Review Essay on Christian Smith and David Kelsey

Last year, in the Christian Scholar's Review, I published a review essay looking at Christian Smith's What is a Person? alongside David Kelsey's Eccentric Existence. This was commissioned as an opportunity to compare and contrast discussions in the social sciences regarding the nature of the human person with a robust theological anthropology. I've uploaded a pdf of the essay on Scribd and am happy to share it here.

CSR Review Essay on Smith and Kelsey

This generated a response from Christian Smith, to which I replied, in a later issue of Christian Scholar's Review. I'll post that exchange in a couple of days.

The Contradictions of David Brooks

One doesn't need to read Fors Clavigera very long to notice my (increasingly less grudging) appreciation of David Brooks. And his column today, "If It Feels Right...," pretty much covers my reading list over the last three years: Christian Smith, Charles Taylor, James Davison Hunter, and others.

Today Brooks focuses on the disheartening picture that emerges from Christian Smith's National Study of Youth and Religion, a remarkable longitudinal study of youth spirituality from adolescence, through "adultolescence" and eventually into adulthood. What both Smith and Brooks take to be disheartening is the sophomoric relativism of people in their twenties ("That might be true for you, but..."), their functional individualism about morality ("I personally don't think you should..."), and a general loss of virtue.

But Brooks picks up on a theme in Smith that he shouldn't. Brooks summarizes:

It’s not so much that these young Americans are living lives of sin and debauchery, at least no more than you’d expect from 18- to 23-year-olds. What’s disheartening is how bad they are at thinking and talking about moral issues.

This gets to a methodological problem with Smith's work that I pressed when he visited Calvin College a couple of years ago. The entire methodology of the NSYR is a measure of articulation: the instruments and methods can only, at best, measure the ability of young people to, well, think and talk about faith and morality.

But shouldn't Brooks be a bit suspicious of what we could conclude from such measures? Indeed, isn't the argument of The Social Animal precisely that much of our action is not the outcome of rational, deliberative "thinking?" How do we square his tip of the hat to Smith's worry about what young people think about morality with Brooks' own critique of "the rationalist folk theory of morality" (pp. 280ff.)? Brooks' appreciation for the unconscious "drivers" of our action--and the action and behavior of young people--should recognize (as Charles Taylor does) that there can be a gap between how we act and how we think about how we act. That doesn't mean we might not be disappointed on both counts, but it should alert us that measuring what young people say is, at best (at best), only a measure of what they think. And the entire upshot of Brook's Social Animal--the reason why he argues that policy has been misguided and unsuccessful--is that we have overestimated thinking.

More importantly, appreciating this point--that behavior and action (which are surely the most relevant measures if one is talking about "morality") are often driven by unconscious habits and desires--generates a very different response to the problem. Smith, ever-the-evangelical (despite his recent conversion to Roman Catholicism), still tends to think that what these young people need is more teaching--more religious "instruction" in doctrines, beliefs, and moral standards. But Brooks' own argument in The Social Animal should lead us to suspect that this would be an insufficient response. What is really needed is the education of their loves, and that, as Brooks himself knows, takes practice: it takes the ethos of a community with embodied rituals and practices that inscribe virtue--not just the intellectual capacity to parse some moral dilemma, but the wants that pull us toward ends that are good (see The Social Animal, pp. 111-112).

Thus Brooks' column ends right where it should: a communtarian emphasis on virtue formation. This is not going to be pulled off at some "national" level. It will be embedded and embodied in concrete communities of practices that are pursuing a "thick" vision of the good. And such virtue is caught more than it is taught; it is absorbed more than it is deduced; it is less about what we think and more about what we love. That's a lesson I learned from David Brooks.

In Praise of Elites

Friedman and Mandelbaum's That Used to be Us seems to be a cautionary tale about America's diminished future (sort of like Super Sad True Love Story without the laughs?). But I found the closing of David Frum's New York Times review to be intriguing.

Having already noted a tone of ambivalence in the book--talking about their optimism so much you get the impression they're trying to talk themselves into it--Frum suggests that they might not be putting all their cards on the table.

Friedman and Mandelbaum at one point praise the beauty of solutions that rise from the bottom up as opposed to the top down. This praise is not consciously insincere, but pretty plainly it does not accurately represent their operational plan. Friedman and Mandelbaum are men of the American elite, and they write to salute those members of the American elite who behave public-spiritedly and to scourge those who do not. They are winners, writing to urge other winners to have more of a care for their fellow citizens who are not winners.

And then this final reflection:

And you know what? There’s nothing wrong with that! Societies inescapably generate elites. Those elites can be ­public-spirited and responsible or they can be selfish and shortsighted. An elite can have concern and care for the less advantaged or it can callously disregard them. Maybe not surprisingly, the language of anti-­elitism has often been a useful tool of the most rapacious and merciless among the elite.

American society has had a big serving of that ugly anti-elitist spirit in the recent past. It could use more of the generous responsible spirit Friedman and Mandelbaum recommend. They say less than might be wished about what a more ­public-spirited American elite might do. But they have eloquently described what such an elite should want to do.

I find this intriguing, perhaps especially because American evangelicals are so prone to this grassroots-ism (which is probably why they can also be so easily lured by Tea Party activism). In this respect, Frum's unabashed affirmation of elites reminds me a bit of James Davison Hunter's critique of Christian grassroots-ism in To Change the World.

But it also got me thinking of Ruskin's "Tory socialism." Might we ever be allowed to dream of kings? Ruskin's kings are a strange lot: not slovenly aristocrats destined by mere blood, but men "capable" of "kinghood." So Ruskin's monarchical dream is actually sort of democratic, too:

my only hope of prosperity for England, or any other country, in whatever life they lead, is in their discovering and obeying men capable of Kinghood.

Yeats on Blake on the Imagination

The project outlined in Desiring the Kingdom has a tenuous relationship to romanticism. On the one hand, while I accord a central role to the imagination, I spend time trying to emphasize that this is not the "inventive" imagination of the romantics; instead it is a receptive, constituting imagination--a mode of intentionality on a different register. (William Desmond is quite helpful on this point.)

