Catholicism, Eschatology

Rejoice: Canadian Catholic author Michael D. O’Brien’s Elijah in Jerusalem, the long-awaited sequel to Father Elijah: An Apocalypse, has just been published

Elijah in JerusalemFather ElijahobrienPlagueJournal

Michael D. O’Brien, the Ottawa-born Roman Catholic author and painter, has just had Elijah in Jerusalem, his long-awaited sequel to Father Elijah: An Apocalypse, published by San Francisco’s Ignatius Press, one of the largest American publishers of Catholic books, which was founded by Father Joseph Fessio, a Jesuit, in 1978.

He has worked as a professional artist since 1970 when he had his first one-man exhibit at a major gallery in Ottawa. Since 1976, O’Brien has painted religious imagery exclusively.

When one says Elijah in Jerusalem is the long-awaited to Father Elijah: An Apocalypse, they should perhaps qualify that by making it clear long awaited by readers. Not necessarily O’Brien, who told Joan Frawley Desmond, senior editor of the National Catholic Register in an Oct. 15 interview, that he had not originally intended to write a sequel to Father Elijah: An Apocalypse, published in 1996:

“No, I didn’t,” O’Brien told Frawley, in response to her question asking if he had intended from the beginning almost 20 years ago to write a sequel? “Though the idea of a sequel was often suggested to me by readers, I rejected it for many years,” O’Brien said. “However, during the past few years, powerful images and scenes for the continuing story kept arising in my imagination, begging to be set down on paper. So I prayed and waited. Then came a moment when it was clear that I should write the book – and that the time was now.”

The father of six children, O’Brien, and his wife, Sheila, live in the village of Combermere in eastern Ontario’s scenic, historic, and very rural, Madawaska Valley, about 125 miles west of Ottawa.

I have known about O’Brien, who was briefly both an agnostic and an atheist as a young man, and his work since at least the mid-to-late 1990s, around the time Father Elijah: An Apocalypse, was published, but only got around to reading the novel a couple of years ago. It was a true delight from cover-to-cover. A few years earlier, I had read Plague Journal, one of the novels in his apocalyptic and dystopian 1990s’ trilogy, which also includes Strangers and Sojourners and Eclipse of the Sun. Plague Journal is set in the near future, composed of both written and mental notes made by Nathaniel Delaney, who is the editor of a small town newspaper. The story takes place over a five-day period as he flees arrest by a federal government agency during the preliminary stage of the rise of a totalitarian state in North America. Delaney is one of the few voices left in the media who is willing to speak the whole truth about what is happening, and as a result the full force of the government is brought against him.

O’Brien is an original yet orthodox thinker, writing a novel again with themes rooted in a Catholic view of spiritual warfare, the end times and the Second Coming. While it is not quite uncharted Catholic writing territory, eschatological and apocalyptic themes are often more associated with Protestant premillennial dispensationalist evangelical writers, say Tim LaHaye and Jerry B. Jenkins, and their best-selling 16-book Left Behind series.

O’Brien is interested in exploring the battle between good and evil in history, but also through the souls of individuals, and God’s desire for human beings to choose to love him through an act of free will. Father Elijah: An Apocalypse, Notre Dame-educated Chicago Catholic writer Thomas O’Toole has written, “follows not the simplest interpretations that ‘Revelation’ refers solely to John’s own time,” or “it is exclusively a meditation on the end of things,” or even “a map of the Church’s history.” Rather, it is the interpretation ‘favored by most of the Church Fathers … a theological vision of a spiritual landscape’ that combines all three.”

O’Brien himself, in a talk given by him on Sept. 20, 2005 at Saint Patrick’s Basilica in Ottawa, said, “There is always a battle over every soul. Even if our times prove not to be the times toward which St. John’s Revelation is pointing, each of us must go through a kind of small ‘a’ apocalypse. Each of us certainly will be given a capital ‘R’ revelation at the moment of our deaths when we experience our personal judgment, when all that we are, all that we have done or neglected to do will be revealed.

“The Greek word apokalypsis means a revealing or unveiling. During our lives in this world each of us will indeed face the beast, which is the devil, our ancient adversary, the enemy of our individual souls and of mankind as a whole. In some form or other we must learn to personally resist him and to overcome him in Christ. At the same time we must understand that there will come a point in history when all his malice, all his devices, all his rage will be released in a final vicious attack upon the entire Body of Christ. It will be intense; it will be brief. If we find ourselves in the midst of those three and a half years of total persecution, it will not feel so brief. Yet we must always keep in mind that his time is coming to an end; indeed he is already defeated by the sacrifice of Jesus on the Cross and there remains only the final battle through which the Church and the world must pass.

