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Category: Reviews

On Suffering, the Russian Soul, & the Kingdom of Heaven

Russian_NightIt’s become a byword, the Russian tradition of suffering. Apparently everyone knows that misery permeates the works of the great writers and merits a substantial paragraph in even the most basic information about Russian literature. Wikipedia devotes an entire section of the Russian literature page to this very thing, stating,

Suffering, often as a means of redemption, is a recurrent theme in Russian literature.

Happily, I didn’t get the memo about that. A year ago, when I wrote about Imagination as Love, I still didn’t know that what I was writing about was at the very core of not only Chekhov’s writing, but Tolstoy’s too, and Gogol’s and Solzhenitsyn’s and Dostoevsky’s.

I didn’t read the Sparknotes, only the books. Only War and Peace, and How Much Land Does a Man Need? Only One Day in the Life of Ivan Denisovich, and The Overcoat, and The Grand Inquisitor, and half of Chekhov’s Stories. And one of the delightful things about missing the study guides is that you have no idea what to look for, so that when you do pick up a pattern all by yourself, it means something to you.

So it was for me, through pages and pages of the stories about tragedies without happy endings, and hunger that isn’t assuaged, and grief that doesn’t go away, and the long defeat of living. After a time, I sat back and said, “These stories are about suffering. They are all about suffering.” It seems simple enough to the initiated, but to go from not-knowing to knowing at last – there is an exquisite satisfaction in that.

Yet that wasn’t all. In these stories there was something else. The Russian grief is not purposeless. There is a colossal sort of reduction in suffering and in loss: it takes things down to essentials, strips away circumstances, reveals to a man what he truly is. There are hints in it of the possibility that suffering might usher in truth, precisely by ripping out lies.

And Christ. There is in these Russian stories a wild, confused, at times unorthodox fascination with Christ as humble, as suffering. As silent.

fathers-taleThis much I picked up on my own, but was hardly sure how to put it all together and make sense of it. Then last month I read my second Michael O’Brien novel, and found a man with the answers. A man who knows the historic Russian soul, and is intimately acquainted with the turbulent history of the 20th century. A man who knows the importance of traditional imagery better than anyone I can think of, who understands the vital significance of boats and of birds. A man who knows about kingfishers catching fire, and homesickness, and more than anything, who knows about the poor in spirit.

The Father’s Tale is 1076 pages long, but after the first 100 pages or so, it goes by like a breath. Alex Graham is a Canadian bookseller whose college-aged son gets caught up in a cult group and goes missing from Oxford University. The plot follows the timorous, unadventurous Alex as he travels around the globe in the search for his son. It’s a storyline that never works out exactly as you expect, and yet somehow always works out in the best possible way. Like any author who’s turned out this much volume on a regular basis, O’Brien certainly leaves some holes in the book, in terms of weak sentences and things you wish you could rewrite or reconstruct. But then, so does Dickens, and it didn’t seem to ruin his legacy.

O’Brien and I are not on the same page as regards faith traditions, so I’m not entirely in sympathy with some portions of the book, and found some of them exasperating. However, the ultimate themes in here transcend our differences, because they aren’t about icons but ideas, and those ideas are rooted deep in the literature that we both love, beginning, perhaps, with the Bible itself.

One of the many things that the tepid and dispassionate Alex Graham learns in his travels is the mysterious and yet lucid beatitude of poverty.

One becomes empty and poor, and in that state the Kingdom of Heaven is given to you,someone tells Alex while he is en route to Siberia. “To become a poor man is the greatest thing that can be given to us. It is the foundation.”

O’Brien takes the old Russian preoccupation with suffering, and shows its redemptive purpose with astonishing clarity.

Not what you expected, perhaps,” his friend tells Alex, after a particularly disappointing setback in his venture. “But it was a gift.”

A gift?” Alex responds. “It seems a total failure.”

“What is failure? The only failure is to reject what God wishes to show us.”

In a public lavatory in Moscow, Alex encounters a dying man. The man is sick and filthy and wasted with substance abuse, and does not wish to live. He is in the drain-hole of the world, he says, the nyet, nyet, nyet. But Alex is determined to rescue him and take him to a hospital, in spite of a disgruntled taxi driver and an unsympathetic nurse. When he learns that the man’s name is Alexei, the Russian form of Alex, he is a bit taken aback by the coincidence, and chooses to call him by the fond and familiar derivative, Alyosha, the pet name that Alex gave himself as a child and a budding Russophile.

Lake-Baikal-russia-iceAlex doesn’t stay long with Alyosha after he sees him admitted to the hospital, but the significance of the incident pursues him throughout the rest of the story. It pursues him to strange and bizarre places, as he finds himself on a train attacked by militant protestors, stranded for weeks with a widowed Russian doctor and her two fatherless sons in a tiny village on the shores of Lake Baikal, and, in an unexpected turn of events, tortured by government intelligence officials in a windowless cell in Siberia. All along, O’Brien is probing deeper and deeper into the Russian psyche, into the legacy of the Soviet era, into the corruption of East and West.

In one scene, Alex speaks to an agnostic Russian with words that are far beyond him, although he doesn’t know it yet.

“Irina, do you remember when we first met, that night on the train? You quoted Pushkin. You said that in our times man was either tyrant or traitor or prisoner.”

“I have not changed my opinion,” says the woman with a hint of bitterness.