On the other hand, it is romanticism that articulates a counter-modernity, displacing the rationalism of the Enlightenment strain of modernity and, in some sense, anticipating the hermeneutic phenomenology of the 20th century. This is why Charles Taylor's genealogy of our "secular age" accords a central place for romanticism. One might also consider John Milbank's recent diagnosis of trends in contemporary theology that affirms a "romantic" theology.

So, as you might imagine, I'm a bit of a sucker for Blake, even though part of me knows I shouldn't be. But then this past week I scored a copy of The Yeats Reader and discovered Yeats' remarkable essay, "William Blake and the Imagination"--a marvelous example of the Wildean ideal of the critic as artist. Consider these opening paragraphs an invitation to go read it for yourself:

There have been men who loved the future like a mistress, and the future mixed her breath into their breath and shook her hair about them, and hid them from the understanding of their times. William Blake was one of these men, and if he spoke confusedly and obscurely it was because he spoke things for whose speaking he could find no models in the world about him. He announced the religion of art, of which no man dreamed in the world about him; and he understood it more perfectly than the thousands of subtle spirits who have received its baptism in the world about us, because, in the beginning of important things--in the beginning of love, in the beginning of the day, in the beginning of any work, there is a moment when are understand more perfectly than we understand again until all is finished. In his time educated people believed that they amused themselves with books of imagination but that they 'made their souls' by listening to sermons and by doing or by not doing certain things. When they had to explain why serious people like themselves honoured the great poets greatly they were hard put to it for lack of good reasons. In our time we are agreed that we 'make our souls' out of some one of the great poets of ancient times, or out of Shelley or Wordsworth, or Goethe or Balzac, or Flaubert, or Count Tolstoy, in the books he wrote before he became a prophet and fell into a lesser order, or out of Mr. Whistler's pictures, while we amuse ourselves, or, at best, make a poorer sort of soul, by listening to sermons or by doing or by not doing certain things. We write of great writers, even of writers whose beauty would once have seemed an unholy beauty, with rapt sentences like those our fathers kept for the beatitudes and mysteries of the Church; and no matter what we believe with our lips, we believe with our hearts that beautiful things, as Browning said in his one prose essay that was not in verse, have 'lain burningly on the Divine hand,' and that when time has begun to wither, the Divine hand will fall heavily on bad taste and vulgarity. When no man believed these things William Blake believed them, and began that preaching against the Philistine, which is as the preaching of the Middle Ages against the Saracen.

He had learned from Jacob Boehme and from old alchemist writers that imagination was the first emanation of divinity, 'the body of God,' 'the Divine members,' and he drew the deduction, which they did not draw, that the imaginative arts were therefore the greatest of Divine revelations, and that the sympathy with all living things, sinful and righteous alike, which the imaginative arts awaken, is that forgiveness of sins commanded by Christ. The reason, and by the reason he meant deductions from the observations of the senses, binds us to mortality because it binds us to the senses, and divides us from each other by showing us our clashing interests; but imagination divides us from mortality by the immortality of beauty, and binds us to each other by opening the secret doors of all hearts. He cried again and again that every thing that lives is holy, and that nothing is unholy except things that do not live--lethargies, and cruelties, and timidities, and that denial of imagination which is the root they grew from in old times. Passions, because most living, are most holy--and this was a scandalous paradox in his time--and man shall enter eternity borne upon their wings.

Jane Kenyon, "Notes from the Other Side"

Last night I was dabbling in The Graywolf Silver Anthology and hit upon a selection of poems from Jane Kenyon. I was immeasurably moved by "Notes from the Other Side," in no small part because our congregation has been grieving and mourning alongside a family who are, unbelievably, unspeakably, journeying with their 21-year-old daughter through the valley of the shadow of death. And all of my theological 'answers' to evil (the free will defense, the importance of lament, etc., etc.) have been absolutely humbled by their unaccountable faith and grace and hope in the midst of profound sadness.

Notes from the Other Side

I divested myself of despair

and fear when I came here.

Now there is no more catching

one's own eye in the mirror,

there are no bad books, no plastic,

no insurance premiums, and of course,

no illness. Contrition

does not exist, nor gnashing

of teeth. No one howls as the first

clod of earth hits the casket.

The poor we no longer have with us.

Our calm hearts strike only the hour,

and God, as promised, proves

to be mercy clothed in light.

On Being Careful about the Charge of "Pietism"

Chris Gehrz, associate professor of history at Bethel University, articulates a fair and helpful critique of my use of the word "pietism" in Desiring the Kingdom and related discussions. As I've noted elsewhere (and Gehrz recognizes), "pietism" is a particularly loaded, shorthand term in Reformed conversations. But that narrow use of the term does an injustice to the pietism of Spener, Hamann, the Blumhardts, and others whose project would deeply resonate with what I'm trying to articulate in my "Cultural Liturgies" work.

So I'll try to be more careful in my use of "pietism" as an epithet in the future. But it's going to take practice.

Orwell for Labor Day

Thank heavens the NFL doesn't play on Labor Day, otherwise we'd have one more holiday marshaled for militarism, with soldiers no doubt extolled as the real laborers, the hero "workers."

Not that we're particularly well poised to celebrate labor in this country: while everyone trumpets on behalf of "the middle class," you'll hear next to nothing today about labor, and certainly not a good word about labor unions (those dastardly interferers with the wisdom and benevolent hand of "the market!"). Even "workers," for the most part, have been hoodwinked into opposing organized labor.

Any day is a good day to read Orwell, but perhaps today is especially appropriate. Consider this little snippet from Road to Wigan Pier:

In a way it is even humiliating to watch coal-miners working. It raises in you a momentary doubt about your own status as an ‘intellectual’ and a superior person generally. For it is brought home to you, at least while you are watching, that it is only because miners sweat their guts out that superior persons can remain superior. You and I and the editor of the Times Literary Sup., and the Nancy poets and the Archbishop of Canterbury and Comerade X, author of Marxism for Infants–all of us really owe the comparative decency of our lives to poor drudges underground, blackened to the eyes, with their throats full of coal dust, driving their shovels forward with arms and belly muscles of steel.

