“A frightening possibility suddenly occurred to him: maybe sometimes things didn’t just go wrong and then stop; maybe sometimes they just kept going wronger and wronger until everything was totally fucked up.”
“OH SHIT! I BELIEVE IN ALL OF THOSE THINGS!” he shouted, and it was true: even at eleven he had observed that things turned out right a ridiculous amount of the time.”
“There was power in that music, a power which seemed to most rightfully belong to all the skinny kids, fat kids, ugly kids, shy kids—the world’s losers, in short.”
One of my favorite things about Autumn is October because, well, Halloween. I mean, Hallowen. HALLO-FREAKING-WEEN. As I wrote elsewhere, I believe Halloween can be observed in a very Christocentric manner, all month long.
My main way to observe this sacred time has been to reread through Stephen King’s masterpiece, IT, once again. I cannot rave about this book enough. If you are even vaguely interested in reading it, please for the love of everything holy and uholy, read it. Haha, get it? IT. What’s that? Puns are evil? Nah.. oh.. okay..
If you haven’t read IT and are still interested in reading this post, please check out this brief plot summary so as to make sense of this gibberish I’m conveying. However, if you’ve seen the original film adaptation, that should be sufficient. If you’ve only seen the first part of the recent remake, be aware there are spoilers ahead.
There are many themes I would love to draw out, but for the sake of brevity let’s tie some random threads together and hope we acquire something sensible! Seriously, though, this book conveys many beautiful truths: the Christocentric gospel, mimetic theory, death anxiety, and the centrality of love (here I mean agape, not eros) in living a satisfactory life. To name a few.
The first thing I’d like to point out about this book is that Stephen King manipulates the ‘haunted house’ horror trope. He expands this common microcosm from haunted house to haunted town (ie: Derry). Pennywise doesn’t live in a house, It lives in Derry. Pennywise appears to be an almost omnipresent being in Derry. It can appear just about anytime and anywhere. Derry is Its town – one could say It owns Derry. It influences people and events. In this way, Pennywise is symbolic of the zeitgeist of a town. Now, the dictionary definition of zeitgeist reads as such:
the defining spirit or mood of a particular period of history as shown by the ideas and beliefs of the time
and while I am using it in this way, I’d like to expand a bit. The zeitgeist is not simply covering a particular period of history, although it certainly embodies that. It can also mean the cultural atmosphere of any place, period of time, or group of people . For example, here are some questions that can get at the zeitgeist of one’s workplace: how casual is one permitted to dress, what goals does one’s workplace have and how does it seek to implement them, and what are the policies for showing up early or late? In relatively simple terms, I’m referring to culture. On a smaller scale this means the culture of a house, a workplace, a family, a person (ie: one’s psyche and way of thinking). On a larger scale, this could look like a county, a state, a nation, a non-geographically connected group of people.
The thing about culture is it is very real, and many ways even tangible, but it is often overlooked. People live in it, and often follow its mandates, without consciously thinking, “I’m obeying the rules of my culture.” Those who don’t obey get punished whether most explicitly via prison, mental asylums, or social stigmatization. Most people do not go through life self-examining themselves to choose what they want to consciously absorb and meld into and what they don’t. People just go with the flow.
Some, though, consciously follow the rules for fear of being cast out. They may theoretically disagree with an aspect of their culture, but we live in the postmodern age, and who knows what the hell is right…right? Let’s just do this thing, or go with this motion – why stir the pot and be looked down upon?
This is Pennywise. It manipulates Derry through apathetic ignorance and fear, just like the zeitgeist. Pennywise is simultaneously Adolf Hitler and Adolf Eichmann. It is in-your-face evil, but It is also the type of evil that apathetically pushes papers and blindly follows orders, irregardless of compassion and empathy. It is not mere malice, it is willful ignorance, which, I would argue, is just as heinous.
“I started after him…and the clown looked back. I saw Its eyes, and all at
once I understood who It was.”
“Who was it, Don?” Harold Gardner asked softly.
“It was Derry,” Don Hagarty said. “It was this town.”
See, almost all of the residents of Derry ignore Its presence. It is implied they are all very well aware of It, but they refuse to really acknowledge It, think about It, talk about It. They quite literally just live with It. But they can’t just ignore the mass murder of children. They have to put the blame on someone or something, even if that blame is not directly or consciously related to the initial problem. In other words, the people of Derry conjure up some form of scapegoat.
This sort of thing plays out everyday in a multitude of ways. On a microcosmic scale, imagine a father having a terribly stressful day at work, not dealing with the problem directly and consciously, but instead taking out his frustrations on his unassuming child. The child becomes the scapegoat for something unrelated to him, and the father’s stress may be relieved (sort of…not to speak of the guilt that should come from within). On a macrocosmic scale, one need only look at the current state of American politics – we have two generalized political bodies blaming the other for seemingly every problem in the nation state. It’s scapegoating on a broader scale.
