As it happened, I wound up sneaking one more category in under the deadline. Here’s my (somewhat belated) writeup.
And I’m trying it again! This year I’m starting with this year’s brand new category: middle grades.
Two warnings and an acknowledgment before we start. First, be prepared for spoilers, since I can’t talk about books without talking about story and theme. Second, these are only my own thoughts as a private and opinionated reader. I encourage everyone to share their thoughts, whether in agreement with mine or not. And my acknowledgment that in many cases (though only one of the books in this category, interestingly), books were provided in PDF format by the publishers, for review by Whitney Academy members — a courtesy for which I’m most grateful.
My wife and I finally got the chance to see the first part of The Hobbit trilogy the other day (with two young kids, our opportunities become more rare, so having Anne’s parents in town really helped in this regard). I was wary at first. I had read a number of negative reviews and, being a lover of Tolkien’s work and the previous Lord of the Rings films, I was afraid to see the film version not live up to expectations. Lowered expectations always help when going into a film (part of why I read the critics first), and this proved to be the case here. But, even if I had higher expectations, I still believe I would have been just as moved by the film. more
So this is not some snazzy, official list with criteria, rubrics, or voting committees. This is just my personal, gut-feeling-favorite Mormon Arts contributions that I have experienced this year. This also doesn’t mean that it was even published or produced in 2012… these are works/artists that I have personally encountered this year (or so). So keep that in mind as I submit “Mahonri Stewart’s Personal Mormon Arts Favorites of 2012!” (Which may or may not become an annual tradition, depending on how lazy I am next year).
FAVORITE MORMON PLAY: MELISSA LEILANI LARSON’S MARTYRS’ CROSSING
So, beyond what I’ve seen my Zion Theatre Company produce this year, I haven’t had a chance to see much Mormon Drama in 2012 since I live in Arizona (kind of pathetic since I’m supposed to be the Mormon Drama expert around here). I can’t visit Utah on a whim to see the rare Mormon themed play that comes around (or, this year, New York with #MormonInChief!), but what I have done this year is read a bunch of older Mormon plays to finish my editing for Saints on Stage. Since one of those plays was produced again this year, I am choosing Melissa Leilani Larson’s Martyrs’ Crossing, which has been getting great reviews at the Echo Theatre in Provo. I saw BYU’s production of the show years ago and read it again this year, and it’s as beautiful and vibrant as I remember it. Melissa is one of Mormonism’s best playwrights and, although I would call Little Happy Secrets her best work so far, Martyrs’ Crossing is a personal favorite, much due to Mel’s beautiful writing and to my love for Jean d’Arc… who I may tackle a play about some day as well, although it would be pretty different than Mel’s take. Mel keeps beating me to the punch on stories that I love, including Jane Austen’s Persuasion and her upcoming adaptation of my all time favorite novel, C.S. Lewis’ Till We Have Faces. Despite that personal frustration, I can’t but help look at these works and say, “Well, at least Mel wrote it, because it’s beautiful.”
FAVORITE MORMON PLAYWRIGHT: MATTHEW GREENE
Although I haven’t seen or read it, just the fact that Matthew Greene was able to get a Mormon themed play up in major a New York fringe festival is nothing to sniff at. I’ve read both positive and negative reviews for #MormonInChief, but I admire Matthew (who was in BYU’s WDA Workshop with me several years ago) for really jumping into the New York theater scene and progressing the cause of Mormon Drama. He’s also got an upcoming play coming soon to Plan-B Theatre Company in Salt Lake City called Adam and Steve and the Empty Sea. Matthew is getting some real traction in his career as a dramatic writer and I believe it’s well deserved. more
NOTE: This is a paper I presented at a conference to a largely non-Mormon audience a few years ago (April 2010 to be precise). Since the final Twilight movie hit theaters this morning at midnight, I thought it might be worthwhile to dust off this paper and present it for your review. Overall, I like the basic idea of the paper, although I think certain ideas and distinctions need to be further developed and drawn.
Vampire stories, argues William Patrick Day, are supposed to “viscerally [excite] us with primal, forbidden, terrifying images and scenes of flesh and blood, fangs and stakes, violence and death” (5). Yet, if this is true, why is Stephenie Meyer’s Twilight Saga so devoid of such “terrifying images and scenes”? Already, much has been written about the “erotics of abstinence” in the Twilight novels, or their lack of explicit sex—premarital or otherwise (Grossman). Less has been said, however, about how these vampire stories flout the conventions of the vampire genre by avoiding bloody, violent spectacles.
Indeed, one of the earliest reviews of Twilight—a brief write-up in Publishers Weekly—points out that the “novel’s only weakness” is a “rushed denouement” that mostly “takes place offstage” (207). In the climactic scene, Bella is in danger. James, a bad vampire who has become fixated on her blood, lures her to a dance studio where he plans to slake his thirst. The suspense builds as James, true to his nemesis role, monologues about his skills as a tracker, his desire for Bella’s blood, and his disdain for the Cullens, Bella’s good, “vegetarian” vampire friends. Using his super vampire strength, James throws Bella against a wall of mirrors, breaks her legs, and cuts a gash along her forehead. The situation looks bad for Bella:
His eyes, merely intent before, now burned with an uncontrollable need. The blood—spreading crimson across my white shirt, pooling rapidly on the floor—was driving him mad with thirst. (450)
James strikes at her, bites her on the hand, and Bella—our first-person narrator—passes out.
And that’s all we get.
I can’t tell you what it is because that would be a huge spoiler. But there’s a major one (and it’s one Condie writes about in the acknowledgements).
I still need to fully process the Matched trilogy (of which Reached is the final book). I’m fascinated by the fact, though, that although you could read it and love it without any knowledge of Mormonism at all, it contains within it major resonances with Mormon history, landscape, doctrine and practice.
Wm says: I’m pleased to host a discussion of the penultimate story in the Four Centuries of Mormon Stories contest. Here’s a guest post from the contest organizers to help us kick things off:
You may have heard of the “Four Centuries of Mormon Stories” contest before, or even smelled its aroma rising out of Minnesota, the Middle East, or Pleasant Grove. If you haven’t, the conceit is simple: we’re featuring very short stories about Mormons in the 19th, 20th, 21st, and 22nd centuries, then holding a vote for the best of our twelve finalists and giving $400 to the winner. We’re also holding a blog tour of discussions, bring the people to the stories and the stories to the people. Or something like that.
Seriously: if you haven’t read these stories, take half an hour to catch up. Or at least take three minutes to read Steven Peck’s “Avek, Who Is Distributed” and discuss it today and one of the world’s oldest Mormon arts & culture blogs.
- What are your initial reactions to the story?
- How much would you pay for a StraythoughtAssist device?
- What role might all the Mormon Literature ever written have played in Avek’s intense desire to join the Mormon panth
- If you could have lunch with Avek, what questions would you ask him? And what drink would you order?