“But the Christian is a prisoner in Christ and with Christ and thus he is the only free man on the planet,” Alex says triumphantly. But he does not yet know what he is talking about.

It is in Alex’s greatest crisis of suffering that the ultimate gift is given to him. He wakes up brutalized in a freezing cell, completely dispossessed, and sees a man beside him in an even worse condition. Although Alex feels like his body has become one great wound, he reaches out to other person to try to offer some comfort.

“Who are you?” Alex breathed. Christ_Suffer

“Alyosha,” the lips whispered in reply.

“We are suffering, Alyosha,” Alex sobbed, placing the palm of his hand on the man’s forehead. “But we are not alone.”

The flesh of the forehead was riddled with holes. “You,” said the prisoner, are Alyosha.”

He touched the holes in the hands and feet of the prisoner. He lightly touched the face that a rifle butt had shattered. The hands of the prisoner drew his fingers to the wound in his heart, and his heart was a fountain.

And blessed are the poor in spirit.

For theirs is the kingdom of heaven.

 

Book Reviews [Spring 2013]

Well, it’s that time again: time to round up all the books from the past few months and make a quick record of my distilled ideas about them. I do hope you’ll join in with your own thoughts, and let me know what is the best thing you’ve read this year so far.

…because words have the power to change us…

LettersOfTolkienThe Letters of J.R.R. Tolkien (edited by Christopher Tolkien) – 5 STARS – Tolkien’s son has put his father’s letters into a quite extensive collection that gives us a better feel for John Ronald Reuel’s own mind than any biography could do. It includes letters to Edith, to family members, to publishers, inquirers, scholars, fans of all kinds, and – my personal favorites – letters to his two sons, as they attended university and later fought in the Second World War. There are many letters that have to do with publishing hassles and squabbles and domestic arrangements, and the more or less monotonous life of a university professor. However, there are also deeply insightful family letters of advice and fellowship and yes, the thing most of us are hoping for: considerable information about the process and motivation driving The Lord of the Rings. This is not a book for those who are wishing to just pass the time, and feel it may be amusing to know a bit more about Tolkien. It is for those who wish to really know Tolkien, to the extent that he still can be known. Some more brief thoughts about the war letters are here.

Hudson Taylor [Volumes I and II] (Howard Taylor) – 5 STARS – This massive two-volume biography of Hudson Taylor and The China Inland Mission is not for the faint-hearted, but I found it to be a lasting delight as I read it over the course of almost two years. Written in that grand old tone of 19th century literature, the books dwells not as much on the external particulars of the ministry as on Hudson Taylor’s spiritual adventure – although, by the time it is complete, there have certainly been enough pages to touch on plenty of material details as well. I recommend it highly, and found it a most effective summons to awake to the urgency and fleetingness of life. Some favorite quotations below:

“His capacity for happiness was like that of an unspoilt child.”

“Surely to need much grace and therefore to be given much is not a thing to be troubled about, is it?”

“Should we not rejoice when we have anything we can give up for the Savior?”

“Light will be no doubt be given you. Do not forget, however, in seeking more, the importance of walking according to the light you have.”

“There should be only one circumstance to us in life, and that Circumstance – GOD.”

WHAudenThe Complete Poems (W.H. Auden) – 3 STARS – Well, in all honesty, I didn’t actually read the complete poems. However, I got well over half-way through this one before deciding I needed to take a really long break from Auden – as in, I’m done with this book. Auden’s writing includes many really strong pieces and I expect that several verses from here will stick with me for the rest of my life. However, my ultimate conclusion was that the man would be regarded far more highly today if he had burned up about half of what he wrote before it ever had the opportunity to be published. Nevertheless, there are some great compositions, in the middles of some quite dull and context-bound pieces, there are startling statements. A few favorite lines are below:

From The Quest:

The only difference that could be seen
From those who’d never risked their lives at all
Was his delight in details and routine;
For he was always glad to mow the grass;

Pour liquids from large bottles into small,
Or look at clouds through bits of colored glass.”

From At The Grave of Henry James:

All will be judged; master of nuance and scruple
Pray for me and for all writers, living or dead
Because there are many whose works
Are in better taste than their lives, because there is no end
To the vanity of our calling, make intercession
For the treason of all clerks.

From A Christmas Oratorio:

We are afraid of pain, but more afraid of silence.” 

Nothing can save us that is possible:
We who must die demand a miracle.

What is real about all of us is that each of us is waiting.

“If we were never alone or always too busy
Perhaps we might even believe what we know is not true:
But no one is taken in, at least not all of the time;
In our bath, or the subway, or the middle of the night,
We know very well we are not unlucky but evil,
That the dream of a Perfect State or No State at all
To which we fly for refuge, is a part of our punishment.”

“…remembering the stable where for once in our lives
Everything became a You and nothing was an It.”

From The Age of Anxiety:

“But the new barbarian is no uncouth
Desert-dweller; he does not emerge
From fir-forests; factories bred him;
Corporate companies, college towns
Mothered his mind, and many journals
Backed his beliefs. He was born here.”

