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and “I was only going out”

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Watch the whole thing or go to the end where it teaches you how a newspaper can even protect you from the bomb! Duck and cover…

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I saw “Shut up and sing” at the Gothenburg film festival yesterday and it was fantastic.

In 2003, the female country band, The Dixie Chicks, are at the top of their game being one of the most successful bands of all time.

However with the US invasion of Iraq about to begin over frustrated worldwide objections about this needless war, one of the Chick vents off the cuff in concert about being ashamed of US President George W. Bush. This statement sparks a firestorm of organized and personal right wing attacks against the Chicks for daring to think they have the right to express a negative personal opinion about the President. This film covers the band’s effort to ride out the turmoil that would leave their careers under a cloud, but would eventually give them a opportunity to grow as great artists who bow to no one.

It surprises me to see the hate and the oppositsition the girls would get for quite an innocent bunch of words. Anyways a great documentary about 3 inspiring rich texan girls.

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Here is one of his many beautiful songs performed by Elvira Nikolaisen and himself.

The Danish poet is a fantastic little piece of film history.

This is a Norwegian/Canadian production that won an Oscar for best short subjects animation.

Can we trace the chain of events that leads to our own birth? Is our existence just coincidence

? Do little things matter?

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The narrator of The Danish Poet considers these questions as we follow Kasper, a poet whose creative well has run dry, on a holiday to Norway to meet the famous writer, Sigrid Undset.

As Kasper’s quest for inspiration unfolds, it appears that a spell of bad weather, an angry dog, slippery barn planks, a careless postman, hungry goats and other seemingly unrelated factors might play important roles in the big scheme of things after all.

A fantastic song, And not only for its critic on America and whatever that might entail. But for the Questions he so beautifully expresses through this song. Like these for instance:

Tell me do you really think you go to hell for having loved

?

Tell me and not for thinking every thing that you´ve done is good

I really need to know

After soaking the body of Jesus Christ in blood

You took advantage of a world that loved you well

I´m going to a town that has already been burned down

Beautiful, provoking and stimulating.

All art and music should be, summed up in one song!

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see below for other (live) versions

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A fantastic song and a great Video.

Looking forward for the album soon to be released. Enjoy!

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and the “Dancing Politicians” version of it;

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Written by my friend Jokim Schnoebbe. He is an expert on C.S. Lewis and Narnia.You can find more info about him on his blog.

The new Narnia movie, Prince Caspian, is coming out this week and is sure to attract new readers to C. S. Lewis’ books. This is a fitting opportunity to address one of the confusions that exist about the literary type of the Chronicles of Narnia.

Time and again, it is referred to as a “Christi an allegory

,” a tag with which C. S. Lewis would not have been happy. As he explains in some of his essays and letters, an allegory is a work in which immaterial realities are represented by imaginary physical objects. For example, the immaterial faculty of Reason may be allegorically represented by someone we call Lady Reason. This Lady—because Reason is clear, undefiled, swift, cold, hard, and sharp like a sword—we could picture as a “sun-bright virgin clad in complete steel,” riding on a horse “with a sword naked in her hand.” This, C. S. Lewis has actually done in his only allegorical work, The Pigrim’s Regress, from which the example of Lady Reason is taken.

Is Narnia, then, an allegory? After all, C. S. Lewis loved allegorical literature, and it is obvious that elements of his Christianity flowed into the Narnian storyline, such as the concepts of Incarnation and Redemption.

Were C. S. Lewis alive, I think he would be very glad if readers were told about his view that the books are not an allegory. C. S. Lewis did not say to himself, “Let us represent Jesus as He really is in our world by a Lion in Narnia.” His original inspiration was much less theological than that—nothing more than a mental picture. Long before he became a Christian, he had a picture in his head of a faun carrying an umbrella and parcels in a snowy wood. Decades went past, until one day he said to himself, “Let’s try to make a story about it.” At first he had very little idea how the story would go. “But then suddenly,” he later wrote, “Aslan came bounding into it,” and “once he was there he pulled the whole story together, and soon he pulled the six other Narnian stories in after him.”

But aren’t the Chronicles of Narnia Christian at all? Doesn’t Aslan die and rise again like Jesus did? Isn’t that a representation of the Christian faith? If that isn’t an allegory, what on earth is it?

Well, C. S. Lewis called the Chronicles a “supposition.” He wrote the books by saying, “Let us suppose such and such were true and then imagine what would happen.” At first this supposition did not even contain a Christian element, but after Aslan had “bounded into” Narnia, Lewis said in essence, “Let us suppose that reality contained different parallel worlds, and that in one of them the Son of God, as He became Man in our world, became a Lion there, and then imagine what would happen.”

Now this supposition has a definite Christian element in it; the Christian element is in fact essential to it. But, Lewis maintained, that does not make it an allegory. As we have seen, an allegory is trying to describe a (mostly immaterial) fact in our world by means of a picture, such as Reason being pictured as a sun-bright virgin clad in steel. Aslan, however, does not represent the immaterial God in the same way in which Lady Reason represents Reason. He is the result of a supposition. Granted the supposition, he and all the characters and events in Narnia would have been a physical reality no less than Jesus’ death in first-century Palestine. Narnia is thus an imaginary world existing in its own right, having grown out of a Christian supposition, but not being an allegory of Christianity.

To put it differently, Aslan is Jesus in another world; he is not an allegory of Jesus in our world.

Nevertheless, Lewis’ friend J.R.R. Tolkien thought that Narnia was still too allegorical and not consistent enough as an imaginary world—or “sub-creation,” as he liked to call it—in its own right.

Whether you go along with Lewis or Tolkien, I can empathize with authors who resent their fictional works being reduced to mere allegories. If I may mention my own fantasy novel for a moment, The Crack Beneath the Worlds, I would also feel slightly frustrated if readers saw one of the main characters, the Cyclopic Conjuror, as simply an allegory of the Christian God, and the villain Nephilon as no more than a picture of the devil. Granted, the Cyclopic Conjuror does share certain similarities to the God of the Bible, and some of the parallels are intentional, but first and foremost he is a character in a novel. In my fictional world, he does very much take the place of God, but why can’t a character fulfill such a role without readers seeing him as “just” an allegory of a concept in the real world?

People who over-allegorize every fictional work miss out on what fiction is really about: to taste, to feel, and to see something that a chart of allegorical parallels can never achieve.

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