Something Beyond Bad Traditionalism?

It’s always amazing to me how one thing you read can inadvertently lead to another.  I spent a good bit of my spring slowly reading Nassim Nicholas Taleb‘s Antifragile.  I read it because it had a praise-worthy mention in an article that Alan Jacobs had linked to using his Pinboard account.  It’s a great book, the kind that anyone concerned with systems should read.  A few days ago, Taleb showed up in my Twitter stream by someone pointing out how his concept of the “Lindy effect” had been used in a religious article.  So I clicked the link and found this article by Tara Isabella Burton, whose book I had bought a couple of weeks ago because of a glowing review by Rod Dreher.  So even when it’s a big world, it can be a small world.

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On Sunday, I posted a Nancy comic that had to do with thinking and changing one’s mind.  Yesterday, I wrote a bit about a talk given in the realm of journalism and writing that had to do with the effects belonging and fear has had on those vocations.  Burton’s essay seems to be the snippet of a story about someone in search for truth but who has wrestled (at least some) with how religious truth might be manifested in forms of “traditionalism.”  It’s a great piece, one that will likely offend all of us slightly, so caveat lector.  After reading the piece, I found myself ready to give a closer look at Burton’s book, Strange Rites.  It’s introduction is brilliant (and, once again, likely to offend, so caveat lector).  Both pieces feel like a gloss on the thoughts of Charles Taylor, the oft-quoted Canadian-Catholic philosopher and author of A Secular Age, a tome that is all about how we have gone from believing in God as a societal presupposition to the exact opposite in the matter of a few centuries (or less).  And so even while Burton’s Commonweal essay is about relationships and engagement, it’s also about the cultural practices of a traditionalism (here, Catholic, but also easy to find in some form or another elsewhere) that never seemed to settle well with her.  She longed for (fetishized, she says) transcendence.  Transcendence, of course, is something that Taylor says we have lost sight of almost completely since we have adopted, knowingly or not, a more immanent frame of existence.  Transcendence, one might argue, has the Lindy effect on its side.

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Here’s how Burton sums up Taleb’s Lindy effect:

There is a tendency, in certain corners of traditionalist Christian discourse, to valorize things as good because they are old. It is the sacralized version of the Lindy effect—the idea, popularized by the statistician Nassim Taleb, that a trend’s predicted “life expectancy” should be understood in light of how long it has already survived. (Thus, in certain reactionary web circles, the use of Lindy as slang meaning both trad and good. Eating rare meat? Lindy. Keeping your maiden name? Not Lindy).

And then:

It takes Paul’s directive—be not conformed to this age—and turns it inside out: if something is pre-modern; if something is nostalgic; if something is anathema to the prevailing discourse of our sclerotic liberal modernity, it is automatically good, because it is both ancient and transgressive. This goes double if the traditionalism in question is rooted in some sort of perceived biological reality: differences in sex, authentically prepared food. Trad skirts. Sourdough bread.

So to use Taleb’s other term, such Lindy things are more likely to be antifragile, particularly if they have found ways to thrive when presented with things that might destroy them.  And so traditionalism is something of a “nostalgic” approach to life (and fatih), at least on a cultural level (one could also easily argue for an ontological and teleological level, but that doesn’t seem to be where Burton is going).  Burton’s struggle is what do you do if what you’re looking for is closely tied to such traditionalist things but those things seem to elude you or too easily become synonymous with the deposit of truth that is the Christian faith itself (which is, of course, a major part of the debate about marriage and family in the 21st century).

There is something to be said for the desire to reclaim authenticity: to look to the natural world and to creation as sources of wonder, rather than as resources to be mined. There is something to be said, too, for the celebration of the embodied experience, the embedded experience, the understanding—so much more difficult, when we live in an avatar age—of ourselves as animal creatures, subject to sweat and sickness and death. And there is something to be said for looking to what we have lost, in an era and an economic system that so often reduces us to numbers and words, from eras more conscious of bodily reality.

But there is a danger, too, in fetishizing its opposite . . .

She then name-checks a couple of writers that I follow and often find encouragement from, so there’s that.  But I see where she’s going, I think.

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In my thinking and my teaching I often refer to the Bible as a five-act play.  It’s something that I picked up from N. T. Wright that I use as both a narrative framework and an interpretive framework.  I’m mindful of what the great Baptist thinker David Dockery said about Scripture: all of Scripture is important, just some parts more than others (my weak paraphrase).  The five-act play framework reminds me that all of the biblical story is important and that all of it comes into play at some point in one way or another.  In terms of a general response to Burton’s piece, I think the following.

1.  It is clear that some of the traditionalism she is responding to (in good and bad forms) is rooted in natural law as mediated by divine revelation.  So yes, there is a strong sense that traditionalism is rooted in the ontology and teleology of humans as depicted in Genesis 1 & 2.