The iPhone-ization of our World(view)

Every technology is attended by a mode of bodily practice. So even if the computer is primarily an information processor, it can never completely reduce us to just "thinking things" because it requires some mode of bodily interface: whether we're hunched over a desk, glued to a screen; or looking downward at a smartphone, our attention directed away from others at the table, etc.

Apple has long understood the bodily nature of this interface. In this respect, we already take for granted how revolutionary the touch screen is: it is a new, differently-tactile mode of bodily interface. Indeed, working on a MacBook feels distant and disconnected compared to the fingertip intimacy of the iPhone or the iPad. (Do you ever thoughtlessly try to touch your MacBook screen? Then you know what I'm talking about.)

But as Pierre Bourdieu would emphasize, such "micropractices" have macro effects: what might appear to be inconsequential micro habits are, in fact, disciplinary formations that begin to reconfigure our relation to the wider world--indeed, they begin to make that world. As Bourdieu puts it in The Logic of Practice, "The cunning of pedagogic reason lies precisely in the fact that it manages to extort what is essential while seeming to demand the insignificant" (p. 69).

One could suggest that our interface with the iPhone is just this sort of micro-training that subtly and unconsciously trains us to treat the world as "available" to me, and at my disposal--to be selected, scaled, scanned, tapped, and enjoyed. (In fact, one might wonder whether the basic orientation to the world that is "carried" and learned in this micropractice isn't analogous to the "training" one would receive from viewing pornography.)

I was struck by this when I recently saw a rather inane Michelob Ultra commercial that nonetheless signaled just this kind of iPhone-ized relation to the world. Consider it an illustration of this case in point:

(Liberal) Skepticism vs. (Orthodox) Doubt

There are certain streams of "emerging" Christianity which seem to think that doubt is some revolutionary new stance that has finally had permission to emerge now that we are "new kinds of Christians." Formerly oppressed by fundamentalisms that quashed any hint of uncertainty, such Christians are at pains to point out that we can never be certain. But having still accepted the modern equation of knowledge with certainty, they also end up professing that we can't know. So what we're left with is not doubt, but skepticism.

It seems that those who think permission to doubt is some radically new possibility for Christians are the same people who think that a concern for justice is some "secret message" of Jesus heretofore hidden from Christianity--when, in fact, it just means that it was hidden from them in the pietistic enclaves of their early formation. In a similar way, doubt is as old as faith. As Kierkegaard suggested in one of his journals, "doubt comes into the world through faith." As I've suggested elsewhere, some of our greatest saints have been our greatest doubters, too. Some of our exemplary believers have also been masters of suspicion. The new kind of doubters have nothing on the likes of Graham Greene or Mother Teresa or Bernanos' country priest or Endo's Jesuit missionaries.

But there is also an important difference between emergent skeptics and catholic doubters: The new kind of skeptics want the faith to be cut down to the size of their doubt, to conform to their suspicions. Doubt is taken to be sufficient warrant for jettisoning what occasions our disbelief and discomfort, cutting a scandalizing God down to the size of our believing. For the new doubters, if I can't believe it, it can't be true. If orthodoxy is unbelievable, then let's come up with a rendition we can believe in.

But for catholic doubters, God is not subject to my doubts. Rather, like the movements of a lament psalm, all of the scandalizing, unbelievable aspects of an inscrutable God are the target of my doubts--but the catholic doubter would never dream that this is occasion for revising the faith, cutting it down to the measure of what I can live with. It's not a matter of coming up with a Gospel I can live with; it's a matter of learning to live with all of the scandal of the Gospel--and that can take a lifetime. Graham Greene's "whiskey priest" doesn't for a moment think that the church should revise its doctrine and standards in order to make him feel comfortable about his fornication--even if he might lament what seems to be a denial of some feature of his humannness. All of his doubts and suspicion and resistance are not skeptical gambits that set him off in search of a liberal Christianity he can live with; they are, instead, features of a life of sanctification, or lack thereof. And no one is surprised by that. The prayer of the doubter is not, "Lord I believe, conform to the measure of my unbelief," but rather: "Lord I believe, help thou my unbelief."

For just this reason orthodox, catholic faith has always been able to absorb doubt as a feature of discipleship: indeed, the church is full of doubters. It is the grace of our scandalous God that welcomes them.

On Misunderstanding David Brooks Redux

Misreading Brooks' The Social Animal seems to be all the rage. To H. Allen Orr's skewed interpretation, we can now add this aside from one of my favorites, James Wood:

These days, one is continually running up against a crass evolutionary neuroscientific pragmatism that is loved by popular evolutionary psychologists and newspaper columnists (of the kind who argue that we are happiest living in suburbs and voting Republican because neuroscience has “proved” that a certain bit of our brain lights up upon seeing Chevy Chase or Greenwich; or that we all like novels because stories must have taught us, millennia ago, how to negotiate our confusing hunter-gatherer society—I exaggerate only a little).

Now first let me admit: that's pretty damn good. Classic Wood: a tightly compressed insight laced with acerbic wit. I'll give him that.

But Wood is guilty of missing the same point as Orr: Brooks is decidedly not out to argue that we are biologically wired to be Bobos in a moderate Republican paradise. His point is that the "new sciences of human nature" account for how we are formed and habituated by the ethos in which our dispositions are incubated, and that our account of--and orientation toward--a vision of "the good life" is acquired, inscribed in us by the rituals and practices of a culture that then prime us (dispose us) toward certain ends.

We don't think our way through the world. And contrary to the functional libertarianisms of both left and right, we are not fundamentally choosers: our action in--and comportment to--the world is the product of unconscious dispositions and habit which are NOT (repeat: NOT) biologically hardwired but rather acquired on the platform of our biological makeup. We are not conservative animals; but we are habitual animals. That's why our policies and educations need to broach the question of formation. But wherever there is a project of formation, there is also the specification of a telos--and it is precisely that "imposition" on the myth of autonomy that is refused by the ideologies of left and right.

