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Miller-Thomas Industrial Networks

4808 East Township Road 122

Republic, OH 44867-9600

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herself. Suddenly while she watched, the sky folded back in two pieces like the curtain to a stage and a gigantic figure stood facing her. It was the color of the sun in the early afternoon, white-gold. It was of no definite shape but there were fiery wheels with fierce dark eyes in them, spinning rapidly all around it. She was not able to tell if the figure was going forward or backward because its magnificence was so great. She shut her eyes in order to look at it and it turned blood-red and the wheels turned white. A voice, very resonant, said the one word, "Prophesy!" She stood there, tottering slightly but still upright, her eyes shut tight and her fists clenched and her straw sun hat low on her forehead. "The children of wicked nations will be butchered," she said in a loud voice. "Legs where arms should be, foot to face, ear in the palm of hand. Who will remain whole? Who will remain whole? Who?" Presently she opened her eyes. The sky was full of white fish carried lazily on their sides by some invisible current and pieces of the sun, submerged some distance beyond them, appeared from time to time as if they were being washed in the opposite direction. Woodenly she planted one foot in front of the other until she had crossed the pasture and reached the lot She walked through the barn like one in a daze and did not speak to Mr. Shortley. She continued up the road until she saw the priest's car parked in front of Mrs. McIntyre's house. "Here again," she muttered. "Come to destroy." Mrs. McIntyre and the priest were walking in the yard. In order not to meet them face to face, she turned to the left and entered the feed house, a single-room shack piled on one side with flowered sacks of scratch feed. There were spilled oyster shells in one corner and a few old dirty calendars on the wall, advertising calf feed and various patent medicine remedies. One showed a bearded gentleman in a frock coat, holding up a bottle, and beneath his feet was the inscription, "I have been made regular by this marvelous disco very!" Mrs. Shortley had always felt close to this man as if he were some distinguished person she was acquainted with but now her mind was on nothing but the dangerous presence of the priest. She stationed herself at a crack between two boards where she could look out and see him and Mrs. McIntyre strolling toward the turkey brooder, which was placed just outside the feed house. "Arrrrr!" he said as they approached the brooder. "Look at the little biddies!" and he stooped and squinted through the wire. Mrs. Shortley's mouth twisted "Do you think the Guizacs will want to leave me?" Mrs. McIntyre asked. "Do you think they'll go to Chicago or some place like that?" "And why should they do that now?" asked the priest, wiggling his finger at a turkey, his big nose close to the wire. "Money," Mrs. McIntyre said. "Arrrr, give them some morrre then," he said indifferently. "They have to get along." "So do I," Mrs. McIntyre muttered. "It means I'm going to have to get rid o?some of these others." "And arrre the Shortleys satisfactory?" he inquired, paying more attention to the turkeys than to her. "Five times in the last month I've found Mr. Shortley smoking in the barn," Mrs. McIntyre said. "Five times." "And arrre the Negroes any better?" "They lie and steal and have to be watched all the time," she said. "Tsk, tsk," he said. "Which will you discharge?" "I've decided to give Mr. Shortley his month's notice tomorrow," Mrs. McIntyre said. The priest scarcely seemed to hear her he was so busy wiggling his finger inside the wire. Mrs. Shortley sat down on an open sack of laying mash with a dead thump that sent feed dust clouding up around her. She found herself looking straight ahead at the opposite wall where the gentleman on the calendar was holding up his marvelous discovery but she didn't see him. She looked ahead as if she saw nothing whatsoever. Then she rose and ran to her house. Her face was an almost volcanic red. She opened all the drawers and dragged out boxes and old battered suitcases from under the bed. She began to unload the drawers into the boxes, all the time without pause, without taking off the sunhat she had on her head. She set the two girls to doing the same. When Mr. Shortley came in, she did not even look at him but merely pointed one arm at him while she packed with the other. "Bring the car around to the back door," she said. "You ain't waiting to be fired!" Mr. Shortley had never in his life doubted her omniscience. He perceived the entire situation in half a second and, with only a sour scowl, retreated out the door and went to drive the automobile around to the back. They tied the two iron beds to the top of the car and the two rocking chairs inside the beds and rolled the two mattresses up between the rocking chairs. On top of this they tied a crate of chickens They loaded the inside of the car with the old suitcases and boxes, leaving a small space for Annie Maude and Sarah Mae. It took them the rest of the afternoon and half the night to do this but Mrs. Shortley was determined that they would leave before four o'clock in the morning, that Mr. Shortley should not adjust another milking machine on this place. All the time she had been working, her face was changing rapidly from red to white and back again. Just before dawn, as it began to drizzle rain, they were ready to leave. They all got in the car and sat there cramped up between boxes and bundles and rolls of bedding. The square black automobile moved off with more than its customary grinding noises as if it were protesting the load. In the back, the two long bony yellow-haired girls were sitting on a pile of boxes and there was a beagle hound puppy and a cat with two kittens somewhere under the blankets. The car moved slowly, like some overfreighted leaking ark, away from their shack and past the white house where Mrs. McIntyre was sleeping soundly -- hardly guessing that her cows would not be milked by Mr Shortley that morning -- and past the Pole's shack on top of the hill and on down the road to the gate where the two Negroes were walking, one behind the other, on their way to help with the milking. They looked straight at the car and its occupants but even as the dim yellow headlights lit up their faces, they politely did not seem to see anything, or anyhow, to attach significance to what was there. The loaded car might have been passing mist in the early morning 