More specifically I am referring to the Mimetic Theory proposed by Rene Girard. If you are unfamiliar, please read here. Briefly, the scapegoat functions as the guilty person/party, whether directly involved with the issue at hand or not. The scapegoat may be a person of blemish, embarrassment, quirkiness, etc… they just have to be an easy target which the larger body of people can unify against. In Christian theology, the scapegoat is Jesus Christ. On a practical, socio-politic-historical level, the political powers of His day (ie: Caesar) and the religious authorities (ie: the Pharisees, Sadducees, etc…) used Jesus’ crucifixion as a means to unify the people in the midst of political and religious crisis. On a theological metanarrative level, the Trinitarian God lets humanity kill Him in order that His love may be known, and the absurdity of violence and vengeance is shown. In other words, Jesus Christ functions as the scapegoat for humanity’s own self-inflicted harm. However, unlike other scapegoats, the victimization of Jesus Christ leads to the eventual end of violence and the absolution of sin, therefore ending the need for a scapegoat mechanism.
Now, in Stephen King It, the scapegoat just happens to be The Loser’s Club. As stated above, this scapegoat process is hardly conscious. There isn’t the clear and coherent thought: “We have to ignore Pennywise, but deal with this problem. Let’s indirectly take out our frustrations and qualms with the inhumane aspects of our zeitgeist (personified in Pennywise) on these weird kids.” I’d like to point out, as well, that The Loser’s Club may not be the only scapegoats. Because the narrative is centralized around this group of people, they are the scapegoats given, but that does not mean they are the only people of blemish in Derry. For example, King writes that Derry is extremely hostile to the LGBTQ+ population. This group of people are also scapegoats in Derry’s zeitgeist.
The Loser’s Club consists of a ragtag band of outcast kids who all have some sort of turmoil or social abnormality that makes them just not quite…right. These social quirks make them easy targets. Many would consider them to be a curse – but it is these very oddities that bring The Loser’s Club together in the first place. They bond over them, gain the strength to face Pennywise, and learn to love themselves and each other in the process. (Blessed are the persecuted.) The Loser’s Club comes together over their own insecurities and abnormalities to form a community. This community is guided by the gentle voice of the Turtle. The Turtle appears to be an omniscient Being of benevolence. The Turtle occasionally steps in to guide and assist The Loser’s Club toward agape love and victory of evil personified. The Turtle represents the Trinity, especially the Holy Spirit.
In Christian theology, the Holy Spirit guides humanity toward truth, holiness, and love. The Turtle in It does the same, and while I think this comparison is the biggest stretch I provide in this analysis, I still think it works. Some Christians may argue it is a bit blasphemous because the emphasis in the narrative is obviously on the power of love as found in The Loser’s Club and the Turtle is only in the background helping out. The kid’s do not explicitly worship the Turtle, and care far more about loving those around them. But that’s just it – Christ himself calls the Church his body, and therefore any true agape love found in the Church is also the love of Christ manifested on Earth.
Which leads me to my next point: The Loser’s Club is the Church. Now, you may be thinking, “hold on a minute. You’re comparing the scapegoat, outcast, loser group with one of the most powerful religions in the history of mankind?” but just bear with me a second. I do not in any way mean the powerful church, lower case c. I mean the Church, capital C.
Okay, that probably doesn’t clear things up all that much. I’m sorry. What I mean is that I believe the Church is always powerless. If the Church has political power or privilege, it is not the Church, just some piece-o-shit sham. In fact, that church is Pennywise. A modern day example: Pennywise embodies many aspects of the American Evangelical Church movement. This movement, culture, zeitgeist, is full of middle/upper class, white privileged, cisgender, powerful men and blindly submissive women that knowingly (or often more common: willfully and blindly) use their power to oppress many groups of people and spit in the face of Christ. Now, I’m not saying that if you or someone you know considers themselves to be an Evangelical in America that they (or you) are equivalent with Pennywise. But I’m definitely saying there is some truth to the claim that, by and large, American Evangelicalism is heinous, blasphemous, and evil.
Before you flip and get pissed at my statement, I’m not saying that other forms of Christianity aren’t evil, either. I’m pinpointing a group of people I myself am a part of. I’m not singling it out to, well.. scapegoat it. I’m using American Evangelicalism as an example because I am well acquainted with it, and feel more comfortable critiquing my own circle than another’s.
