Review: Religion and American Culture

religion and american culture

Religion and American Culture (3rd edition), George M. Marsden. Grand Rapids: Eerdmans, 2018.

Summary: A survey of the interaction of religion and American civil culture from the nation’s beginnings up to 2016.

“The United States is both remarkably religious and remarkably profane.”

The opening line of this survey of the history of the interaction of religion and American culture is an accurate thesis summary of this work. In part, it reflects the point of view of the author, George M. Marsden. He notes in the introduction to the work that his thinking is shaped by an Augustinian outlook that recognizes both the dignity of humans in God’s image and the reality of human evil, the parallel cultures of “City of God” and the “City of Man,” and that Christians inhabit both cities.

Marsden traces this interaction from the Protestant heritage of the early immigrants, which held sway in the country until the Civil War and the conflicted engagement with Native Peoples–from uneasy coexistence, to violent displacement, to occasional mission efforts–a conflicted record. He examines the different streams of thought contributing to the American revolution–and how they converged and diverged. He examines the heritage of dissent, the secular and deist founders, and the ideas shared in common by Locke and the Puritans. He notes a paradox of high ideals of liberty and justice, and the beginnings of manifest destiny and the use of power to displace native peoples, and hold Africans in servitude. These threads continue into the nineteenth century with the revivalist spread of evangelical culture, marked by increasing levels of education as frontier denominations establish colleges. This culminates in institutions like Oberlin College, motivated by religious revival, enrolling female students, and advocating abolition in an increasingly divided evangelical church along the geographic lines of north and south.

The post-Civil war era on its face seemed to reflect a continued advance of Protestantism, including Protestant missions. At the same time developments of both social progressivism, and the advent of Darwinism and higher critical theories brought the first cracks in the established position of both mainline and evangelical Protestants. They also faced an increasingly plural situation with the immigration of large numbers of Catholics and Jews, as well as the growing influence of the African-American church, which in turn, made its contribution to the rise of pentecostalism.

The fault lines become more pronounced in the early twentieth century with divides in mainline denominations between north and south, a rise of fundamentalism in reaction to liberal scholarship. John Dewey’s secular ideals prevail in the educational establishment. The Niebuhr brothers and Karl Barth offer a neo-orthodox alternative to liberal scholarship in more mainline contexts while those of evangelical belief retreat into fundamentalism.

Marsden notes another great reversal post-World War 2 with the rise in church membership, the baby boom, the ministry of Billy Graham, a re-framed culturally engaged evangelicalism, as well as the growth of Jewish and Catholic influence in the country. The African-American church led by Dr. King awakens and asserts its call for justice and civil rights. Then a rising evangelical movement becomes increasingly politically engaged and Marsden traces this history from the rise of Jimmy Carter to the election of 2016, chronicling an increasingly fragmented, secularized, and polarized country.

This “brief history,” as the subtitle calls it, covers extensive ground, and various movements, sects, and various religious communities, in a history at once descriptive, and illustrative of the “religious and profane” theme. Marsden particularly portrays the conflict between religious ideals and our treatment of native peoples and African-Americans, the changing face of Protestant privilege, the unholy alliances that have existed between Christians and our government throughout our history, the growing pluralism, both religious and irreligious, and the perennial tension between the country’s religious and secular ideals.

Marsden concludes with a few thoughts on preserving a truly pluralistic society, which he believes begins with clarifying the rules that protect free speech and genuine diversity within various sub-communities, protecting them from the tyranny of the majority. He concludes by noting why knowledge of our history is so vital to this project:

“This book is a history, and it is much easier to describe how the United States got to the point it has reached with respect to its secular and religious diversity than it is to prescribe exactly how its future with respect to those diversities might be improved. Still, we can safely say that there will be no improvement without historical understanding of how we got to be where we are. One lesson is sure. When it comes to religion, it will not do to resort to easy generalizations; evaluation of its roles must always be nuanced. Such nuance will help us see that religion, even at what we may regard its best, appears in human affairs almost always as a mixed blessing.”