2.  Her use of “nostalgia” and “veneration” and “fetishism” is a response those strands of Christian faith and practice that see the Genesis 1 & 2 ontologies and teleologies as the be-all-and-end-all of human existence.  Such a view easily (or unknowingly) dismisses or minimizes the effects of sin from act two of the story (Genesis 3-11).  It can also dismiss the hard sayings of Jesus in the Gospels about marriage and family.  Now, those often-minimized truths can also be over-emphasized, no doubt about it.  But it’s probably more likely to go the other way, and with good reason.  Marriage and family are the bedrock for a good, healthy society, just like they can be a significant part of the bedrock for a Christian community.

3.  By the end of the piece, it seems like Burton is arguing for a “fulfilled” ontology an teleology for people, something that Jesus points towards (and something that Paul points towards and something that is an often-subtle thread throughout all of Scripture).  She writes of conversion and of Christian community well.  And while (you were warned) her story takes her to places that make many feel uncomfortable, we ought to find something about the faith that finds her to be a point of connection for us.  And it’s something that should spur us on to a fifth-act account of things.  This account reminds us that God makes all things new in Jesus and that the last shall be first and that those who mourn will be comforted and those who have left all to follow Jesus will find more both in this life and in the next.  That’s the fullness that the latter have of the biblical story teases out for us.  And it should probably keep any potential “bad” progressivism as  “in check” as any “bad” traditionalism.

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Near the end Barton writes:

The faith I sought, in the aftermath of my disastrous engagement, was not the faith of the strong, nor of the settled, nor of the secure. It could not be the faith of the squarely paired or the appropriately fecund. It could not be the faith of trad skirts and cleaved roles, of dominance hierarchies that are little more than teleologies of oppression . . .

The social order of things—its hierarchies, its divisions—may seem inevitable; it is not. Christ’s love breaks it open. Christ’s love takes the body, takes the family, takes nature itself, and reveals how much more there is within them than we can ever come to comprehend.

To be not conformed to this age is not to succumb to nostalgia, nor to the golden-age rhetoric of social traditionalism. Rather, it is to recognize that transformative power of Christian life to create a body that transcends our understanding of flesh. It is to recognize that justice, that liberation, that the New Jerusalem, means tearing down all the oppressive structures that bind us: those uniquely modern and those lindy, too.

It is to recognize what miracles create, and what—in so doing—they destroy.

Some of that, of course, is language that likely makes us uncomfortable.  Because, let us remember, conservatism at its best asserts that there are good things that are old things that are worth maintaining in hopes of flourishing.  Instead of “tearing down” I would probably say something about God’s kingdom pointing to a better, fuller way in which every good thing He has made gets caught up in its way rightly, that even the best of earthly things is redeemed and transformed and maybe discarded, but for the sake of Christ Himself and not just as a way of trading one fetish for another.

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How We See, How We Write

I can’t remember how, but George Packer’s “The Enemies of Writing” piece from The Atlantic (January 2020) came across my path last week.  The essay is a re-write of an acceptance speech given upon Packer’s winning of the Hitchens Prize.  While I don’t know much about Christopher Hitchens, his name has popped up frequently over the last couple of years.  Packer starts the piece with some remembrance of Hitchens, who became his something of a friend and sparring partner to him as they wrote back and forth in disagreement.  He then wonders if the world of January 2020 (which feels like a lifetime ago already) could even handle another career like Hitchens’.  Thus the topic: the enemies of writing.

He starts with belonging, acknowledging that

. . . writers are now expected to identify with a community and to write as its representatives. In a way, this is the opposite of writing to reach other people. When we open a book or click on an article, the first thing we want to know is which group the writer belongs to . . . Groups save us a lot of trouble by doing our thinking for us.\

Then he mentions fear he feels “pervading” his professional world:

The fear is more subtle and, in a way, more crippling. It’s the fear of moral judgment, public shaming, social ridicule, and ostracism. It’s the fear of landing on the wrong side of whatever group matters to you. An orthodoxy enforced by social pressure can be more powerful than official ideology, because popular outrage has more weight than the party line.

The last “move” in the piece involves his recent experience teaching a journalism class at Yale.  He finds their approach to journalism different from his own experience.

My students have come of age during a decade when public discourse means taking a position and sticking with it. The most influential writers are those who create a dazzling moral clarity. Its light is meant to overpower subjects, not illuminate them. The glare is so strong that readers stop seeing the little flaws and contradictions of actual life, and stop wanting to—they have only to bask in the warmth of a blinding glow.

