On the Possibilities of Taking a Walk

One of my favorite novels, Jane Eyre, begins with one of my favorite opening lines:

“There was no possibility of taking a walk that day.”

“There was no possibility of taking a walk that day . . . . I was glad of it.”

A bit further down the page, you learn that ten-year-old Jane is “glad of it.”

It’s a great opening line because it marks the transformation Jane will undergo by the time she’s a young woman, for whom taking walks–whether pacing the hallway, posting a letter in the village, or fleeing illicit and/or ill-advised betrothals–has become a way of life. In fact, walking is one of the ways she’s able to exercise any freedom or agency at all within her constrained life.

This spring, finding myself too-often and too-easily hunched over a screen, I’ve been trying to take daily walks. Sometimes I have a few (slightly misquoted) lines from Wordsworth ambling through my head (“Up, up my friend, and clear your looks, or surely you’ll grow double!”), and I almost always find that Wordsworth is right. In fact, I don’t think I’ve ever taken a walk that made anything worse, and a good many have made things better. Of course, Wordsworth was worried about people getting too caught up in their books; one wonders what he would think of our screens.

Tree-lined walk

Wordsworth and his Romantic compatriots were on to something. I doubt it’s a coincidence that they too were in the middle of technological revolution and its consequential cultural upheaval. As we grow more and more constrained by technologies that seduce us with certain freedoms while furtively depriving us of others, we would do well to follow Jane’s example and look for whatever little opportunities there might be for a walk each day–that humble exercise of body, mind, and human freedom.

Is “The Walking Dead” Catholic?

Dare I say AMC’s The Walking Dead carries some distinctly Catholic undertones? (Or is it overtones? I’m never sure which I really mean).

I think I’ve always felt this in my bones. I came to the show about three years in, caught up with a summer binge in time for Season 4 , and have watched faithfully ever since. Every now and then, I’ll tune in to some of the Internet’s reactions to the show, and I’m often surprised to find seething hordes of angry fans and critics closing in on the show writers like Rick in the tank.

Angry fans besiege the AMC writer’s room

Those fans and critics were alternately angry at cruel character deaths and bored for long stretches that I found rich in a number of ways: surprising interpersonal cooperation and conflict, compelling explorations of human nature, the tensions between doom and grace, fresh interpretations of mythic archetypes, and through all of it, a persistent resonance with Catholic concerns.

At its most basic, the apocalypse of TWD is a Catholic nightmare about the resurrection of the body and life after death–like Lucifer’s mockery of Christ’s promise. This nightmare continuously tests the remnants of human civilization like Job writ large. To what extent will they–can they–remain true to the things they know to be good amidst the horrors this world will visit upon them?

Then, of course, there are the symbolic echoes of the Judeo-Christian story: Rick Grimes, one-time lawman, leading his people on an Exodus like Moses, the Law giver; Rick, the foster father, raising a child not his own for the promise of hope in a world of death; the repeated gathering of lost sheep; not to mention the more overt winks and nods in names like Judith, Ezekiel, Gabriel, Abraham, Simon, Aaron, the (ironically named) Saviors and their Sanctuary, and, yes… Jesus. (Apparently, your odds of surviving the apocalypse are higher if you have a biblical name; bonus points for Old Testament).

I’m hardly the first to notice this, and in fact, it wasn’t until the most recent half-season (Season 9) that I was able to articulate my Catholic appreciation of the show when others’ faith in the series had been crushed by Negan’s barbed-wired bat. It was the fight for community at Hilltop, in the Kingdom, at Alexandria, that felt so profound in a show that, on the surface, might just have been about killing zombies. Here is a show of diverse, believable, imperfect people, haunted (literally) by their mortality, finding their strength in community and love in their neighbors, daring to show mercy to enemies, yearning to welcome the strangers they fear.

What’s not Catholic about that?