Anton_ChekhovThe Complete Short Stories (Anton Chekhov) – 4 STARS – Again, I can’t say that I read the complete stories. But after I’d read over half of them, I felt it was enough. Here is another author who just wrote so much, and certainly not all of his work is created equal, although it all proceeds from the same spirit. Chekhov sees right through humanity, and is not a bit taken in. All of his characters are presented in their stark reality, with no whitewashing, and no redemption. There are not really any heroic characters in Chekhov’s stories. There are just people, behaving just as people generally do. And yet, despite all of this, Chekhov loves them, for a reason that perhaps is best articulated by a short paragraph in his story Frost:

“The old men sank into thought. They thought of that in man which is higher than good birth, higher than rank and wealth and learning, of that which brings the lowest beggar near to God: of the hopelessness of man, of his sufferings, and his patience.”

I think it’s fair to say that Chekhov’s stories are about suffering. And thus, by default, they are about love. (I’ve written some more detailed thoughts about this here.)

Nicholas Nickleby (Charles Dickens) – 5 STARS – One of my favorite Dickens books so far – and I’ve read most of the major novels now. For me, this one rates right up there with Great Expectations and Bleak House. Nicholas Nickleby embodies so many aspects of the heroic ideal and makes honor and decency seem like new and flaming concepts; like aspirations that outweigh the balance of the whole world. While I’m fully aware of a number of serious deficiencies with the structure of this novel, I had to give it a five-star rating since it was among the most encouraging books I’ve read in months. (You can read my more extensive thoughts on this one here.)

OliverTwistCharles Dickens (G.K. Chesterton) – 5 STARS – Chesterton on Dickens? It hardly gets better than that. Chesterton is the perfect man to write about Dickens, because he understood and shared so many of Dickens’ central ideas: Love of the free and simple man’s home. A fierce defense of the traditional family structure. A thorough understanding of Romance. A humble and unpretentious regard for the poor. A respect for the great Christian carelessness that seeks its meat from God. A relish for comradeship and serious joy. A hunger for the inn at the end of the world. Indeed, I feel this is one of Chesterton’s best books, and found fuller explanations in here for many of the themes that pervade his poetry. Dickens was exactly the stuff that Chesterton understood best, and Chesterton understood even Dickens’ literary weaknesses better than any other critic I’ve encountered. Ultimately, it is plain that Chesterton transcended the mighty Dickens because he did more than delight in the ideals: Chesterton actually lived by them.

My Utmost For His Highest (Oswald Chambers) – 5 STARS – At last I read My Utmost for His Highest for a whole year and all the way through. It feels like a growing up. And I know that in some ways, it is, because when I picked this one up a few years ago I found it intolerable and had to put it away. It wasn’t that I felt it was untrue, but only that it hurt my independence frightfully and spoke of things I was afraid to know about. Now I can call it one of the greatest masterpieces of truth that I have encountered. I expect to read it again and again and again, for I know there is still so much I haven’t attained to.

Deliver Us From EvilDeliver Us From Evil (Ravi Zacharias) – 3 STARS – I wanted to like this book more than I did like it. Ravi Zacharias is a great thinker and has much wisdom to offer. However, it seems like the book is not as well organized as it might have been, and the writing style employs quite a bit of unjustified circumlocution. In spite of this, it is also full of truth, which sometimes shines out with a glimmer of splendor.

The Love of God (Oswald Chambers) – 4 STARS – As with most of Chambers’ writing, this little book is full of staggeringly good stuff. Due to the fact that Chambers’ writings were mostly published posthumously, some of the text here is also included in other works, such as My Utmost For His Highest.

The ChimesThe Chimes (Charles Dickens) – 3 STARS – Just as in A Christmas Carol, Dickens attempts in this short novella to tackle social issues in the context of a tale set during a holiday season. However, he doesn’t pull it off quite as well in The Chimes. The characters are not as developed, and the plot line is shaped by his central theme of social injustice, rather than being worked into it. In spite of these weaknesses, Toby Veck is an endearing protagonist, and the catastrophic vision is quite moving.

“He delighted to believe — Toby was very poor and could not well afford to part with a delight — that he was worth his salt.”

TellingTheTruthTelling the Truth: The Gospel as Tragedy, Comedy, and Fairy Tale (Frederick Buechner) – 4 STARS – Buechner writes prose like poetry, and is a master at his craft, and so of course this book is beautiful, echoing so many of the things you know but don’t know how to put into language; so many of the things about fairytales and Story, and humanity and homesickness and hunger. As a note of caution, I did get the feeling Buechner was so caught up in his own lovely writing that he may have taken some unwise liberties with the character of God – nothing overt enough to prevent me from recommending the book to someone else, but certainly I’d want to tack this disclaimer onto any recommendation I make.

Tortured For Christ (Richard Wurmbrand) – 5 STARS – Wurmbrand’s iconic account of persecution under communism in Romania covers much more territory than I expected. It’s a short read, but deftly addresses many aspects of the oppressed underground church throughout the world, and illuminates the simplicity of the devotion that goes to death for Christ expectantly, singing, singing, singing. As Wurmbrand says himself, “I have found truly joyful Christians only in the Bible, in the Underground Church, and in prison.” The church in the West would do well to attend…

WurmbrandFamilyThe Pastor’s Wife (Sabina Wurmbrand) – 5 STARS – I read this one on Noel‘s recommendation. It gives a much more complete picture of the Wurmbrand family’s personal history and I especially appreciated how openly Sabina writes about their struggles, loneliness and isolation, as she tells a very real and honest story. Somehow the significance of their endurance becomes even more overwhelming as we hear about the darkness that veiled their sight all the way and sundered everything from everything else. I found their son Mihai’s story particularly gripping as he grew up relatively orphaned for several years and struggled not to lose his faith.