Marsden has given us the resources for that nuanced “understanding of how we have gotten to be where we are.” This seems critical for religious and political leaders alike, to enable wise and humble decisions that avoid the hubris and folly that sadly has too often characterized our history.

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Disclosure of Material Connection: I received a complimentary review copy of this book from the publisher in exchange for an honest review. The opinions I have expressed are my own.

Review: The Good Neighbor

the good neighbor

The Good Neighbor: The Life and Work of Fred RogersMaxwell King. New York: Abrams Press, 2018.

Summary: The biography of this pioneer in children’s television, the good neighbor in life as well as on screen.

I grew up before Mr. Rogers. My son grew up with him, and I remember coming in when Mister Rogers’ Neighborhood was on and I could feel the tensions of the day drain away, and my racing thoughts slow down as I listened to him talk calmly and slowly, feeding his fish, and telling me that “I like you just the way you are.” The only thing I found myself wondering sometimes was “is this guy for real.”

Maxwell King, who knew Rogers for many years through his leadership in several philanthropic organizations in Pittsburgh, makes the point that the Rogers we saw on screen was the Rogers everyone who worked with him or met him encountered. In this first full-length biography on Roger’s life, King traces the course of his life from his privileged childhood in Latrobe, Pennsylvania, to the generous way he ended his life, dying of stomach cancer.

We meet a boy who was overly protected by loving parents until grandparents helped him to begin to spread his wings. His love of music is encouraged, and when he is allowed to choose a piano, he selects a Steinway concert grand that his grandmother purchases, and that followed him through life. The gift of a puppet leads to setting up a puppet theater in the attic of his home. He doesn’t fit in with the athletic culture of his school, but his kindness to the star athlete, who he helps with studies while the athlete was hospitalized, won the attention of his classmates. The morally serious student just doesn’t fit in at Dartmouth, and transfers to the music school at Rollins in Florida. He meets Joanne, the love of his life.

While Joanne completes her studies, Rogers goes to New York, getting a job as an apprentice on NBC, eventually becoming a floor manager under Pat Weaver, working with some of the landmark productions of the early era of television, including the live broadcast of Amahl and the Night Visitors. Along the way, Fred and Joanne marry and buy “The Crooked House” on Nantucket.

What looked like an east coast life was interrupted by an invitation to return to Pittsburgh to work with an educational television station being launched, WQED, to work on a children’s television program. Teaming up with vivacious Josie Carey, The Children’s Corner launches in 1954. King describes the growing distance between spontaneous Carey, the entertainer, and Rogers, already thinking about the development of children and the care needed with every word. They part, the show ends, and Rogers life takes another startling turn.

Fred Rogers enrolls as a student at Pittsburgh Theological Seminary, and as a candidate for Presbyterian ministry. His vision just didn’t fit the mold. He wanted to be a minister to children, on television. Dr. Bill Orr, who claimed that his most important theological word was forgiveness, was Roger’s most significant mentor. It was at this time that he also met child development psychologist, Margaret McFarland, a consultant to Rogers who shaped much of the philosophy of Mister Rogers’ Neighborhood.

After working for a time with the CBC in Toronto, creating Misterogers, where The Neighbor of Make Believe was created, he returned to Pittsburgh in 1968, to launch a half hour version that got Rogers in front of the camera for the first time, and not simply doing puppet segments. The remainder of the book traces the show’s development, it’s path-breaking work dealing with issues like divorce. There is the memorable episode on racial differences  with Francois Clemons, where the two of them, a black man and a white man, cool their feet on a hot summer afternoon, with Rogers drying Clemons feet at the end. Clemons was not only black but also gay, and the two of them reprised this episode in 1993. Clemons describes Rogers standard closing: “You make every day a special day just by being you, and I like you just the way you are.” As he says this he looks at Francois Clemons, who asks, “Fred were you talking to me?” Rogers replied, “Yes, I have been talking to you for years. But you heard me today.”