“We are in the final battle, we are in the apocalypse, we are in the book of Revelation, which the Church, beginning with most of the Church Fathers, believes to be a vision of the entire unfolding of salvation history after the Incarnation, culminating in the total victory of Christ over the entire cosmos and its restoration to the Father. The book of Revelation is not a schematic diagram or a flat blueprint or a purely linear timeline. It is a mysterious multidimensional vision which surely contains linear-chronological aspects, but that is not the whole thing. Indeed it is not the main thing.”

O’Brien told Frawley earlier this month: “Satan attempts to mesmerize, like a serpent paralyzing its victim with fear before devouring it. The many fronts of evil are components in the vast and complex war between good and evil  the war that will last until the end of time. As the forces of evil, visible and invisible, appear to spread and grow ever stronger, we who follow Jesus must keep before the eyes of our hearts the ultimate truth of his coming victory. A healthy balance is needed in our pondering of ‘end times’ questions. We should remain prayerfully alert, but we should never allow ourselves to become obsessively over-focused on the darkness. Again, the eyes of the serpent can delude us into discouragement and even despair.”

In the Protestant premillennial dispensationalist interpretation of Bible prophecy, which posits a pretribulation secret Rapture – there is a belief that Christians will be taken up from earth in a sudden, silent removal of true believers by God prior to a time of tribulation and the Second Coming. For this belief, pre-tribbers rely heavily on Saint Paul and 1 Thessalonians: “For the Lord himself will descend from heaven with a cry of command, with the archangel’s call, and with the sound of the trumpet of God. And the dead in Christ will rise first; then we who are alive, who are left, shall be caught up together with them in the clouds to meet the Lord in the air; and so we shall always be with the Lord.”

That, to be clear, is not a Catholic reading, nor would it be O’Brien’s reading, of 1 Thessalonians or Catholic theology, as the passage describes a very loud and public event, not a secret Rapture. We do, as does O’Brien, however, believe in a future Antichrist, and a coming trial and time of apostasy before the Second Coming.

While some of the Apostolic Fathers of the early church, including Papias, Justin Martyr, Irenaeus, Tertullian, Hippolytus, Methodius, Commodianus and Lactanitus – were premillennialists who believed that Christ’s Second Coming would lead to a visible, earthly reign – the pretribulational Rapture espoused by the Protestant premillennial dispensationalist end times writers is premised on the notion that Christ sought to establish a material and earthly kingdom, but the Jews rejected him, so the Church by necessity is a parenthetical insert into history, created as a result of Jews rejecting Christ, resulting in the existence of two people of God: the Jews, the “earthly” people, and the Christians, the “heavenly” people. This is all alien to both Catholic theology and even the premillennialist views of some of the early Apostolic Fathers.

The premillennial dispensationalism on display in recent years is of a much more recent vintage and is for the most part the creation of John Nelson Darby, an Anglo-Irish curate with of the Anglican Church of Ireland, who would eventually leave that church and in the early 1830s with a small group of men form what would come to be known as the Plymouth Brethren. It was Darby who postulated the secret Rapture and much of what premillennial dispensationalism today teaches about 190 years ago.

Elijah in Jerusalem, published earlier this month, is the continuing story of Father Elijah, formerly David Schäfer, a convert from Judaism and survivor of the Holocaust, who has for nearly two decades been a Carmelite friar at a monastery on Mount Carmel, the mountain of the prophet Elijah, overlooking the Bay of Haifa in Israel.

In the earlier novel, Father Elijah: An Apocalypse, Father (later Bishop) Elijah Schäfer confronted the president of the European Union, a man rising toward global control as president of a soon-to- be-realized world government – a man who displays certain anti-Christ-like qualities – and calls him to repentance as he attempts to sow the seeds to transform the heart of this “Man of Sin” on a secret papal mission that will take him from Israel to Vatican City and Rome, and to other cities in Italy, Poland and Turkey.

In Elijah in Jerusalem, Bishop Elijah Schäfer, appointed by the Pope in pectore as the titular bishop of the ancient Titular Episcopal See of Panaya Kapulu near Selçuk, in Central Aegean Turkey, about 200 miles from Constantinople in western Asia Minor, near Ephesus, and travelling incognito, accompanied by his fellow friar, Brother Enoch, enter Jerusalem just as the president arrives in the city to inaugurate a new stage of his rise to power. They hope to unmask him as the Antichrist prophesied by scripture and to warn the world of the imminent spiritual danger to mankind.

As the story unfolds in Jerusalem, people meet the secretly episcopally-ordained Bishop Elijah Schäfer, and in the process their souls are revealed and tested, bringing about change for good or for evil.