The Radical Cross (A.W. Tozer) – 5 STARS – Tozer espouses a sane, Biblical, healthy, and uncompromising theology. I think it does even the most learned and mature among us a great deal of good to do this sort of reading periodically and take refreshment from the simplicity of things. This is not to imply that this book is in any way simplistic – it is in fact a sophisticated collection of thoughts on the meaning and significance of the Cross of Christ – but only that it is simple, with that perfect straightforwardness which characterized the life of our Lord.

LittleDorritLittle Dorrit (Charles Dickens) – 4 STARS – Little Dorrit doesn’t commend itself by one overarching idea but by the incorporation of a great many that are mingled together to construct one fabulous whole. We come away quite overwhelmed and satisfied by the humble constancy of Amy, the unassuming decency of Arthur, the pathetic conceit of Mr. Dorrit, the great-hearted practicality of Mr. and Mrs. Meagles, the devoted magnanimity of John Chivery, and the principles of the pitiable and many-faceted Mr. Pancks. This is Dickens doing what he does best, although not perhaps in his best way, since the plot feels a little stretched at times. Nonetheless, I class this among the author’s greater works, as definitely an exquisite novel and no weakly-veiled social pamphlet like Hard Times.

The BBC produced an excellent film version within the past couple of years, which I highly recommend. The mini-series clocks in at eight hours, and remains true to the spirit and text of the book. Indeed, in some ways it is arguably superior.

What I’m still reading:

Abandoned To God: The Life Story of Oswald Chambers (David McCasland)
Eugenics and Other Evils (G.K. Chesterton)
The Father’s Tale (Michael O’Brien)
On Writing Well (William Zinsser)
The Four Loves (C.S. Lewis)
Gerard Manley Hopkins: The Major Works
The Greater Trumps (Charles Williams)

What about you?

On The Importance of Being Smike

Nicholas NicklebySometimes a story smacks you squarely in the face with precisely the thing you need. So it was for me with Nicholas Nickleby last month, which I read over the course of only a week and which has been growing on me ever since, like a widening light.

Charles Dickens’ third published novel, Nicholas Nickleby is among the author’s earlier writings, and belongs very definitively to that set of his work that was the most Dickensian. That is, it is full of flair and hyperbole and drama and oppression and cold weather and child abuse and misery and heroics and ideals. Especially ideals.

Indeed, as with all of Dickens’ best work, Nicholas Nickleby’s strengths lie not in any unique plot twists or unusual characters, but in the incarnation of ideals, their taking on of flesh. Nicholas Nickleby is strong because its’ characters are ideals. And they take on flesh quite well – indeed, in 900 pages they have plenty of time to do so. The ideals are very fully fleshed out. But they are also very strong ideals, that have endured in the world since the genesis of Christendom. And if you love them already, you will find them splendid because Dickens makes them so, but mostly because they are splendid in their own right.

NicholasAt the heart of these ideals is the hero. This is Nicholas himself. He is not particularly original, but he attracts us because he is not merely a protagonist, but is, in fact, really a hero, in the traditional sense of the word. He adores justice and honor with a childlike simplicity and he takes on the miseries of life with a pure heart and cheery self-denial. Beside his fiery innocence, every contaminated sentiment and half-wrong seems horrible, and not to be endured.

All my days I have been seeking to be like him. Quite without knowing his story, at all, of course. Because Nicholas Nickleby is not a character invented by Dickens at all. He is the quintessential human hero, a picture of the man that men will follow, and that the world is not worthy of.

In Dickens’ story, Nicholas is afflicted by some rather prosaic difficulties when his father, a country gentlemen, dies unexpectedly, leaving the nineteen-year-old Nicholas, his sister Kate, and their mother in dire straits. They are forced to apply for assistance to the senior Nickleby’s brother, Nicholas’ uncle Ralph. Ralph is a ruthless and unscrupulous miser, who sends Nicholas off to work for pennies at a wretched boarding school in Yorkshire, and exploits Kate’s feminine graces to please his business partners. Their mother, while an amiable woman, lacks discretion, and cannot serve as a source of guidance for the two young people in their difficulties.

All told, the title character’s situation seems thoroughly unenviable. Fortunately, Nicholas carries something with him that turns the desolation of the world into an adventure: his stalwart decency. Thrust into scenes of unbearable degradation and injustice, his ideals of truth and righteousness do not falter, and cannot be co-opted. He is an honest man, and no one can take that away from him. This makes his life bearable and serves as a roadmap. You pity him in his hardship, but not too much, because you know he has a treasure of incalculable worth, and that he has what it takes to get to the other side of what is before him. Before his story is over, he will be the one turning the arrogant from their ease, and rescuing the downtrodden with remarkable flair.

I can’t not want to be that guy.

But I’m not.

I spent all my childhood imagining myself as something of a champion in the making. Oh, the places I would go, and all of the rescue I would dispense! All of my dreams were about heroics. So the knowledge that I have been somewhat mistaken in my aim has been a long time coming home to me.

With Nicholas Nickleby, it came home a little more. Because beside even Dickens’ simple and clichéd ideal, I seem very unheroic indeed. And I know that there must be something besides the fruitless chase after championship.

And so there is.

