Readers Are Unpredictable

To continue my train of thought from the previous two posts—on what the humanities can do, and why we need not worry so much about whether such a claim instrumentalizes them—I want to add the following qualification: it is impossible to say with any confidence, “This is what studying the humanities (or reading good literature or attentively watching good films and the like) will do for you.” There is much that engaging with philosophy, literature, and the arts could do for us, but so much will depend on our disposition: how we approach these things and what we seek to gain from them. So much depends on our hermeneutical framework and whether we have (or at least seek to cultivate) the virtues needed for the kind of reading that has a chance of changing us for the better. 

Regarding our hermeneutic: Are we seeking to learn or be challenged by the text, or only to have our biases confirmed? Are we seeking to understand what the author is intending, or are we projecting our own thoughts and feelings onto the text? 

And regarding the requisite virtues: Are we practicing patient attentiveness? Are we both discerning and charitable? Do we have the humility to be receptive to new or challenging ideas?

Of course, the worth and excellence of the text studied also matters. Some books or films will be much better suited to aiding our moral formation than others; indeed some can only be corrosive. But Karen Swallow Prior is right to say in the introduction to her book On Reading Well that, if reading is to help us become more virtuous, we must practice certain virtues as we read. It will not do to say that if only so-and-so would just read Republic or Pride and Prejudice, it will reshape their vision of the good life. Reading is not a “just add water” solution.

Unfortunately, there are very good readers out there who are terrible people. I think of the scene in the Coen Brothers’ remake of The Ladykillers (2004), in which the lead criminal played by Tom Hanks waxes poetic about the power of literature: “I often find myself more at home in these ancient volumes than I do in the hustle-bustle of the modern world. To me, paradoxically, the literature of the so-called ‘dead tongues’ holds more currency than this morning's newspaper. In these books, in these volumes, there is the accumulated wisdom of mankind, which succors me when the day is hard and the night lonely and long.” He is seen enjoying his reading, but clearly it hasn’t softened his conscience. On the other hand, it’s possible for good people to be poor readers, prone to take passages out of context or just not have the desire to sit down and read at all.

But if anything should give us pause about making grand promises about what the humanities will do for the renovation of a soul or the renewal of a culture, let’s consider the greatest and truest story ever told, which does indeed have the power to change a heart: the gospel. “The Parable of the Sower” in the gospels shows that even the gospel will fall on deaf ears, be rejected, or even just forgotten and abandoned in the course of the cares of life. The Spirit must be at work to make the heart receptive, otherwise mere hearing does nothing.

Lacking God’s omniscience, for us the response of a hearer or a reader is unpredictable. A person could read the Bible and be drawn to faith and repentance, or twist its words to justify selfish ambition or abuse, or think it’s boring, or say, “How inspiring and life-affirming!” and miss the point. And if that can be true of a person’s encounter God’s holy, life-giving Word, how much more uncertain it is whether even the best works of fallible humans in the fields of literature, art, and philosophy will make a positive difference! A person might not have the knowledge of how to read well, or may simply choose not to.

That’s a downer note to end on, I know, but it’s worth sitting with and pondering, and this post is long enough already. 

Instrumentalizing the Humanities?

This post is a sequel to the one I wrote at the beginning of the month responding to a blog post by Alan Jacobs about why the humanities matter. Building off of what Jacobs had written, I suggested we need to study the humanities to help us more wisely determine what “is really conducive to our human flourishing in the longterm.”

But often when I think about what the humanities are for or try to justify to myself their usefulness in a world skeptical of their value, I hear in my head the suspicious naysayer that cautions against “instrumentalizing” them. Shouldn’t we enjoy art for art’s sake? Aren’t we cheapening literature by trying to promote it for what it “does” outside of being an aesthetic experience? Aren’t we running the risk of turning art and literature into propaganda?

Another recent-ish post on Jacobs’ blog, titled “Intrinsic Values,” objects to this objection. Jacobs writes that he has “never known what [calling something ‘valuable in and of itself’] means — or even could mean. Because: if you ask people to say more about valuing something for its own sake, they end up saying that it gives them pleasure or delights them or fascinates them. But to pursue something because it delights or fascinates you is not pursuing it for its own sake — it’s pursuing it for the sake of the delight or fascination.” In other words, to say that we read literature or promote the arts for their “intrinsic value” turns out to be nonsensical as soon as we ask ourselves to spell out why we think that is so important.

It has also occurred to me that the people who most warn against instrumentalizing the humanities—writers, artists, critics, and academics—also instrumentalize them: they make livelihoods out of making works of literature or art, or out of saying things about them!

It is certainly possible to use art and literature in ways they weren't intended to be used (authorial intent matters!), but there is no way not to use art and literature except to have nothing to do with them. The question is not whether we are using art or literature for something else, but whether that something else is closer or further away from the telos of the particular thing being used. It's not a question of using or not using, but of using or misusing.

Alan Jacobs on the Humanities

Two posts that Alan Jacobs put on his blog earlier this year keep rattling around in my brain and have helped me articulate for myself why studying the humanities (history, philosophy, literature, and the arts) matters, for all of us, whether we are inside or outside an academic environment.

Here’s his first post, “A Small Parable,” from January 28. The parable is more than half the post, but it I think it falls within “fair use” guidelines to quote in full.

Once there was a man named Jack who owned a nice house. One day, though, Jack noticed that one end of the house was a little lower than it had been. You could place a ball on the floor and it would slowly roll towards that end. Jack was a practical man, so he called Neil, another practical man he knew, who worked in construction. Neil said that he could jack up that end of the house and make everything level again. Jack agreed, and Neil got to work.

Jack had a neighbor named Hugh. Hugh was interested in many things, and watched closely as Neil jacked up the low end of the house. With Jack’s permission, he looked around the basement of the house. All this made him more curious, so he walked down to the town’s Records Office and got some information about Jack’s house: when it had been built, who had built it, and what the land had been used for before. Hugh also learned a few things about the soil composition in their neighborhood and its geological character.

Hugh paid Jack a visit so he could tell Jack about all he had learned. He stood at Jack’s door with his hands full of documents and photographs, and rang the bell. But when Jack answered he told Hugh that he didn’t have time to look at documents and photographs. He had a very immediate problem: that end of his house was sinking again. In such circumstances Jack certainly couldn’t attend to Hugh’s ragbag of information and discourses about ancient history. After all, Jack was a practical man.

When parents, employers, teachers, and school administrators emphasize degrees or courses in “practical” subjects like Business and Engineering at the expense of degrees or courses in subjects like English or Classics, they risk falling into the same shortsightedness as Jack. Practical classes can help us learn what is possible, but they aren’t as good at helping us discern what is beneficial. To quote Dr. Ian Malcolm from Spielberg’s Jurassic Park, “your scientists were so preoccupied with whether or not they could that they didn't stop to think if they should.” Studying the humanities, as the name implies, is about studying what it means to be human. Once we better understand what makes for true human flourishing, we’ll be in a better position to judge whether X business strategy (no matter how lucrative) or Y technology (no matter how efficient) is really conducive to our human flourishing in the longterm.

I love the Sara Groves song, “Scientists in Japan.” The chorus goes:

Who's gonna stay here and think about it?
Who's gonna stay?
Everybody's left the room,
There's no one here to talk it through,
Now stay, stay, stay.

Whether it’s in a high school or college classroom, or a book club, or a discussion with friends after watching a movie together, engaging with the humanities is a way for us to slow down and “stay here and think about it.” 

This post of mine is long enough already, so I’ll write about the other Alan Jacobs post another time.

New Article: 31 Albums for 31 Years

I finally published this article today. It was supposed to be “30 Albums for 30 Years,” but better one year late than never! Here’s hoping the follow-up doesn’t become “32 Books for 32 Years.”

That's Not Your Story

For years I’ve been reminding myself—or rather, God keeps graciously reminding me—of something Aslan tells Shasta and Aravis in The Horse and His Boy: “That’s not your story.”

Actually, that’s a misquotation. What Aslan tells Shasta in Chapter Eleven, in response to Shasta asking him why he attacked Aravis, is “I am telling you your story, not hers. I tell no one any story but his own” (p. 165 in the 1994 HarperTrophy edition). And in Chapter Fourteen, Aslan tells Aravis, in response to her asking him about what will happen to the slave girl who was whipped when Aravis ran away from home, the same thing: “I am telling you your story, not hers. No one is told any story but their own” (p. 202).