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Christianity, Movies, Popular Culture and Ideas

The Devil, Prince of this World, is not surprisingly about to get his pop culture due on Fox Television as Lucifer Morningstar, recently retired as Lord of Hell and running a piano bar in Los Angeles, the City of Angels

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Some movie film buffs are attracted to 1940’s and 1950’s Hollywood film noir, the stylish but low-key black-and-white German expressionist influenced flicks that emphasize cynicism and sex as motivations for murder and other deadly sins (not necessarily in that order). Think Howard Hawks’ The Big Sleep in 1946, with Lauren Bacall and Humphrey Bogart, based on Raymond Chandler’s 1939 novel of the same name. Or perhaps the 1950 classic, D.O.A., starring Edmond O’Brien and Pamela Britton.

Both are fine films, as are many others of the genre. But I wouldn’t say I am quite an aficionado of film noir. Rather, I appreciate it on its artistic merits.

The same is true for TV series science fiction or sci-fi. While I am a sucker for a good story with elements of time travel or parallel universes (“The City on the Edge of Forever,” the second to last episode of the first season of Star Trek, first broadcast on Thursday, April 6, 1967, which was awarded the 1968 Hugo Award for Best Dramatic Presentation, remains in a league of its own in my mind), I’m not  quite a diehard Trekkie, although I think the original series, which ran on NBC Television for three seasons from 1966 to 1969 is superb, albeit cheesy. But cheesy is OK. Popular culture is made up of a rich cornucopia of cheesy television and movies that almost require a mandatory bowl of Cheetos® to consume such classics as the black-and-white a double-bill of The Brain That Wouldn’t Die, also known as The Head That Wouldn’t Die, a 1959 science-fiction-horror film, directed by Joseph Green (made for $62,000 but not released until 1962), and Plan 9 from Outer Space, the 1959 American science-fiction thriller film, written and directed by Ed Wood on a $60,000 budget, and dubbed by some critics as the worst movie ever made.

While it took me a while to warm up to it, I also came to like Star Trek: The Next Generation, which aired from 1987 to 1994. I’ve also seen most, although probably not all, of the movies from the seemingly endless Star Trek-spawned movie franchise.

Three additional Star Trek spin-offs, Star Trek: Deep Space Nine, Star Trek: Voyager, and Star Trek: Enterprise; well, I could probably count on the fingers of one hand how many episodes of the combined series I’ve ever watched, although knowing Star Trek: Enterprise, which aired originally between 2001 and 2005 and was titled simply as Enterprise for its first two seasons, features Scott Bakula of Quantum Leap fame as Capt. Jonathan Archer, and there is a recurring plot device based on the Temporal Cold War, in which a mysterious entity from the 27th century uses the Cabal, a group of genetically upgraded Suliban, to manipulate the timeline and change past events, I probably will have to give in and start watching its 98 episodes at some point.

Then there is the Christian movie genre. We discover things where we discover them. While I had seen The Rapture, a rather odd but interesting movie starring Mimi Rogers and David Duchovny, later of The X-Files and Californication fame, on VHS videotape cassette in Durham, North Carolina shortly after it was released in 1991, for me, my first real introduction into what I would call the Christian movie genre took place a decade later in Yellowknife, of all places (when I lived in Yellowknife a standard observation was that there were more bars than churches, although that’s hardly unique to Yk).

I remember seeing A Walk to Remember, an American coming-of-age teen romantic drama, when it was released in 2002 downtown at the Capitol Theatre on 52 Street, starring Shane West and Mandy Moore as Landon Carter and Jamie Sullivan, based on the 1999 novel of the same name by the Catholic romance fiction writer Nicholas Sparks. That would be the Nicholas Sparks whose earlier 1996 book, The Notebook, was released as a movie of the same name in 2004, two years after A Walk to Remember came to film screens. I can’t recall exactly how I came to find myself in the Capitol Theatre to watch A Walk to Remember. I don’t recall any of my colleagues going with me, although more than one expressed incredulity the next day when they asked me and I said I enjoyed the movie. I saw it again a couple of years ago for the first time on DVD, and I still enjoyed it.

I won’t spoil the plot for you; the summary is on the Internet and easy enough to find and the ideas, to be honest, are not exactly original. Cheesy? You bet. Pass the Cheetos®. But I’m happy to say the movie was made for about $11 million and has taken in about $47.5 million at the box office. Not a particularly big budget film and far from record box office, but OK.

I wrote a piece here in soundingsjohnbarker (https://soundingsjohnbarker.wordpress.com/2014/09/15/flying-largely-under-the-mainstream-cinematic-radar-christian-movie-genre-is-hot/) last Sept. 15 headlined, “Flying largely under the mainstream cinematic radar: Christian movie genre is ‘hot’” where I mentioned just a few of last year’s Christian movie offerings, including The Giver, starring three-time Academy award winner Meryl Streep and Jeff Bridges, which is set in a fictional post-war 2048 where the community has decided to get rid of colors and, as a consequence, different races and feelings. All citizens have had the memories from before erased from their minds.