At Dotheboys’ Hall, a stereotypically Dickensian hell-hole, where Nicholas serves as an assistant to the evil schoolmaster Wackford Squeers, we meet another character. Smike is crippled, and hardly a boy anymore at eighteen. He was abandoned at the school six years ago, and has been exploited by the Squeers ever since, serving them as a slave in deplorable conditions and beaten continually. His ill-treatment and ignorance have given him a feeble mind and doubled his terror and helplessness. Smike has no ideals to nourish him, and no prospects or plans ahead of him. His life is a living death.

Smike4
Nicholas, enraged by the cruelty that Smike endures, is very kind to the drudge. This is something Smike has never experienced before, and something happens to him that he did not realize could happen:  it dawns upon him that there is a reason to live, and that waking up in the morning doesn’t have to be just the shock of death flooding his lungs. His reason to live is Nicholas, and the hope of Nicholas’ approval and the ambition of serving him.

The Squeers, who are evil, are annoyed by the sight of goodness thriving anywhere, and redouble their efforts to make Smike’s life a torment to him. Nicholas decides this additional oppression is just about the last straw, and he informs Smike that he is going to leave. In a wild fit of desperation, Smike abandons the disgraceful institution on his own that night. Lame and starving, he doesn’t get far before he is dragged back by the schoolmaster’s wife. The Squeers, who find it necessary to deal with the imminent threat of mutiny among the boys, decide to make a great spectacle of Smike, and to flog him severely before the whole school.

As this ordeal commences, Nicholas snaps, and descends like a hurricane upon the schoolmaster, administering a sound drubbing to the latter, before packing his little bag and quitting the place. As he sets out on the long journey back to London, impoverished and with grim prospects, he runs into Smike, who has been following him all the way. Smike drops to his knees at Nicholas’ feet.

 ‘Why do you kneel to me?’ Nicholas asks.

“To go with you–anywhere–everywhere–to the world’s end–to the churchyard grave,” says Smike in a wild supplication. “Let me, oh do let me. You are my home.”

Smike is a cripple all of his days. He drags his deformed limbs with him everywhere, and his weak mind is never made whole. Wherever he goes, people will stare and whisper and feel sorry for him. He will never be a specimen of perfection. But in spite of all this he is at rest, and at home. Because he is following Nicholas Nickleby , and consumed in a sort of slavish devotion to his hero. What he is is wretched indeed, but what he is is not important to him. For he is utterly wrapped up in worshipping a worthier champion. In himself, there is limitless impotence and fear. But in his master there is enough glory to satisfy him.

And when the full import of this burst upon me, I found it disturbing, like a call to wake up.  Because my Dearest Friend is the prince of champions, and oh, are all of my springs in Him? The grace that has set me free, is it enough for me? Or must I do something of my own to add to it, before it is sufficient to be happy-making?

Hudson Taylor wrote to his wife in 1869,

I now see that it is not in what He is to me, not in what He is working, or has worked, or may work in, for, or by me, but in Himself I am to rejoice;  in what He is and has in Himself absolutely. And this, it appears to me, is the only possible or even legitimate ground for constant, unchanging, full joy.

But to get at the joy that is only outside of ourselves, we must come to the end of ourselves. “Blessed are the poor in spirit,” said our Lord. Not because they are lesser or more wretched than their brothers, but because they know it. And theirs is the kingdom of heaven.

For the life at the heels of Christ is not about being a hero, but about loving a hero. And the more you love Him, the more you are at home in Him. And when He is all that matters, it doesn’t matter that you are what you are.

Because He is what He is.

Books!

It’s been a long time since a post about books, and I think it’s high time, for I have been reading them, of course, though more sparingly and slower than usual. I listened to the whole of the Short History of England in Libri Vox recordings, while mopping the kitchen floor. Middlemarch was an adventure that sustained me through illness and chaos, and I keep turning back to The Rain In The Trees when I forget what heartbreak feels like; I keep trying to figure it out. Sitting on the carpet against the walls of the space museum in D.C., and trapped in the National Gallery of Art during spring protest marches at the Capitol, I read every one of the thin, color-splashed pages of Des Cars’ study of the Pre-Raphaelites.

I started a new job in the summer, and have very little time to read anything these days, but when Flaubert said, “read in order to live,” he wasn’t far from the truth. In a culture of words where we are beset on every side with wasted language and so many lies, it is more than a wise option to deliberately confront ourselves with the beautiful and the good. It is a necessity, I think.

Here is some of what I have been reading. I hope you will share your own lists with me, too, because I don’t want to miss out on your splendid recommendations!

George EliotMiddlemarch (George Eliot) – 5 STARS – Middlemarch, like most writings of its time, is a lot of work. It is an investment. And it is a very good one. I read this one on Sarah’s recommendation, and I have to say that I think she was spot-on. Not being particularly thrilled by Silas Marner, the only other Eliot work I’d read, my expectations weren’t very high going into this one. But when the climax of the story had me actually in tears in the middle of the night, as I sat up late to finish it one weekend, I realized just how much power Eliot had packed into here. It’s difficult to share much about what I took away from the story without giving the story away, but I will say that the theme which moved me most strongly was the lovable portrayal of righteousness, even unnoticed and unrewarded. Middlemarch wants to teach us about the pricelessness of integrity of character, and demonstrates that nothing is worth having if it can only be got at the expense of what is right, and that no loneliness compares with the loneliness of the man who cannot be at peace with himself and his Dearest Friend.

