Time and Voice

cicero-411I have some friends expecting their first child in April.  For Christmas, I bought them a copy of Anthony Esolen’s Ten Ways to Destroy the Imagination of Your Child.  I was so intrigued by the premise that I bought myself a copy.  It reads like The Screwtape Letters for teachers with a bent toward the humanities.  Full of wonderful (and often convicting) quotes from literature of significance, Esolen always finds a way to “turn things” against the wisdom of history to show us how much we are losing as our culture continues to stagnate.

And so the best of literature and history has been on my mind these last few days, which made reading a recent post by Carl Trueman at First Things particularly poignant (particularly when paired with the year we’ve had and the year we’re about to embark on whether we want to or not).  In “Ciceronian Times Call for Ciceronian Voices,” Trueman makes an argument for his own perspective on writing by thinking about one of his heroes: Cicero.

Learned, well-read, a philosopher, an orator, a lawyer (well, nobody’s perfect), and a politician, [Cicero] was the very epitome of the truly engaged thinker, the intellectual man of action. And he was the preeminent dissenting voice as Rome dramatically changed from a republic to an empire, a change in which Cicero himself was eventually a casualty.

And it is from that particular point in history that Trueman sees a parallel of our times (just as we often find parallels in the times of writers and thinkers like Augustine or David Foster Wallace, really).  Trueman continues:

That change from republic to empire was traumatic and transformed Rome (and thereby the West) forever. And it is arguable that a similar thing is happening today. Our republic, and the philosophies and social realities upon which it was built and by which it has been sustained, are giving way to an empire, an empire of desire. Whether one agrees (as I have come to do) with the arguments of thinkers like Patrick Deneen and Michael Hanby, who see the origins of our current situation in the very origins and ambitions of the American experiment, or whether one sees our current society as a disastrous malfunction of the same, there is surely consensus on the fact that things are changing in fundamental and permanent ways. Liberalism is in trouble, as is the republic built upon it. The empire of desire, of which both expressive individualism and populism are symptoms, looks set to triumph. A chaotic and unsustainable triumph, no doubt, but a triumph nonetheless.

Which is where Trueman hopes his voice can come to play.

Ciceronian times require Ciceronian voices: Thoughtful, learned, literate, historically and philosophically astute, cultured in the true sense of the word, and engaged in the public square. To address the present we surely need to avoid the clichéd pieties of political correctness that serve only to bolster special interests. But we must also resist the simplistic populist rhetoric of reaction. We have to address the present by drawing on the history and culture of our past. And we must do so in a public way that calls out those who abuse their power while giving good arguments to those who wish to work for a deeper, greater good than the myopic vision offered by the regnant gospel of immediate gratification.

As I have read through Esolen’s Ten Ways, I have found myself saddened by the acknowledgement that much of what Trueman hopes for might be beyond the scope of the current moment.  I am hopeful, mind you, but I also know that the losses that have made our current situation a reality run deeper than we think.  To be “thoughtful, learned, literate” and all of the other good qualities in Trueman’s list might make one irrelevant in a world that rejects the presuppositions such a voice needs for real reception and consideration.

I am hopeful, though.  And over the next week or two (particularly once I work through those reflections on habit that I mentioned a couple of days ago), I hope to try and articulate my own thoughts on the current moment.

You can read the rest of Trueman’s post here.

(image from foreignaffairs.com)

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“No Hard Feelings”

After a couple of days staying around home, I’ve spent the last couple of days catching up with friends down the road, down interstate, and one state up.  I’ve been driving a rental without USB hook-up, so I’ve had to scramble for old CDs.  I also finally got around to getting True Sadness, the latest from the Avett Brothers.  I haven’t gotten through the whole album yet, but I have listened to a few tracks a number of times.  That includes “No Hard Feelings,” a song that strikes some powerful notes about life and the living of it.  Here’s a clip of the band performing the songs earlier this year at Red Rocks in Colorado.

The song does what great songs to best: it weaves a good tapestry that catches a solid collection of emotions and experiences even as it catches you by surprise.

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2016 and Questions of Habit, Routine, and Ritual

I suppose the book that most shaped 2016 for me was James K. A. Smith’s You Are What You Love.  The book, which dropped in the spring, was a recapitulation of Smith’s earlier work on “cultural liturgies” with more practical observations and illustrations thrown in.  It was the book I gave away most often.  I used videos based on/centered on the book’s view of habit, routine, and ritual in meetings that I led with co-workers.  I got to be a part of a small group-talk on the book.  It continues to regularly show up in conversations and planning.  Here’s a clip from Smith talking through just one aspect of his thinking (though not from this year).

