I didn’t quite know what to expect having picked this book up in the States last year. I think I assumed it would be something on the lines of a Victorian version of Hustle or the fascinating novel Dizzy City by my old friend Nicholas Griffin (who is certainly NOT to be confused with his odious BNP namesake). You know, a fun, historical romp through true stories of New York hucksters and con-artists.
But it wasn’t quite that at all. In fact, the more I read of this enjoyable, well-written but sometimes awkwardly structured, book, the more I realised it had serious intent. In fact it was sad but unfortunately recognisable in its portrayal of Christianity.
For the focus is of a series of anonymously written articles in the pioneering penny-newspapers of 1835. This became known as The Great Moon Hoax. In time, it became clear that they were the work of English émigré, Richard Adams Locke. But they gripped the whole of New York and were later serialised in many other cities’ papers. He described in great detail the apparent findings of the famous astronomer English Sir John Herschel from his Cape Town Observatory: an entire civilisation of flying man bats and other fantastical creatures living on the moon. People discussed at great length whether or not it could possibly be true. The city was divided.
One thing that few people realised, however, even after Locke came clean, was that he was not seeking to create a hoax – but to write a satire. He was satirising the extraordinary lengths to which some theologians would go in an effort to bend and influence scientific discoveries to their worldview.
So The Sun and The Moon is, in fact, a book about widespread reactions against the Christian gospel and contains a cast of many names well known to those familiar with the period: Edgar Allan Poe, P T Barnum, the Herschel family, even the father of James Gordon Bennett (whom I’d previously only encountered as a mild expletive!). Integrating science and theology is of course a noble and even essential enterprise. But the lengths to which people would go does no credit to either science or theology. Here is one example that especially got under Locke’s skin, taken from a book called Celestial Scenery.
In his letter Locke addressed only a single point from Celestial Scenery, which he believed would be sufficient to illustrate “the serious trespasses of Dr Dick’s theological school of philosophy upon the paramount jurisdiction of physical science”. Thomas Dick had long insisted – the face of substantial evidence to the contrary – that there could be no volcanoes on the moon. Volcanoes, like earthquakes and hurricanes, were evidence of God’s displeasure, and God could be displeased only with sinners; because the lunarians existed in a state of innocence, their landscape would not be blemished with such agents of physical destruction. “Is not this pretty stuff to pass for philosophy,” asked Locke, “and to be presented to our youth as a rule of judgement in determining questions of fact?”
The real world of nature, he pointed out, contains an astonishing multiplicity of functions, and it was the height of arrogance – not to mention pitiable scientific reasoning – to reserve to oneself the right to define certain of them, arbitrarily, as the products of ‘goodness’ or ‘sin’.
The fang of the viper, the claws of the tiger, the tail of the spider, the sing of the wasp, and the beak and talons of the eagle, are as ‘very good’ for their respective purposes, as the milky foundations of the mammalia, or the curious chrysalis of the butterfly… (Moon & Sun, p278)
Unfortunately, by such extreme lengths, the cause of apologetic integration was severely discredited. It demonstrates the need to be very careful about what reductionist assumptions we bring to bear on the discussions. For is it really the case that volcanoes can only be understood as a sign of judgement? Or that lunarians are necessarily innocent? Etc etc etc.
Another of the subplots of the book, sadly, is the inconsistencies of Christians during the Second Great Awakening. Barnum was a fascinating figure, the inventor of the ‘humbug’ which he saw not as a con, but as an entertainment.
As P T Barnum explained in his book on the subject, a humbug “consists in putting on glittering appearances – outside show – novel expedients, by which to suddenly arrest public attention, and attract the public eye and ear.’ Superficially, at least, Barnum’s humbug is similar to Edgar Allen Poe’s diddle, as each is a form of hoax. The diddle, however, is carefully designed to preclude any awareness that it has taken place: the grocery story owner does not realize he has been tricked out of his whiskey, or the camp-meeting attendee out of his bridge toll. A humbug, on the other hand, noisily calls attention to itself; it also allows for the possibility of doubt, and requires consent from those who participate in it. The humbug might well turn out to be authentic (many of Barnum’s attractions were just what they were advertised as being), but whether it is true or false, the customers must depart believing they have gotten their money’s worth. A promoter who fails to provide his customers what Barnum called a “full equivalent for their money” will be denounced as a swindler and a fraud, while one who delivers a proper humbug will find his customers coming again and again – the first time because they believe his attraction is authentic, the second time because they are not sure, and the third time to figure out how the trick has been pulled off. The entertainment lies in the nature of the attraction (although as Barnum pointed out, a certain amount of ‘glitter’ is essential) than in the implicit competition between patron and promoter, each one seeking to outwit the other in a game of deception. (p263)
But one of his key influences was the small-town Christianity of his childhood, one which he resolutely rejected in adulthood. And he had many of his ideas from the cons pulled off by Christians – in contrast to whom, he liked to think, he had seized the moral high ground. This is a simple illustration of this:
Barnum loved to tell the story of a grocer who doubled as the deacon at the town’s church. One morning, before breakfast, he called down to his clerk:
“John, have you watered the rum?”
“And sanded the sugar?”
“And dusted the pepper?”
“And chicoried the coffee?”
“Then come up to prayers.” (p103)
I enjoyed the book as it brought to life the streets of early Victorian New York in a remarkable way. But I was also challenged afresh: for the acute need for both rigour in our apologetic and integrity in our living. And there, but for the grace, go I…