A Short History of England (G.K. Chesterton) – 4 STARS – Chesterton’s highly opinionated summary of the history of England is both funny and disorderly in a masterful, Chestertonian manner. Much poetic license is taken with the narrative of the British Isles and Chesterton runs off on regular rabbit-trails, but some very enduring ideas are contained herein. I felt I wasn’t quite knowledgeable enough to really get everything out of this, and was painfully aware of some awkward gaps in my British history. The section that I found most helpful was Chesterton’s explanation of his admiration for the medieval era, a thing I never quite understood before, and which I expect to think about quite regularly for the rest of my life as I explore the workings of postmodern society and try to piece together the social philosophies of the past.

10 Books That Screwed Up The World [And 5 Others That Didn’t Help] (Benjamin Wiker) – 4 STARS – I was quite impressed with this one, actually. Wiker explores the writings of several destructively influential shapers of culture, from Machiavelli to Freud to Margaret Mead to Marx to Alfred Kinsey, and many others. He intersperses his commentary with quotations from the authors in question and equips the reader with vivid and sometimes shocking examples. His chapters are short and engaging and he doesn’t take long-winded philosophical detours, which makes this an excellent book to recommend to friends who want to explore worldview issues, and tackle the elephants in the room, but may not have the patience for Francis Schaeffer yet.

The Ward of Heaven and the Wyrm in the Sea
(Colin Cutler) – 4 STARS – It’s hard to put a label on Colin Cutler’s first book. The Ward is a brief and rich Christian reworking of Norse mythology, told from the perspective of a hermit in medieval Scandinavia. It’s historical fiction that morphs into sober, Bible-based fairytale. It reminded me strongly of reading Beowulf as a young teenager and it felt like a context for all of the dark mystery surrounding the mythology of Beowulf. While there were some issues with lack of polish and a few instances where the tales seemed to unfold a little awkwardly, I understand that this is an extremely difficult genre to work with and greatly respect Cutler for venturing out into these uncharted but promising waters.

PrayerWheelTickets for a Prayer Wheel: Poems (Annie Dillard) – 4 STARS – There is no question that Annie Dillard is a splendid writer. Like all good poets, she hallows everything and shrouds it in mystery. I just wish her mysteries weren’t so utterly impenetrable and gloomy, and keep hoping she will be unreservedly jubilant about something for once, rather than behaving as though the few visible parts of the mostly-veiled truth are not particularly gladdening. I feel I am getting only half of the story with her, and I want the other half wildly. That said, there were some sections in here that made me stop short and reread and reread and reread. Like this,

God am I smug when they talk about Belsen–
I’ve never killed anyone in my life!
I simply betray:

let the phone ring,
seal a typed letter,
say to the girl in the courtyard,
“I never saw him before in my life,”
call a cab, pull on gloves,
and leave. And leave you,
and leave you with the bill.

Pre-Raphaelites: Romance and Realism (Laurence Des Cars) – 4 STARS – While there was nothing especially stunning or remarkable about Des Cars’ treatment of the history of the Pre-Raphaelite Brotherhood, the book was concise and informative and a good simple introduction to the origins, philosophies and figures of the Pre-Raphaelite movement.

Lord, Teach Us To Pray (Andrew Murray) – 4 STARS – Murray’s thoughts on prayer make up more of a discourse than a book. Like so much Christian writing, this one is loaded with redundancies and blithely employs terms that mean more than any of us are likely to understand in the course of our days as earthlings. However, I don’t find this quite as annoying as I used to. Because as I begin to scratch the surface of the meanings of some things, I begin to learn about the heights and the depths of meaning in everything. And it’s OK if we don’t know everything, as long as we know that there is a very great deal to be known. To live will be a great adventure.

CyclopsThe Odyssey (Homer) – 3 STARS – Interestingly enough, I didn’t find myself liking The Odyssey quite as much as the Illiad. It has all of the good stories, yes, but I felt like the Illiad boasted superior craftsmanship and a stronger emotional appeal. And more unintentional humor, of course. The Odyssey seemed a little thin and rushed compared to the many hysterical chapters of the Illiad in which nothing happened at all except vicious bickering. However, the stories of The Odyssey are timeless, of course, and hold their charm even when you already know what is going to happen.

The Rain in the Trees (W.S. Merwin) – 5 STARS – I have to give this book five stars, even though I suspect if Merwin and I were to sit down over coffee, we would find little to agree on. There were portions of this book where the divide between our presuppositions was made very evident, but overall the poetry in this volume is about the human experience, which is more or less universal. In an era when universals and traditional imagery are frowned upon by many leading figures in the academic community, Merwin’s focus on nature and wide themes was like a breath of mountain air. It should be noted that there is deep sorrow coursing through the pages of The Rain in the Trees: the sorrows of things forgotten, things lost and, most of all, things without answers. It is a book to be read cautiously. Merwin is an author to whom we should be prepared to give an answer for the hope that we have.

Some favorite portions:

From Term:

they are on their way already
their feet are the feet of ghosts
watching them is like watching a ship
leaving the shore
and seeing that it will never arrive

From Before Us:

You were there all the time and I saw only
the days the air
the nights the moon changing
cars passing and faces at windows
the windows
the rain the leaves the years
words on pages telling of something else
wind in a mirror

everything begins so late after all

From History:

there was a note on a page
made at the time
and the book was closed
and taken on a journey
into a country where no one
knew the language
no one could read
even the address
inside the cover
and there the book was
of course lost

it was a book full of words to remember
this is how manage without them
this is how they manage
without us

I was not going to be long

A Book of Strife in the Form of a Diary of an Old Soul (George MacDonald) – 4 STARS – This volume is a collection of short devotional poems by MacDonald, one for each day of the year. Some are fairly hum-drum, but I copied down several pages of real treasures. A small sampling:

“Be for me then against myself. Oh lean
Over me then when I invert my cup;
Take me, if by the hair, and lift me up.”