Questioning habit and routine and ritual is, in a way, like questioning the Matrix.  You know it’s all around you.  You can tell some kind of programming is going on, even though you cannot totally put your finger on it.  But once you know, you can start some kind of counter-programming.  And with that can come a sense of purpose and freedom (both from and for).

Over the next few days, probably even a day or two into 2017, I’m going to think through the issues of habit, routine, and ritual one more time, this time using another book and a handful of online articles.  The concepts in You Are What You Love aren’t the kind that should get wiped off the slate with the drop of the new year’s ball.  Instead, they are a reminder to think through and fight a deeper and better struggle, one that ultimately transcends the year that you’re in.

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Advent’s End, Christmas Eve

mary-and-josephStanley Hauerwas is a theologian who really challenged my thinking this year.  While I find myself disagreeing with some of his conclusions and assertions, I find that he often has a way of pointing to particularly good but hard truths for those trying to live with faithful Christian presence.  His recent thoughts on Christmas in light of the reality of Mary and Joseph is a great example of this.  While reflecting on conservatism and liberalism with Mary as a point of contention in ideologies:

Mary and Joseph are not ideas. They are real people who made decisions on which our faith depends. Christianity is not a timeless set of ideas. Christianity is not some ideal toward which we ought always to strive even though the ideal is out of reach. Christianity is not a series of slogans that sum up our beliefs. Slogans such as “justification by grace through faith” can be useful if you do not forget it is a slogan. But Christianity cannot be so easily “summed up” even by the best of slogans or ideas. It cannot be summed up because our faith depends on a young Jewish mother called Mary.

Mary and Joseph are real people who had to make decisions that determined the destiny of the world. Isaiah had foretold that a Mary would come, but we had no idea what Isaiah’s prophecy meant until Mary became the Mother of God. This is no myth. These are people caught up in God’s care of his people through the faithfulness of the most unlikely people. They are unlikely people with names as common as Mary and Joseph, but because of their faithfulness our salvation now depends on acknowledging those names.

Advent is a time the church has given us in the hope we can learn to wait. To learn to wait is to learn how to recognize we are creatures of time. Time is a gift and a threat. Time is a gift and a threat because we are bodily creatures. We only come into existence through the bodies of others, but that very body destines us to death. We must be born and we must die. Birth and death are the brass tacks of life that make possible and necessary the storied character of our lives. It is never a question whether our lives will be storied, but the only question is which stories will determine our living in and through time.

Stories come in all shape and sizes. Some are quite short, such as the story of a young Texan trying to figure out what it means to believe or not believe in the virgin birth. Other stories are quite long, beginning with “In the beginning.” We are storied by many stories, which is an indication that we cannot escape nor should we want to escape being captured in and by time.

I particularly like Hauerwas’s connection of the biblical story to time, something that has come up a lot this last half of the year (like with Ephraim Radner’s book on mortality).

From there, Hauerwas connects his thinking to that of Charles Taylor, whose tome A Secular Age has been quite influential over the last few years (and “popularized” by the work of James K. A. Smith).

It’s a good piece to end this season of Advent.  It answers some questions while begging others, which is good and fine.  You can read the rest of the article here.

(image from biblestudytools.com)

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Christmas, Mortality, and More

One of the best books I read this year was Ephraim Radner’s A Time to Keep.  I hope to reflect on it in this space at the beginning of the new year.  Regardless, the book came to mind when reading the Christmas thoughts of Carl R. Trueman over at First Things a few days ago (as both have significant things to say about mortality and the Christian faith).  In his post, gleefully titled “A Merry Pascalian Christmas,” Trueman brings Blaise Pascal’s view of things to bear on contemporary culture, particularly in how we view our bodies and the fact of their frailty.

Above all Christian thinkers, Pascal anticipated and critiqued the spirit of our present age. With his notions of distraction and diversion, he saw both the luxury and the bureaucratic complexity of the French court of his day as driven by a deep psychological need: the desire to avoid facing the reality of mortality. Thus, the French king, who could surely have spent all day merely contemplating his own glory, actually spends every day in busy-ness or occupied with trivial entertainment, for anything is preferable to solitude. Solitude is the context in which our minds move forward to think about our impending deaths.

Death, of course, is not something anyone likes to talk about, even within the horizon of the Christian faith.  Contemporary politics of the body, Trueman asserts, are also made to lead us to believe that our bodies have no final say in things.

If we can pretend that our bodies are of only very subordinate or incidental significance to who we are, then we can pretend that we may ultimately beat their authority. Pascal would no doubt see the psychological turn in our culture as an obvious one: It combines both the therapeutic needs that are met by entertainment and the repudiation of the significance of our bodies.

Yet death is unavoidable and so, when it makes its inevitable appearance, it must be rationalized. This is especially striking with regard to the Immortals of our own day, the celebrities, those High Priests of distraction who serve the most important function of all.

