Andrew Peterson, Adorning the Dark: Thought on Community, Calling, and the Mystery of Making (2019) [link].
This is an absolutely marvelous book if you (1) are a fan of Andrew Peterson, (2) are interested in Christians in the arts, or (3) read books. (Okay, I threw the last one in, because I think this could have very broad appeal.) Peterson, of course is a singer-songwriter living near Nashville who is also involved the lives of a number of creative Christians in an online community called The Rabbit Room.*
You likely know Peterson as a thoughtful singer-songwriter and (perhaps) a gleeful author — mostly of fantasy novels — but in this case his thoughtful faith plays out in a string of reflections and personal anecdotes about the faith and the creative calling. Adorning the Dark is memoir and (in the best sense) sermon.
There are many delightful anecdotes referencing the influences on his thought, including some usual suspects (C.S. Lewis, Rich Mullins, Wendell Berry) and some decidedly unusual suspects (The Dragonlance novels, Bruce Springsteen, James Taylor). Tolkien and Dylan were relatively late additions. By far, though, it is friends and fellow believers who seem to have built themselves into Peterson’s life. Continue reading Jesu juva
I was not aware of Every Moment Holy until a few days ago, but would like to do my belated part to praise what is praiseworthy. Douglas McKelvey has written some very nice liturgies which the low church among us can experience as poems and prayers,* and published them as an illustrated book. The illustrations, including the one at right, are by Ned Bustard.
This one seems particularly appropriate, though I will quote only part:
In a world so wired and interconnected,
our anxious hearts are pummeled by
an endless barrage of troubling news.
We are daily aware of more grief, O Lord,
than we can rightly consider,
of more suffering and scandal
than we can respond to, of more
hostility, hatred, horror, and injustice
than we can engage with compassion.
But you, O Jesus, are not disquieted
by such news of cruelty and terror and war.
You are neither anxious nor overwhelmed.
You carried the full weight of the suffering
of a broken world when you hung upon
the cross, and you carry it still.
From “A Liturgy for those Flooded by Too Much Information” Several, including “LfTFbTMI” are available for free download. [link]. Why download them? Because they are beautifully designed (and we all read better on paper).
*The book seems very beautiful, and you can read more about the author, illustrator and background at everymomentholy.com.
Lore Ferguson Wilbert reviews a new book for the Gospel Coalition that sounds like it would be an excellent read for a married+single church study:
Allberry argues that although sex is part of intimacy in marriage, it isn’t as foundational to intimacy as friendship—and friendship is available to the unmarried as well as the married. This concept, if truly believed and adopted, would free many unmarried Christians who worry they’re missing out on intimacy because of their singleness. And, if God does give the gift of marriage, this understanding of foundational intimate friendship could help address the complications many marriages have around sex.
The NYTMag describes a newly discovered Rembrandt in Russell Shorto, “Rembrandt in the Blood: An Obsessive Aristocrat, Rediscovered Paintings and an Art-World Feud,” The New York Times Magazine (Feb. 27, 2019) [link]. Very interesting! (Thanks, GLBH.)
I am unclear why First Things is publishing a review of a poor novel from the 1980s, but I have an idea, and the review is worth reading, even if the book is not.
I think Justin Lee properly discounts a certain kind of Protestant literature, and correctly critiques Frank Peretti’s novels:
Peretti’s art fails, and it does so for the simple reason that his representations of angels and demons are not strange enough. His novels just aren’t scary because they fail to be true to the irreducible particularity of human life, which means we don’t see the dangers as real. In the end, readers are left only with what propositional meanings can be gleaned from the surface.
Justin Lee, “The Art of Spiritual Warfare,” First Things (March 2019) [link].
This article really doesn’t do what one expects from a book review, which is to direct the review reader to an interesting book (or warn her off a book not worth her time) or (in the case of a current book) to identify strengths and weaknesses.
I think this is not really a book review, though, but a too-brief attempt to answer the really difficult question “Why can’t Protestants and Evangelicals produce great novels like Catholics and Anglicans?” For that it is worth reading.
Two excellent posts on Fathom, one from a writer/artist I follow online and the other from a journalist I had not heard of:
- Makoto Fujimura, “Which presidential portrait would you save from fire?” Fathom (Mar. 14, 2018) [link].
- link]. , “Outrage Culture,” Fathom (Mar. 14, 2018) [
Fujimura, an outspoken Christian and abstract artist, discusses what he sees as a decline in portrait painting through the lens of the Presidential portraits. This is particularly fascinating since Fujimura’s own work is primarily abstract. Fujimura says:
“A good portrait—like Michelangelo’s depiction of the young Andrea Quaratesi, an extraordinary drawing featured in the recent Metropolitan Museum exhibit, or Madame X by John Singer Sargent across the hall at the Metropolitan—remains enduring because the artist captures more than a person. The portrait moves us away from mere depiction of the external element and begins to reveal the mysteries of the inner person’s soul. Such a work captures both the present reality and historical context of the time. But it also actualizes future audiences to believe in the art of portraiture itself.”