Which, on some level, sounds very attractive.  Until you get to the “overpowering” and “blinding” part.  But maybe that’s because I relate more with another place in the timeline:

Between my generation and that of my students is an entire cohort of writers in their 30s and 40s. I think they’ve suffered most from the climate I’m describing. They prepared for their trade in the traditional way, by reading literature, learning something about history or foreign countries, training as reporters, and developing the habit of thinking in complexity. And now that they’ve reached their prime, these writers must wonder: Who’s the audience for all this? Where did the broad and persuadable public that I always had in mind go? What’s the point of preparation and knowledge and painstaking craft, when what the internet wants is volume and speed and the loudest voices? Who still reads books?

I how true that is in general of these age groups, especially when considering the “middle” segment that avoids extremes in most circumstances.  (Although “avoiding extremes” might be a big part of our current problem, really).  And how do you move forward when groups of people, be they writers or teachers, have such different approaches to something so vital?

There’s a lot more in the piece that makes it worth a good read.  He says a good bit about certainty, which is always an interesting tension for the Christian writing from a place of confident faith.  And that’s also where “settled convictions” come into play.  The piece is also a good reminder of the events that have shaped journalism over the last twenty years, especially in the context of fear and belonging.  You can read the whole thing here.  I like how he ends things, with a clear reminder of what writing should be:

Meanwhile, whatever the vagaries of our moment, the writer’s job will always remain the same: to master the rigors of the craft; to embrace complexity while holding fast to simple principles; to stand alone if need be; to tell the truth.

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Thinking Abroad

CountrysideOver the last few days I’ve found myself thinking a lot about the Lake District in England, mostly because I’ve found accounts on Twitter that regularly post pictures of hikes and walks that they’ve been taking.  It’s compounded, of course, by the fact that I won’t be getting to England or Scotland this fall break, which is unfortunate but what the times require.  And now I find myself watching Steve Coogan’s The Trip on Hulu, which is a movie about two friends traveling the restaurants of the Lake District.  It’s mostly about conversation and the scenery, which is of some comfort.

It’s been something of an education, of course.  Turns out that there’s a small community that takes pictures of things like stiles (the entrance into certain fenced-in/gated areas) and snecklifters, the metal devices that open and close the stiles.

It’s easy to get lost in the pictures found on sites like this one, which is a log kept by a Lake District walker since 2013.  Amazing.  I always enjoy going to the Lake District with students, though we never get to the elevations that walkers like the ones I see online.   But it’s something to daydream about and look forward to some day.

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Don’t You Forget about SHIELD

I mentioned earlier in the week that the most recent episode of Marvel’s Agents of SHIELD found Mack and Deke trapped in the 1980s.  As with every episode of this season’s time-hopping shenanigans, the show makes good use of the culture of the time . . . maybe a better use than previous episodes.  Two duo quickly split up and stay apart for a good chunk of time.  When Mack finally comes back around and answers a summons from Deke, things really get interesting.

Agent Coulson, seemingly blown to smithereens in the last episode, makes a comeback as a kind of Max Headroom.  And there are some nice nods to a very 80s blend of sci-fi and horror.  It is, perhaps, the least SHIELD-y episode of the season so far, which makes it an interesting contrast.  It will be interesting to see if the humorous aspect of the episode has any long-term repercussions for the show by season’s end.

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Remembering Places and Times

I have to say, as nice as it has been to find a cafe or restaurant to sit and read some, it’s been the return of background music.  Over the last few months, I haven’t listened to music much accept in the apartment, so it’s been nice to revisit songs that have been around for a long time and will most likely still get airtime in restaurants and shops for years to come.  It’s almost allows for a subtle twist in the time stream.  Some songs, of course, do it more than others.  And I find the gap between now and the most recent “then” continues to widen.  But I recently came across an over-a-decade old favorite that was recently performed “live” by the original artist.  It’s a great karaoke song, which is another thing that we won’t be doing anytime soon, I suppose.  Like a comment under the video, it’s nice to go back to 2004-2006, when this song was everywhere.  Almost as if Keane was planting a mindworm for fans with “Somewhere Only We Know” as “anywhere this song gets played.”

I remember it also being a lot of fun to play on the piano.

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Building Brainpower

This premiere season of Stargirl has had an interesting pace storytelling-wise.  Most of the main characters have been at play from the beginning, though some in bits and pieces.  Some things haven’t happened yet (Courtney’s mom works for who?!) while other things have moved quickly (she’s knows Stargirl’s identity and calls her out in her own house?!).  But now we’re turning into the final third of the season, which means some wildcards will be thrown into the mix.  Like the character of Brainwave.  Here’s the preview for next week’s episode, which bears his name.

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A Song That Blesses

This week there’s been one song in particular that has been a blessing to me as I cleaned my classroom and planned for next semester and walked through downtown Honolulu.  This is Mission House’s “Good God.”  It hits the right balance of pretty much everything.