There were moments like this throughout the book that caught me up, encountering the power of Rogers’ kindness and care for those he encountered. While he did not talk about his faith on the show, his daily practices of reading scripture and other religious books and praying were a wellspring of his life–along with his daily swims. These reflected the disciplined life he led, maintaining his weight at 143 pounds. King helps us see the perfectionist side of Rogers, who was always so concerned to get it just right for the children. It seems he was blessed with people who accepted that and rose to it, talented musicians, singers like Clemons, and so many more.

Yet we also see how the show centered around Rogers, who wrote nearly all the scripts and all the songs, as well as composing thirteen operas for children. King contrasts the approach of Rogers measured speech with the pace and cognitive focus of Sesame Street, begun about the same time. Rogers clearly differed, but never criticized them publicly.

This is not all hagiography. Rogers struggled with his own sons, particular the younger John, who rebelled, and estranged himself for a time from the family. As the show took off, Rogers found it difficult to be always present with them. Yet both sons also spoke of the fun they had as a family, of a father who was just a normal guy, who perhaps could have been tougher on them. Jim, the elder son concludes, “I think all Dad really ever wanted for John or me was to be happy and pleased with who we are.”

One of the gifts of this book is that King interviewed most of the people still living, who interacted with Rogers. Perhaps one of the most striking was Tom Junod’s account of meeting Rogers. Junod, a hard-hitting writer for Esquire wanted to write a piece on Rogers and contacted him. It turns out, Rogers was in Manhattan, and without vetting, invites Junod to his apartment, meeting him in a flimsy old bathrobe. Rogers was wealthy, through his family, but utterly unpretentious.

Most of all we see how children loved him. He totally sidetracked an Oprah show talking to children. A letter from one wheelchair-bound Wisconsin boy from Madison, Jeff Erlanger, whose “make a wish” was to meet Rogers, led to a breakfast in Milwaukee, continuing correspondence and an eventual appearance on the show. But not only children loved him.

“One of Fred Rogers’s most loyal fans was Koko, a famously communicative gorilla who appeared on the Neighborhood in 1998. Since Koko had been a faithful viewer of Rogers’s program for years, Fred visited her at the Gorilla Foundation in Redwood City, California, in his sweater and sneakers. When she saw him, Koko immediately folded him in her long, black arms, as though he were a child, and took off his shoes. Then they conversed in American Sign Language, shared a hug, and took pictures of each other.”

King’s book, and this story in particular, suggests to me that Rogers was a modern St. Francis. He came from wealth, and yet lived simply. He pursued a calling, a ministry with a singleness of vision that seemed strange to some at times, and yet had its own peculiar power to form the character and self-worth of children. He sang and spoke through puppets, fed fish, and met us on screen in homely cardigans. To read about him is to be elevated, and to ask oneself, “am I a good neighbor?”

Review: Is There Purpose in Biology?

is there purpose in biology

Is There Purpose in Biology?Denis Alexander. Oxford: Lion Hudson, 2018.

Summary: An exploration of the idea purpose in biology, the association of purposelessness with the randomness and chance of evolution and whether this is warranted, and how a Christian perspective may both be consistent with what may be observed, and how Christian theology may deal with questions of pain and suffering in evolutionary processes.

One of the common conclusions advanced with the support of evolutionary theory is that there is no inherent purpose evident in the natural world. Much of this is predicated on a process in which life arises through chance and randomness, and that any apparent purpose is illusory.

Denis Alexander, a researcher in biochemistry and Emeritus Director of the Faraday Institute for Science and Religion, argues in this book that this is not necessarily a warranted conclusion. First, though he is careful to distinguish between Purpose and purpose. He will not be trying to show evidence of metaphysical Purpose in biology, but that the processes of evolution do evidence purpose in the sense that outcomes were not strictly random, either at a genetic or macro level, but are constrained in certain directions consistent with “purpose.”

