“Acting white”/“acting girly”—whither men? (Part II)

In her Atlantic article “The End of Men,” which inspired this series of posts (the introductory post is here), Hanna Rosin writes,

Jesus Manifesto: for those who have ears to hear

Due to a combination of circumstances, I found myself this week filling in for my wife, who’s one of the book-review bloggers for Thomas Nelson (which now calls their review-blogging program, absurdly, BookSneeze), to write a review of the book Jesus Manifesto by Leonard Sweet and Frank Viola. It’s a 179-page (plus footnotes) expansion of a ~2400 word essay they posted last summer, which I noted at the time when Jared Wilson flagged it. The essay was a powerful challenge to the increasingly Jesusless American church, but there was plenty of room to expand on each of their ten points; now, each one gets a chapter. The resulting book is not perfect, by any means—there’s room for criticism, as there is with any human work—but I’m grateful to Sweet and Viola for writing it, and to Thomas Nelson for publishing it and pushing it, because the church in this country badly needs to hear what they have to say.

I will probably come back to this book and interact with it more than once, because there’s a lot here; but for now, let me just post here what I put up on my wife’s blog. The best summary of this book comes from the authors themselves, in the last chapter, in words taken straight from the original essay:

Christians don’t follow Christianity; they follow Christ.

Christians don’t preach themselves; they preach Christ.

Christians don’t preach about Christ: they simply preach Christ.

The purpose of the book is to lay out why that’s so and what that looks like, in order to address “the major disease of today’s church . . . JDD: Jesus Deficit Disorder.”

Sweet and Viola do an excellent job of this; they have written a book which is truly centered on—indeed, saturated with—Jesus. Rather than resting on human wisdom, it rests solidly on Scripture, the word that contains the Word, “the cradle that contains the Christ,” in Luther’s phrase; this is not to say that they ignore the wisdom of Christians through the ages, but they only use it to expound and amplify the voice of the Scriptures as they speak of Christ. This book will make anyone who reads it with an open mind and heart aware of their hunger and thirst for Jesus; one hopes it will do the same for the American church.

Copyright, corporate shortsightedness, and the free market

I have to admit, I’d never heard of the group OK Go until a month or two ago when my brother-in-law played me the video for their song “This Too Shall Pass,” from the album Of the Blue Colour of the Sky. I enjoyed it, but the group didn’t really stick in my consciousness until they released a second video for the same song, featuring a most remarkable Rube Goldberg machine:

At first, the most interesting question to me was, did they really shoot that in a single take? (Answer: yes, but it took them over sixty tries.) With that answered, I discovered that in truth, the most interesting question is this: why did they make a second video to the song when the first one (featuring the Notre Dame marching band) was perfectly fine? As Dylan Tweney wrote on the Wired website,

OK Go developed a reputation for making catchy, viral videos four years ago with the homemade video for “Here It Goes Again,” which features the band members dancing around on treadmills. The company ran afoul of music label EMI’s restrictive licensing rules, which required YouTube to disable embedding, cutting views to 1/10 of their previous level. Now, the new video is up—and it’s embeddable, so the band seems to have won this round with its label—and is already generating buzz on YouTube and on Twitter.

Actually, it’s not so much that OK Go won the round as it is that they cut ties with their label and went independent. As one commenter on another OK Go video (“We’re Sorry YouTube”) put it,

OK Go got into a huge fight with EMI and Capitol over how their viral videos were distributed. They wanted You Tube viewers to be able to watch the videos without worries about the labels coming down on people who posted. In the end, they ended up leaving EMI and Capitol and forming their own label. In fact, they were so mad that's why they created a second video for “This Too Shall Pass” with the Rube Goldberg machinery. This video is just their humorous way of dealing.

In the cheap political calculus that floats around, it’s usually assumed that because conservatives support big business, big business is politically conservative—which in economic terms means in favor of deregulation and the free market. In truth, though, this is a long way off the mark; big business is very much in favor of regulation, because regulation is the simplest way of squashing competition. It’s certainly easier than actually having to outcompete people. Thus the approach of big companies like EMI to something like YouTube is generally to try to regulate it by one means or another so as to maintain as much control as possible over how their material is used; they want to ensure that nothing happens that they don’t approve, and that they don’t miss any opportunity to make money.

Now, I don’t want to minimize the importance of intellectual property and intellectual property rights; it’s morally wrong when people who create things don’t profit from their creations as they should, and I’ll even grant that the companies which connect musicians and authors and other creative types to those who want to buy their creations should also make an appropriate profit for their work. But the approach EMI took here is extremely short-sighted, because it treats the economic process as a zero-sum game; thus it assumes that if someone is able to, say, watch an OK Go video someplace other than on YouTube (i.e., someplace that doesn’t have an ad for EMI up right next to the video), that represents a lost profit opportunity which can never be recovered. That simply isn’t true.

Rather, what OK Go understands and EMI (like many other corporations) doesn’t is that giving things away can often be the best way to make money. The best illustration of this I know of is the success of the Baen Free Library at Baen Books. Baen, founded by the late Jim Baen, isn’t a huge publishing company by any means, but it’s a significant one in the world of science fiction; and spurred on by Eric Flint, one of their authors, they opted years ago to start making a significant number of their titles available free online. As Flint explained at the time,

Losses any author suffers from piracy are almost certainly offset by the additional publicity which, in practice, any kind of free copies of a book usually engender. Whatever the moral difference, which certainly exists, the practical effect of online piracy is no different from that of any existing method by which readers may obtain books for free or at reduced cost: public libraries, friends borrowing and loaning each other books, used book stores, promotional copies, etc. . . .

Any cure which relies on tighter regulation of the market—especially the kind of extreme measures being advocated by some people—is far worse than the disease. As a widespread phenomenon rather than a nuisance, piracy occurs when artificial restrictions in the market jack up prices beyond what people think are reasonable. The “regulation-enforcement-more regulation” strategy is a bottomless pit which continually recreates (on a larger scale) the problem it supposedly solves. And that commercial effect is often compounded by the more general damage done to social and political freedom. . . .

We expect this Baen Free Library to make us money by selling books.

How? As I said above, for the same reason that any kind of book distribution which provides free copies to people has always, throughout the history of publishing, eventually rebounded to the benefit of the author. . . .