But “That’s not your story” comes to the same thing, and I can’t say how many times those four words have resurfaced in my mind to  either convict or comfort me. 

When I am tempted to ask Person A for the details of Person B’s difficult situation: That’s not your story. When I am tempted to tell Person B what I know of Person A’s difficult situation: That’s not your story. When I want to know what is going on with Person C, who I thought was a Christian but has been living in a way inconsistent with the gospel and the cost of discipleship: That’s not your story. When I wonder why Person D seems to have it so easy compared to me: That’s not your story. 

When, like Asaph in Psalm 73, I am bothered by how the wicked prosper while the righteous suffer: That’s not your story. When, like Job’s friends I want to know why a believer is suffering so intensely: That’s not your story. When, like Peter at the end of the Gospel of John, I want to know what God may have in store for another believer: That’s not your story. I think also of what Jesus told Peter in that moment: “What is that to you? You follow me!” (John 21:22).

Of course, telling ourselves “That’s not your story” won’t do much to quell our confusion or envy or love of gossip if we don’t believe there is a Storyteller who is both sovereign and good. But if there is such a Storyteller, we can trust Him to bring our stories and every other person’s story to a fitting end. He is telling us our own stories, and no one else’s. Let’s follow Him.

The Jedi Archives: The First Eight Posts

I’m having a lot of fun contributing to Tim Lawrence’s Jedi Archives project. Here are links to my first eight posts:

Pieces of Junk: Escapes from desert planets in the first film of each trilogy.

So Uncivilized!: Escapes from desert planets in the third film of each trilogy.

Dangerous Idealists: Similarities and differences between Obi-Wan, Mace Windu, and Count Dooku.

Doing Her Duty: Parallels between Episodes II and VIII.

Bombs Away!: The significance of the Resistance bombers in Episode VIII.

Jabba the Hutt: An Oligarchic Soul: Jabba the Hutt matches Plato’s profile of the oligarch.

The Empire Strikes Back Against a New Hope: Episodes IV and V form a chiasm.

The Force Awakens from the Revenge of the Sith: Episodes III and VII also form a chiasm.

Bonhoeffer on the Dangers of Idealism

A quick addendum to two previous posts, one at The Jedi Archives and one in this Notebook, on what can go wrong when ideals eclipse principles and relationships. There are Count Dookus and Mr. Hollingsworths in the church and other Christian institutions, too. Here’s Bonhoeffer in Life Together:

“Every human wish dream that is injected into the Christian community is a hindrance to genuine community and must be banished if genuine community is to survive. He who loves his dream of a community more than the Christian community itself becomes a destroyer of the latter, even though his personal intentions may be ever so honest and earnest and sacrificial.

“God hates visionary dreaming; it makes the dreamer proud and pretentious. The man who fashions a visionary ideal of community demands that it be realized by God, by others, and by himself. He enters the community of Christians with his demands, sets up his own law, and judges the brethren and God Himself accordingly. … He acts as if he is the creator of the Christian community, as if his dream binds men together. When things do not go his way, he calls the effort a failure. When his ideal picture is destroyed, he sees the community going to smash. So he becomes, first an accuser of his brethren, then an accuser of God, and finally the despairing accuser of himself.

[…]

“Christian brotherhood is not an ideal which we must realize; it is rather a reality created by God in Christ in which we may participate” (pp. 27-28 and 30 in the HarperOne edition).

Pauline Patience for Difficult Relationships

Here’s a passage of Scripture that’s been reorganizing my mind and heart lately:

“But one thing I do [consider]: forgetting what lies behind and straining forward to what lies ahead, I press on toward the goal for the prize of the upward call of God in Christ Jesus. Let those of us who are mature think this way, and if in anything you think otherwise, God will reveal that also to you. Only let us hold true to what we have attained” (Philippians 3:13b-16, ESV).

I don’t remember when I was first struck by this realization: Paul is so convinced of the power of God to work in people’s hearts (see Philippians 1:6 and 2:13) that he isn’t fazed by the immaturity of believers, whether with underdeveloped theologies or a disconnect between their doctrine and their behavior; instead Paul trusts God to teach or correct them in due time. But in the past week two different reading group discussions, and multiple conversations with friends about rifts in our other relationships, have brought this passage back to my attention and have made its message all the more compelling, convicting, and comforting.

First, in my church my pastor has been leading discussions of Ray Ortlund and Sam Allberry’s book You’re Not Crazy: Gospel Sanity for Weary Churches (Crossway 2023). This past Sunday we discussed Chapter 6: “Leave Behind Lord-It-Over Leadership: A Culture Guided by Gentle Shepherds.” One of the points of that chapter is that, when a pastor trusts that “God himself is the ultimate shepherd, [he] can breathe. [The pastor has] responsibility—sobering responsibility—but God has the ultimate responsibility” (p. 108). When a pastor understands and embraces this truth, he won’t feel the need anymore to pick fights with cantankerous church members over secondary or tertiary issues, or to be pushy with those who are weaker in the faith and slower to grow (see 104-105). Instead the pastor can trust that God knows His sheep and is looking after each of them. I think this is a very Pauline take on patient, humble ministry, and indeed Ortlund quotes what Paul says just a few sentences after the above passage: “Philippians 4:5 says ‘Let your reasonableness [or gentleness, ESV margin note] be known to everyone. The Lord is at hand’” (113). From this verse Ortlund draws the conclusion that “a culture of gentle leadership means that people who differ on serious issues can belong together in the same church” (113). Imagine: if we really believed that people who received the same gospel and have the same Spirit don’t have to all be at the same level of maturity or agree on all the issues to have true, loving fellowship, there would be far fewer church splits, far fewer blogger brawls, and far fewer cage-stage Christians torpedoing perfectly fine friendships just to score points.

Second, I’m also reading J. Gresham Machen’s classic Christianity & Liberalism (1923) with two grad school friends, and on Monday we discussed Chapter 2: “Doctrine.” The point of the chapter is to dismantle the common refrain among theological liberals that doctrinal distinctions don’t matter, or at least distract from what they think is more important, following Christ’s ethics. But Machen doesn’t just expose the dangers and incoherence of this kind of thinking; he argues there is still space for a healthy ecumenicism, and even “tolerance,” when it comes to nonessential disagreements. And to make this point, Machen also turns to Philippians. In 1:15-18, Paul isn’t bothered that some other preachers are pursuing gospel ministry with the intent of upstaging him and making him jealous. Paul shrugs this off and praises God anyway: “What then? Only that in every way, whether in pretense or in truth, Christ is proclaimed, and in that I rejoice.” Machen writes, “It is impossible to conceive a finer piece of broad-minded tolerance” (p. 22 in the 2023 Westminster Seminary Press edition). Of course, Machen goes on to point out how intolerant Paul was of false teaching in Galatians—and I’ll add that in Philippians itself Paul has strong words for the Judaizers who insisted on circumcision (see 3:2). But there is no contradiction here, Machen explains, because in one case immature people are preaching the true gospel, and in the other case even more immature people are preaching a false one. Paul can live with the former, whereas the latter threaten to destroy the church at the root (22-25). And my own point is that Paul could be unflappable about these upstarts who “proclaim Christ out of selfish ambition” (1:17) because he trusted the Spirit could work in and through them, just as He had in his own life, and could get them to a place where they could say with Paul that nothing else matters but pressing on to know Christ (3:7-16). Imagine: if we really saw people the way Paul did, and trusted the Spirit’s power like he did, a fellow believer could try to egg us into arguing about something trivial and we could respond, “No thanks. I have better things to do, and so do you.” 

