William Peter Blatty and 'The Exorcist' -- Taking incarnate evil seriously for 40 years

In the middle of a New York Magazine dialogue on heaven and hell, damnation and salvation, Supreme Court Justice Antonin Scalia offered this theological zinger: "I even believe in the Devil."

The Devil is a major player in the Gospels and faithful Catholics know that, he said, before adding: "Most of mankind has believed in the Devil, for all of history."

The principalities and powers of elite America were shocked, shocked by his confession. But one veteran Hollywood scribe pounded out a friendly email of support, from one conservative Catholic to another.

"I told him to quit honing into my territory," said William Peter Blatty, who won an Academy Award in 1973 for adapting his novel, "The Exorcist," for the big screen. "I don't tell him how to write Supreme Court opinions. ... He should let me take the heat for talking about the Devil. That's my job."

The 85-year-old Blatty was joking and being serious at the same time, which is business as usual whenever he explains the twists and turns in his life since 1967. That was the year when memories of a sobering theology lecture he heard as a Georgetown University student began evolving into the novel that transformed him from a comedy pro into a horror legend.

Grief also helped shape the novel, in which a Jesuit psychiatrist tries to help a 12-year-old girl who is exhibiting the symptoms of demon possession, complete with fountains of green vomit and obscenities.

The fictional Father Damien Karras experiences paralyzing doubts after his mother's death. Blatty was typing the second page of his earliest take on the story when he received the call that his mother had died.

"I knew what I wanted to do. I wanted to make a statement that the grave is not the end, that there is more to life than death," said Blatty, in a Bethesda, Md., diner near his home, not far from the Georgetown neighborhood described in "The Exorcist."

After studying the explicit details in the journals of exorcists, he decided that a story about "what happens in these cases could really be a boost to the faith. It could show people that the spiritual world is real."

The bottom line: "The Exorcist" scared the hell out of millions of people. There were lines around the block at theaters and reports that janitors -- literally -- had to clean up the mess left by moviegoers who regretted consuming snacks during such a head-spinning, stomach-churning nightmare. When box-office receipts are adjusted for inflation, it remains the most successful R-rated movie ever.

That's the Hollywood story, which is being marked with 40th anniversary celebrations. But for Blatty, it's just as important that his work had an impact on people in a radically different setting. As a Jesuit in Los Angeles once told him, there was a "thundering herd of people headed into the confessionals" at churches in the weeks after the movie opened.

Amen, said Blatty. The goal was to defend the faith through writing that he considered a ministry, his own "apostolate of the pen."

The key to "The Exorcist," he explained, is that his protagonist's crisis of faith is much deeper than his doubts about the reality of demons. Caught up in grief and guilt, this Jesuit is tempted to believe that God cannot condescend to love fallen human beings -- like him.

"Karras has started to doubt his own humanity," said Blatty. "In the end, he is the ultimate target of this demonic attack. The Devil is tempting him to despair."

In one crucial passage in the novel, an older, experienced exorcist explains: "I think the point is to make us ... see ourselves as ultimately bestial, vile and putrescent; without dignity; ugly; unworthy. And there lies the heart of it, perhaps. ... For I think belief in God is not a matter of reason at all; I think it finally is a matter of love: of accepting the possibility that God could ever love us."

If readers and moviegoers pay attention, said Blatty, the chills caused by the demonic acts on the screen are merely the first step in a spiritual process that should drive them to look in the mirror.

"My logic was simple: If demons are real, why not angels? If angels are real, why not souls? And if souls are real, what about your own soul?"

Apple, iSacraments and this lonely age

Probing the mysteries of Christmas, Pope Benedict XVI asked his flock gathered in 2006 to ponder what this season might mean to people living in the Internet age. "Is a Savior needed," he asked, "by a humanity which has invented interactive communication, which navigates in the virtual ocean of the Internet and, thanks to the most advanced modern communications technologies, has now made the earth, our great common home, a global village?"

What the world really needed, quipped Gizmodo writer Brian Lam, responding to the pope, was a new spiritual tool. Thus, digital believers were waiting for a John the Baptist -- Apple's Steve Jobs -- to "unveil Apple-Cellphone-Thingy, the true Jesus Phone" during the upcoming rites of the Macworld Conference.

That online exchange set the stage for an Apple advertisement that serves as a stained-glass image moment revealing the mysterious role that digital devices now play -- moment by moment -- in the lives of millions, according to University of Notre Dame business professor Brett Robinson, author of "Appletopia: Media Technology and the Religious Imagination of Steve Jobs."

In the ad, a human finger reached out of darkness toward the rows of icons on the glowing iconostasis of the new iPhone screen above this incantation: "Touching is Believing." For Robinson, there is no way to avoid a connection with the biblical image of Jesus inviting the doubting St. Thomas to put his finger into the wounds on his resurrected body and, thus, "be not faithless but believing."