I don’t know any author, other than a few who are—to speak bluntly—cretins, who hears about people lending his or her books to their friends, or checking them out of a library, with anything other than pleasure. Because they understand full well that, in the long run, what maintains and (especially) expands a writer’s audience base is that mysterious magic we call: word of mouth.

Word of mouth, unlike paid advertising, comes free to the author—and it’s ten times more effective than any kind of paid advertising, because it’s the one form of promotion which people usually trust.

That being so, an author can hardly complain—since the author paid nothing for it either. And it is that word of mouth, percolating through the reading public down a million little channels, which is what really puts the food on an author’s table. Don’t let anyone ever tell you otherwise. . . .

The only time that mass scale petty thievery becomes a problem is when the perception spreads, among broad layers of the population, that a given product is priced artificially high due to monopolistic practices and/or draconian legislation designed to protect those practices. But so long as the “gap” between the price of a legal product and a stolen one remains both small and, in the eyes of most people, a legitimate cost rather than gouging, 99% of them will prefer the legal product.

Of course, some might be skeptical: is it really working? Well, about a year and a half after Flint launched the Library, he wrote an extended piece showing that the Library had actually boosted sales of the books Baen gave away—by quite a significant amount, actually.

The Library's track record shows clearly that the traditional “encryption/enforcement policy” which has been followed thus far by most of the publishing industry is just plain stupid, as well as unconscionable from the viewpoint of infringing on personal liberties. . . .

Making one or a few titles of an author's writings available for free electronically in the Free Library seems to have no other impact, certainly over time, than to increase that author's general audience recognition-and thereby, indirectly if not directly, the sales of his or her books.

I believe it also—I leave it up to each individual to weigh this out for themselves—places such authors on what you might call the side of the angels in this dispute. For me, at least, this side of the matter is even more important than the practical side. It grates me to see the way powerful corporate interests have been steadily twisting the copyright laws and encroaching on personal liberties in order to shore up their profit margins-all the more so when their profit problems are a result of their own stupidity and short-sighted greed in the first place.

I will leave you all with one final anecdote. Napster, of course, is held up as the ultimate “villain” with regard to the so-called problem of online piracy. The letters I received as Librarian were addressed to the issue of books, not music. Yet I was struck by how often—perhaps in a hundred letters—the writers would mention their own experience with Napster. And, in every instance, stated that their purchases of CDs increased as a result of Napster—for the good and simple reason that because Napster enabled them to sample musicians, they bought music they would not otherwise have been tempted to buy because CDs are too expensive to experiment with.

Not enough? Well, check out what Janis Ian had to say. Or consider a personal anecdote: a few days ago, Ray Ortlund put up a blog post with a video of Quicksilver Messenger Service’s song “Pride of Man.” An embedded video, note. I’d never heard of the group before, and neither had Sara; we now own a copy of their “Best of” album, and I think there’s pretty good odds we’ll buy more before all is said and done. If the record labels had their way (or if, at any rate, they all operated like EMI), that sale would never have happened.

Yes, copyright is important. Yes, intellectual property is important. The laborer is worthy of his hire, after all. But using copyright as a club, seeking ever greater regulation of people’s behavior out of fear of what they might do, isn’t just philosophically problematic—it’s unprofitable, because it has a dampening effect and a chilling effect on the very market on which companies depend. A receding tide lowers all boats, but a rising tide lifts them. Just ask Eric Flint.

On art that can truly be called "Christian"

We in the church in this country tend to throw around terms like "Christian music" and "Christian fiction" pretty carelessly, without really thinking much about them, or what they mean, or even if they actually can mean anything at all. There's a good argument to be made that only people can truly be called Christian; and as for culture and its various components, W. H. Auden once declared, "There can be no such thing as 'Christian culture.' Culture is Caesar's thing." I'm beginning to understand what he meant, I think, and his point is one with which we must reckon.

That said—as Christians, as people made in the image of God, we are most definitely called to be culture makers; in Tolkien's terms, we were made to be sub-creators working under our great Creator, and we have both the need and the responsibility to do so wisely and well, in a way that is true to our faith. As I wrote a while back,

Stories matter. They matter because they're the stuff of our life, of our reality and our nature, and the expression of the creative ability we've been given by (and in the image of) the one who made us—and we matter. They matter because they affect us, moving our emotions and shaping our view of the world, both for good and for ill. And as a Christian, I affirm that they matter because everything we do matters, because the best of what we do will endure forever. And if they matter, then we need to take them seriously, both as readers and, for those of us so called, as writers—for our sake, and for everyone's.

The same can be said, in a bit of a different way, for music, the visual arts, and for the other media in which we create; and if we want to call that "Christian art" as a shorthand, then the shorthand has value, assuming we realize that's all it is. But that still leaves us asking, how do we do this—and when we do it, what exactly are we doing?

Among the folks who are wrestling well with this interlocking set of questions are the writers at the group blog Novel Matters; my wife pointed me this morning to a post there by Patti Hill that I think is particularly good. Of course, she has a real advantage because she starts off quoting Flannery O'Connor, which is always worth doing:

Ever since there have been such things as novels, the world has been flooded with bad fiction for which the religious impulse has been responsible. The sorry religious novel comes about when the writer supposes that because of his belief, he is somehow dispensed from the obligation to penetrate concrete reality. He will think that the eyes of the Church or of the Bible or of his particular theology have already done the seeing for him, and that his business is to rearrange this essential vision into satisfying patterns, getting himself as little dirty as possible.

To really understand where O'Connor is coming from in writing this, I think it's important to add a couple other quotes from the same book:

Dogma is an instrument for penetrating reality. . . . It is one of the functions of the Church to transmit the prophetic vision that is good for all time, and when the novelist has this as a part of his own vision, he has a powerful extension of sight.

Your beliefs will be the light by which you see, but they will not be what you see and they will not be a substitute for seeing.

For O'Connor, then, I think we can fairly say that it's our obligation as Christians to see the world truly and deeply, as it is rather than as we would like it to be—and that for those gifted and called to write or to create art in other ways (and if you are gifted, then you are called, in whatever way and to whatever degree), there is the further responsibility to represent reality in such a way that others can see more truly and deeply than they did before. Too many people (not just Christians, by any means) shy away from that, because as O'Connor says, it requires getting dirty—really digging into and dealing with the dirt of this world, because you cannot know this world and you cannot see it truly and you cannot portray it rightly without knowing and dealing with its dirt. There's dirt all over the place, and in every human soul; you just can't avoid it.