Ortlund and Allberry apply Paul’s patient mindset to pastoring and Machen applies it to theological disputes. But, finally, in my own life I’m finding these passages in Philippians immensely helpful for staying hopeful about fading or lapsed friendships. Some friends and I have each been grieving the abandonment or disengagement of people we considered close friends. These people have hurt us and either do not realize it or haven’t yet sought reconciliation. But what steadies me is Paul’s confidence that God always finishes the work He starts in a person (1:6, 2:13); that even misguided people can do transformative gospel work (1:15-18); and that God teaches and corrects His own in His own good timing (3:15). These friends of ours may not repair these breaches for months, years, even decades. But what if God has a long-term plan for bringing them to greater maturity and godliness, and only later will they be ready to reconcile? What if our conversations with them planted seeds that won’t grow to fruition until after a long, dark winter? Maybe, and maybe not. But if we take the promises of God’s Word seriously, we can at least rest assured that, if the other person is a brother or sister in Christ, we will be reconciled in heaven. Our disagreements, our grievances, or even just a lack of emotional intelligence will not separate us any longer. As I said in my last post, one day we won’t have to choose between our friendships and the Truth. God Himself will bring our erring Christian friends into the Truth.

Friends in the Truth, Forever

Two weeks ago I wrote a post about how, if they had to choose between having friends and being just, Aristotle might choose friendships whereas Plato would surely choose justice. As I was wrapping up writing that post, I asked myself, what would be the Christian’s response when faced with this dilemma? Providentially, this week I started to revisit Dietrich Bonhoeffer’s Life Together, and within the first few pages Bonhoeffer helped me formulate my answer. 

Of course, it should be conceded that Bonhoeffer’s book is about Christian fellowship in general, not Christian friendships in particular. But I think everything I’m about to quote or summarize from him can apply to a Christian understanding of friendships. I should also signal that I’m going to use ‘truth’ instead of ‘justice’ as my other key term. This is because Bonhoeffer talks about truth, not justice, and living in the truth is a major part of what it means to be just.

First, for the sake of living in the truth, we may be separated from our friends. Bonhoeffer would seem to side with Plato in recognizing that in pursuing wisdom the just man may have to make enemies, and that those enemies may prevent him from living with his friends. He says on the very first page of Life Together that “It is not simply to be taken for granted that the Christian has the privilege of living among other Christians. Jesus Christ lived in the midst of his enemies. At the end all his disciples deserted him. On the Cross he was utterly alone, surrounded by evildoers and mockers” (p. 17 in the HarperOne edition). Christ warned us that a servant is not greater than his master (John 15:20). If He had to part with His friends to be faithful to God, we must be ready to do the same—just as Bonhoeffer was. He was imprisoned and executed for living in the truth that Hitler should not have any man’s allegiance.

In my last post I had talked about the difficulty of balancing the Already and the Not Yet in our eschatology. I think Bonhoeffer does an excellent balancing act here. Christians were intended to have fellowship with one another and can enjoy much of that Already because of what Christ definitively accomplished on the cross—but we are Not Yet able to enjoy that fellowship fully and without hindrances, not until we get to the New Creation. Bonhoeffer writes that “between the death of Christ and the Last Day it is only by a gracious anticipation of the last things that Christians are privileged to live in visible fellowship with other Christians” (18). He repeats, “the fellowship of Christian brethren is a gift of grace, a gift of the Kingdom of God that any day may be taken from us” (20). 

Even though God made us in such a way that it is not good for anyone to be alone (Genesis 2:18), we cannot insist or demand that God never put us on a deserted island or in solitary confinement. That might be just what it takes for God to sanctify us and glorify His Name through us. God doesn’t owe us a healthy or legal church in which to participate, or a best friend who pledges loyalty like Jonathan did to David, or Ruth did to Naomi. It is a mercy and a kindness that, on any given day and for however long on that day, we get to interact with any of our friends in Christ. Read this conclusion that Bonhoeffer reaches and let it weigh on you for a few moments: 

“Therefore, let him who until now has had the privilege of living a common life with other Christians praise God’s grace from the bottom of his heart. Let him thank God on his knees and declare: It is grace, nothing but grace, that we are allowed to live in community with Christian brethren” (20).

Second, for the sake of living in the truth, we may have to separate ourselves from our friends. Bonhoeffer distinguishes between spiritual and human love. One of the differences between the two is whether they submit to God’s truth. Bonhoeffer says that “Human love has little regard for truth. It makes the truth relative, since nothing, not even the truth, must come between it and the beloved person” (34). Human love would choose friendship over truth, ten times out of ten. But spiritual love cannot be divorced from truth. Without truth—or more precisely, Christ the Truth—love ceases to be love, for “love of others is wholly dependent upon the truth in Christ” (37). It is only because the truth in Christ transforms our hearts that we can truly love one another. And sometimes, Bonhoeffer cautions us, this Christ-transformed spiritual love will require ending a friendship: “Where [Christ’s] truth enjoins me to dissolve a fellowship for love’s sake, there I will dissolve it, despite all the protests of my human love” (35). 

Once again, insofar as Bonhoeffer is presenting a biblically accurate view, it would seem Plato is closer than Aristotle in agreeing to the Christian answer regarding what to do when faithfulness to the truth and loyalty to friends would push us in opposite directions. However, to return to the above point about eschatology, it is only in the present time, in the Already-Not Yet, that we will ever face this impasse and ever have to walk with Bonhoeffer and Plato’s mentor Socrates away from our friends and toward our deaths for the sake of truth. This is because:  

Third, ultimately we will not have to choose between friendship and the truth. As I said in the Plato and Aristotle post, rather than pitting them too much against each other Aristotle sees justice and friendship growing up alongside and reinforcing each other. But in this fallen world, that won’t always be the case. Yet the Christian is looking forward to a new and better world, where there will be no enemies to our friendships and no need to end a friendship for the sake of convictions—because everyone there will pledge allegiance to the same Lord and love the same Truth.

Bonhoeffer, writing Life Together while running an underground seminary and understanding that a government crackdown could happen at any time, was looking forward to that “Last Day,” too (18). He writes of the astounding reality that “we also belong to [Christ] in eternity with one another. … He who looks upon his brother should know that he will be eternally united with him in Jesus Christ” (24). We may have non-Christian friends turn on us; we may have to let some of them go. But our Christian friends—even if those relationships should cool due to time, distance, or conflicts—truly are our BFFs: best friends forever.

A few days ago I was reminded of a song by Sanctus Real called "Benjamin." The song is addressed to a friend who is approaching death around the same time that his son is born. The singer tells the dying father: “We've been friends for a long, long time, / So if you can't talk, just cry, / And know that we will talk on the other side.” And he tells Benjamin, the son, “And we will be friends for a long, long time, / So until you can talk, just cry, / And know that we will talk for the rest of our lives.” 

That is our Christ-accomplished hope for our Christian friends: We will be friends for a long, long time. As we wait in the Already-Not Yet, we can cry for the friends we’ve lost to death or disagreement or never even had, because friendship is a good thing worth grieving. And we can trust we will have friends to talk to for the rest of our lives, on the other side. 

Is Heaven Here and Now?

[Musical Coincidences #1]

MercyMe’s 2017 album Lifer and Tenth Avenue North’s 2019 album No Shame each have a song that pushes back against an under-realized eschatology that, by setting all its sights on the life to come, would downplay the redemptive work that God is doing and that believers should be participating in today. MercyMe’s song opens with the lines, “Thought I knew / how this all goes, / Tryn’ to get through life / Till you get called home.” The Tenth Avenue North song starts in the same place, but critiques this “get through life” mindset more sharply: “I used to count the days 'til I was gonna fly away, / All I wanted was a promise that You’d take away my pain, / Oh, won't You take away my pain? / I didn't wanna be used to engage / I just wanted to use You to be my escape.” The shared rebuttal to this escapist mindset is conveyed in the songs’ titles. MercyMe’s song is called “Heaven’s Here”; Tenth Avenue North’s is called “Heaven Is Now.” To quote Dash Parr’s 5th-grade teacher in The Incredibles, “Coincidence? I think not!”