So when I learned the pageant's script had been written by Orson Scott Card, the controversial sci-fi novelist I'd read by the glow of the Light Boy, it rather put me over the edge. Card told me, when I tracked him down: ?I'm on the record many times over, calling Mormonism a ?science-fiction religion.'? He meant Mormon cosmology, an interstellar system graced with a lore to rival Dune, which crystallized in the 1820s ? the decade that brought Mary Shelley's best-known novels ? and continued to be built out in the decades that followed, which saw luminaries like Jules Verne and, later, H. G. Wells.

What was the point of this sci-fi faith? All around me were clues: the fact that the cast saw themselves as creators of a celestial city on earth, here in this field. They called that city Zion, an ancient name for Jerusalem that Mormons have revived; they believe themselves charged with forging New Jerusalems now, modern microcosms of the ancient one that take shape wherever people gather, commit to the greater good, and thereby grow godlike. Mormonism is filled with such cobwebby concepts ? and rites ? dredged up from antiquity and given strange new life in contemporary America: they believe the Garden of Eden is in Jackson County, Missouri. The earliest Mormons performed exorcisms in the age of the first fax machines. And this was key, to faith and pageant both. They depended on a furious effort to resuscitate what was buried in a premodern past ? ritual energies, characters, symbols ? in the midst of modernity: a landscape of decaying interstates and shuttered malls, where these antique constructs sat as awkwardly as mastodons. Keep going, those around me seemed to say, arms outstretched like so many Gatsbys toward a dream of divinely charted existence. It can persist even here.

Morning bled into afternoon. I followed my next handler, an ebullient Filipino-American woman named Cherlyn, toward the outer edge of the Bowl. There, by the road, I watched a group of teens practice a scene called the Harvest Dance. The soundtrack featured a jaunty Disneyish waltz, which the directors played on a boom box while the teens cavorted. Here I noticed something I would go on observing during youth rehearsals: the directors called out, ?This actually happened.?

An outsider might have perceived all this as akin to, I don't know, the Middle Earth Festival, but to the cast, of course, it was tantamount to a Gettysburg reenactment: not fiction but received truth, a kernel of vision they had internalized and that, acorn-like, ramified into all they said and did. They were meant to emerge from this with the pivotal episodes of the Book of Mormon lodged in their muscle memory. (Surely no attendee at the Middle Earth Festival marvels afterward, ?I finally get what Gandalf went through at Moria.?) What did it mean to sacralize a science fiction, ramping up its imaginative plot points to the status of historical fact?