So then, how? Hill nails it, I think:

We look to Jesus.

No one saw the world more concretely than Jesus. A whore washed his feet with her tears. He not only made wine, he drank it. He touched leprous skin. He invited himself to a tax collector's house for lunch. And, I'm thinking, he heard naughty words there. Caked with blood, spittle, sweat, and dirt he took the nails for us. Gruesome. Violent. Definitely off-putting. That's crucifixion, the purest act of love.

To follow in the steps of Jesus, to write in a God-honoring, "dirty" way, we must see the world—as best we can—as Jesus sees it, with empathy, detail, and love. And so it is for the Christian writer to observe and portray the beauty and brutality and pain and suffering and redemption all through the eyes of love.

Yeah—that's spot-on.

And if it's occurring to you that this all sounds like it's not just about art, you're right; after all, in a way, what we're really asking here is how we're supposed to create art as disciples of Christ—which is to say, how do we understand creation as discipleship—and that inevitably flips us around to the corollary: how do we understand discipleship as creation, as a process in which we stand under God our Creator as the sub-creators of our own lives, as the process of making our lives a work of art for God? As I've asked elsewhere, what does it mean for our lives to be poems for God?

Putting sin to death

I've read a lot of books on the Christian life over the years—that tends to be an occupational hazard of being a pastor, after all—and I can't say I remember most of them; but one of the most important books I've ever read, one which has had a profound effect on my thinking, is a little book by the great Puritan pastor/theologian John Owen entitled On the Mortification of Sin in Believers. It's a collection of sermons he preached on Romans 8:13: "For if you live according to the flesh you will die, but if by the Spirit you put to death the deeds of the body, you will live"; Owen was a practical and pastoral theologian, and his concern was to lay out exactly how it is we may go about doing that.

It's a splendid book, and of great value to anyone who wants to live a life pleasing to God, which is why I was pleased recently to discover two things. First, the full text of the book is available online through the Christian Classics Ethereal Library (which, by the way, is linked in the sidebar here; I'm not sure why it hadn't occurred to me to look there for this book). Second, since Owen is a dense writer and no simple stylist, I was glad to find that Robert Thune has posted a brief outline of Owen's argument, one which links in turn to a longer and more thorough outline of the book. I wouldn't encourage reading either in lieu of Owen's work, because there is so much good in the book; but they provide an excellent orientation to his argument, and the longer outline in particular is a valuable reader's guide.

What Owen is on to is a matter of great importance, and much neglected in the American church, which tends not to want to talk about the struggle against sin (or to take that struggle seriously); as such, his book may well be more important now than it was when it was written, for it provides a necessary corrective to our self-indulgent consumerist culture. It isn't light reading, but it's more than worthwhile, especially with Thune's work to help, and I recommend it to anyone who's serious about the Christian life.

The time that is given

In the great fantasy epic The Lord of the Rings, near the beginning of the first book, the wizard Gandalf tells the young hobbit Frodo Baggins, who will in the end be the great hero of the story, about the dark times in which they live, and the great challenges that lie ahead. Frodo, understandably, says he would rather live in happier times, times that aren’t fraught with such darkness; to which Gandalf responds, “So do I, and so do all who live to see such times. But that is not for them to decide. All we have to decide is what to do with the time that is given us.”

The time that is given. In modern Christianity, it’s almost an article of faith that C. S. Lewis was a very wise man; but it’s too easy for us to forget that his great friend J. R. R. Tolkien, the man who played the most important role in leading Lewis to faith, was also a very wise man—because we mostly know him for his fantasy stories. But there is very great wisdom in that line, wisdom rooted deep in Scripture, and particularly in our passage this morning. We are limited creatures. We are limited in our abilities—good at some things, bad at others—and while we can grow and develop, we’re limited in our ability to do so. We’re limited physically—I’d love to be able to play shortstop in the majors, but that was never even a vaguely plausible dream—and limited mentally as well. We’re limited by our gender, and to some degree by the societal expectations that go along with it. We’re limited in our ability to control or influence the world around us—we can only reach so far, and what is beyond our reach eludes us; our bodies stop at the edge of our skin, and everything beyond that is not-us, carrying on its existence apart from us.

And most fundamentally, we are limited by space and time—we are creatures of place, and of the time we have been given. We are creatures of the places we live and have lived, and we are creatures of our place in human history; we will never know the life of an English knight who fought with Henry V at Agincourt, or of a Russian revolutionary in October, 1917, or of one of the shoguns who ruled Japan in the 1800s. We were each born at a particular time, in a particular country, and have lived through a particular set of experiences; we know our life and no other.

This is how we are; and as Genesis shows us, we were created so. When God created the first human, he didn’t just drop him off to wander around, homeless; rather, he placed the human in a garden which had been created to be his home. God gave him a location, a home address, a neighborhood, even if his only neighbors had either four feet or wings, and he told the human, “Do your work in this place.” Today, he tells all of us the same: “Do your work in this place, the place where I have put you; follow me in this community, in the home where you live, in the family of which you are a part, in the relationships you have now.” As Eugene Peterson put it in his book Christ Plays in Ten Thousand Places, “All living is local: this land, this neighborhood, these trees and streets and houses, this work, these people,” and thus it is as locals that we must live out our faith, placing the word of God in the concrete reality of “this land, this neighborhood, . . . this work, these people”—and bringing it alive in our life in response to all the concrete frustrations, irritations, and problems that “this neighborhood, . . . this work, these people” bring us. It is this place on earth that gives our lives their shape.

It is also this place in time—and, more generally, time itself. As Genesis also tells us, we are creatures of time, our lives shaped and formed in every respect by time in its passing. We can see this in our bodies, which are a collection of rhythms—the rhythm of our breathing, in and out, in and out; of our pulse, the twofold beating of our hearts, da-DUM, da-DUM, da-DUM; of sleeping and waking, as day succeeds night and night follows day in turn. We can see it in the rhythm of the seasons, spring-summer-fall-winter and spring again. We can see it in the music that threads its way through our lives, providing an ever-changing soundtrack to our existence, and in the flow of our movements as we walk, or run. And we can see it most fundamentally in Genesis 1, which shows us God creating the universe in time, in the flow of time, and shaping a rhythm: and God said, and God said, and God said, in six-part harmony—six parts to creation, and then a seventh part, the seventh day, the day of rest.