Although two songs in two years do not establish a trend, their similarities make me wonder if a shift is occurring in popular-level evangelical thinking about how to reconcile the tension between the Already and the Not Yet. On the one hand, Christ’s incarnation, crucifixion, resurrection, and ascension, and the giving of the Holy Spirit at Pentecost have transformed the status quo of what’s possible in a fallen world. On the other hand, sin, suffering, and death persist and the wheat will keep growing alongside the tares until Christ returns. Keeping these truths in balance isn’t easy. One often gets the upper hand over the other, and this is reflected in what gets emphasized in Christian media. A lot of the Contemporary Christian Music (CCM) that I’m familiar with, from Keith Green in the late 70’s to some of MercyMe and Tenth Avenue North’s own songs in the aughts and 2010’s, emphasize the Not Yet and look forward to spending eternity with God, whether after someone’s physical death or Christ’s second coming. Comparatively few songs that I’m aware of emphasize the Already as emphatically as these two recent songs do: the kingdom of heaven is at hand, they argue, here and now. So, my highly-unscientific, anecdotally-driven hypothesis is that “Heaven Is Now” and “Heaven’s Here” reflect a movement away from stressing the brevity and brokenness of the present world and toward stressing the need for a faithful, redemptive presence in it.

If a shift really is happening, I would welcome some aspects of it as a helpful corrective. I have been saddened to hear older Christians say things like “I can’t imagine bringing a child into this world today” because of rampant godlessness (which, by the way, makes them sound like some secular people closer to my age who fear having kids because of climate change) instead of expressing hope that God can use their descendants to reach the next generation. And I’ve often thought that Christians who long to leave this earth, if they don’t long just as earnestly for the salvation of nonbelievers, act too much like Jonah, sitting outside Nineveh waiting for God to destroy it, and not enough like Jeremiah, calling on the exiles to live faithfully in Babylon. For better or worse, much of my eschatology and practical theology has developed in response to these attitudes. As I wrote in a recent Notebook post, “So much of my creative work and so many of my thought projects are attempts to answer the essential question, ‘How should I live, here and now … in the tension of the already-not-yet?’” Given all that, these songs would seem to be strong candidates for my own theme song. 

And yet, now that I have before me two examples of songs that push back against this under-realized eschatology and put my own concerns into words, I’m reminded of the phrase, “Be careful what you wish for.” I won’t say that these songs are guilty of swinging the pendulum too far the other way, into an over-realized eschatology that downplays how badly we need Christ to return soon and make all things new. That could be an unfair charge to bring against them, because a 3- to 4-minute song can only emphasize a few truths at once—and emphasizing one truth does not require denying a contrasting one. Still, I am concerned these songs don’t have the needed nuance to avoid presenting an overly sunny view of our predicament this side of glory.

MercyMe’s theological justification for saying that “Heaven has begun, / Eternity is now” is that “He has raised us up.” This could be a reference to Ephesians 2:6, which says that God “raised us up with [Christ] in the heavenly places in Christ Jesus” (ESV). Amazingly, Paul says this is a completed action, a present reality. And he says elsewhere, in Colossians 3:3, that “you have died [past tense], and your life is hidden with Christ in God [present tense].” However, the song’s response to this theological truth is not to look forward to our complete union with Christ in a new creation without sin and death. Instead the conclusion the song reaches is that “We don’t have to wait, / heaven’s here with us” and “there ain’t no hurry” to get to what’s next. But with all the suffering and injustice around us, shouldn’t we be asking, with anguished cries, “How long, O Lord?” The second verse seems to qualify the song’s optimism, saying “Make no mistake, / Trust me I know, / There’s a place waiting / That we'll call home.” But there’s no grief in the song over the painfully obvious fact that we aren’t there yet.

Another problem with MercyMe’s “Heaven’s Here” is that it doesn’t present an alternative to waiting for heaven. “We don’t have to wait”—but what is the thing we don’t need to wait for and can enjoy now? And if we aren’t waiting for something in the future, what should we be doing in the present? The song doesn’t address the pain of living in a fallen world, and it doesn’t give the listener guidance on how to endure it.

The Tenth Avenue North song is more theologically balanced. “Heaven Is Now” does present an alternative to “wait[ing] until I see those pearly gates.” The alternative is “Let me bring Your grace into this world and recreate.” Instead of acting like Jonah outside Nineveh, the singer says he’s “Not gonna wash my hands and say ‘Let it burn,’ / I wanna burn with your love instead.” The song’s theological justification for this is the Lord’s Prayer: “You taught me how to pray / Let your kingdom come here in my heart.” The desire of the song is for Christians to do God’s will on earth as it is in heaven. And the song is not naive about how hard it will be to live according to God’s will. The singer says that we see “glimpses” of the kingdom “when we learn to love, / And we're forgiving one another.” These words imply that hate is our default setting (love has to be learned) and that we are still sinning and sinned against (necessitating continual forgiveness). The implication is we are still in a fallen world; so the eschatology is not as over-realized as it is in the MercyMe song. Whereas MercyMe gives the impression the party starts now, according to Tenth Avenue North we have some serious, potentially painful and costly work to do for the rest of our earthly lives. 

Nevertheless, my concern with the Tenth Avenue North song is that it implies a false binary. We can both “count the days” and still live in the moment. We can both ask God to “take away [our] pain” and trust Him to use the pain for our good. We can both long for our “escape” from this world and “engage” it at the same time. We can have a category for Not Yet and a category for Already at the same time, as conceptually, spiritually, and practically difficult as that may be. But the alternative, emphasizing only the Already and trying to “Walk my city streets like they are paved with gold” would seem to me to require more mental gymnastics, to the point of cognitive dissonance. To say we are awkwardly caught between the Already and Not Yet, desperately needing Christ to come resolve the tension, is more accurate both to the testimony of Scripture and to our own daily experience.

A Tale of Two City Rankings

In Book VIII of both Plato’s Republic and Aristotle’s Nicomachean Ethics, there is a taxonomy and ranking of different kinds of governments for a city-state. Plato names five kinds of cities and ranks them thus: 1. Aristocracy (which includes Kingship); 2. Timocracy; 3. Oligarchy; 4. Democracy; and 5. Tyranny. Aristotle’s list uses all the same terms, but it distinguishes between Aristocracy and Kingship so that there are six kinds of cities. His ranking is almost the same, too, except for one thing: he puts Democracy over Oligarchy. His ranking is: 1. Kingship; 2. Aristocracy; 3. Timocracy; 4. Democracy; 5. Oligarchy; and 6. Tyranny. So why does Aristotle break from his teacher Plato and say that having an oligarchy is a worse way to run a city than having a democracy?

The first thing to notice is that Aristotle’s Book VIII is not about politics first and foremost, but about friendship. The discussion of kinds of cities is included as an analogy for distinguishing between kinds of friendships. Aristotle ranks the cities in the order he does because he believes that a city ruled by a king is the most amenable for friendships and that a city ruled by a tyrant is the most inhospitable to friendships, because a tyrant is no friend to his subjects. In his scheme, a democracy is better than an oligarchy because in a democracy there is greater political equality, allowing for greater relational equality.

But Plato’s Book VIII—like the entirety of Republic—is about justice. Moreover, it is not about justice in the city first and foremost, but about justice in the soul. All the discussion in Republic about how to form a just city is incidental and analogous to the driving question of how to be a just man. Plato ranks the cities in the order he does because he believes that an aristocracy corresponds to a soul that is most ruled by wisdom (leading to justice) and a tyranny corresponds to a soul that is most ruled by lawless appetites (leading to injustice). In his scheme, an oligarchy is better than a democracy because an oligarchy corresponds to a soul that is ruled by necessary appetites (more just), and a democracy corresponds to a soul that is ruled by unnecessary appetites (more unjust).

What I’m suggesting is that, if they had to choose between a democracy and an oligarchy, Aristotle would prefer to live in a democracy because that’s where he would hope to find better friendships, and Plato would prefer to live in an oligarchy because that’s where he would hope to find greater justice.

Granted, it would be misrepresenting Aristotle to drive too great a wedge between friendship and justice, because in Book VIII of his Ethics the two are inseparable. For him, justice in the city and the health of friendships in the city rise and fall together. Aristotle writes that “friendship and justice would seem to be about the same things and to be found in the same people. For in every community there seems to be some sort of justice, and some type of friendship also. … And to the extent that they are in community, to that extent there is their friendship, since to that extent also there is justice” (p. 152 in Hackett Third Edition). And he says later on that “Friendship appears in each of the political systems, to the extent that justice appears also” (155). Moreover, Ethics Book IX argues that the just person is a friend to himself.