"It's all about the metaphors," said Robinson, in a telephone interview. "You cannot explain what cannot be explained without metaphors. Technology needs metaphors to explain itself to the world and the same is true for religion."

Thus it's significant that, for some many consumers, the use of Apple products have become what scholars have long called the "Apple cult," he said. It's also clear that Jobs -- drawing on his '60s driven devotion to Eastern forms of religion -- set out to combine art, technology and philosophy into a belief brand that asked consumers to, as stated by another classic ad, to rebel and "think differently."

"It's easy to get into arguments about what is a religion and what is not," said Robinson. "But there's no question that the giant glass cube of the Apple Store on Fifth Avenue" in New York City serves as "a cathedral and that people go travel there on pilgrimages and that their local Apple Stores are like local parishes. ...

"The goal is to consume something bigger than themselves and then they can draw a sense of identity from those products."

Jobs knew all of that. After fleeing the Missouri Synod Lutheranism of his youth, he went out of his way to rattle traditional cages throughout his career. This was, after all, the man whose company logo was a rainbow apple -- minus one Edenic bite. He tested an early product with a prank call to the Vatican, pinned a $666 price tag on the Apple I and dressed as Jesus at the company's first Halloween party.

In his famous 2005 Stanford University address, Jobs told the graduates to "trust in something -- your gut, destiny, life, karma, whatever. ... Don't be trapped by dogma. ... Don't let the noise of others' opinions drown out your own inner voice."

At the heart of the Apple mythos, stressed Robinson, is an amazing paradox, the yin-yang doctrine that Jobs was trying to sell consumers good computers in order to help them escape a chilly world dominated by bad computers. He sold his refined, graceful devices by using images of enlightenment and community, while users may end up spending untold lonely hours staring at digital mirrors in their hands or on their desks.

The bottom line: Have the products inspired by the "Jesus Phone" turned into narcissistic rosaries?

"That iPhone provides some of the comforts and a sense of security that religious faith provides," said Robinson. "It promises to connect you to the world and to the transcendent. ... Yet most people spend most of their time looking at the same five or six sites online -- like Facebook -- that primarily are about their own lives.

"They spend untold hours in this intimate ritual of touching those phones, clicking and clicking their way through their own interests, their own desires, their own lives. The emphasis ends up being on the 'I,' not the other."

That Superman debate: Moses or the Messiah?

Without a doubt, it's one of the most famous and magical incantations in American pop culture. "Look, up in the sky!"

"It's a bird!"

"It's a plane!"

The last line in this mass-media chant is, of course: "It's Superman!"

However, whenever a major product is released in the Superman canon -- such as "Man of Steel," which grossed $113 million on its first weekend -- many fan boys and scribes will immediately begin arguing about two other potential identities, symbolically speaking, for their favorite superhero.

Visit almost any online Superman forum and "someone is going to be saying, 'It's Jesus!' and someone else will immediately respond, 'It's Moses!' and then back and forth it'll go, 'Jesus,' 'Moses,' 'Jesus,' 'Moses' on and on," said the Rev. Gary D. Robinson, pastor of North Side Christian Church in Xenia, Ohio.

The 58-year-old Robinson freely admits he is a passionate participant in these kinds of debates, both as the author of the book "Superman on Earth: Reflections of a Fan" and the owner of a inch-plus scar on his left arm created by his attempt -- at age 6 -- to fly like Superman through a large glass window.

Like many theologically wired fans, he can quote the key Superman facts, chapter and verse. He thinks the parallels are fun, but shouldn't be taken too seriously.

"I see the Superman myth as a shadow thrown by the Light itself," he said, referring biblical accounts of the life of Jesus. "In it's own way, it's a crude substitute ... but there is no question that there is some kind of allegory in there."

First of all, the future Superman was born on the doomed planet Krypton into the "House of El" and, in Hebrew, "El" -- from a root word that means strength and might -- is one word for God. His father gave him the name Kal-El, or in Superman lore "Son of El," a kind of science-fiction parallel to names such as Dani-el or Samu-el.

Then again, his mother and father saved their baby from persecution by casting him into the river of time and space, hoping he would be a source of hope and protection for others. They used a rocket, not a wicker basket, but it's hard to miss the Moses connection. It also helps to know that writer Jerry Siegel and artist Joe Shuster -- both were sons of Jewish refugees from Europe -- created Superman in the tense 1930s, inspired in part by anti-Semitism at home and abroad.

Experts in both camps can offer litanies of similar details. Meanwhile, "Man of Steel" director Zack Synder has packed his film with iconic images and symbolic facts. The film stresses that Clark Kent soars into his Superman role at age 33, the same tradition says Jesus began his public ministry. Told by the techno-ghost of his father, "You can save them. You can save all of them," Superman pauses in space -- arms extended and legs together, as if on a cross -- before racing back to fight a demonic figure who is attacking in the earth.

