The 1970s have a curious aura, especially to those of us born in the early 1980s. Not quite far enough before our time to feel like “history,” Vietnam, Watergate, stagflation, and all the associated malaise were so much a part of our parents’ formative experience that they taste to us rather of a half-remembered bad dream—especially given the relative peace and prosperity we enjoyed throughout childhood. Perhaps it is only natural, then, to associate that 70s vibe with our own grave misgivings about the present.
Facing as we do a national election between a habitual liar under investigation by the FBI (is anyone more Nixonian than Mrs. Clinton?) and a much-married misogynist, racist, and paragon of petty machismo, we see a strong political overlap between the two eras. The nausea goes much deeper too—into sex, race, religion, and society itself. All around, our souls give way, yet no solution presents itself. The exhaustion is palpable, even papered over as it continues to be by our blithe consumption and entertainment.
Into such troubled times, the prophets of old spoke even greater trouble. “On account of you, Zion will be plowed as a field, Jerusalem will become a heap of ruins, and the mountain of the temple will become high places of a forest.” This indicts us just as much as it happens to us. Perhaps the prophet we need to hear thunder today is the unlikeliest of anointed men—nearly three decades dead and always unassuming in his own time.
Walker Percy, Louisiana novelist and essayist, keenly felt the dislocation of man in the modern age, and set his face toward exploring and explaining that pain in nearly everything he wrote. In Percy’s own telling, a serious novelist (one as much concerned with plumbing the depths of existence as with telling a good story) is by nature a sort of prophet:
“Since true prophets, i.e., men called by God to communicate something urgent to other men, are currently in short supply, the novelist may perform a quasi-prophetic function. Like the prophet, his news is generally bad. Unlike the prophet, whose mouth has been purified by a burning coal, the novelist’s art is often bad, too…. Like the prophet, he may find himself in radical disagreement with his fellow countrymen. Unlike the prophet, he does not generally get killed. More often, he is ignored.”