While my friend, Kyle Keith, himself a fine portrait painter, [link] may interact with Fujimura’s thoughts at the level of their shared craft, I enjoyed this as another example of a believer thinking through his work as a way of honoring God.
‘s piece, though, is more practical for me, because it interacts with the temptations I face every single day. Danielsen’s topic is how we might reasonably and righteously display outrage, and it is virtually impossible to read or watch the news without hearing a call to outrage. Danielsen suggests that “Of all God’s attributes, his outrage at injustice—with all its wildness and fiery breath—is among the hardest to wield with integrity.”
He poses four questions for dealing with outrage, eventually asking:
Am I outraged by grace most of all? There is nothing more outrageous than the cross. There, God plows the killing field to level the playing field. Our sins lie on the same plane as those who sicken us most. We both are offered life from one cup.
Knowing this shouldn’t quell our outrage. To guilt-trip or Jesus-juke someone into suppressing righteous outrage is a critical mistake and denies something God-given. Yet as creatures driven by the hope of redemption, we should sigh with longing for even the worst of sinners to stop in the middle of the road and turn around.
Be outraged, and sin not.
Each of these pieces is well worth the five minutes or so it will take to read them.
Not everyone will like (or should like) this fascinating piece by Claire Dederer (@ClaireDederer) in The Paris Review: “What Do We Do With The Art of Monstrous Men?” [link] She begins by contemplating the unassailable fact that many people who have created great art have also done monstrous acts (think of Roman Polanski or Woody Allen).
How do we deal with what they have made after we know what they have done?
As such, it is an interesting piece. What makes it more than another of the many think-pieces about the Trump-Weinstein-Spacey storyline is the fact that she becomes introspective about it without letting go of her appropriate moral outrage:
When you’re having a moral feeling, self-congratulation is never far behind. You are setting your emotion in a bed of ethical language, and you are admiring yourself doing it. We are governed by emotion, emotion around which we arrange language. The transmission of our virtue feels extremely important, and weirdly exciting.
Reminder: not “you,” not “we,” but “I.” Stop side-stepping ownership. I am the audience. And I can sense there’s something entirely unacceptable lurking inside me. Even in the midst of my righteous indignation when I bitch about Woody and Soon-Yi, I know that, on some level, I’m not an entirely upstanding citizen myself. Sure, I’m attuned to my children and thoughtful with my friends; I keep a cozy house, listen to my husband, and am reasonably kind to my parents. In everyday deed and thought, I’m a decent-enough human. But I’m something else as well, something vaguely resembling a, well, monster. The Victorians understood this feeling; it’s why they gave us the stark bifurcations of Dorian Gray, of Jekyll and Hyde. I suppose this is the human condition, this sneaking suspicion of our own badness. It lies at the heart of our fascination with people who do awful things. Something in us—in me—chimes to that awfulness, recognizes it in myself, is horrified by that recognition, and then thrills to the drama of loudly denouncing the monster in question.
In the end, she properly calls attention to the fact that even in the midst of doing something apparently praiseworthy — finishing her writing project — she may do (does do!) some “little savageries” to come to the end of her work.
Either way, the questions remain:
What is to be done about monsters? Can and should we love their work? Are all ambitious artists monsters? Tiny voice: [Am I a monster?]
And the question is a fair one, not just about art, but about all accomplishment.
It is not a comfortable question, and the answer is not that their/your/my monstrosity is a fair trade for the art or the accomplishment, never that. The answer must include the incredible fact of the monstrosity in all of us.
Still, there is a grace that comes in the introspection itself. It is not the final grace, but it is an elegant beginning.
Thank you, Ms. Dederer.
Some very interesting designs for a Holocaust Museum in London. This one is my favorite — the sense of something vastly dangerous and beyond individual control*:
Rory Stott, “10 Shortlisted Designs for London Holocaust Memorial Revealed,” Arch Daily (Jan. 17, 2017) [link].
Though not, of course beyond individual action: “…and yet, in the end, did Klara Hitler’s sickly son ever fire a gun? One hollow, hateful little man. One last awful thought: all the harm he ever did was done for him by others.” Mary Doria Russell, A Thread of Grace (2005).
I am very much looking forward to reading‘s Silence and Beauty, which is described as using Shusako Endo’s Silence as a starting place for consideration of issues of suffering and faith. Fujimura is a painter of great power and a believer. I taught Endo’s book several times in my World Lit class.
I will let you know.
from Fred Holland Day, “The Seven Words” [link]
Rembrandt, Three Crosses (1653) [link]