Still, Aristotle does place a higher value on friendship than on justice, because he holds that friendship “is most necessary for our life. For no one would choose to live without friends even if he had all the other goods” (141). Moreover, “friendship would seem to hold cities together, and legislators would seem to be more concerned about it than about justice. … Further, if people are friends, they have no need of justice, but if they are just they need friendship in addition; and the justice that is most just seems to belong to friendship” (141). For him, if friendship comes first, justice will follow: “Justice also naturally increases with friendship” (153). 

Conversely, Plato does seem to place a higher value on justice than on friendship. He would rather be alone if that was the cost of being just. Whereas Aristotle says that “no one would choose to have all other goods and yet be alone” (176), Plato’s Republic repeatedly emphasizes that the true philosopher will often be misunderstood, maligned, and isolated. Indeed, Plato’s teacher Socrates, the protagonist and main speaker in Republic, was executed by Athens because he chose convictions over company. Socrates refused to recant his beliefs to regain friendships with the city’s leaders, because that would have made him an unjust friend to himself.

All this fits with the general tendency in both Aristotle’s and Plato’s thinking about the good life, visualized in Raphael’s painting The School of Athens. Plato is pointing up, but Aristotle’s hand, while not pointing down, is almost level. Plato lives for his ideals, but while Aristotle also has his ideals—he wants to be a just man just as much as Plato does—he wants them to be grounded in community, because “good people’s life together allows the cultivation of virtue” (177).

Some More Dangerous Idealists

In my most recent post for the Jedi Archives, “Dangerous Idealists,” I wrote about how Obi-Wan, Mace Windu, and Count Dooku fall along a spectrum that illustrates how idealism can put someone on a dangerous path toward sacrificing people and principles for the supposed greater good. Two classic works of American literature that I read in the past few months also dramatize this temptation and its consequences.

In Nathaniel Hawthorne’s The Blithedale Romance (1852), the narrator Miles Coverdale joins a nascent utopian community that is doomed from the start—but not, as the reader would expect, because of flaws in its own ideals or the failure of its members to live up to those ideals, though those are issues at Blithedale, too. Instead, the community is ruined chiefly because a prominent member is a more inflexible idealist than everyone else at Blithedale and his ideals are opposed to theirs. Mr. Hollingsworth is a philanthropist who came to Blithedale, it turns out, not because he believes in its vision but because he wants to seize its land for his own social-reform project. He is so convinced of the righteousness of his own cause, he either does not see or does not care about the unrighteousness of lying about his intentions and betraying other idealists. As more than one character realizes, Mr. Hollingsworth will abandon a friendship as soon as he realizes the friend cannot be made into a cog in the machine he would build. But the worst consequence of his zeal is not the communal and relational costs, but the cost to his own soul. As Coverdale summarizes at the end of the novel:

“The moral which presents itself to my reflections, as drawn from Hollingsworth’s character and errors, is simply this:—that, admitting what is called Philanthropy, when adopted as a profession, to be often useful by its energetic impulse to society at large, it is perilous to the individual, whose ruling passion, in one exclusive channel, it thus becomes. It ruins, or is fearfully apt to ruin, the heart … I see in Hollingsworth an exemplification of the most awful truth in Bunyan’s book of such;—from the very gate of Heaven, there is a by-way to the pit!” (p. 243 in the 1983 Penguin edition). 

As the adage goes, the road to Hell is paved with good intentions. In fact, Hawthorne’s novel warns that the greater the intentions, the greater the peril, since “the higher and purer the original object, and the more unselfishly it may have been taken up, the slighter is the probability that they can be led to recognize the process by which godlike benevolence has been debased into all-devouring egotism” (71). The word “egotism” is key. It isn’t actually true that Hollingsworth lives for his ideals, though he may have started that way. He lives for himself. To apply C. S. Lewis’s tripartite terminology in The Abolition of Man, when the idealist Head suppresses or cuts out the relational and principled Heart, the Head won’t be able to subdue the self-seeking Belly on its own.

The language of Head and Heart is a good segue to the other novel I have in mind, Ralph Ellison’s Invisible Man (1952). (I only just now realized this novel was published exactly a century after Hawthorne’s. Uncanny!) In fact, Ellison uses the terms “head” and “heart” frequently enough that I wonder if he had read The Abolition of Man, which came out a few years prior.* At one point, the unnamed narrator who calls himself “an invisible man” gives an impassioned impromptu speech about an elderly couple being evicted from their apartment. He says of the woman that “She’s let her religion go to her head, but we all know that religion is for the heart, not for the head” (p. 278 in the 1995 Vintage International edition). His speech draws the attention of a Socialist-type organization called the Brotherhood, who want to use his oratory to build inroads into the Black community in Harlem—although some in the Brotherhood are worried his speeches are too emotional, even anti-intellectual. One of the brothers says his debut rally speech “was the antithesis of the scientific approach. Ours is a reasonable point of view. … The audience isn’t thinking, it’s yelling its head off” (350, italics added).

For the rest of his time with them, the Invisible Man will be at odds with the organization because he is not willing to sacrifice the claims of the Heart for the agenda of the Head. The leader who recruited him, Brother Jack, believes that “There’s hope that our wild but effective speaker may be tamed”—hope that the Head can subdue the Heart—so “For the next few months our new brother is to undergo a period of intense study and indoctrination under the guidance of Brother Hambro” (351). Later, Brother Jack is even more explicit: “you were not hired to think. … you were hired to talk” (469-470). But the indoctrination fails. The Invisible Man cannot stop thinking in ways that run counter to a rigid ideology that has no real sympathy for his own people. Ultimately he realizes the Brotherhood does not care about him or the Black community at all except as pawns in a much larger game. Brother Hambro tells him at their last meeting that “there’s nothing to be done about [the violence in Harlem following the death of a Brotherhood member] that wouldn’t upset the larger plan. It’s unfortunate, Brother, but your members will have to be sacrificed” (501). Brother Hambro goes on to say, “We follow the laws of reality, so we make sacrifices” (502). To the Brotherhood, only the Head—or more specifically, the heads of the Brotherhood committee—has access to “the laws of reality” and the wisdom to know how to obey them. The Heart is expendable, as it was for Mr. Hollingsworth, and once again the result is not enlightenment and progress but manipulation and betrayal.

[*Here are two suspiciously Abolition of Man-like statements spoken by people in the Brotherhood: [1]  “You have to be pure in heart and you have to be disciplined in body and mind” (394). [2] “At the proper moment science will stop us. And of course we as individuals must sympathetically debunk ourselves” (505).]

Admirers and Followers

Here’s a rule of thumb: whenever an artist, storyteller, or some other creative type shows up in a narrative and talks about his or her craft, pay attention if you want insight into the writer’s own beliefs about why we tell stories—and the responsibilities, possibilities, and potential pitfalls this entails.

For example, re-watching Terrence Malick’s film A Hidden Life (2019) the other day, I was struck again by the scene in which Franz Jägerstätter observes the painter, Ohlendorf, adding or touching up images in the chapel of the village. If Malick ever made an autobiographical statement about his vocation in a film, it would be here.

Ohlendorf acknowledges there is a danger that stories can leave people unmoved while giving them the false assurance that they have been moved. He says, “I paint the tombs of the prophets. I help people look up from those pews and dream. They look up and they imagine if they lived back in Christ’s time they wouldn't have done what the others did. They wouldn't have murdered those whom we now adore.” That is, the biblical stories he paints on the walls could confirm people in their complacency rather than shaking them out of it. 

But the work he does also poses a danger for the painter himself. “I paint all this suffering,” he says, “but, I don't suffer myself. I make a living of it.” While he “paint[s] their comfortable Christ, with a halo over his head,” he can profit off the pleasant, uncomplicated feelings it creates in the viewers. Ohlendorf, like any other storyteller, could be praised for being a truth-teller while never saying anything that upsets the lies people love to tell themselves. And, if he wasn’t honest with himself, he’d be in danger of deceiving himself that he has experienced “what I haven't lived.” This is why he hasn’t “venture[d]” to “paint the true Christ.” He doesn’t want to fool anyone, especially not himself, that because he has created a portrayal of Christ he knows something about following the true Christ. He worries about letting himself off the hook, just like he is worried his paintings let viewers off the hook. Making or receiving art about Christ cannot fulfill or exempt from the “demand” that “Christ’s life” makes upon everyone.