“Give me a world, to part for praise and sunder.
The brooks be bells; the winds, in caverns dumb,
Wake fife and flute and flageolet and voice;
The fire-shook earth itself be the great drum;
And let the air the region’s bass out thunder;
The firs be violins; the reeds hautboys;
Rivers, seas, icebergs fill the great score up and under!
But rather dost thou hear the blundered words
Of breathing creatures; the music-lowing herds
Of thy great cattle; thy soft-bleating sheep;
O’erhovered by the trebles of thy birds,
Whose Christ-praised carelessness song-fills the deep;
Still rather a child’s talk who apart doth hide him,
And make a tent for God to come and sit beside him.”

“O Father, thou art my eternity.
Not on the clasp Of consciousness–on thee
My life depends; and I can well afford
All to forget, so thou remember, Lord.”

Annals of a Quiet Neighborhood (George MacDonald) – 3 STARS – I took down several pages of quotations from this one, but the story-line was not especially intriguing.

Stories of GodStories of God (Rainer Maria Rilke) – 4 STARS – I have a love/hate relationship with this one. I love Rilke for being such a marvelous writer and for writing fairy-tales, and for loving children. I hate the irreverence of the book and the way it throws everything into a mood of insecurity and uncertainty and takes away from the eternal nature of fairy-tales.

Lady Susan (Jane Austen) – 3 STARS – A short, epistolary novel that Jane Austen wrote as a teenager, Lady Susan centers around the fate of an unscrupulous, conniving, flirtatious woman. As you would expect from something of this length and nature, it falls short of really drawing the reader into the story on an emotional level, and thus the climax is suitable but not remarkable.

David Elginbrod (George MacDonald) – 4 STARS – I got a lot of wonderful things out of this one, even though it did seem to go on and on at times, and MacDonald entered into a few too many sermonizing digressions. Hugh’s progress really did capture my interest and I felt the significance David Elginbrod’s far-reaching impact was powerfully demonstrated.

Godless: The Church of Liberalism (Anne Coulter) – 4 STARS – Anne Coulter is smart and funny and mostly right. She nails so many things squarely on their little heads that the pounding of hammers is sure to reverberate in the reader’s head long after the reading of this sarcastic, educational and entertaining book. However, like most people of her temperament, Coulter isn’t writing to convince anyone from the other side, and her wit is biting and overtly harsh, certain to turn away anyone who isn’t already more or less in agreement with her. I felt the chief value of this book was the numerous and vivid real-life examples that equip the reader with the context and organization necessary to argue the beliefs they hold but don’t know how to comprehensively defend. It’s also a great boost for those who feel their faith in conservatism wavering a little in the face of unrelenting outside pressure.

Teaching A Stone To Talk: Expeditions and Encounters (Annie Dillard) – 4 STARS – My feelings about this one were exactly expressed in my review of Tickets For a Prayer Wheel above.

Poetry HandbookA Poetry Handbook (Mary Oliver) – 3 STARS – This small volume is loaded with some very useful advice for those who want to write poetry, and is beautifully written, as befits prose written by an author who is a poet. However, Oliver’s rejection of universals in poetry taints much of what she has to say and renders this a book that I would hesitate to recommend to someone else unless I knew they already had an understanding of the tension between the postmodern obsession with particulars and the traditional dedication to universal truth.

What I’m still reading:

The Complete Poems (W.H. Auden)
A Patriot’s History of the United States (by Larry Schweikart and Michael Allen)
Hudson Taylor [Volume II] (by Howard Taylor)
The Complete Short Stories (Anton Chekhov)
Nicholas Nickleby (Charles Dickens)
The Letters of J.R.R. Tolkien (edited by Christopher Tolkien)

So, how about you?

Imagination As Love

Kid ImaginationImagination is the power of image-creation. It is a living fire in the mind, for we are image-using creatures. Indeed, all our dealings and deliberations are the chasing – or the fleeing – of some picture we aspire or dread to enter into. Images are the way we understand the world, the way we sort what is desirable from what is to be avoided, the way we associate words with each other and words with deeds and words with the world. Words without pictures are without meaning. Images are the incarnation of language, the taking on of flesh.

This picture-processing begins in childhood. A child knows that words must go with something, they must belong to something. Like “spoon” belongs to the long, metal shovel that puts ripe, strong bananas between the teeth. Like “flowers” belongs to the cotton-white clusters that house the bees. Like “mommy” belongs to the soft, big person who knows all of the answers to everything.

SharkThe young people harried and hurried on every side by the world rushing to plot a plan, a course for all their days, they know it: how “actress” means they will strut the red carpet with the eyes of the world on their shimmering gown and their thick scarlet lipstick. How “secretary” means they will sit behind a little oak desk and speak in polished terms over the wires to disgruntled customers and important potential clients. How “engineer” means they will masterfully disassemble and gut the insides of automobiles, computer hard drives or spaceships. Based on the little that they know of the world, they chart their ways in hopes they will fall in with the image they saw once on the cover of National Geographic and loved: the sleek-skinned deep sea diver caressing the rubbery shark, the chic, fairytale couple kissing on the bridge over the Seine.