I also talked a bit about Heaven Is for Real, directed by Randall Wallace and written by Christopher Parker, based on Pastor Todd Burpo and Lynn Vincent’s 2010 book of the same name, and starring Greg Kinnear, Kelly Reilly, Jacob Vargas and Nancy Sorel, which tells the story of  three-year-old Imperial, Nebraska, native Colton Burpo, the son of Pastor Burpo, and what he says he experienced heaven during emergency surgery; and When the Game Stands Tall, starring Jim Caviezel, best known for portraying Jesus in Mel Gibson’s blockbuster 2004 film The Passion of the Christ, now playing Catholic De La Salle High School Spartans’ football coach Bob Ladouceur (with Laura Dern as his wife, Bev Ladouceur), and telling the story of the record-setting 151-game 1992–2003 winning streak by De La Salle of Concord, California, just east of San Francisco. The movie is an adaptation of the 2003 book of the same name by Neil Hayes, then a columnist with the Contra Costa Times.  The movie was filmed in Louisiana.

As well, I mentioned Tim Chey’s movie, Final: The Rapture, released in 2013 in theatres, but on DVD just last November, starring Jah Shams, Mary Grace, Carman, Masashi Nagadoi and Dave Edwards. While there have been generally cheesy church-sponsored, Halloween “Hell Houses” videos in the past, Final: The Rapture is an unusual sub-genre of Christian horror movie or Christian disaster movie. The movie’s poster promise, “When the Rapture strikes … all of hell will break loose.”

Chey said his purpose is “to scare the living daylights out of nonbelievers … If it means I have to make a horror film to make it realistic to win people to Christ, then so be it.”

Online Maranatha News of Toronto calls Final: The Rapture “the scariest Christian movie ever.”

Final: The Rapture depicts the apocalyptic chaos that ensues for four nonbelievers – an African-American, an Asian, a Hispanic and a Caucasian man living in Los Angeles, Tokyo, Buenos Aires and on a South Pacific island, after the Rapture occurs. “In Los Angeles, Colin Nelson desperately attempts to flee to Bora Bora. Keenly aware that he’s in the Tribulation period, his only hope is in a mysterious man. In Tokyo, a journalist, Masashi, tries to unravel the disappearance of millions of people as the government closes in on him. In Buenos Aires, Marie searches for her final relative as time runs out. And on a deserted island in the South Pacific, Tom Wiseman, an avowed atheist, attempts to be rescued after his plane goes down.”

The film was shot in six countries over five months for about $7 million, Final: The Rapture, raised the necessary production money across a spectrum of investors, ranging from faith-based to hedge funds.

Just in passing, I wrote about God’s Not Dead with Kevin Sorbo; Noah with Russell Crowe; Son of God, produced by evangelical Mark Burnett from Survivor, and his Catholic wife, Roma Downey (whose A.D.: The Bible Continues miniseries based on the early church, as described in the first 10 chapters of the Acts of the Apostles is airing on NBC currently); and the “new” Left Behind movie about the Rapture by Paul Lalonde and Stoney Lake Entertainment, with Nicolas Cage starring as Rayford Steele, and Civil Twilight’s song “Letters from the Sky” being used in the trailer, released in North American theatres last October.

The interesting thing is if I was to revisit the genre today nine months later for a comprehensive update, I’d be saying the Christian movie genre is not just hot, it is on fire, churning out television miniseries and movies at a pace that would be better suited to a book than a blog post.

Mind you, the devil, Prince of this World, is not surprisingly about to get his due as well. Such is the nature of the supernatural and spiritual warfare.

A new DC Comics-based Fox TV high-concept genre series Lucifer where Lucifer Morningstar “bored and unhappy as the Lord of Hell, resigns his throne and abandons his kingdom for the gorgeous, shimmering insanity of Los Angeles, where he opens an exclusive piano bar called Lux” is set to air on Fox next year.

It gives new meaning to the dangers of glamorizing evil, something we Catholics get a refresher course in every Easter through the renewal of our baptismal promises where the priest asks us, “Do you renounce Satan and all his works, and all his empty show; do you renounce the glamour of evil, and refuse to be mastered by sin; do you renounce Satan, the author and prince of sin?”

The production of Lucifer is incredibly slick and well done. That said, watching a three-minute trailer on YouTube (https://www.youtube.com/watch?v=X4bF_quwNtw), I couldn’t help laughing near the end of the trailer when Lucifer, played by Tom Ellis, baffled, asks the female L.A.P.D. homicide detective, Chloe Dancer (played by Lauren German) who unlike almost all the other women who are charmed by him, while she isn’t, “Did my father send you?”

You can also follow me on Twitter at: https://twitter.com/jwbarker22

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