In one audacious scene, Superman visits his local church in Kansas while wrestling with the question of whether he should willingly surrender his own life so that humanity can be saved. Over his head is a stained-class window of Jesus praying in the Garden of Gethsemane, before his crucifixion.

The question, of course, is how seriously to take this often dark and humorless video-game era salute to "The Matrix," "Avatar," "The Dark Knight" and hosts of other recent blockbusters, with a few undeniable 9/11 images in the mix as well. "Popcorn and a (World)view" columnist Drew Zahn argued: "Though I won't claim it was written by an author the caliber of C.S. Lewis, nonetheless, the metaphors and messages make 'Man of Steel' a sort of 'Chronicles of Narnia' for an 'Avengers' generation."

Robinson is convinced Superman and other pop-culture myths are fine hooks for conversations about deeper issues and truths. But, in the end, how can ordinary women and men, struggling with the pitfalls of daily life, form a healing bond with Superman?

"Superman is a poor substitute for the Gospel," he said. "Superman offers himself to save our lives. Jesus wants to save us forever, for all of eternity. ... In the end, there's only one real story and we keep trying to create new variations on it."

Zombies are US, 2013 edition

It seems to happen whenever Steve Beard hangs out with friends -- especially folks who don't go to church -- talking about movies, television and whatever else is on their minds. "It may take five minutes or it may take as long as 10, but sooner or later you're going to run into some kind zombie comment," said Beard, editor of Good News, a magazine for United Methodist evangelicals. He is also known for writing about faith and popular culture.

"Someone will say something like, 'When the zombie apocalypse occurs, we need to make sure we're all at so-and-so's house so we can stick together.' It's all a wink and a nod kind of deal, but the point is that this whole zombie thing has become a part of the language of our time."

Tales of the living dead began in Western Africa and Haiti and these movies have been around as long as Hollywood has been making B-grade flicks. However, the modern zombie era began with filmmaker George A. Romero's classic "Night of the Living Dead" in 1968, which led to his "Dawn of the Dead" and "Day of the Dead." Other directors followed suit, with hits such as "28 Days Later," "Zombieland," "The Evil Dead" and "Shaun of the Dead." Next up, Brad Pitt in the $170 million-dollar epic "World War Z," due June 21, which could turn into a multi-movie franchise.

In bookstores, classic literature lovers will encounter a series of postmodern volumes clustered under the title "Pride and Prejudice and Zombies." Also, videogame fans have purchased more than 50 million copies of the Resident Evil series and these games have inspired countless others.

But anyone who is interested in the worldview -- if not the theology -- of zombie life must come to grips with the cable-television parables offered in the AMC series "The Walking Dead." This phenomenon, said Beard, has become so influential that it cannot be ignored by clergy, especially those interested in the kinds of spiritual questions that haunt people who avoid church pews.

Truth is, "The Walking Dead" is not "about zombies. It's a show about people who are trying to figure out the difference between mere survival and truly living," he stressed, in a telephone interview. "How do you decide what is right and what is wrong? How do you stay sane, in a world that has gone crazy? ...

"Where is God in all of this? That's the unspoken question."

In his classic book "Gospel of the Living Dead," religious studies scholar Kim Paffenroth of Iona College argued that Romero's zombie movies borrowed from one of the key insights found in Dante's "Inferno" -- that hell's worst torments are those humanity creates on its own, such as boredom, loneliness, materialism and, ultimately, separation from God.

As a final touch of primal spirituality, Romero -- who was raised Catholic -- added cannibalism to the zombie myth.

"Zombies partially eat the living. But they actually only eat a small amount, thereby leaving the rest of the person intact to become a zombie, get up, and attack and kill more people, who then likewise become zombies," argued Paffenroth. Thus, the "whole theme of cannibalism seems added for its symbolism, showing what humans would degenerate into in their more primitive, zombie state."

The point, he added, is that "we, humans, not just zombies, prey on each other, depend on each other for our pathetic and parasitic existence, and thrive on each others' misery."

This is why, said Beard, far too many women and men seem to be staggering through life today like listless shoppers wandering in shopping malls, their eyes locked on their smartphones instead of the faces of loved ones. Far too often their lives are packed with stuff, but empty of meaning.

Romero and his artistic disciples keep asking a brutal question: This is living?

"One of the big questions in zombie stories is the whole 'Do zombies have souls?' thing," said Beard. "But that kind of question only leads to more and more questions, which is what we keep seeing in 'The Walking Dead' and other zombie stories. ...

"If zombies no longer have souls, what does it mean for a human being to be soul-less? If you have a soul, how do you hang on to it? Why does it seem that so many people today seem to have lost their souls?"