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SHIELD on the Island

Last day of June, as crazy as that sounds.  In just a few hours we start the second half of 2020.  Lots of fears (and jokes, for some) about what the next few months might bring.  We are in uncharted territory, I fear.  I spent the morning in the classroom getting rid of things that should have been cleaned out ten years ago.  Afternoons are weird for me: not quite back into a routine then, which is why I end up staying up later than anticipated.  I did finish Wright’s pandemic book.  And I’m slowly getting through Radner’s “figural reading of the Christian Scriptures” book, which is a good challenge for me as it is completely out of my comfort zone.  Alas, I spent no time in the third book for my pastoral ministries class.  The week is a bit more of a work week than I had originally anticipated, but there are lots of moving parts and the school year starts sooner than we think.

My accidental Great Rewatch of Agents of SHIELD continues.  It does much better (1) years later and (2) in quick chunks.  Season two is when the show pivots into Inhumans territory.  It was always a bit weird (especially when compared to the comics), but at least the show owns it well.  And it becomes a necessary building block for later stories and seasons.  Today I caught an episode with a quick Hawaii scene.  No real time spent on the island, mind you.  But it’s a nice scene played with a straight face by Coulson.  Here’s the clip:

It’s nice watching a show where you’ve forgotten details but know how things end up (in general).

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NT Wright and Covidtide

Wright and the PandemicToday I received my copy of N. T. Wright’s God and the Pandemic (many thanks to the folks at Hearts and Minds Books in Pennsylvania for the amazing service).  It’s a tiny book, clocking in at just over 70 pages.  Wright has had a couple of shorter pieces (likely adaptations) in various sites over the last few months.  I’m about halfway through the work.  And while Wright introduces some of the tropes he’s known for (to the frustration of some, he likes to touch on Stoicism and Epicureanism), when he gets “going” with the Gospels and Jesus, he’s on fire.  And he does it while looking at the broader context of the biblical story in a way that helps you feel the weight of the Gospel narratives’ climactic role in what God has done.  One of my favorite passages so far concerning Jesus, the Gospels, and our quest for answers in relation to Jesus being “the final word”:

The New Testament insists that we put Jesus at the centre of the picture and work outwards from there.  The minute we find ourselves looking at the world around us and jumping to conclusions about God and what he might be doing, but without looking carefully at Jesus, we are in serious danger of forcing through an ‘interpretation’ which might look attractive– it might seem quite ‘spiritual’ and awe-inspiring– but which actually screens Jesus out of the picture.  As the old saying has it, if he is not Lord of all, he is not Lord at all.

. . . Trying to jump from an earthquake, a tsunami, a pandemic or anything else to a conclusion about ‘what God is saying here’ without going through the Gospel story is to make the basic theological mistake of trying to deduce something about God while going behind Jesus’ back.

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New DouthatThis morning I finished reading Ross Douthat’s The Decadent SocietyI mentioned it a few days ago as a book I’d set aside with the advent of Covid but had finally gotten back around to reading.  It’s a good read, one part looking back and another part looking ahead.  In the previous post I mentioned “the four horsemen” of decadence from the author’s perspective: stagnation, sterility, sclerosis, and repetition.  And while Douthat uses these terms to understand our particular moment in history, the four terms could also be used as a diagnostic framework for any institution in a self-reflective mood.

After identifying and discussing his “four horsemen,” Douthat moves to four ways that our current societal decadence could actually become a steady state.  The book ends with a selection of ways that decadence might come to an end.  And while these two sections are the “looking ahead” section of the book, they are still rooted in trends evident in bits and pieces today.  They represent a kind of sober speculation we would be wise to consider even while the possibilities might seem so far away.

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Two other concepts came to mind as I was finishing the book and thinking about my own day-to-day experiences with different facets of life: sustainability and exhaustion.  Exhaustion has to do with a real depletion of what has been present and necessary for an endeavor to succeed.  Exhaustion is a kind of running out.  Sustainability, on the other hand, has to do with having what it takes to keep going.  The two are obviously connected.  If something isn’t sustainable, it is a resource that gets exhausted.  That is particularly true of people, who ought not be treated like resources but too often are.  Here at the end of a school year, exhaustion is a very real thing.  It’s almost like some things, school calendars included, are mean to be ended, are not (in a way) sustainable.  But what does that look like stretched out across space and time, across classrooms and curriculum and the extra-curricular?  What does it look like for a church community as it tries to understand what goes into and what comes out of life lived together?

All things to think about, of course.  And things with answers that probably vary.  We don’t like to think about exhaustion on any level as it’s just another name for burnout.  But like Douthat’s “four horsemen,” these two things are also worth our time.

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