Brooks isn't offering some new-fangled version of B.F. Skinner; he's exploring how contemporary cognitive science confirms the insights of Aristotle. The Social Animal isn't trying to offer "scientific proof" for conservatism; it's trying to show that science confirms a Burkean (and Ruskinian?) conservativism long-forgotten--a concern for virtue formation.

On Misunderstanding David Brooks

The review of David Brooks' The Social Animal in the most recent issue of The New York Review of Books was a disappointment. Since there's pretty much zero chance that the letter I sent will ever see the light of day, I reproduce it here as a small effort to counter this common sort of misreading (or under-reading) of Brooks' argument.

To the Editors:

H. Allen Orr seems to have missed the central concern of David Brooks' engagement with the new sciences of human nature. Orr reads the appeal to "science" as if Brooks were trying to reduce us to our hard-wiring--which is why Orr homes in on those passages that are concerned with pheromones and the genetic information absorbed when couples are swapping saliva.

But Brooks is not engaged in the sort of reductionism that Orr seems to think characterizes a "scientific" account. More specifically, Brooks doesn't give us a biologized story of some kind of "hard-wired" human nature. Instead, Brooks sees the new sciences of human nature offering an account of how we absorb our second nature--what Aristotle called "character." The core argument of The Social Animal--and the one that impinges on how we make policy and organize social institutions like schools--is that we are creatures of habit and we absorb fundmental, orienting habits through embodied but unconcious routines and rituals. Orr seems to have missed this argument entirely.

It is just this attention to formation, habituation and virtue which makes Brooks a classic conservative in the spirit of Burke--a voice much needed amidst the so-called "conservative" ideologies of liberatarian self-invention that will assail us over the next season of Republican presidential campaigning.

Sincerely,

James K.A. Smith

Warren Buffett: Stop Coddling the Super-Rich

It is surely telling that Warren Buffett's important editorial, "Stop Coddling the Super-Rich," did not appear in the Wall Street Journal. Indeed, I find myself wondering whether it was floated there, then rejected. Wouldn't that have been most conspicuous place for Buffett's offing?

In any case, one wonders how the Tea Party ideologues in the Republican party--all those busy little e-traders with copies of Rich Dad, Poor Dad under their pillows at night--could possibly counter the logic of Buffett the investment guru. For here is the poster boy of a "job maker" debunking the myth that taxation frustrates investing. As Buffett succinctly puts it,

Back in the 1980s and 1990s, tax rates for the rich were far higher, and my percentage rate was in the middle of the pack. According to a theory I sometimes hear, I should have thrown a fit and refused to invest because of the elevated tax rates on capital gains and dividends.

I didn’t refuse, nor did others. I have worked with investors for 60 years and I have yet to see anyone — not even when capital gains rates were 39.9 percent in 1976-77 — shy away from a sensible investment because of the tax rate on the potential gain. People invest to make money, and potential taxes have never scared them off. And to those who argue that higher rates hurt job creation, I would note that a net of nearly 40 million jobs were added between 1980 and 2000. You know what’s happened since then: lower tax rates and far lower job creation.

Buffett's entire editorial repays reading (and sharing). In it he documents the ridiculous exemptions from tax burden enjoyed by the super-rich--people who, as he puts it, "make money with money."

But you'll have to go to the New York Times to find it: not a word has been breathed about it at WSJ. Correction/update: Dieter Bouma pointed out to me that the WSJ blog is home to some discussion of this editorial.

The Medium is the Message

In giving talks around the country about Desiring the Kingdom, one of the themes I regularly press is the refusal of any form/content distinction when it comes to Christian worship. This is central to my argument: when I claim that Christian worship forms and orients our loves, it's not just any old version of Christian worship that does this. Indeed, much of what evangelicals think of when they think of "worship" (=music) does not have the potential to be formative in this way. What we need is Christian worship that embodies the unique logic of the Gospel, practicing and enacting the specificity of the Christian narrative. This is why, over time, the church, led by the Spirit, has communally discerned a certain given "shape" for core elements of Christian worship (which can then be "indigenized" in different ways in different contexts at different times).

The Gospel is not a "content" that can be distilled and just dropped into any old "form" that seems hip or relevant or attractive. You can't distill Jesus from Christian worship and then just drop him into the mall or the coffee shop or the concert: while you might think you're "Jesu-fying" this medium, in fact you just end up commodifying Jesus.

As I try to unpack this argument in various contexts, I sometimes allude to Marshall McLuhan's famous claim that "the medium is the message." The intuition is the same: there is no neat and tidy form/content distinction because we can't sort out the message from its medium: the medium is the message. That's not a bad shorthand for the point I'm trying to make--it's just that I think catholic Christianity discerned this long before McLuhan.

Turns out, however, that McLuhan's intuitions owe something to Catholic Christianity. When I was staying in Toronto earlier this summer, this was confirmed for me on two separate occasions. First, while visiting my brother and joining his family on a trip to the local library, I sat down with a recent issue of The Walrus, sort of Canada's version of Harper's or The New Yorker. Lo and behold, the issue contained an article by Jeet Heer, "Divine Inspiration," in which Heer unpacks the significance of McLuhan's conversion to Catholicism as the "background" of his theorizing. Fascinating stuff.

Then just a couple of days later, in a basement bookshop on Bloor Street, I hit upon another little gem (this is why I believe in bibliographical providence): The Medium and the Light: Reflections on Religion which is a collection of McLuhan's essays and interviews on religion, particularly Roman Catholicism, with some illuminating reflections on liturgy in particular.

There's work to be done here.

On X-Games and Nostalgia

It's that time of year again, when my kids groan and roll their eyes as I, Uncle-Rico-like, relive the glory days of the 1980s, regaling them with tales of my freestyle BMX exploits. That's right: it's X Games 2011.

My favorite event is BMX Freestyle Park--though what they're doing today bears only an analogical resemblance to what we were doing in the 80s. Indeed, as someone who has some familiarity with the difficult of what they make look easy, the level of riding today is simply mind-boggling.