No matter what we declare ourselves to be (or how we view the celebrities around us), though, we can’t get around our mortality.

The metaphysical assumptions of the present age, so perfectly articulated in . . . phrases [like] “You can be whatever you want to be” . . .  are anti-Incarnational at the deepest level. And they are flatly contradicted by our own mortality. Our bodies will have the final word on who we are. No view of reality that denies or marginalizes death can help us to live. That is why Christianity is so important. As Christianity claims, death is overcome not by our pretending it is not there but by God’s going through it. The last temptation of Christ—“If you are the king of the Jews, come down from the cross!”—had to be resisted in favor of the second thief’s prayer, “Lord, remember me when you come into your kingdom!” Christ really had to die that human beings might truly live.

That is why, Trueman suggests, the Incarnation of Jesus and all that it entails for humanity is so significant (and with it, Christmas).  Trueman concludes:

Perhaps the irony of Christmas is that, in its current form, it has become one of the focal points of the culture of distraction, which Pascal so ably critiqued. It is all about consumption, which is just another form of distraction and diversion. It gives us a baby Jesus, helpless and conveniently trapped in a manger, a Christ who is just one more manageable commodity. Ironically, the real message of Christmas is the exact opposite: not to distract us from death but to point us toward death, and then its destruction in Christ. Were death not a reality, Christmas would not be necessary.

The article is a great reflection on the season, particularly as Advent comes to a close and we enter the season of Christmas.  You can read the whole thing here.  Any little thing that can help us remember not just “the reason for the season” but the part that the season plays in the greater story is worth the effort.

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The Odd Rhythm of the Blooming Rose

rose-budI had the opportunity to attend two different Advent lessons and carols services yesterday.  In the one last night, the congregation sang “Lo, How a Rose E’er Blooming.”  I did a decent job keeping the beat for the first two verses.  The third verse got me, though.  And I was reminded of a recent post by James K. A. Smith about the song and what it’s rhythm can teach us about waiting.  Upon recently singing it at church himself, Smith reflects:

What struck me is how I–and to some extent, our congregation, I think–kept getting hung up on those third half notes (in the first stanza on “from,” “of,” “when,” etc.). It’s like our sonic habits are used to a certain cadence and tempo that keep things moving. At some unconscious level, we expect the next note to come more quickly. We’re feeling stretched and a bit impatient by those two half notes already and when the third arrives we’re sonically impatient. Our inner tempo, trained by the cadences of a frenetic pace that always gets its way, perturbedly tells our tongues: “C’mon already–let’s get this show on the road! I haven’t got all day.” We want a quarter note but the hymn hangs us up on that third half note over and over again. We’re asked to sing another half note in a quarter note world.

Which is precisely why the tune of the hymn is its own kind of Advent discipline. The notes are teaching us to wait, to experience the impatience of waiting (again!) for the Judge who is coming–who does “not judge by what he sees with his eyes, or decide by what he hears with his ears; but with righteousness he will judge the needy; with justice he will give decision for the poor of the earth” (Is. 11:3-4).

This season of waiting is almost over, of course.  Come Sunday, the season will shift and change.  And while most people will be done with Christmas when they go to sleep next Sunday night, there will be other who have waiting long and are ready to celebrate for more than one day.

(image from mason.gmu.edu)

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Where Tea is at Four

Over the last week or so, I’ve been watching the extended editions of The Hobbit.  I think it’s the first time that I’ve made a point of watching them back-to-back (or at least close to it).  The extended version of The Battle of the Five Armies adds a lot more battle than any other extended edition.  It also adds some much-needed quiet moments.

Here’s a clip of “the return journey” from BOTFA.  Nothing new here, but definitely some nice moments as Bilbo leaves one world for another . . . with hints of what’s to come decades later with the Ring.

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Star Wars: Rogue Won?

rogue-oneI can’t believe they used this prequel to reboot the Star Wars timeline!

Just kidding.

I do not envy the storytellers who have to appease longtime fans of the Star Wars saga.  (The same can be said of any saga that continues on long after its first run of stories.)  The need to be fresh while also paying homage to key characters and tropes must way heavily on some of those who put pen to paper in order to bring the images to the big screen.

Rogue One: A Star Wars Story works best when it gets to be its own movie.  The ensemble cast works well together.  There is a comfortability about them that lets the story move forward without the need for constant explanation or digression.  The settings are amazing.  The action, while much more down-to-earth than other entries in the saga, is packed and pops.  The emotional stakes of the story are high without trying to overshadow all that happens next (meaning, after the credits roll and “episode four” begins).  The humor is good (not as forced as in The Force Awakens).