This is, by the way, true even if Genesis 1 isn’t talking about six 24-hour days; the point isn’t counting hours, it’s that this is the rhythm God built into creation, the rhythm for which we were created, of work and rest. Both are part of his design for our lives, and both are necessary if we are to live as he made us to live. Whether you’re still working for a living or you’re retired, God has work for you to do in this place; whether it’s necessary for you to support yourself or not, it’s a part of God’s plan for you, both for your sake and for the sake of others. He also has rest for you in this place, time set aside in his schedule for you to set work aside, during which we gather to worship him as one people; and together, together, they make up the base rhythm of life, the meter to which the poetry of our days is to be set. I should note, I am indebted to Cambridge theologian and musician Jeremy Begbie for that way of putting it, and more generally for his use of music to illuminate Christian theology.

The problem is, the world tries to convince us that limitations are a bad thing, and specifically that this limitation is a bad thing; but it isn’t. Think of our music, and I think you’ll understand, because in our Western musical tradition, meter is one of the standard limitations that gives shape and character to the work of composition. Think of 4/4—the time signature of a Sousa march, and many of our great hymns. “A mighty fortress is our God, a bulwark never failing.” Or 3/4—I remember being told in elementary school that this was waltz time. I was, what, seven years old, I didn’t even know what a waltz was, but that’s what stuck with me—3/4 is for waltzes and Irishmen. “Be Thou my vision, O Lord of my heart.” 6/8 is always fun—beat it in two, sing it in triplets. “In shady green pastures so rich and so sweet, God leads his dear children along.” And so on. The meter isn’t a straitjacket; you can vary the rhythms, throw in changes of time signature, whatever you will. But the meter provides the structure, the necessary base rhythm within which, and against which, all those other things can work to produce their desired effects. As another great Christian novelist, Flannery O’Connor, said, art transcends its limitations by remaining within them.

In the same way, God has given us this sevenfold rhythm of work and rest, of work and worship, to be the base rhythm of our lives. You don’t see too many songs written in seven, because that extra beat throws things out of the typical patterns, but I actually learned one this weekend. “What we have heard, what we have known . . .” It’s a setting of Psalm 78, and I don’t know if that’s why Greg Scheer wrote it in 7/8, but the time signature gives it a real sprightliness; the extra beat breaks it out of ordinary time into something else quite again. The same is true in our lives of the Sabbath, of the day of rest—it breaks us out of the ordinary time that our world and its economy would dictate, a straitjacket rhythm of work, work, work, work. That’s the driving beat of money and accumulation and more, more, more; it is, if you will, the meter of a life governed by nothing but material concerns and the desire for things. Think of it as 4/4 with never a change in tempo or stress and nothing but quarter notes in sight. But the Sabbath—the mere fact of this God-ordained day of rest throws us out of that meter; it fatally disrupts the profit-driven, consumer-driven, one-who-dies-with-the-most-toys-wins, all-about-me rhythms of this world, and shows us another way to live.

This is important, because as Genesis will show us in chapter 3, human sin disrupted the music for which God created us, and so the rhythms of our culture are now very much at odds with his will for us, and with the life for which he made us. As Dr. Begbie puts it, in calling us to focus on God and God alone, worship sets up a cross-rhythm in our lives—the rhythm of the cross, which runs counter to the pounding beat of our culture. God calls us to live very much across the grain of that culture, and we can’t just do that by main effort; our culture is too powerful. It’s like the big black SUV stopped next to us at the light with the bass cranked so high it’s shaking our car from the tires up. To overcome that overwhelming sound, we need consistent, steady exposure to the cross-rhythm of worship—to what Eugene Peterson, in his translation of the Bible, rendered as “the unforced rhythms of grace.” We cannot work our way into a truly Christlike life, because we learn to work from the world, and we learn to work in its way; but if we cannot force it, we can let God’s unforced rhythms of grace carry us along, as we learn to worship. We can focus our minds and hearts on him, opening our lives to his rhythm, and in so doing, allow him to transform us. Instead of trying to beat our own time, we can accept the time our great Conductor has given us, and let him direct us on.

(Cross-posted from Of a Sunday)

Exploring The Westing Game

My eldest daughter's class is doing a unit on mysteries, and one of the books the class is reading is Ellen Raskin's novel The Westing Game. My daughter's reading a different one, because she's already read that one—I suggested it to her, because it's one of those books I loved as a child and still love now. On a whim, I looked her up on Wikipedia, and was interested to find that she had donated the manuscript of The Westing Game to her alma mater, the University of Wisconsin; they have made portions of it available online, accompanied by audio of Raskin talking through the manuscript. I haven't had time to fully explore this yet, but I'm looking forward to it.

Found on the Internet

years ago, in someone's sig file:

"Bother," said Pooh. "Eeyore, ready two photon torpedoes and lock phasers on the Heffalump. Piglet, meet me in transporter room three. Christopher Robin, you have the bridge."

Book recommendations

No, not from me (though I second many of these, and others are on my to-read list), but from a Twitter poll taken by Johnathan McIntosh of Rethink Mission. Since it was mostly a poll of pastoral types, it's a list of books about God, church, and leadership (including, in the "honorable mention" category, Jared's book Your Jesus Is Too Safe, which I was glad but not surprised to see there). It's a great list of great books (with a definite Tim Keller slant—two of his plus the Jesus Storybook Bible, a wonderful work whose author acknowledges her great debt to Dr. Keller with deep gratitude—which I think is a good thing). If you're looking for something to read, check it out.

Embracing the wildness of faith

Bill over at The Thinklings put up a post yesterday quoting Chesterton at length (something almost always well worth doing) on the value of fairy tales for children, and concluding with some additional thoughts of his own:

This really resonates with me, because from a young age I rode like a squire through the Arthurian legends, crouched quietly in the belly of the horse with Odysseus, galloped alongside Centaurs in Lewis' Narnia, and went into the dreadful dark of Moria with Frodo and Sam. These led me one day to open up a Bible and begin reading what Lewis would call the "true myth" of the ultimate, and fully historical, defeat of the dragon.

As parents we should, of course, protect our kids. But I think Chesterton makes a compelling case here for not limiting them with politically correct, neutered fiction that contains no dragons. How will they ever know that the dragon can be killed?