But my nostalgia meter went through the roof last night while watching BMX Freestyle Vert. After watching Jamie Bestwick drop in and tear up the ramp, I thought I had misheard the announcer as he said that "Dennis McCoy" was up next. I thought, "Huh, that's funny: when I was a teenager there was another Dennis McCoy who was a flatland BMX dynamo." But it didn't take long for the reality to sink in: this was the same Dennis McCoy, now 44-years-old (4 years older than I am!). His "old school" lines could be recognized from a million miles away, and it was a beautiful thing.

There was, however, a less than welcome outcome: After my kids saw this old man bustin' huge air, they turned to me and asked: "What's your problem, Uncle Rico?"

On Joan Didion, "Slouching Towards Bethlehem"

Cross-posting from GoodReads:

I have sort of read Joan Didion backwards, beginning with her masterful memoir, The Year of Magical Thinking, and now working my way back to Slouching Towards Bethlehem--one of those books that casts a long shadow over contemporary nonfiction. I picked up this book as a companion for a recent trip back to Los Angeles, both because Didion is one of those rare creatures who is a "native" of California, but also because California figures prominently in these essays. But I became so absorbed in the book I didn't sleep on my redeye flight and finished it while taxiing at LAX.

As I understand it, Didion was sometimes mistaken for a reactionary conservative because of her unflinching depiction of the Haight-Ashbury district in the summer of '67 (the title essay in this volume). This is clearly to misread her. Indeed, Didion cringes at her own inability to capture the essence of the summer of love in that essay, but she also laments misreading:

I suppose almost everyone who writes is afflicted some of the time by the suspicion that nobody out there is listening, but it seemed to me then (perhaps because the piece was important to me) that I had never gotten a feedback so universally beside the point.

This is part of the allure of this volume: it is both a collection of stellar nonfiction writing as well as reflexive commentary on the vocation and task of writing. Hence the more confessional, autobiographical moments of the book (on keeping a notebook, on going home, on leaving New York). Even these are packed with suggestive nuance. (For example, in commenting on the faith a young communist in Watts who seems driven by dread, Didion confesses: "I know something about dread myself, and appreciate the elaborate systems with which some people manage to fill the void, appreciate all the opiates of the people, whether they are as accessible as alcohol and heroine or as hard to come by as faith in God or History.")

In these pieces from the 60s, Didion is both a powerful stylist and a crisp observer. Her writing couples bravura and insight as few can. In fact, in this sense she often reminded me of Norman Mailer (imagine Norman Mailer with a vagina!). There are paragraphs in here (especially in "Some Dreamers of the Golden Dream") that left me almost breathless from their energy--a virtuoso performance that captures both a zeitgest and a geography in 3 pages of fire. But there are crystallized one-liners that nail reality to the wall (of Joan Baez she says, "until she found Carmel, she did not really come from anywhere").

California is a quarry for Didion precisely because California is where Americanism goes to die--though it goes there thinking it will achieve eternal life. Didion often frames this in terms of the "dream": the American dream, the dream of the Gold Rush, the buttoned-down dreamers in the Valley or the turned-on dreamers in the Haight. So the spiral of a disaffected marriage in southern California becomes "the revelation that the dream was teaching the dreamers how to live"--and kill and die. Or in a remarkable piece on John Wayne, a younger Didion confesses: "when John Wayne rode through my childhood, and perhaps through yours, he determined forever the shape of certain of our dreams." Or she sees Howard Hughes as a projection of our dreams:

That we have made a hero of Howard Hughes tells us something interesting about ourselves, something only dimly remembered, tells us that the secret point of money and power in America is neither the things that money can buy nor power for power's sake [...], but absolute personal freedom, mobility, privacy. [...] He is the last private man, the dream we no longer admit.

I suppose the line on Didion as a reactionary or a 'conservative' of sorts stems from a kind of memory or quasi-nostalgia that sometimes comes to the surface in this collection. For example, she recalls the scene of John Wayne's "discovery" by director John Ford: "There, a meeting with John Ford, one of the several directors who were to sense that into this perfect mold might be poured the inarticulate longings of a nation wondering at just what pass the trail had been lost." The same sense of loss and errancy gets a kind of imprimatur on her reflections on the history of Sacramento, her home town--a town founded on a curious mixture of hope and history, that things started downhill pretty much just after the "Eureka" moment of discovery:

Such a view of history casts a certain melancholia over those who participate in it; my own childhood was suffused with the conviction that we had long outlived our finest hour. In fact that is what I want to tell you about: what it is like to come from a place like Sacramento. If I could make you understand that, I could make you understand California and perhaps something else besides, for Sacramento is California, and California is a place in which a boom mentality and a sense of Chekhovian loss meet in uneasy suspension; in which the mind is troubled by some buried by ineradicable suspicion that things had better work here, because here, beneath that immense bleached sky, is where we run out of continent.

The lament/memory/nostalgia is most famously expressed in the opening of "Slouching Toward Bethlehem" where Didion observes "children who were never taught and would never now learn the games that had held the society together." This opening gambit is completed by the end of the essay when she concludes:

At some point between 1945 and 1967 we had somehow neglected to tell these children the rules of the game we happened to be playing. Maybe we had stopped believing it ourselves, maybe we were having a failure of nerve about the game. Maybe there were just too few people around to do the telling. These were children who grew up cut loose from the web of cousins and great-aunts and family doctors and lifelong neighbors who had traditionally suggested and enforced the society's values. They are children who have moved around a lot, San Jose, Chula Vista, here. They are less in rebellion against the society than ignorant of it, able only to feed back certain of its most publicized self-doubts, Vietnam, Saran-Wrap, diet pills, the Bomb.

[It is a straight line, I think, from this observation to the stinging satire of Shteyngart's Super Sad True Love Story.]

So Didion regularly looks back, laments something lost, wonders whether we've taken some wrong turns. For those who think any glance back amounts to some kind of ideology (this assumption itself being ideological), this is enough for Didion to qualify as a reactionary. But is all memory nostalgia? And could our memory sometimes be right? Certainly Didion is no Whig; and only whiggish ideals of progress consider historical laments as false de jure. But some of us just refuse such simplicities. Perhaps Didion is a Burkean we need now more than ever.