Red Carpet
A man or a woman who has not learned image-making is forever confined to understand the world through the images presented to him or her by life as it rushes by in its haphazard, careless way. Without imagination, she will not know until her own way takes her there what it is like to be an actress, a secretary, an engineer. She will not, perhaps, understand the possibility of soul-destroying preludes to the red carpet, the way she might have to give up everything she has for the eyes of the world on her mincing steps. Without imagination, how will she know that a secretary is more than the name of an employment position, that it is what she brings to it, that there are so very many pictures to go with a word?

Ten years in AfghanistanWithout imagination, a man will not know what it is like to be the parent of a runaway child or of a young boy slaughtered in an unjust war. He will not know what it is to be sick with hunger so that the smell of break cooking is dizzying. He will not know what it is to lose two legs, to lose his dream job, to lose his one true love. He will not know what it is to be the only survivor of a bombed village in an arid desert country. He will not know what it is like to be old and dying in a hospital with no one to visit you or even send cheap flowers.

Want of imagination makes things unreal enough to be destroyed,” warned Wendell Berry in Hannah Coulter. “By imagination I mean knowledge and love. I mean compassion.”

This, perhaps, is one of the strongest arguments for the transcendent value of literature. A man who has not lived any of those things, when he reads the words of one who has, can know suddenly some part of what it is to walk in another pair of shoes that look nothing like his own. A man who has cultivated and nurtured imagination in himself, though he be young and untried and little-travelled, can yet know the world deeply and love it all the harder. And God so loved the world.

In recent days, I have been reading Anton Chekhov’s Complete Short Stories. It would be a waste of breath to remark that the man was a masterful teller of tales. That fact is well-known. But something else that he was, which gives his stories much of their value, was a fabulous image-maker. His stories are from a century past in a country across the globe, but they speak vividly of the same human spirit we encounter around us every day, that we “joke with, work with, marry, snub and exploit.”

One of these stories in particular has served for mmiserye as a stellar example of the importance of image-making to love. It is, of course, not certain that this story will act on everyone else in quite the same way, but it is beyond question that something else will.

The story is Misery. It is short and grim and sad and you can read it online here. It is just a sketch, an incomplete and unresolved look into another life. But when I read it, I cried as though at the end of a long, fully-developed work of tragedy. Such is the power of imagination.

Iona Potapov is a cab-driver in the snowy twilight of evening in long-ago Russia. His son has died and he is a poor man, a working-man, with no leisure for sorrow or for talk. He must load up his sledge with hasty, arrogant people all night and taxi them to and fro in the chill wind. Their schedules are brimming and they are not polite, but he is a man sick with grief and he must tell of it, though none should listen.

“Sledge to Vyborgskaya!” Iona hears. “Sledge!”

Iona starts, and through his snow-plastered eyelashes sees an officer in a military overcoat with a hood over his head.

“To Vyborgskaya,” repeats the officer. “Are you asleep? To Vyborgskaya!”

In token of assent Iona gives a tug at the reins which sends cakes of snow flying from the horse’s back and shoulders. The officer gets into the sledge. The sledge-driver clicks to the horse, cranes his neck like a swan, rises in his seat, and more from habit than necessity brandishes his whip. The mare cranes her neck, too, crooks her stick-like legs, and hesitatingly sets off.

“Where are you shoving, you devil?” Iona immediately hears shouts from the dark mass shifting to and fro before him. “Where the devil are you going? Keep to the right! You don’t know how to drive! Keep to the right,” says the officer angrily.

A coachman driving a carriage swears at him; a pedestrian crossing the road and brushing the horse’s nose with his shoulder looks at him angrily and shakes the snow off his sleeve. Iona fidgets on the box as though he were sitting on thorns, jerks his elbows, and turns his eyes about like one possessed as though he did not know where he was or why he was there.

“What rascals they all are!” says the officer jocosely. “They are simply doing their best to run up against you or fall under the horse’s feet. They must be doing it on purpose.”

Iona looks as his fare and moves his lips…. Apparently he means to say something, but nothing comes but a sniff.

“What?” inquires the officer.

Iona gives a wry smile, and straining his throat, brings out huskily: “My son… er… my son died this week, sir.”

“H’m! What did he die of?”

Iona turns his whole body round to his fare, and says:

“Who can tell! It must have been from fever…. He lay three days in the hospital and then he died…. God’s will.”

“Turn round, you devil!” comes out of the darkness. “Have you gone cracked, you old dog? Look where you are going!”

“Drive on! drive on!… ” says the officer. “We shan’t get there till to-morrow going on like this. Hurry up!”

The sledge-driver cranes his neck again, rises in his seat, and with heavy grace swings his whip. Several times he looks round at the officer, but the latter keeps his eyes shut and is apparently disinclined to listen. Putting his fare down at Vyborgskaya, Iona stops by a restaurant, and again sits huddled up on the box…. Again the wet snow paints him and his horse white.

Iona is not necessarily a sentimental man, not necessarily a good man even. He is just a man who has lost a son. You have seen them before. And yet, have you really seen them? Have you really dedicated your powers to putting yourself in their place? So as to love?

And God so loved the world.

That He gave His only Son.

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