection Liberating Form.

If you haven’t signed up for the email, you can read it (and sign up to receive future ones) here: Science, Religion, and the Humanities.

Please note that comments are moderated, and the goal is to make this a place welcome to Mormons of all stripes (as well as folks with an interest in Mormonism).

  1. Clark writes that “art can bring us pain as well as comfort” (70). Are those the two primary emotions it can bring us? Are they the most important? Which other emotions can art bring us? Are those other emotions of equal, greater, or lesser value than pain and comfort and how so?
  2. What kind of darkness do you seek out in art? (Which may or may not coincide with the kind of art that is labeled as dark). Which works of art that has darkness in it have you had interesting, profound, and/or emotional experiences with?
  3. Which works (if any) of Surfiction, postmodern art, metafiction, fabulation, high modernist art, etc. do you find valuable? Which do you think would be the most likely to change Clark’s mind on the value of such art?
  4. How does reading literature affect how you read scripture?

Every Literary Work Marden J. Clark mentions in “Science, Religion, and the Humanities”

Here is the list every literary work Marden J. Clark mentions in his essay “Science, Religion, and the Humanities,” which is printed in the collection Liberating Form.

Click here for the AMV deep dive email that goes with this list

Click here for the discussion questions that go with this list

  • Divine Comedy, Dante Alighieri
  • “Heart of Darkness,” Joseph Conrad
  • “The Marriage of Heaven and Hell,” William Blake
  • Paradise Lost, John Milton
  • The Brothers Karamozov, Fyodor Dostoevsky
  • Notes from Undergound, Fyodor Dostoevsky
  • The Mysterious Stranger, Mark Twain
  • Letters from Earth, Mark Twain
  • “The War Prayer,” Mark Twain
  • “To the Person Sitting in Darknes,” Mark Twain
  • Moby Dick, Herman Melville
  • “The Turn of the Screw,” Henry James (plus “nearly all of his novels”)
  • “Apparently with no Surprise,” Emily Dickenson
  • The Castle, Franz Kafka
  • The Book of Job
  • Ash Wednesday, T. S. Eliot
  • The Rime of the Ancient Mariner, Samuel Taylor Coleridge
  • All the King’s Men, Robert Penn Warren
  • Invisible Man, Ralph Ellison
  • The Scarlet Letter, Nathaniel Hawthorne
  • The Winter’s Tale, William Shakespeare
  • The Oresteia, Aeschylus
  • Mourning Becomes Electra, Eugene O’Neill
  • War and Peace, Leo Tolstoy
  • Measure for Measure, William Shakespeare
  • Samson Agonistes, John Milton
  • Paradise Regained, John Milton
  • “The Waste Land,” T. S. Eliot
  • Four Quartets, T. S. Eliot
  • The Odyssey, Homer
  • The Hero with a Thousand Faces, Joseph Campbell

Glen Hansard on imagining darkness

The value of dark art and the use of the via negativa in narrative works is something that I’ve been pondering for many years. It started with my fondness for Joy Division and then got mixed in to Mormon art by the emergence of Brian Evenson and Neil LaBute, two of America’s most conspicuous practitioners of the via negativa as well as (coincidentally or….?) former Mormons (of sorts). My instinct is that there is value in dark art, but that the location of that value needs to be carefully delineated and contextualized and varies from work to work, that a wholesale defense of darkness in art wraps its arms around too much to be either useful or defensible.

So it with that humming away in the back of my mind, along with a few other persistent aesthetic concerns, that I read this morning this Glen Hansard interview with rock critic Greg Kot. Continue reading “Glen Hansard on imagining darkness”