Through Ohlendorf, then, Malick is challenging us, and challenging himself. We could be inspired by Franz and Fani’s sacrifices to resist Hitler for the sake of Christ, and go right on paying to Caesar what isn’t Caesar’s to maintain our comfortable lives. Malick and his collaborators could be tempted to think that, because they have poured so much care and thought into telling us Franz and Fani’s story, they have been changed by it as a matter of course.

But while Ohlendorf’s words caution that stories—even good, true, noble ones!—can be used to insulate us from the call to practice hard virtues, his words also suggest they can nudge us toward answering that call. Notice I used the word ‘nudge,’ not ‘push.’ It’s very easy for storytellers and the popularizers of stories (critics, teachers) to overstate their importance, to believe things like, “If only we could put the right stories before audiences, the culture would change!” For one thing, the Parable of the Sower tells us that even the truest and best story of all, the gospel, often falls on unreceptive ground. How much slimmer are the odds that any man-made story could change a heart!

Appropriately skeptical, then, Ohlendorf’s view of the storyteller’s role is modest, restricted. He says, “What we do, is just create—sympathy. We create—we create admirers. We don't create followers.” Some might hear those lines as a dismissal of storytelling, or art generally; if it can’t create followers, if all it can do is create sympathetic admirers, it can’t be worth much. But before someone can become a follower, he must first become an admirer of the person to be followed. And how does one become an admirer? Through sympathy. And sympathy is what narratives are so very good at creating. Stories are empathy-workouts. They draw us into caring deeply about characters, sometimes like us and sometimes very unlike us.  

It’s significant, surely, that it’s after this meeting with the painter that Franz makes his final resolution to turn himself in for refusing to make an oath to Hitler. I’d suggest the painter’s images and words prompted him to consider, in a new or sharper light, the true Christ. The painter stirred Franz’s sympathy for the sufferings of Christ—and perhaps spurred a recognition that Christ will reciprocally sympathize with him in his sufferings for His sake—and this sparked a greater admiration for Christ, and that compelled Franz to follow Christ, even unto death. The painter didn’t make Franz a follower of the true Christ, but he did help make him a greater admirer. And that counts for something.

As a former filmmaker, an amateur film critic, and a scholar (and soon-to-be teacher) of literature, all my life I’ve been asking why stories matter. Does it make a difference what kinds of stories we tell or receive? What can our stories do in the world? The answer Malick gives to these questions, in this scene, is that stories shape our affections. That’s what sympathy and admiration are: expressions of what we love. Once an affection becomes strong enough, through repeated exposure to a story or a set of similar stories, actions will follow. This is why it matters which stories we tell ourselves. For a negative example, look no further than the mayor of Franz’s village, who spews hatred because he has been shaped by the mythology of Hitler. 

Watching A Hidden Life will not, in and of itself, inspire someone to follow the Jägerstätters’ example. But if the film, in concert with other stories about sacrifice, can establish sympathy and then compel admiration, maybe some day they will have followers.

Why "Presents"?

“One must choose a corner and cultivate that.” (Isabel Archer in The Portrait of a Lady by Henry James)

“Yesterday is history, tomorrow is a mystery, but today is a gift. That is why it is called the present.” (Master Oogway in Kung Fu Panda)

“[Time’s] present is God’s present, and you should be that: present.” (“Be Present (Live from Catalyst Atlanta)” by Propaganda)

When I created this website in January 2017, seven years ago now, I gave it the name, “Robert Brown Presents.” There were two reasons for this.

First, the name is a nod to the show Alfred Hitchcock Presents. (This is also why my picture on the home page is in black-and-white cameo.) Similar to how that show was a way for the great director to share his favorite kinds of stories, this website is a way for me to share the things I’ve made or the things I care about. 

Second, ‘present’ is one of my favorite words in the English language, and I can summarize  much of my life philosophy just by expounding its different senses. Senses 1 and 2: We present presents to others. I want to live my life as a gift to God and neighbor, and make things I can offer as gifts. Senses 3 and 4: When we use the phrase “be present,” we mean presence in place and in the present time. So much of my creative work and so many of my thought projects are attempts to answer the essential question, “How should I live, here and now?” More pointedly, as a Christian on this side of glory, “How should I live in the tension of the already-not-yet?” (If these questions resonate with you, you might enjoy my poems “Yet,” “Ground,” and “Borgesian.”)

Broadly speaking, this is what “Robert Brown Presents” exists to do: to present presents—articles, Notebook posts, poems, songs, podcast episodes—that might help others be present. They’ve certainly helped me.

Introducing The Jedi Archives

For the past several years my friend Timothy Lawrence and I—but especially Tim—have been on a “damn fool idealistic crusade” to change the conversation about Star Wars, emphasizing its consistency and continuity across the decades and its moral-philosophical dimensions. The latest result of that endeavor is Tim's The Jedi Archives, launched on Substack today. Each post will be a short, thought-provoking blurb on some element in the films or shows. (For example, the debut post is on the significance of the monsters encountered in the third film of each Skywalker Saga trilogy.)  Most of the posts will be Tim's, but I will also be contributing with some frequency. If you like Star Wars at all—or wonder what’s the big deal and would like to see it from a new angle—I highly recommend checking it out and subscribing. 

If you are new to Tim’s work on Star Wars, a great place to start is to read the short appendices on “Star Wars Ring Theory” (an idea first popularized by Mike Klimo) and “Tripartite Soul Theory.” If you have an hour or so, another great entry-point is Tim’s talk on Star Wars for Emmaus Classical Academy.

Reading Klimo’s essay and then the explication essays that came out of Tim’s undergraduate thesis changed the way I view Star Wars. In particular, Tim’s focus on the morally-formative intentions of Lucas’s saga rekindled my childhood love for the franchise while also maturing it. My hope is that this blog will do the same for many more once-or-future fans—not just so that more people can appreciate more of Star Wars, but so that Star Wars helps them seek the good life of a balanced soul.

Welch Writes a Paragraph: A Rhetorical Analysis

I love this paragraph that begins Chapter 7 in Edward T. Welch’s thoughtful, practical, encouraging book on ordinary Christians counseling one another, called Side by Side (Crossway, 2015). Welch writes: 

“I had been keeping my recent fears to myself. My wife knew, and she was helpful, but a good rule of thumb is that when you are stuck in hardships or sins, you keep enlarging the circle of those who know until you are no longer stuck. I think this is a good rule, but I had decided I could get through it on my own” (p. 67).

It may not seem like much—it’s nothing flashy—but this is a great piece of writing. I say this because of its elegant simplicity and because of how the form matches and serves the content. 

This is a book about Christian counseling, written by a Christian counselor to be read by Christians giving and receiving counsel. So it’s appropriate that, throughout the book, Welch shows a gift for writing in a way that approximates the way I imagine he would talk in a counseling session or with friends. Reading the book, I can imagine Welch talking to me and one or two other listeners in a comfortable, non-threatening living room or office. His writing style conveys a feel for the kind of atmosphere that would support the personal, sensitive conversations Welch wants Christians to be able to have with one another. 

Because he is writing to an audience of ordinary Christians who may not have formal theological training—precisely to convince them that they don’t need that advanced training to be competent to counsel one another well—he uses uncomplicated syntax and simple words. There are only three sentences in this chapter-starting paragraph. The first one is short and to the point; it brings us right into the heart of Welch’s story. Though the second one is a long one with several clauses, it isn’t jumbled at all; it has a progression that is easy to follow. The third sentence is of medium length compared to the other two, and it closes the thought opened by the first sentence. If William Zinsser, the author of the classic book On Writing Well, had read this paragraph, I think he would have commended it for its sturdy sentences and lack of clutter. Zinsser might also have pointed out that this is a paragraph made up almost entirely of one- and two-syllable words. The only three-syllable words are ‘enlarging’ and ‘decided.’ If Welch had used larger, more technical words or a roundabout syntax, it would have undercut his purpose of communicating the accessibility of counseling for all believers. 

The simplicity is also important because in this passage Welch is demonstrating some vulnerability. He is sharing about his own weakness. When we confess to something, we can’t dress it up in niceties. We have to be direct and plainspoken, and Welch models that here.