Chapter 1 begins with a survey of the use of the language of Purpose and purpose in biology through history from the Greeks up through the beginnings of science, and the subsequent denial of purpose as the theory of evolution became established. Then chapters 2 through 4 get “into the weeds” of evolutionary science.

Chapter 2 argues that the direction of evolution toward increasing complexity over time may be reflective of purpose and also that body size and plan is subject to “allometric scaling” and cannot simply occur in any form or size. Convergence where different species in different lines under similar conditions evolve similar structures, is another example of this. Chapter 3 observes that similar constraints exist at the molecular level. Chapter 4 then looks at the genetic level, and the idea of random mutations. It turns out that mutations are not purely random but seem to occur at particular places on chromosomes. Likewise, forces of natural selection are not random, but also constrain outcomes in certain directions. These chapters are fairly technical, but offer a good glimpse of the current state of the discussions in evolutionary biology, as opposed to popular caricatures.

In chapter 5, Alexander shifts to theological discussion. He recognizes that in practice, people do introduce discussions of Purpose that reflect their worldviews. What he does is articulate an understanding of “top down” creation at work through evolutionary processes–not in the “gaps” but throughout, a version of theistic evolution. A significant aspect of this has to do with his belief in God’s “immanence” in creation, working in and through evolutionary processes.

Chapter 6 concludes the discussion by dealing with one of the problems of his proposal. To argue that God is involved “immanently” in evolutionary processes makes God in some ways responsible for the pain and suffering implicit for both animal and human species facing natural selection, or dying because of mutations leading to genetic defects or cancer. Alexander dismisses responses of “fallen creation” or attributions of suffering to sin, arguing for a kind of “freedom” in evolutionary processes that necessarily includes pain–that God no more compels creation than he does human beings.

I suspect there is material here in every chapter that someone will take exception to, including the basic theistic evolutionary position Alexander takes. Those who dismiss theism will reject Alexander’s case for purpose. Others will struggle with his theodicy. Some would argue that you can see not only purpose but Purpose in biological science in itself. I would contend that the strength of Alexander’s argument is that it is neither dismissive of evolutionary science nor of a God engaged with creation working out God’s purposes. He shows how the two are at least consonant with each other. He chooses a “messy” explanation to the problem of pain that leaves room for mystery rather than pat answers. For those not interested in an oppositional approach to evolution and creation, Alexander’s work offers a way, or at least hints of a way forward.

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Disclosure of Material Connection: I received a complimentary review copy of this book from the publisher via Netgalley in exchange for an honest review. The opinions I have expressed are my own.

Review: Perfectly Human

perfectly human

Perfectly HumanSarah C. Williams. Walden, NY: Plough Publishing, 2018.

Summary: A personal narrative of a couple facing a pre-natal diagnosis of fatal birth defects, their decision to carry their daughter to term, their process with family and friends, and the larger issues their own decision raised for them.

Sarah Williams had struggled through a horrendous pregnancy of nausea, even as her children anticipated a younger sibling. A routine, twenty-week pre-natal screening turns suddenly serious. A specialist diagnoses thanatophoric dysplasia, a skeletal deformity resulting in a chest that is too small to sustain proper lung development, and a baby unable to breathe upon birth. The expectation of the medical professionals is that they would terminate the pregnancy, and this is Sarah, and her husband Paul’s, first instinct as well. Except that she felt God speak to her that May evening: “Here is a sick and dying child. Will you love this child for me?” Subsequently she reflects: “…it became less a question of my loving the baby as me watching God love and then following him in his love.

Close friends and their pastor rally around them. Others respond less helpfully, from insistent faith that God would cure the defects to criticism from academic colleagues for even thinking of carrying such a “sub-optimal” life to term. We also see things from Paul’s perspective, and how men are often closed out of this process, when they also love and grieve their child.