The Pedagogy of Sermons

Josef Bengston passed along this interesting little snippet from Alain de Botton, an old favorite of mine. This is lifted from a TED talk in which he looks to religious sources for secular practices (kind of, in a backhanded way, confirming some of the analyses in Desiring the Kingdom):

A sermon wants to change your life and a lecture wants to give you a bit of information. I think we need to go back to that tradition of sermon in education.

This, of course, only works as an exhortation if the sermon itself hasn't just devolved to a didactic lecture.

On the State of Contemporary Theology

A friend who is a grad student in theology recently expressed some frustration with the proliferation of narrow "camps" in contemporary theology--and hence the lack of space for emerging theologians to engage in conversations which aren't just predetermined at the outset. What s/he has found is that most theological claims/discussions are judged beforehand by a kind of guilt-by-association: "Oh, you're working out of Camp X and are sympathetic to Theologian Y. I've already got a line/take/pigeonhole for that 'school,' and so I already know what you're going to say. Ergo, there's really no need for the conversation."

Not exactly productive conditions for common pursuit of truth.

So, my friend asked, is there some place where young theologians can engage in honest, forthright dialogue without all the posturing? Here's what I suggested, off-the-cuff (and slightly redacted):

It's a good question, but I'm afraid I don't have a very good answer. I must confess I despair about the state of "professional" theology today. It just seems to me that we have increasing "balkanization," with everyone carving themselves up into smaller and smaller tribish enclaves, and then proceeding to both rail against straw men and preach to their own little choirs. In some ways, I think this is an effect of the loss of confessional and denominational identity. Instead of training to be Reformed theologians or Roman Catholic theologians or Lutheran theologians we have a generation who are training to become "ecclesiocentric" theologians or "apocalyptic" theologians or "radically orthodox" theologians, etc. Everybody's gotta have an "angle," a project, an agenda, a manifesto, a list of "Theses" that discloses the hitherto hidden truth of the world on the basis of their own ingenuity. Hence the most important words in our theological lexicons become "alone" and "only," as in: "Only [insert theological ideology here] can properly account for [insert favorite political and social issue here]."

All of this does weird things to theological identity and community, which then breeds a narcissism of minor differences. In some ways, this is a strange by-product of "ecumenical" theological education. (I think the blogosphere exacerbates this in important ways, but I would need more data to substantiate such a claim.)

I also think this state of the field is a by-product of the fact that many up-and-coming theologians right now are not what we used to call "churchmen" in any strong sense ("churchwomen" included): they are not tied to denominational identities, they are not participants in the specifics of ecclesiastical governance/teaching, they are not subject to ecclesial magisteria of any sort, they are not aspiring to chairs in their denominational seminaries, etc. From where I sit, freelancing does not seem very conducive to healthy theologizing.

In a lot of ways, this is why I have planted myself in a very particular, "thick" confessional location--not because it is the one, true perspective; or the temple that holds all the secrets; but because it is a good location (and a "good enough" location) which is both catholic and particular, and one to which I feel--if this doesn't sound too quaint--called. So I'm a Reformed thinker, and even more specifically, a Christian Reformed thinker. Far from being a recipe for sectarianism, I think that centering frees me up to engage selectively, critically, and generously (I hope). In a sense, thick confessional/denominational identity eliminates a certain insecurity that I think explains alot of the current fragmentation. So my theological and professional identity is not bound up with any 'school of thought' or sensibility. (Based on my books, people seem to think that I have some investment in being "postmodern" or "RO" or "Hauerwasian" or whathaveyou: but I don't own stock in any of these little cottage industries, though I have interest in all of them. My central investment is in this obscure little denomination where I'm planted.)

So in some sense, I just don't know if the sort of space you're looking for exists, sadly. Then again, maybe it's always been this way!

FWIW,

Jamie

The Excremental and Sacramental: More Gems from Wolfe's Letters

I'm continuing to enjoy Thomas Wolfe's Letters. They hearken back to an epistolary age that is lost, when the letter had all the potential to be an essay, a short story, a travelogue, a memoir. Our emails will never be the same.

Here are just a couple of snippets Wolfe wrote from Europe in 1928. Consider, for example, this prescient observation about the coming dynamics of globalization:

"The things you and I have liked best in Europe--the grand pictures, the buildings, and so on--belong mostly to an order of things that has gone: the world--the world that has to eat and drink and labor--is probably being 'Americanized.' At least, they groan about it, and deprecate it, but I think they earnestly want it for themselves. To be 'Americanized' is simply to be industrialized in the most complete and serviceable fashion."

Or this culmination of his description of a church service in rural Hungary, sort of oozing with a weird blend of the sacramental and excremental which, oddly, makes sense:

"Nowhere have I ever seen the simple animal nature of men so plainly as in this church--I kep thinking of this as they all stood there with their smell of the stable, hearing of their kinship to God."

Woody Allen on Nostalgia: On "Midnight in Paris"

Woody Allen's "Midnight in Paris" could be co-opted as an interesting little parable for Christian theology and certain sensibilities within contemporary Christianity.

The story centers around Gil Pender (played by Owen Wilson): a writer who's sold his soul to Hollywood screenwriting but is now trying to realize his dream of being a "real" writer, that is, a novelist. The story of his novel is centered on the owner of a "nostalgia store," a shop of memorabilia for those who live in the past--much like the writer, Gil, who idolizes the Paris of the 20s, and more particularly the jazz ages writers who transplanted themselves there: Hemmingway, Scott Fitzgerald, Gertrude Stein, and others. In short, just as the protagonist of his novel longs for a past that would allow him to escape his dismal present, so Gil romanticizes a Parisian past that would deliver him from the doldrums of his stalled book and shallow fiance.