Finally, I notice his use of repetition. ‘Good rule’ appears twice. ‘Stuck’ appears twice. “Knew” is echoed by “know,” and “get through it on my own” is a restatement of “keeping … to myself.” This is another feature that reinforces the conversational immediacy of the text. In conversations or speeches, repetition is needed for underlining main points more than it is in writing.

Being me, I also notice this repetition creates a pattern that is suspiciously chiastic: 

• I had been keeping my recent fears to myself [A’: the problem of self-reliance]

• My wife knew, … but a good rule of thumb is that when you are stuck [B’: ‘knew,’ ‘good rule,’ ‘stuck’]

• in hardships or sins, you keep enlarging the circle [X: the solution at the crux of the matter—puns intended]

• of those who know until you are no longer stuck. I think this is a good rule, [B”: ‘know,’ ‘stuck,’ ’good rule’]

• but I had decided I could get through it on my own. [A”: the problem of self-reliance]

Probably the chiasmus was unintended, but isn’t it interesting that he uses the word “circle” at the very point that the paragraph turns around to come full circle itself? But a chiasmus doesn’t have to be deliberate for it to exist. This is a form that is embedded in our patterns of thinking and speaking. Again, this paragraph is so effective because it seems so ordinary. But this is extra-ordinary craft in writing. But this level of intentional craft can be learned through observation, imitation, and practice, just like Christian counseling.

They Also Serve Who Only Stand and Wait

Timothy Lawrence and I have wondered whether George Lucas had ever read C. S. Lewis’s The Abolition of Man and whether it influenced Star Wars. But now I’m also wondering whether he ever read Lewis’s That Hideous Strength and whether it influenced his contributions to Spielberg’s Raiders of the Lost Ark. 

Initially this thought occurred to me because both the novel and the film have a group of villains, who, to help them take over the world, try to harness a higher power, even though this is at odds with their ideology. The anti-Christian N.I.C.E. wants to use Merlin for his magic, but magic is antithetical to their stated scientism, and Merlin, it turns out, is a Christian. The anti-Jewish Nazis want to use the Ark of the Covenant, which necessitates that they perform a “Jewish ritual.” In the violent finales of both the novel and the film, the cynical, impious villains are destroyed by the very power they sought.

But that last point of overlap led me to consider what may be a more important thematic connection between That Hideous Strength and Raiders. The fact is that neither Dr. Ransom and Co. nor Dr. Jones and Co. have to do almost anything to foil the N.I.C.E. or the Nazis. Dr. Ransom sends people to find Merlin before the N.I.C.E. do, but Merlin finds him. All Ransom does is instruct Merlin what to do and present him to the eldils so they give Merlin the power to destroy the N.I.C.E. And, as some plot-hole sleuths are quick to point out as if it were a weakness of the film, the outcome of Raiders would have been the same no matter what Indy did or didn’t do. He could have stayed home.

But to think that Raiders was supposed to be about Indy defeating the Nazis and instead he turns out to be useless is to entirely miss the point. The great revelation at the end is that the God of Israel does not need any man’s help to defeat His enemies. The point is that Indy moves from, as Tim puts it, “fram[ing] his search for the Ark in purely material, rational terms” to “at least [having] enough holy fear” to know to close his eyes when the Ark is opened. What if Indy is there, not to save the day, but to learn firsthand that our God is in the heavens and He does all that He pleases (Ps. 115:3)?

Ransom’s skeptic friend MacPhee would share Indy’s disdain for “superstitious hocus pocus,” and he’s also the kind of person who would make the above complaint about Raiders of the Lost Ark. In That Hideous Strength, he doesn’t understand why Ransom’s strategy for countering the N.I.C.E. is so passive, so deferential to the eldils (whom MacPhee does not believe in), and so much like just living ordinary lives. He says at one point, “It may have occurred to you to wonder, Mrs. Studdock, how any man in his senses thinks we’re going to defeat a powerful conspiracy by sitting here growing winter vegetables and training performing bears. [OK, that last part isn’t so ordinary.] It is a question I have propounded on more than one occasion. The answer is always the same; we’re waiting for orders” (p. 189 in the Scribner 2003 edition).

Then, after Merlin has overthrown the N.I.C.E., MacPhee seems to wonder whether he, too, could have stayed home. He says, “I’d be greatly obliged if any one would tell me what we have done—always apart from feeding the pigs and raising some very decent vegetables.” To which Ransom replies, “You have done what was required of you … You have obeyed and waited” (368). Ransom’s response reminds me of the last line of Milton’s sonnet “On His Blindness”: “They also serve who only stand and wait.” Waiting on God and being ready to act at a moment’s notice is itself a form of action.

Besides, what MacPhee doesn’t see is that the communal life being cultivated at Ransom’s Manor at St. Anne’s is a valuable form of resistance to the cruel, manipulative culture of the N.I.C.E. HQ at Belbury. At Belbury, animals and people are tortured; at St. Anne’s, they are rehabilitated. At Belbury, people are used and turned on each other; at St. Anne’s, they are cared for and submit to one another in love and respect. I like Jake Meador’s recent observation at Mere Orthodoxy that the community at St. Anne’s is practicing something like the Benedict Option, which is say that Lewis puts the emphasis on spiritual formation within Christian community instead of on political action. 

It may seem like Indiana Jones is superfluous in his own story, or like the only characters that matter on the side of the good guys are Ransom and Merlin. Likewise, we may question what good it does to follow Paul’s command to lead quiet lives (1 Thess. 4:13) in a world of so much noise, when maybe we could try pulling the levers of political power to bring it down a few decibels. I say all this not to endorse quietism, but to ask whether we trust that God has the power to vindicate His justice in His own time and in His own way, and whether we are striving to first be faithful in the little things He entrusts to us, things as simple as growing winter vegetables.

Men with Chests

In The Abolition of Man, C. S. Lewis famously coined the phrase “men without chests” (p. 26 in the 2000 HarperOne edition). But what does it mean to be a man with a chest? What is the Chest?

Lewis is adapting Plato’s idea of the tripartite soul. In his Republic, Plato says the human soul has: [1] a rational, philosophic part (literally, the wisdom-loving part); [2] an appetitive part (the pleasure-loving part, though more specifically the money-loving part because money helps satisfy all the other appetites); and [3] a spirited part, which loves honor and victory (p. 251 in the 1992 Hackett edition). According to the Republic, the spirited part should submit to the rational part, and together the rational and spirited parts should rule over the appetitive part (117). And Lewis agrees with all this: “Reason in man must rule the mere appetites by means of the ‘spirited element’” (24). Yet Lewis makes two significant changes. 

First, Lewis brings in an analogy between the soul and the body that Plato does not use: “The [rational] head rules the [appetitive] belly through the [spirited] chest” (24). More on that in moment. And second, he expands the range of functions encompassed by the concept of the spirited element. 

The index of my copy of Republic tells me the Greek word used for ‘spirit’—thumos—also means ‘anger’ (299). And in fact, Plato puts a lot of emphasis on how it is “the spirited part by which we get angry” (115; cf. 251). Those who live for honor or take honor the most seriously are proud, and the proud can be quite, well, touchy. Plato acknowledges that, at worst, the spirited part can be “hard and harsh” and marked by “savageness.” But, at best, if the spirited part is rightly channeled, the anger and pride that are aroused whenever honor is at stake can produce courage, one of Plato’s four cardinal virtues (87). 

Lewis also associates the spirited element or Chest with courage, using the example of a soldier in battle to show how, without having a courageous Chest, the soldier will not be able to fulfill his duty while under fire (24). But Lewis, being a Christian who knows Christ’s command to turn the other cheek and who has read Paul’s celebration of humility—and above all, has been soul-transformed by the gospel of grace—cannot give anger and pride the controlling interest in the Chest. Instead of associating the spirited element with anger, pride, and honor, Lewis associates it with the terms “trained emotions,” “Magnanimity,” and “Sentiment” (24-25). He says the Chest is “the seat … of emotions organized by trained habit into stable sentiments” (24-25). In most people, anger is volatile, not stable. I think we can infer from Lewis that the person who follows his anger all the time is controlled by his appetitive part, not by his spirited part as Plato supposed. But if anger were reined in by reason and habit and if it was only heeded and acted on when the emotion corresponded with reality—if someone could be angry only about those things that rightly merit anger, and in the right degrees—then anger would be at home in the Chest. But it wouldn’t be the only emotion at home there. So what else is included in Lewis’s conception of the Chest?