I think Bill's absolutely right about that. As Chesterton says in the essay he quotes,

Fairy tales, then, are not responsible for producing in children fear, or any of the shapes of fear; fairy tales do not give the child the idea of the evil or the ugly; that is in the child already, because it is in the world already. Fairy tales do not give the child his first idea of bogey. What fairy tales give the child is his first clear idea of the possible defeat of bogey. The baby has known the dragon intimately ever since he had an imagination. What the fairy tale provides for him is a St. George to kill the dragon.

This is much the same point Russell Moore makes in the post I quoted Monday, and so it's no surprise that Bill follows up today by quoting Moore as well. He also adds an extended quote from Danielle at Count the Days on the absurdity that passes for "Christian education" in so many places. It's a great post:

The other day, in my Religious Education class, this question was posed to us:

"What do you want to teach a child by the time they are 12?"

During class we were supposed to get in groups and discuss what we thought kids need to know by that stage in their lives, and honestly, I was kind of appalled by the answers I heard. . . .

One girl had the audacity to call me "harsh" because I said that they need to know that they are sinners. How can anyone have an appreciation or understanding of salvation without first knowing what sin is and that they are a sinner? I understand that the average child cannot comprehend the intricacies of theology, but what Jesus-loving Children's Minister can look at the kids in their ministry and knowingly keep the whole Truth from them? Bible stories are great and important in building a foundation for these kids, but knowing who Zaccheus was, or being able to sing the books of the Bible in order isn't going to get anyone any closer to Heaven. Just sayin'.

I guess the reason it frustrated me so much was because I was thinking of my own (future/potential) children. I don't want my ten/eleven/twelve year old thinking that "being a good person" or being "obedient" means anything without having a personal, intimate relationship with Christ. I mean sure, I want obedient children ;), but in the grand scheme of things that would not be on the top of my list.

And then perhaps the most important point she makes is this:

Children can be taught all kinds of things as long as they are taught in love and kindness. Give kids the opportunity to understand, instead of withholding Truth from them. Offer them the whole Gospel, not just cartoons or cut-and-dry facts. I know I probably sound like some hardcore beat-truth-into-them type of lady, but I hate the thought of kids wasting what can be the most influential years of growth on pointless trivia or partial Truth.

Amen. This is something of a soapbox of my own, and has been for a while—I don't post on it a great deal, just on occasion, but it's something I care quite a bit about in my congregation, and with my own kids—that so much of what we call "Christian education" in the church is just awful, trivial, milk-and-water stuff aimed at teaching kids to be nice, dutiful little serfs rather than at raising them up as followers of Jesus Christ.

The problem is, I think, that too many adults—and not just adults in the church, either—have lost touch with the wildness of the world, and the wildness of their own hearts. Part of it, as N. D. Wilson says, is that our rationalistic and rationalized, scientific and scientistic, we-are-civilized-and-we-can-control-everything culture tends to teach us to see all things wild and perilous as evil; we have tamed immense swaths of our world, made it comfortable and predictable, orderly and obedient, and so we see these as good things, and anything that threatens them as bad.

This logically leads us to lose sight of the wildness of evil, both within us and outside us. Hannah Arendt had an important insight when she wrote of "the banality of evil" (an insight which I believe is much less understood than quoted), but it's equally important for us to understand that while evil is indeed dreary and banal, uncreative and far less attractive than it likes to pretend, it is not thereby tame and predictable and contained. We get reminders of this when things like 9/11 happen, but if we can convince ourselves that such things are outside our own experience—that their lesson doesn't apply to us—then we do so as quickly as possible, convincing ourselves that our own lives are still safe and tame and under our control.

The consequence of this domesticated worldview for the church is that too often, we've tamed our faith. We have trimmed it to fit what this world calls reality instead of letting our faith expand our souls to fit God's view of reality, and we have ended up with a domesticated faith in a domesticated God. After all, if we don't see our world as a big, wild, uncontrollable world that threatens us and makes us uncomfortable, we don't need a big, wild, uncontrollable God who makes us uncomfortable and calls us to fear him as well as love him; a god sized to fit the tame little problems we'll admit to having will do nicely.

There are various antidotes to that, but one of them is, to bring this back around to Bill's post, to Chesterton, and also to Tolkien, a keen acquaintance with the world of faerie. We need stories that do not only show us the wildness of evil somewhere else (for many of our movies and books do that much), but that show us the wildness of evil in our own hearts, and also the wildness of good. We need stories that powerfully communicate, not only rationally but also viscerally, the truth that (to borrow a line from Michael Card) there is a wonder and wildness to life, that true goodness is a high and perilous thing, and that the life of goodness is an adventure. We need to learn to hear the call to faith as the call expressed so well by Andrew Peterson in his song "Little Boy Heart Alive":

Feel the beat of a distant thunder—
It’s the sound of an ancient song.
This is the Kingdom calling;
Come now and tread the dawn.

Come to the Father;
Come to the deeper well.
Drink of the water
And come to live a tale to tell . . .

Take a ride on the mighty Lion;
Take a hold of the golden mane.
This is the love of Jesus—
So good but it is not tame.

Christianity and the wild

My previous post, reflecting on some of the things I’ve read about Spike Jonze’ movie adaptation of Where the Wild Things Are, was largely sparked by Russell Moore’s post on the movie. Part of that was the paragraph I cited in that post, reflecting on what is good about the original book. Part of it too, though, was Dr. Moore’s comment about Christians who object to the movie on the grounds that it’s too scary—something which he seems to think (and I agree) is rooted in the tendency of so much of the church to sanitize our faith, and with it our worldview, to make it nice and safe.

I’m amazed though by the way some Christians react to things like this. They furrow their brow because the Max character screams at this mother, and bites her, even though this is hardly glorified in the movie. They wag their heads at how “dark” the idea of this wild world is. Of course it is “dark.” The universe is dark; that’s why we need the Light of Galilee.

Where the Wild Things Are isn’t going to be a classic movie the way it is a classic book. But the Christian discomfort with wildness will be with us for a while. And it’s the reason too many of our children find Maurice Sendak more realistic than Sunday school.

Too many of our Bible study curricula for children declaw the Bible, excising all the snakes and dragons and wildness. We reduce the Bible to a set of ethical guidelines and a text on how gentle and kind Jesus is. The problem is, our kids know there are monsters out there. God put that awareness in them. They’re looking for a sheep-herding dragon-slayer, the One who can put all the wild things under His feet.

