Author Archives: Theric Jepson

About Theric Jepson

. Theric Jepson has been blogging since 2005, but he's been a gadfly-in-the-making for much, much longer. Most of his professional publications have been under his legal name, Eric W Jepson, but online he is better known by a variety of monikers beginning with the digraph th. Theric first published about Mormon literature in Brigham Young University's now defunct Collegiate Post, a student-run newspaper. That article is (happily) unavailable online as it reveals the tremendous ignorance of the author at that time. Theric has worked as a reporter and, briefly, the editor of the Tehachapi News. His columns from this time and other writings are available on his website. Although he considers himself primarily a fictionist, Theric writes in other forms as well. A partial list of his work follows. Blogs Thutopia The Weekly Svithe Fob Comics Short stories Afterlife The Oracle The Widower Nonfiction Living Literature Saturday's Werewolf

Come now, and let us be wrong together, saith the critic

2.4.16 | | 7 comments

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Today, an interview with New York Times film critic A.O. Scott appeared in Slate. The following is an excerpt from that interview (I’ve reversed the original bolding—bold is now Scott and plain is interviewer Isaac Chotiner):

Since you became a critic, are there any movies or any reviews you look back on and say, “Wow, I blew it”? more

Newish stuff from Van Sciver and Hales

1.25.16 | | no comments

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Two interesting (and short) Mormon comics out in the last little while (or midsized while, if you consider their original appearances online). Scott’s book just dropped. Noah’s arrived last July. Noah’s is about a Mormon kid whose connection to that aspect of his identity has largely lost its definition. Scott’s is the ultimate in insider humor.

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MY HOT DATE by Noah Van Sciver

I was pretty much the perfect Mormon teen, I suppose. I didn’t swear, I showed up on time to Church, I went to seminary. Because I was a teenager, I imagined that was because I did these things myself. Of course, that’s nonsense. What if I had been thrust into young Noah’s circumstances? more

His Right Hand (the conflicted review)

12.29.15 | | 5 comments

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Not so many pages into my reading of Mette Ivie Harrison’s new sequel to The Bishop’s WifeHis Right Hand, I decided I was going to write two reviews of this novel: His Right Hand — The Positive Review and His Right Hand — The Negative Review. I wasn’t sure which I would publish first vs which I would let sit on top, but it seemed like a good method to praise what I like and discuss directly what I don’t.

But I can’t write those reviews. By the time I reached the end of the novel, I’d realized that the good and the bad of the Linda Wallheim mysteries are too interwoven to cleanly separate. My concern, however, is that by interweaving them I will be giving the negative more weight. We’ll see how it goes. Ready? more

On subtlety, briefly

11.4.15 | | 10 comments

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Earlier this week Slate published an article which declared that subtlety sucks and it’s time for more heavy-handed art. I’m not going to address the nuances of this argument (besides, others are already kicking back), but I have been thinking about this, largely for work-in-progress reasons (which will be #2 in the following list). more

Bob Rees on the Book of Mormon
(as literature)

9.1.15 | | 3 comments

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The Bay Area Mormon Studies Council has, over the last few years, provided its namesake area with scintillating presentations from such varied speakers as Amiee Flynn-Curran (on her 16 months of anthropological fieldwork in the Oakland First Ward), Warner Woodworth (on “Building Zion: One Family, One Village at a Time”), Adam Miller (something to do with his books—I was bummed to miss this one), Kristine Haglund (mostly about Dialogue, as I recall), and more. It’s been a good run.

A few times they’ve cobranded with the Oakland Stake, for instance inviting the Givens to speak, and having Richard O. Cowan help commemorate the 50th anniversary of the Oakland Temple.

Sunday night another BAMSC event held at a church building: Bob Rees speaking on subjecting the Book of Mormon to literary analysis.

Bob, of course, is well qualified to the task, having made a career of analyzing lit of all sorts, including essays comparing the Book of Mormon to contemporary publications and Milton (forthcoming).

We arrived a bit late, just in time for Bob to win me over to his side by declaring Grant Hardy’s Understanding the Book of Mormon the most important book on the Book of Mormon since Joseph Smith published the Book of Mormon. This is not hyperbole, Bob insisted. He compared his reading of Hardy to Keats’s reading of Chapman.

He also gave space to the Book of Mormon’s critics including Mark Twain’s “tired witticisms” which always get a chuckle when delivered by a friendly party.

The wisest decision made in his presentation was more

Once I Was a Beehive

8.18.15 | | 14 comments

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I left Utah just as the Mormon-movie craze was collapsing into a heap of half-baked, opportunistic, unfunny, quote-unquote comedies. No longer in Utah, Mormon movies became harder to see, and I haven’t often felt the effort was worth it.

I know, I know. Me of all people! I should know better than to be dismissive! But I’m still having my standoff with Netflix and they’re not in local theaters or my public library and I’m a little too cheap to spend twenty bucks on a movie I might not like. So I just haven’t seen many. Never mind that I am watching movies, I’m not watching many “Mormon” movies.

The only recent Mormon flicks (last five years?) I’ve seen are Freetown and Once I Was a Beehive.

The trailer for that latter film worried me immensely. An essay by one of the filmmakers made me much more hopeful. But hey—I’m in California. What’m I gonna do?

But I couldn’t just forget about it because I was particularly interested in this film. Not because I’d just been to Girls Camp myself for the first time (though maybe that) but because I find stories about girls between the ages of, say 15 and 25 to be particularly compelling right now, both to read and to write. So I wanted it to be good. I wanted to hear it was good and to feel obliged to see it. And then I wanted to like it. Which seemed like a lot of unlikely steps.