It’s when Rogue One has to connect to the bigger saga that things get awkward.  Granted, the guys behind me in the theater were totally blown away when those connections were made (“look! there’s so-and-so!”).  For me, though, the moments of character recognition really took me out of the movie.  Maybe it’s because I thought I knew James Earl Jones’s voice, so when it modulates in a different way I end up thrown off-guard.  There are a few other characters of varied significance that make appearances throughout that were probably necessary but whose appearances could’ve been handled differently.  But that’s me, and like I said, many in the audience were blown away by those big-picture connections.

Rogue One is a heist movie nestled in a war movie.  It throws a lot at you, particularly in the first third where you meet lots of characters and visit lots of new or previously-only-name-dropped locations.  The ships are amazing.  It feels and looks more like a Star Wars movie  than all of the prequels and even TFA.  Seeing new ships is always exciting, even as you find yourself wondering why they didn’t show up in any of the later (earlier) movies.  The ending, though, happens much more quickly than I anticipated, particularly after the drawn-out scene in TFA between Rey and (is that really) Luke.  The scene leading up to the last moment in Rogue One is brilliant in its use of one main character.  But that last moment was a perfect example, for me at least, of how easily I could be taken out of the movie.  Maybe it will flow better on second viewing.

I must admit that I sat through the credits wondering about the fate of the franchises that shaped and still shape my imagination.  It’s the same with Harry Potter and Newt Scamander, with Rey and Poe, and even a bit with Bilbo and the dwarves.  How do you maneuver the essential with the extra?  The cake and the icing?  It’s like a recent BuzzFeed article asked: how many times can you say goodbye to Harry Potter before you feel the need to say bye for good?  I by no means am giving up on this saga (or any saga that I love).  I can’t help but wonder, though, what it will feel like five or ten years from now when we are living in a weird version of the Never-Ending Story.  I do think, for me, it’s not just about seeing well-loved characters again at any cost. At best, it’s about moving the story forward in good, life-giving ways.  For all of its faults, that’s something TFA does quite well.

Rogue One is worth seeing, probably more than once.  Expectations are high.  For the most part, the movie totally meets those expectations.  I’ll be curious to see what other think and listen to how they feel about the movie.  The stakes are high with Star Wars fans, and that can cut both ways.  It will be particularly interesting to see how the story is (0r isn’t) appropriated for political purposes over the next few weeks.

Regardless, I now look forward to the Return of the Jedi prequel that tells the story of the many Bothans who died to help the Rebellion.

(image from slashfilm.com)

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The Evolution of the Game

PrintA season of television isn’t over until the airing of the Survivor season finale.  Sure, while most shows have mid-season finales, reality shows like Survivor get two season finales a year.  That means that things move pretty fast, particularly when the shows run without interruption but start later than most.

Survivor: Millennials vs. Gen X came to a close tonight.  The finale was frustrating, partly because they always focus on things in the “reunion” show that I didn’t find all that vital.  And as has been the case for the last couple of years, the show has grown self-aware in a way that is kind of frustrating.  This became evident in the recent all-stars season where the lines were drawn between earlier and later seasons, a battle between alliances and voting blocks.  This season started out with the language and feel of voting blocks but then ended up in a place I don’t quite know how to describe (perhaps without sounding callous).     On some deep level, the finale and reunion show was a stark reminder of the strengths and weaknesses of the cultures it tried to pit against one another.

And so now the spring season of the show is all about “game changers.”  It will make for an interesting season, I imagine.  But interesting isn’t always enjoyable.  You have to like some of the people in the cast, and not all of them can make big moves.  So we’ll see.

This was the season, I think, where the idea of the individual narrative really took off, particularly in the sense of personal transformation.  Don’t get me wrong: it’s always been there.  I can’t imagine the kind of life-change such an experience can bring.  But a season of quality (almost crazy) game-play was overshadowed by things that didn’t seem to be such a big deal when the show started . . . and even as it matured.  Heck.  In the final tribal council, one member of the jury even asked the question of the two millennials: how did your game play actually move the game of Survivor forward.  Such a weird way to bring progressivism into a show rooted in something almost primal.

I guess these thoughts place me firmly in Generation X.

(image from Entertainment Weekly)

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Any Other Honest Song

Today started the “wrap up” portion of this semester’s class.  For the last few years, as a way to draw together the major themes of the course and add a personal twist to  things, we’ve played “The Blues” by Switchfoot.  It captures something pretty true about the part of the story that we are in . . . and it asks an honest question about what honest songs can be sung besides “The Blues.”

Here’s what looks like an ancient recording of the song thanks to something known as sessions@AOL.  It’s a little grainy, but it’s the best rendition of the song I could find that wasn’t just a rip of the track.

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