But what does this mean for the real Church? The real Church is, according to the precepts of the ‘world,’ powerless. It is all those Christians who consciously attempt non-conformance to the evils found in the institution of Christianity. It is those who refuse to simply go through the motions to make themselves feel better – to numb themselves with the opiate of the masses, as Marx so eloquently put it. Those actively working against the principalities and powers of the zeitgeist – they are Its explicit enemies. But they don’t work against people, they work for people, all people, seeking the reconciliation of everyone.
The real Church is often oppressed, sometimes willfully so. Oppressed not by “happy holidays,” or some non-existent Islamic overlord, but by choosing to live with the oppressed. The real Church works to end the oppression of peoples everywhere, all the while taking residence with them, if the oppressed are so willing to accept them into their community. The real Church gives up its power to become one with the powerless. The real Church is a co-suffering Loser’s Club. And just like the Loser’s Club, the real Church flips the principalities and powers on their head to reveal it holds true Power, thanks to the co-suffering love given by the Trinity.
The Loser’s Club overcomes the evil of Pennywise twice. The first time is while the members are children. During this period they defeat It, but don’t kill It. However, they hope it is over and finished. They promise each other if It ever comes back, they will reunite and fight It again. Almost 30 years pass, and It resurfaces as strong as ever. They reunite and fight It, of course succeeding because, c’mon, all you need is (co-suffering) love.
All this is sweet and thematic, but the thing I’d really like to point out here is the 30 year gap. King tells us that The Loser’s Club almost completely forget about It as they ‘mature’ into adulthood. Only one original member stays in Derry, and while he does his best to remember and stay vigilant, he eventually forgets. The perspectives of all members as adults are shown to us one by one. Some of them appear content while others appear discontent. All of them are comfortable though – even those in abusive relationships. They are comfortable in what they know, or refuse to admit. But none of them remember any of the others, and life has completely moved on.
Until Pennywise’s activity is made aware to Mike by the Turtle. Once Mike remembers he reluctantly phones each of them. The individual club members are forced out of apathy to confront the zeitgeist, to confront the true way the world works. It wrecks one of them, driving him to the point of suicide. He simply couldn’t deal with the difficult journey of non-conformity. The rest forcibly move out of the comfort of their blind stagnant lives, and decide to face the current.
But for about 30 freaking years they conformed. They grew into the adults society told them they should be. Self-absorbed, afraid, loveless (agape-less). Despite a very explicit face-to-face victory against evil incarnate, they succumbed to blind ignorance. They assumed one battle, one victory was enough. But that’s not how the zeitgeist works. Evil is paradoxically constant and malleable. As soon as it is conquered (if it ever truly is this side of life), it manifests itself anew. This is why political revolutions just never work. The Church always trips up here. It justifiably stops to celebrate a victory, but quickly gets lost in said victory and loses focus. It quickly conforms to the status quo and trots forward.
Herein lies one of the most important lessons of King’s masterpiece: as a unified group, we are able to maintain our focus. We are able to encourage each other to keep moving, to stay the course. Separated, we become weaker, the temptation toward apathy grows stronger, and we lose sight of everything we once strove for. Agape becomes impossible if we are isolated – there is no one to love.
The other important bit we cannot forget lest our undoing ensue is found in a simple quote from It:
“Maybe there aren’t any such things as good friends or bad friends – maybe there are just friends, people who stand by you when you’re hurt and who help you feel not so lonely. Maybe they’re always worth being scared for, and hoping for, and living for. Maybe worth dying for too, if that’s what has to be. No good friends. No bad friends. Only people you want, need to be with; people who build their houses in your heart.”
The point is we are all, always, a little bit apathetic, a little bit compassionate. A little bit evil, a little bit good. One may outweigh the other at a given point in time, but we are ever-moving creatures, always growing, always changing. We are nuanced and beautiful, even at our worst. The person you have demonized as evil is still a person, there is still some good in there somewhere. The person you have glorified as divine is still a person, there is still some evil in there somewhere.
In the novel, people are not the problem that must be overcome. The evil is Pennywise. As stated above, Pennywise is the zeitgeist incarnate. Evil manifested. One must work to lovingly change and challenge the cultural zeitgeist of one’s place. One must fight those things, not people. Love people. Our enemies are institutions, principalities, cultures. Our enemy is Pennywise. Not the people It manipulates. People are always precious. No nuance about that.
While King himself may not agree with this interpretation, and while I have taken some liberties, this shows only a fraction of why I love this piece of literature so friggin’ much. It’s the gospel in horror narrative form. Many Christians I know find it to be abhorrent, find horror and Halloween to be abhorrent. They’re missing out.
Perhaps they’re too blind to see that
“…God favors drunks, small children, and the cataclysmically stoned…”
Peace be unto you this spooky season. May you learn to overcome the ego and the fear of death so as to truly live a life in and for Love.
Syndicated from Interdependently Independent