Happily, even before I read anything about it, Excel provided me with a password-protected link to let me watch the film online. And I’m relieved to report that notwithstanding its flaws (which I will not ignore), this movie is more

A brief look at Heaven Knows Why!

7.2.15 | | 3 comments

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When Taylor’s novel was first serialized in 1948 as The Mysterious Way in Collier’s (see the layout of parts 1, 2, 3, 4, 5, and 6), it passed before the eyes of millions of Americans. This was the first nonpioneer Mormon-charactered (contemporary) novel published for a national audience. The action takes place a long-day’s drive from Salt Lake City and when it first came out, its geography became a matter of some debate among the Saints as to who was whom and where was where. Taylor, of course, rolled his eyes and happily defined the word fiction for any who asked.

Anyway. Millions of readers did not translate into bestseller status when it was rereleased under the “improved” title in book form (though it did fine and got good reviews). It would be republished a couple times over the decades. My copy (pictured) is a 1994 Aspen Books rerelease which Taylor says he was talked into by Richard Cracroft (though I suspect his intro was originally penned for a c. 1980 publication). Cracroft called it “the best Mormon comic novel to date” and he says that it’s still the only humorous Mormon novel. (This claim is why I think the intro is older than the publication date. By this time Curtis Taylor‘s The Invisible Saint was out not to mention Joni Hilton’s Relief Society novels and Orson Scott Card’s Hatrack River was publishing stuff like Paradise Vue. So 1994 would be a crazy time to make that claim. But whatever.)

The important question though is this one: Does the novel hold up, almost seventy years later?

The story has a brilliant bit of innovation by starting with a deus ex machina, then having the characters work through the mess that engenders. Old Moroni Skinner is up in heaven (heaven, incidentally, is a satire of midcentury American capitalism and has not aged as well as the rest of the novel) concerned with his grandson who’s grown up to be the valley trash. He files the paperwork to make a visitation and so he does, making it up as he goes, dropping in on the town apostate and telling his grandson to marry the bishop’s daughter (who is engaged to be married the very next day, unbeknownst to Moroni). And this descends chaos in the form of crazy and coincidence, capturing the very best elements of the comedies of Dickens and Shakespeare. It is exquisitely engineered. The characters are sharp and tear off the page in into the imagination. The hurdles to our protagonist’s success just got greater and greater. And somehow—comedy!—it all works out in the end. (Unless you include the final chapter which returns us to heaven and adds on a painfully heavy dose of predestination to the mix.)

In short, this is a terrific look at midcentury Mormon-corridor Mormonism with its uncertain relationship with the Word of Wisdom and heldover pioneer-era Church hierarchies and living breathing human beings.

Sp does it hold up? Yes. Most certainly yet. I may not have laughed on every page like Cracroft, but it was a fun, fun ride.

Guest Post on Creation by Sam Barrett

6.29.15 | | one comment

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INTRODUCTORY NOTE: This is the written version of a talk given by Sam Barrett in sacrament meeting February 2014 as part of the Berkeley Ward’s arts Sunday. The assigned topic was “What CREATING teaches me about the CREATOR.” Sam works in advertising and is also a composer under the name Samson Y Hiss. His stuff is fun and creepy and weird—circus-hell music, you might say. (Worth mentioning: He agreed to let me post this here after seeing the word “grotesque” on the AMV about page.)

Samson Y Hiss is currently raising money on Indiegogo to record his music with real musicians on real instruments. I highly recommend checking the project out and supporting it. I have a cd of his work in the car and it certainly makes late-night drives more nightmarey. (The photos here are taken from the Indiegogo page.)

By means of introduction, if I remember correctly, the talk is structured around his day-to-day thinking about the topic as he prepared. You know. In case you find an all-caps MONDAY confusing.

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MONDAY

In the mid 40’s at midnight in Manhattan, a young man named Thelonious Monk was working as a pianist at a nightclub. Much of his style was developed during this time as he participated in “cutting competitions” which featured many leading jazz soloists. While engaged in one of these sessions he fell upon an old song he’d written years ago at the age of 19 back in North Carolina. Returning to the song nearly 13 years later as a superior musician he embellished upon the tune greatly almost to the point of rewriting it completely. This new tune would become known as Round Midnight. A song a number of jazz artists including Cootie Williams would reinterpret for years to come. Round Midnight became the most recorded jazz standard composed by a jazz musician. It appears in over 1000 albums.

He sold candy and newspapers on trains running from Port Huron to Detroit, and sold vegetables to make money. He also studied qualitative analysis, and conducted chemical experiments on the train until an accident prevented further work of that kind. Moving to Newark, New Jersey Thomas Edison began his career as an inventor with the automatic repeater and other improved telegraphic devices, but the invention that first gained him notice was the phonograph in 1877. The accomplishment was so unexpected by the public at large as to appear almost magical. It recorded on tinfoil around a grooved cylinder. And despite its limited sound quality and that the recordings could be played only a few times, the phonograph made Thomas Edison a celebrity. And he became known as “The Wizard of Menlo Park” New Jersey.

Creators come in many forms. They are musicians, painters, sculptors, inventors, scientists, philosophers. They are actors, writers, directors, designers, builders, preachers. They are moms, dads, grandpas, grandmas; even crazy uncles. As sons and daughters of God creativity is an all of us no matter our profession or position. more