Lo and behold, Gil gets his wish. At midnight, a magical car (just go with it...) transports him back to the Paris of the 20s where he dances with Scott and Zelda, listens to Hemmingway's minimalist rhapsodies about "courage" and "honesty," shares his manuscript with Gertrude Stein, woos a lover away from Picasso, and has a delightful encounter with Salvador Dali (played fantastically by Adrien Brody).

He returns each morning to his present--which begins to look even flatter and more banal. But he also returns with new creative energy, an expanded imagination, jolted out of his noncreative stupor. This is what Gil finally realizes: he does come back to his present. He's never quite tempted to settle into this past Paris of his dreams. The film, at this point, gets a tad didactic and just a bit preachy, but still does a nice job of registering an important critique of nostalgia as a disordered relation to the past. But the rejection of nostalgia does not entail some equally problematic utopianism of future progress, or even some trite "celebration" of the present. No, the rejection of nostalgia can nonetheless recognize creative debts to the past, even the importance of an inventive retrieval for the sake of an imagined future--the imagination of which is dependent upon our forebears.

I'll resist the temptation Allen falls prey to, viz., telling rather than showing. Suffice it to say that one could profitably read this as a parable that might point up the nostalgic leanings of some theological trajectories, but without reducing all contemporary projects of retrieval as nostalgic. Ressourcement is not nostalgia, but it can be a bit of a gateway drug to such wistful escapism.

Unconscious Writing

My summer-evening, front-porch reading for the past few days has been the Selected Letters of Thomas Wolfe, edited by his former agent, Elizabeth Nowell. They are charged with the same frenetic energy as his fiction. And given the range from his youth until just a couple of days before his untimely death, they also function as an ersatz autobiography.

Wolfe's candor and sincerity go a long ways toward making up for his narcissism and insecurity. His account of critics and reviewers will surely resonate with anyone who has taken the risk of putting their thoughts in print (noting "that one of the pleasantest occupations of a great many people in this world is to shoot down a whole regiment of wooden soldiers, and then return triumphant from the wars, saying, 'we have met the enemy and they are ours'").

But most interesting are the glimpses into the creative process, the sheer labor of writing, the manic highs and deep lows that attend the process. Wolfe's work ethic was impeccable--none of this "waiting for the muse" mythology, sitting around waiting for inspiration. Wolfe was a workhouse of a writer, a lunchbox creator who punched the clock of discipline. But he also notes an aspect of creation that eludes our control, which amounts to a note of hope for writers:

"And although my conscious mind was busy with all the things and places I was seeing and the people I was meeting, I think my unconscious mind must have been busy at my book, because now that I am back, the whole plan, from first to last, has become clear to me, and I think I know exactly what I want to do."

The Fall of Interpretation, 2nd edition

On Pentecost Sunday, from my temporary rooms at Trinity College of the University of Toronto, I dispatched the manuscript for a second, revised edition of my first book, The Fall of Interpretation: Philosophical Foundations for a Creational Hermeneutic, which will be published by Baker Academic. As I note in the new Preface to the book, that temporal and spatial nexus was a little treat of providence for me, since The Fall of Interpretation was first conceived as my master's thesis at the Institute for Christian Studies in Toronto, and the book advanced a "creational-pneumatic hermeneutic" that owed a Pentecostal debt.

I'm grateful for the opportunity this new edition provides to reframe and recontextualize my argument, to address some criticisms, and to indicate how the argument of Fall connects with (and is expanded) in the trajectory of my later work. In addition to beefing up and updating the footnotes, the new edition includes an entirely new Introduction ("Reconsiderations") and adds a final chapter ("Limited Inc/arnation: From Creation to Ecclesia") that, I believe, clarifies what was a fundamental ambiguity in the first edition.

A release date of spring 2012 is projected for this project.

The Downside of "Professional Competence": Adam Gopnik

While it's a throwaway comment within his new essay, "Life Studies: What I Learned When I Learned to Draw," I paused for a while over this observation from Adam Gopnik:

Whatever sense of professional competence we feel in adult life is less the sum of accomplishment than the absence of impossibility: it's really our relief at no longer having to do things we were never any good at doing in the first place--relief at never again having to dissect a frog or memorize the periodic table (p. 58).

Yes. That sounds right. To achieve "success" is often just the privilege of being able to insulate oneself from failure. The reward for competence becomes monotony and one becomes enslaved to one's expertise. We become more and more failure-averse and instead carve out worlds without surprises, without tests, without risk. We polish all our shiny new trophies, but they're all from the same sport, so to speak.

It's particularly bothersome that this phenomenon seems to be inching its way back from the life stage of adult, professional success and creeping back into adolescence, even childhood. Something is afoot that has young people absorbing this failure-averse stance early on, shrinking from the possibility of being stretched in order to settle on a space for the early display of mastery. (This could be seen as a feature of what Charles Taylor calls the dynamics of "mutual self-display" in our age of authenticity.)

What's lost in this "security" is precisely the virtue of failure--the strange thrill of trying and not succeeding (the first time, the third time, the 27th time). Indeed, I think even many of those who have achieved the "professional competence" that Gopnik describes have secret, buried desires to fail, to have the courage and opportunity to venture beyond the bounds of competence. To remember once again that peculiar high that comes from the attempt, the adrenaline rush triggered by working without a net--not to mention the cliched virtue of "try, try again."

That, of course, is why Calvinists invented golf.

Later Wittgenstein on Philosophy

Dipping into Wittgenstein's Philosophical Investigations yet again, I was reminded of this little barb about philosophy. It's a typical Wittgensteinian aphorism, koan-like, that has to sink in a bit, particularly since the analogy is an inversion of precisely the sorts of philosophical assumptions Wittgenstein is calling into question:

"When we do philosophy we are like savages, primitive people, who hear the expressions of civilized men, put a false interpretation on them, and then draw the queerest conclusions from it" (§194).

Saunders, "Home"

I'm always glad to see a new short story from George Saunders. This month's New Yorker features his story, "Home," as part of their summer fiction issue. The story of a vet trying to re-enter his life after service in Afghanistan or Iraq (we're never sure which), it is vintage Saunders: uproariously funny in parts, then sliding into probing psychological insight, with a hint of horror hanging over the entire story.

