Friday, January 23, 2015
The use of Psalm 23 in the TV series Lost
(This is part of a lecture I gave in Bible and Popular culture, in which I explore reception history, the way Bible texts are re-presented in different cultural forms over time).
Lost ran over six years (series). In this episode from the second series, titled “The Twenty Third Psalm,” we are introduced to the back story of a character, Mr Eko. It involves his past in Nigeria and a number of times and ways in which he “walks through the valley of the shadow of death.” First, as he acts to save (be a shepherd for) his younger brother from Nigerian guerillas, later as he seeks to use his brother, now grown, and a Catholic priest (a shepherd) to export drugs.
The episode is laced with religious imagery. Both Eko and Charlie carry religious symbolism. Eko has a piece of wood which he has called his “Jesus stick” which is marked with Scripture. Charlie carrys a Virgin Mary statue which is filled with heroin.
So in plot and character, the episode is an intriguing example of reception history, of the search for salvation in the very dark places of human experience. Karl Jacobson, argues that “in the various musical and theatrical encounters with Ps 23, an interpretive and pedagogical force that wrestles the psalm out of any flat or smooth reading and presses it into the service of disbelieving faith, seeking trust.”[1] This is what is happening in Lost. The words on a page are given contemporary relevance.
The episode ends with Charlie and Eko the saying of Psalm 23. Eko is the leader, yet is joined, falteringly by Charlie. Both men have difficult relationships with their brothers, tied together by drugs. Bringing them together allows them to face their failures, to experience “their souls restored.”
When we engage in reception history, is it possible that the pop culture readings might in fact read insight back into the text. We see this in this episode, which starts with a discussion of two brothers – Aaron and Moses. They are brothers in the Exodus story.
As the episode proceeds, we see more brothers. The difficult relationships experienced by Charlie and Eko invite us to consider the relationship between Aaron and Moses, to pull it “out of any flat or smooth reading.” In what ways might the Biblical characters have wrestled with each other?
The ending, as Psalm 23 is said together by Eko and Charlie, involves inter-cutting of scenes with other characters from Lost. The actions and interplay are each an acting out of the Psalm, not as per the Bible but in the contemporary world created in Lost.
The fish, given on the beach, is an offer of peace between people previously estranged. (a table before me, in the presence of my enemies). Lost is a mysterious island, a place of valleys of death. Yet perhaps, if these people act toward each other in forgiving and ennobling ways, is might indeed be a place of “goodness and mercy.” Heaven (the house of the Lord) is as real as these people might want to make it.
By paying attention to plot and character, this Lost epiosode does indeed provide “an interpretive and pedagogical force that wrestles the psalm out of any flat or smooth reading.”
[1]Karl Jacobson, “Through the Pistol Smoke Dimly: Psalm 23 in Contemporary Film and Song,” http://sbl-site.org/publications/article.aspx?articleId=796
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