To approach a clearer, fuller answer to that question, I’ve found it helpful to ask, first, Why does he use the word “Chest” and not “Heart”? Actually, he does use “heart” at least once in the text. He says: “The heart never takes the place of the head: but it can, and should, obey it” (19). But within a few pages he has swapped out “Heart” for “Chest,” and he clearly prefers the latter term. Why? Is it just that for modern readers the heart has all kinds of mushy, sappy connotations that Lewis wants to avoid? Maybe, but I think there’s more to it. The image of the Chest is richer, more complex. Consider basic anatomy. The chest houses the heart, yes, but it also houses the lungs, and both are held in place and protected by bones: the spine and the rib cage. What if Lewis has all these parts of the physical chest in mind? The Chest encompasses the heart, which we popularly associate with emotions and conscience, but it can also encompass the lungs by which we breathe—and in the Bible, breath is linked to spirit—and it also recalls the English idiom we use to tell people to have courage: “show some backbone.” Thus, the Chest concept retains Plato’s emphasis on courage and honor while making room for other virtues and pointing to how we are ultimately spiritual beings, not just spirited ones. God breathed life into us so we could know and love Him. 

So what does it mean to be man (or woman!) with a chest? It means having strong bones, strong lungs, and a strong heart. It means having “the harder virtues” we need when the going gets tough and painful self-denial is called for (24). It means living in reliance on God just as we live by the breath he gives us moment-by-moment. And it means having an emotional life that is rightly ordered, meaning our feelings are appropriate and proportionate to the realities and situations that evoke them.

(An aside: Likening the parts of the soul to the physical body underlines why we must be led by the rational and spirited parts and not by the appetitive part. The human brain, just like the heart and lungs, is shielded by bones. The stomach is not. It is the most vulnerable of these essential organs. In the same way, the human soul is most vulnerable to falling into vice by way of the appetites.)

This post is indebted to recent conversations with Tim Lawrence about the tripartite soul, and to a Malcolm Guite lecture on Herbert’s poem “Prayer (I)” that I had the privilege of attending a few days ago. It was when Guite explained the line that prayer is “God’s breath in man returning to his birth” that he pointed out how in Scripture breath and spirit are inextricably linked; that was when I had the “Aha!” moment that resulted in this post.  

John, James, and Joe: Film Composer Retrospectives

Three albums I’ve been listening to regularly lately are each career-spanning retrospectives from major composers of film scores: 

• John Williams and Anne-Sophie Mutter’s Across the Stars (Deutsche Grammophon, 2019)

• James Newton Howard’s Night After Night: Music from the Movies of M. Night Shyamalan (Sony Classical, 2023)

• Joe Hisaishi’s A Symphonic Celebration: Music from the Studio Ghibli Films of Hayao Mizazaki (Deutsche Grammophon, 2023)

What I love about all three albums is that they aren’t “greatest hits” compilations that only pull together old recordings from across the artist’s discography. These are all brand-new recordings, and each composer has created new arrangements of his signature works for the occasion. 

For the Williams project, the organizing principle is that each composition has been selected and adapted to foreground violin soloist Mutter. Across the Stars is primarily a collaboration between a composer and a performer. But for the other two albums, the organizing principle is that each composition emerged from the composer’s collaborations with one director. So the Newton Howard retrospective is also a Shyamalan retrospective; the Hisaishi retrospective is also a Miyazaki retrospective. As much as I enjoy the Williams and Mutter album, this gives Night After Night and A Symphonic Celebration a richer subtext: these albums are celebrations of life-long creative partnerships, even friendships. 

This friendship element is particularly striking considering Night After Night. Miyazaki has an extraordinarily consistent track record for making good-to-great films, and it would be unsurprising if this inspired a complementary consistency of excellence from Hisaishi. But Shyamalan’s films fluctuate wildly in quality, and yet Newton Howard seems to have always done his best by them as if they were all destined to be classics. Night After Night doesn’t discriminate between music made for a masterpiece like Unbreakable and music made for a career blunder like The Last Airbender. Including one as well as the other on this album shows that Newton Howard valued then and values now all of his collaborations with Shyamalan. When two people enjoy working together and bring out the best in each other’s work, the critical or financial outcome of the project is irrelevant.

Praying and Sleeping in Gilead

Reading Marilynne Robinson’s wonderful novel Gilead a few weeks ago, I was struck by how it joins together two things I tended to think of as being at odds with each other: prayer and sleep. 

I first noticed this about halfway through, when the narrator, the aging and ailing Reverend John Ames—the whole novel is an extended letter written to his young son—closes a section by saying, “Much more prayer is called for, clearly, but first I will take a nap” (125). And then, he says something similar just a few pages later: “Now I will pray. First I think I’ll sleep. I’ll try to sleep” (131).

My initial reaction reading these lines was concern. My thought was that prayer should come first, then sleep. When I think of prayer in relation to sleep, my mind automatically goes to the disciples falling asleep while Jesus prays in Gethsemane, and I know from experience that tiredness is a strong temptation to not pray. So, naturally, reading these lines, I thought, “Uh oh.” It seemed to me that sleep was keeping Ames from bringing to God the troubles weighing on him.

True, Robinson’s novel does recognize that sleep can be a way of avoiding hard things. In one scene, Ames’ best friend, Boughton—also an aging, ailing pastor, seems to fall asleep, and Ames explains why: “Boughton sort of nodded off then, as he does when conversations get difficult” (212). 

Tiredness can also make people irritable, working against the kindness they pray to able to show to others. At one point, Ames gets up before sunrise and goes to his church’s sanctuary to pray—until, just like the disciples in Gethsemane, he falls asleep. When he is woken up by Boughton’s prodigal son, Jack—the very person he had been “praying for the wisdom to do well by”—Ames confesses in his writing that “I was immediately aware that my sullen old reptilian self would have handed him over to the Philistines for the sake of a few more minutes’ sleep” (167). Sleep, it’s true, can be a hindrance to love of God and neighbor.

But Robinson’s novel ultimately shows that prayer and sleep can work together. First, sleep can be an answer to prayer. Ames says the reason he fell asleep in the sanctuary that morning is because he had been “praying for tranquility”; as a result, “I had arrived at a considerable equanimity, there in the dark, and I believe that is what permitted me to sleep” (168). This reminded me of Psalm 127:2: “he gives to his beloved sleep.” The ability to sleep is a gift God gives us out of love; so we should pray for it.

(As an aside—this doesn’t seem to be a point implicit in Gilead—prayer and sleep can both be ways of submitting our lives and cares to God. In Psalm 127:2, resisting the gift of sleep is a symptom of “anxious toil,” of not trusting God to provide. But the person who has prayed in the faith that God provides can fall asleep trusting He will answer. To quote another psalm, “In peace I will both lie down and sleep; for you alone, O LORD, make me dwell in safety” [Psalm 4:8].)   

Second, the novel suggests that prayer and sleep work together to help us see clearly. Ames writes later on that “I have prayed considerably, and I have slept awhile, too, and I feel I am reaching some clarity” (201). Notice that the clarity comes not from depriving himself of sleep so he can pray all night, nor from sleeping in and neglecting prayer; instead, Ames associates the clarity with praying and sleeping. 

Elsewhere, Ames reflects that “right worship is right perception” (135). To worship God rightly, we have to see Him as He is. That’s hard to do when we aren’t praying, as Jesus did in Gethsemane, “Thy will be done.” When we aren’t praying “Hallowed be Thy Name,” we are following after our own skewed vision of reality, in which everything revolves around glorifying ourselves. And it’s also hard to see God as He is when we are exhausted or sleep-deprived. How many times have I thought the sky was falling and God had forgotten me, when all it took to show my fears and unbelief for what they were was a good night’s rest? 

The novel ends with the line, “I’ll pray, and then I’ll sleep” (247). Is this a sign that Ames was wrong to put sleep before prayer earlier, and now he’s got the order right? I think not, because taken as a whole the novel treats both sleeping and praying as ways that Ames receives peace from God. This last line is instead a sign that, after weeks of spiritual trial leading to “elusive … grueling” sleep (155), he is at peace with God and neighbor once more.