Hallelujah! Amen.

Where are the wild things?

The first I heard that Spike Jonze was making a movie of Where the Wild Things Are was when David Kavanaugh (whose work I’ve posted on a bit here) raved to me about how great the trailer was, calling it the best thing he’d seen on film all year. It was a pretty good piece of work, though I didn't think it quite merited the praise he gave it, but it didn’t do what a trailer is supposed to do: make me want to see the movie. Rather the opposite, actually, as it gave me significant misgivings about what Jonze, Dave Eggers et al. were doing with the book; it really didn’t look like a movie I wanted to see.

From the reviews and early reactions, it appears to me that—to steal a line from my brother-in-law (on the Lord of the Rings movies)—the movie is almost but not quite completely unlike Sendak, even if Maurice Sendak himself disagrees. Indeed, it sounds like the movie falls short in ways I didn't even see coming; I would hardly have thought to find a reviewer writing,

Where the Wild Things Are ultimately is not wild enough. Despite their extraordinary costumes, these ordinary characters fail to transform Max’s journey into something approaching magic.

To be sure, as io9’s reviewer notes, “Spike Jonze is known for making uncomfortable films”; that was part of the reason for my misgivings (on an abstract level, I admire Being John Malkovich and Adaptation as conceptual exercises, but I can’t say I enjoyed either of them or have any desire whatsoever to rewatch them), but it's not necessarily a bad thing. Some might think that a movie based on a children’s book ought to be a comfortable film, but I’m not among them, especially when it comes to this particular book. That same reviewer writes,

Wild Things is not a movie about a little boy who wants to be wild, traveling (in his fantasy, or via magic) to a strange land full of monsters who make him their king and let him be as wild as he wants, until he gets homesick. Rather, Wild Things is a movie about the terrors and insecurities of childhood, and the monsters we all have inside of us. It presents an unnerving portrait of childhood as a stormy, exhilarating time, in which play is intensely serious and important, and loneliness is the biggest nightmare of them all.

Insofar as that’s true, that’s a good thing, because that’s very much in line with what the book is about. The problem seems to be, though, that Jonze made a movie that’s adult in all the wrong ways; the io9 review perhaps has the best statement of the common complaint:

At times during the main body of the story, I felt like I was sitting on a particularly long therapy session in a group home, or a Seinfeld episode with fewer jokes.

What seems to be missing is an actual childlike perspective. I was struck by Russell Moore’s post on the movie, and particularly his analysis of why so many children love the book:

Children, it turns out, aren’t as naive about evil as we assume they are. Children of every culture, and in every place, seem to have a built-in craving for monsters and dragons and “wild things.” The Maurice Sendak book appeals to kids because it tells them something about what they intuitively know is true. The world around them is scary. There’s a wildness out there. The Sendak book shows the terror of a little boy who is frightened by his own lack of self-control, and who conquers it through self-control, by becoming king of all the wild things.

The problem, I think, is that too many adults “grow out” of that awareness of the wildness of the world—perhaps it fades as the common illusion of control, over our own lives and over the world around us, grows. Only adults can wax philosophical about how evil is an illusion and people are really basically good; children aren’t yet capable of that sort of folly. Perhaps that’s why Jonze seems to have take a children’s book and turned it into a movie about adult issues and problems.

Reading a book second-hand

Now, there's really no such thing as second-hand reading; it's not like second-hand smoke, where you get to breathe the smoke that escaped someone else's lungs. But there are times when someone else is so involved in a book that you get some of the effect—they keep reading you sentences or paragraphs, it keeps coming up in their conversation, and the book seems to be everywhere present.

Such has been my experience with my lovely wife and N. D. Wilson's book Notes from the Tilt-a-Whirl: Wide-Eyed Wonder in God's Spoken World. She chose it to review as part of Thomas Nelson's "Book Review Bloggers" program, and her capsule review is now up—I think she gives it 6.5 stars out of 5—but I think I can safely say that that won't be the last thing she writes about it. Nor, I feel equally safe in saying, will this be the last thing I write about it. It's an amazing book in what's been a pretty good year so far for amazing books, full of godly wonder . . . which is a glorious thing.

"That limitless horizon"

Last week, I posted the video of Neil Gaiman reading his wonderful poem "Instructions," noting inter alia that the poem will before long become a picture book (an event I await with happy anticipation). Last night, I linked to Eric Ortlund's blog to cite his excellent post on the necessity of grace, and the fatal thing that is moral exhortation apart from the gospel message. As such, I cannot fail to note the linkage of the two: Dr. Ortlund has also posted Gaiman's video, and along with it some comments on Gaiman which, quite frankly, say it better than I ever have.

Neil Gaiman is one of my favorite authors because . . . well, aside from his knowledge of ancient religion, reading him feels like I'm dreaming. There is a surfeit of meaning in his books; he's able to evoke that limitless horizon against which we all live, and the deep, deep ocean (miles deep, dark, impenetrable) over which we walk. He makes the hair stand up on the back of my neck, although I can never quite say why. Something opens in the back of my mind, and something big starts to hum back there. Don't know how else to say it.

Beautifully put.

(Follow the link for some of Dr. Ortlund's recommendations; and bear in mind that Gaiman has a very broad range. If you like urban fantasy, read Neverwhere; if you love fairytales, it's hard to beat Stardust; the sequel to American Gods, Anansi Boys, is also excellent; and of course his latest, The Graveyard Book, won a well-deserved Newbery.)

What to do if you find yourself inside a fairytale

That's the question Neil Gaiman answers in his poem "Instructions," which I love; since I found out today that YouTube has a video of him reading it, I had to post it.

Interestingly, the artist Charles Vess is working to turn it into a picture book. Follow the link for a sample illustration, and links to more. That ought to be wonderful.

Your Jesus is too safe

It's a great pleasure to participate in the blog tour for Jared Wilson's book Your Jesus Is Too Safe: Outgrowing a Drive-Thru, Feel-Good Savior—though I must confess that the term "blog tour" gives me an image of a truly strange-looking trolley rolling along the infobahn, dinging merrily away, with a disembodied voice gravely intoning, "Next stop . . ." None of which, of course, has anything to do with the book.