Consider just this snippet of brilliance, from a scene where the narrator loses himself in a kind of revelry of violence and threat with his mother and her boyfriend:

They were both so scared they weren’t talking at all, which made me feel the kind of shame you know you’re not going to cure by saying sorry, and where the only thing to do is: go out, get more shame.

Word Guild Awards 2011

I was honored (sorry: "honoured") to learn that my book, Thinking in Tongues: Pentecostal Contributions to Christian Philosophy, has received the 2011 Word Guild Award in the Academic category. (The Word Guild hosts the annual Canadian Christian Writing Awards.)

I was quite surprised since the other finalists in this category--Deborah C. Bowen's Stories of the Middle Space: Reading the Ethics of Postmodern Realisms and James R. Payton's Getting the Reformation Wrong--are both books I've noted and are well-deserving of recognition, thus I was very much expecting them to spread the wealth, so to speak. So I'm particularly grateful for the honour [sic] and continue to be encouraged by the community of Christian writers in my home and native land--though I don't expect to be overtaking Janette Oke anytime soon!

A Liturgical Turn in Cultural Theory

Just one more prompt from the CICW Summer Seminars: I've put up a first post describing the focus of my seminar, "From Worldview to Worship: The Liturgical Turn in Cultural Theory," which includes a description and link to the syllabus. Those interested in this conversation will be able to hear from several seminar participants who'll be blogging throughout the seminar--and able to join the conversation through the comments. Watch http://worshipweblog.com/ for updates.

Blogging from the Calvin Summer Seminars

One of the hats I wear is "Research Fellow and Academic Programs Coordinator for the Calvin Institute of Christian Worship" (catchy, eh?). In that role, one of the initiatives I've launched this summer is a team of bloggers who will be posting from our three seminars that will be happening over the next month. Over at http://worshipweblog.com/ you'll be able to listen in on conversations about liturgy, culture, pedagogy, and cultural change through posts from scholars, pastors, teachers, and others practitioners.

As I noted in a first post, this year's seminars include:

• “Reflective Pedagogy and Christian Practices,” directed by David Smith (Calvin College)
• “Congregations and Social Change: Adaptations and Innovation among Religious Communities,” directed by Gerardo Marti (Davidson College)
• “From Worship to Worldview: The Liturgical Turn in Cultural Theory,” directed by James K.A. Smith (Calvin College)

So add http://worshipweblog.com/ to your RSS feed and follow the conversations as they unfold over the next month.

3-D Icons: A Short Film on Mannequins

In Desiring the Kingdom I offer an opening phenomenology of the mall as a temple--a religious, liturgical space whose labyrinthine corridors are lined by tiny chapels devoted to various saints. And those saints, I suggest, are "pictured" not in the flat renditions of stained-glass but in the 3-D icons of mannequins draped in the au courant vision of "the good life."

Well, in that vein, my former student Bryan Kibbe recently pointed me to an almost incredible short film that documents the work and vision of a mannequin factory. Titled "34 x 25 x 36" (you can guess why), the documentary unveils the unapologetic industry of female "perfection," eliciting from the owners and designers a shameless articulation of their goals. This is a must-see for those working in gender studies.

But halfway through the film (at about the 3:30 mark), one of the owner/designers begins to rhapsodize about their work as a deliberate extension of religious devotion to the saints--embodying the now secular, materialist ideal for women to emulate, yea, "worship."

Bookish Fate and Bibliographical Providence

In Letter XXII of my Letters to a Young Calvinist, I playfully but seriously testify to a conviction regarding bibliographical providence: that some books that I just "happen" to bump into, or have passed on to me, were divine appointments of a sort. There are volumes that have fallen into my lap, and captured my attention, which one couldn't have plotted from a previous bibliographical trajectory. And looking back on their role in my formation, I can't help but see them as instances of illumination along a path--a journey in which I was being led rather than charting my own course.

So it was with some interest that I read Michael Chabon's introduction to a new edition of Norton Juster's The Phantom Tollbooth, recently excerpted in the New York Review of Books. While Chabon can't avail himself of a notion of providence, and is pressed into the language of gifts without a giver, one can nonetheless hear an analogous conviction:

The book appeared in my life as mysteriously as the titular tollbooth itself, brought to our house one night as a gift for me by some old friend of my father’s whom I had never met before, and never saw again. Maybe all wondrous books appear in our lives the way Milo’s tollbooth appears, an inexplicable gift, cast up by some curious chance that comes to feel, after we have finished and fallen in love with the book, like the workings of a secret purpose. Of all the enchantments of beloved books the most mysterious—the most phantasmal—is the way they always seem to come our way precisely when we need them.

This is Your Brain on Marketing

Friends and readers now regularly float me tidbits that sort of serve as confirmations and illustrations--or at least case studies--of some of the kinds of claims I made in Desiring the Kingdom regarding cultural formation (like the recent study on the cult-status of Apple for devotees). So I'm going to crowd-source here and feature them in an occasional series of "DTK Case Studies," with thanks for the tips and suggestions.

Mark Roeda (who's provided tips before) pointed me to Jonah Lehrer's recent observations about the formation of memory by marketers, and the brain science that underlies this. (Lehrer makes regular cameos in David Brooks' new book, The Social Animal.)

Here's the tease:

How could a stupid commercial trick me into believing that I loved a product I’d never actually tasted? Or that I drank Coke out of glass bottles?

And here's the upshot:

This idea, simple as it seems, requires us to completely re-imagine our assumptions about memory. It reveals memory as a ceaseless process, not a repository of inert information. The recall is altered in the absence of the original stimulus, becoming less about what we actually remember and more about what we’d like to remember. It’s the difference between a “Save” and the “Save As” function. Our memories are a “Save As”: They are files that get rewritten every time we remember them, which is why the more we remember something, the less accurate the memory becomes. And so that pretty picture of popcorn becomes a taste we definitely remember, and that alluring soda commercial becomes a scene from my own life. We steal our stories from everywhere. Marketers, it turns out, are just really good at giving us stories we want to steal.

Now go read the whole article.