Full disclosure: I've known Jared Wilson as a blogger and blog correspondent (for lack of a better term) for a couple years now, I had the privilege of meeting him in person and spending a little time with him at GCNC this past April, and I consider him a friend. I like and respect him a great deal.

Truth behind full disclosure: none of that affects my review of his book. If anything, it's the other way around—this book captures much of the reason why I like and respect Jared. When Ed Stetzer begins the foreword by declaring, "The pages you are about to read are an antidote," he's right; and it's an antidote that far too much of the American church badly needs.

An antidote to what? To the legalistic no-gospel that fills so much of the American church—conservative as well as liberal; some of the worst offenders consider themselves "evangelical"—and our convenient, comfortable, sanitized, commoditized caricatures of Jesus, all precisely designed to meet our felt needs. As Jared says, our culture is plenty familiar with Postcard Jesus, Get-Out-of-Hell-Free Jesus, Hippie Jesus, Buddy Jesus, ATM Jesus, Role Model Jesus, and Therapeutic Jesus, and many Christians are thrilled when some famous person or other gives thanks to Grammy Award Speech Jesus; but the real Jesus, the Jesus we find in Scripture, is an altogether unfamiliar figure, because all too many churches aren't preaching him. After all, he makes us uncomfortable, and he makes the world uncomfortable, and that's no way to grow a church, now, is it?

To this kind of thinking, Jared offers his book as an antidote, driven by the love of Christ and the provocation of the Spirit of God. As he writes (239-40),

The passion of my life is the scandalous gospel of God's amazing grace in Jesus Christ. The Holy Spirit cultivated this passion in me through the Scriptures, in which I see Jesus chastised and criticized for proclaiming the gospel by eating with sinners and giving himself to sinners. My encouragement to you—my call to you—is to partake of that gospel, to acknowledge and confess and believe that you are a sinner in need of God's grace, and that Jesus Christ died and rose to manifest that grace to you, and that you can't live without Jesus. You cannot do it.

That is the sort of thing that ought to be the lifeblood of every Christian and the heartbeat of every church . . . and it isn't. It isn't because we don't take our sin seriously enough, and we don't take Jesus seriously enough. The purpose of this book is to change that, for those who have ears to hear.

To do this, Jared presents what he calls twelve portraits of Jesus, looking at Christ from twelve different angles, through a dozen different lenses. He considers:

• Jesus the Promise

• Jesus the Prophet

• Jesus the Forgiver

• Jesus the Man

• Jesus the Shepherd

• Jesus the Judge

• Jesus the Redeemer

• Jesus the King

• Jesus the Sacrifice

• Jesus the Provision

• Jesus the Lord

• Jesus the Savior

Some of these sound familiar to American ears, while others are quite strange (I can imagine readers asking "Jesus the Provision? What does he mean by that?"); but the truth is that even the familiar ones have been trimmed and tamed, made safe and non-threatening and altogether nice, in the teaching of far too much of the church in this culture. Not to put too fine a point on it, far too many of us in this country aren't Christians at all but idolators, worshiping a Jesus of our own invention who is nicely tuned to tell us just what we want to hear. In response, Jared sets out to open our eyes to what it really means that Jesus was a fully human adult male, or that he is the King of Kings. In so doing, he will no doubt make a lot of folks very, very uncomfortable—but it's a holy discomfort, the evidence of the Spirit of God at work.

In painting his portraits of Jesus, Jared draws heavily on Scripture, as he should; this is a book filled with biblical quotations, and not just single verses, but whole passages. Of course, there are plenty of books out there which quote a lot of Scripture and then proceed to misuse it, but that isn't a problem here; one of the chief qualities of the book is its careful attention to what Scripture is actually saying, and its author's clear determination to follow wherever the word of God leads and let the chips fall where they may. Rather than using the Bible to make his points, he has sought to place himself under the Bible and its authority, and thus to say only what it says.

This is not to say, however, that he has produced a book which is disconnected from life as we know it; quite the contrary. The academic foundation is clearly there, but this is no theoretical discussion; it is, rather, a profoundly practical book—or perhaps we might say, following G. K. Chesterton, that it is a profoundly unpractical book in all the right ways. Chesterton has one of his characters, the poet and painter Gabriel Gale, offer to help a man who has attempted suicide, explaining his offer with these words:

I am no good at practical things, and you have got beyond practical things.

What you want is an unpractical man. . . . What can practical men do here? Waste their practical time in running after the poor fellow and cutting him down from one pub sign after another? Waste their practical lives watching him day and night, to see that he doesn't get hold of a rope or a razor? Do you call that practical? You can only forbid him to die. Can you persuade him to live? Believe me, that is where we come in. A man must have his head in the clouds and his wits wool-gathering in fairyland, before he can do anything so practical as that.

Chesterton was right: the practical counsels of this world can only forbid people to die (or, more ominously, order them to die); they cannot persuade people to live, much less tell them how. That is for unpractical people, for those who have given their lives over to the unpractical mendicant teacher from Nazareth, and in so doing have learned how to live; and to illustrate that, Jared offers a number of stories of just what that unpractical life looks like. Some, like the story of the Amish of Quarryville, PA who forgave the man who murdered their daughters, are widely known; others, like the story of his cousins Steve and LaVonne Jones and their son Colton (which, as a father of three, wrenched at my heart), are not. All bear witness to the truth that it's only in the real Jesus Christ, not any of the more "practical" or "useful" versions of him that we invent, that we find real life.

The tone of this book is informal and conversational, at times snarky and sarcastic (though the bulk of that is to be found among its copious and entertaining footnotes), and occasionally slangy; some, at least of older generations, may find that off-putting at points. In general, however, I don't think any but the most formal of readers will find it a true problem, while younger folks in particular will likely find the tone attractive and appealing. Taken as a whole, I believe the conversational tone is a benefit to the book, for a couple reasons.

One, it suits the author; I don't have any way of knowing if attempting to write in a more formal style would have made him sound stuffy and pedantic, but writing in this vein makes it clear that he is anything but. That's disarming, which is a good thing; given that he's calling his readers to set aside our comfortable Jesuses for one who will challenge us and make us very uncomfortable with ourselves, the natural response from many will be to look for a reason to reject that call. Many will no doubt find reasons, but branding Jared as stuffy and out of touch won't be one of them.

Two, the book's tone serves to reinforce the point that its message is for all of us, and all of life. Following Christ isn't just about doing formal things for an hour or so on Sunday morning, but it's about how we're supposed to live all the rest of the time, too; it has to do with cracks about old teen movies and popular fiction just as much as with the sorts of things we think of as "spiritual."

The great risk Jared took with this book—one which he himself acknowledges—is that in looking at Jesus from twelve different perspectives, he might have "inadvertently propose[d] twelve different Jesuses, creating intellectual confusion where the purpose has been to enhance clarity." I think, though, that he has avoided that quite successfully by tracing one strong theme through all twelve chapters: "the great unifying presence of the gospel." This is the hub of which the twelve perspectives are spokes, as he lays out in the conclusion of the twelfth chapter (280):

The good news is that Jesus Christ is not just God with us, but he's also God for us. For us, he is the promise of fulfillment, the prophet of truth, the forgiver of sins, the man of sorrows, the good shepherd, the righteous judge, the redeemer, the reigning king, the atoning sacrifice, the all-sufficient provision, the almighty God, and the rescuer of the lost. He is all these things and more, but none of this is good news if he is not also the Lord and the Savior of sinners in need of grace.

Today is the day of salvation. The kingdom is at hand. Repent and believe.

If you will confess with your mouth that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved.

Jared Wilson has written a book that is full of the gospel of Jesus Christ, that shines the light of that gospel from every page, and that I believe will call many in this country to that gospel for the first time. It is a book for the reconversion of the church, and for the conversion of many who are outside the church because they've rejected our false Jesuses, not knowing that the real Jesus is someone altogether different. It's a book we need to read, not because Jared is wonderful, but because Jesus is wonderful, and Jared is talking about Jesus. It is, in short, a book for which we can honestly say, "Thank you, God."

Good books help rough days

Down with a gut bug today; have I mentioned I have a wonderful wife?  She swung by the library while she was out and about at one point and brought back a whole pile of books, including the first three of Jim Butcher's Harry Dresden novels, which a good friend of ours had strongly recommended a while back; I finished the first one, Storm Front, today, and am about 2/3 of the way through the second one, Fool Moon, and have enjoyed both a great deal.  For those not familiar with the series, think classic hardboiled detective fiction in contemporary Chicago but with the addition of magic and magical creatures such as vampires and werewolves; the protagonist, Harry Dresden, is a wizard and a detective.

The books tend toward the bleaker side of fantasy (not surprising, since the big blurb on Storm Front comes from the redoubtably dark Glen Cook), but not without hope, and Butcher does some things very well as a writer.  I wouldn't call him a great stylist, but he has a core of interesting characters, writes some very nice scenes, and so far at least, is telling good stories of their kind; the books feel real.  Not much is original, but he's given the standards his own twist, which counts for a fair bit.  For urban fantasy, it's not a match for Neverwhere, but it's an enjoyable read, and it has this advantage:  there's a lot more of it.  It's certainly brightened my day.

The hunt for Gollum

My thanks to Bill Roberts for posting this—it's the trailer for a fan-made movie about Aragorn's search for Gollum, a chapter in the story of The Lord of the Rings which isn't told, only recounted briefly by Aragorn.  It is, obviously, a low-budget production, but from the trailer, it seems to be an impressive piece of work nevertheless.

A few tips of the hat

We're having some internet problems here—no connection at the church today at all, and a pretty poor one here at home—so I haven't had much success with any online work; but I thought I might be able to get a relatively quick links post through.

Jared Wilson has a couple strong posts up, "The Kingdom is For Those Who Know How to Die" and "Faith, Hope, and Love is About Proximity to Jesus." I've also been meaning to note his excerpt from Skye Jethani's new book The Divine Commodity, which I think dovetails with my recent post on worship.

Not to leave the rest of the Thinklings out, Philip has a good post on communicating the gospel, Bird makes a good point about repentance, and Bill asks an interesting question:  is the American church actually too macho?

I love Hap's retelling of the story of Abigail.  If you're not familiar with it, you can find the original in 1 Samuel 25.

Pauline Evans, to whom I haven't linked in far too long, has a nifty little post up on the development of computers, and how the comparisons we use are in some ways quite misleading; she also has one up, I just discovered, on a couple children's fantasy books that I think I'm going to need to read.  (This may follow nicely on our recent discovery in this household of Tamora Pierce.)

Debbie Berkley posted something last January that I've kept meaning to write about, reflecting on the uncertainty we face these days in the light of the wisdom of a fellow Christian from India:  "Never be afraid to trust an unknown future to a known God."  Sage counsel, and certainly no less applicable now, two months on.

And, on the subject of politics (and specifically political dirty tricks), Andrew Breitbart has had some interesting things to say of late about the online war liberals are waging (and winning) against conservatives.  Barack Obama promised to elevate the tone of political discourse in this country, but you don't have to be a Sarah Palin supporter to recognize that some of his followers didn't get the memo.

This isn't everyone I'd like to mention, but I'm only linking to pages I can actually pull up, and it's pretty hit-and-miss at the moment.  Still, I'm glad to note these, and maybe I'll do another one soon to highlight the ones that wouldn't come up.

An object lesson in humility

A while back, linking to one of John Stackhouse's posts, I wrote the following:

it's not the belief in absolute truth as such that produces dogmatism, but the combination of a belief in absolute truth with a belief that the self is absolute; and it's to defend that belief in the absolute self that people declare the truth to be relative. For my own part, I believe that the truth is absolute, and I am relative; my certainty is necessarily limited, not by the absence of absolutes, but by my own limited ability to perceive and apprehend them accurately. . . . We should believe what we believe firmly and with conviction; but also with humility. After all, the fact that we believe something doesn't guarantee that it's true; as Dr. Stackhouse says, it's about confidence in God who is truth, not about certainty in ourselves, who aren't.

That was something I'd been kicking around for a while, which I was foolish enough to think I'd come up with on my own.  Turns out the only reason I thought that was because it had been too long since I read Chesterton.  Here's the root and spring of that idea, from Orthodoxy (only much better put, as you would expect), courtesy of Ray Ortlund—and along with it, the reminder of the importance of humility:

What we suffer from today is humility in the wrong place. Modesty has moved from the organ of ambition. Modesty has settled upon the organ of conviction, where it was never meant to be. A man was meant to be doubtful about himself, but undoubting about the truth; this has been exactly reversed. Nowadays the part of a man that a man does assert is exactly the part he ought not to assert—himself.