Most touching are the ways they deal with this as a family. They talk honestly with the children, who each respond in different ways as they love and grieve their baby sister. The family names her Cerian, a Welsh name that means “loved.” One of the children records her heartbeat. The family goes camping, and then stays with Sarah’s mother Wren, who provides a place of spiritual retreat as Sarah approaches delivery, complicated by hydramnios, a buildup of amniotic fluid because the baby is not swallowing enough.

The narrative of her induced birth is powerful. Sarah had nearly died as the baby pressed against a major blood vessel. The time has come to let go of the baby but she fights against her body until she “sees” a horse and rider, who she understands to be Jesus, come for her baby.

She deals with the rawness of her grief and that of her family. No effort is made to spiritualize it but we see grieving people helping each other to figure out how to remember Cerian, and to learn from the love they were called into. Sarah writes:

“During the nine months I carried Cerian, God had come close to me again unexpectedly, wild and beautiful, good and gracious. I touched his presence as I carried Cerian, and as a result I realized that underneath all my other longings lay an aching desire for God himself and for his love. Cerian shamed my strength and in her weakness she showed me a way of intimacy.”

The book is pro-life without pitting mothers against babies, without judging or advocating. The author acknowledges that others facing the same situation might choose differently and she refuses to judge those choices. An epilogue does wrestle with these issues, more with questions about the choices we have taken upon ourselves because of our technology that suggest that our humanness, and sometimes that of others, reflects our own self-definitions and self-creations. Cerian showed her a different way:

“Limitations, finitude, suffering, weakness, disability, and frailty can be gifts. Far from robbing us of our humanity, without a place for these things we are less than human. Ultimately, personhood is not a work of self-definition and self-creation. Instead, it is a gift.”

This is a work of exquisite, intimate, and aching beauty that also raises profound questions without becoming preachy or censorious. It also reflects the power of a community of family and friends. The inclusion of Paul and his own struggles and growth in the process reminds us that pregnancy is also about men, not imposing their will upon a woman, but through conception, stepping into the joys, the griefs, and the sacrificial love of being a husband and father. Paul rails against the ways he is institutionally excluded, and chooses not to remain aloof but as deeply involved as a man can be in these things, allowing both love and loss to touch his own heart. Williams shows care with words, using them well to articulate self-understanding and insight. To read this narrative is alternately to wonder and to weep, in our own longings for we know not what, at the perfectly human gift of Cerian.

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Disclosure of Material Connection: I received a complimentary review copy of this book from the publisher in exchange for an honest review. The opinions I have expressed are my own.

Review: Mariner

mariner

Mariner (Studies in Theology and the Arts), Malcolm Guite. Downers Grove: IVP Academic, 2018.

Summary: A biography of Samuel Taylor Coleridge, with an analysis showing how his most famous poem foretold and paralleled the course of his own life–a journey of fall, a need for grace, and redemption.

“Instead of the cross, the Albatross/About my neck was hung.”

I first read these lines from The Rime of the Ancient Mariner in a class on Romantic Literature over forty years ago. I must admit that I have not revisited these lines until reading Malcolm Guite’s Mariner. In the poem, the mariner voyages across the Equator, braves storms and fogs, encounters an albatross who guides the crew until they are able to head northward once more, only for the mariner to kill it with an arrow. Subsequently the winds die, they languish in the doldrums until the coming of the death ship when all around die, while the mariner lives, bearing the albatross around his neck, despising the slimy creatures of the sea and the brazen sun. Things turn on a moonlit night when suddenly the mariner’s heart is filled with love for all, including the once despised sea creatures, the albatross falls and he can pray. The ship is propelled mysteriously home, spirits inhabiting the bodies of the crew. At one point he swoons, hears voices speaking of the penance he has yet to undergo for taking the life of the albatross, loved by God. Eventually, the ship in tatters, arrives home, and as the harbor pilot, his helper, and a hermit arrive, the ship sinks, with the mariner being rescued. He confesses to the hermit, and then pursues his task ever after of telling the story, including to the wedding guest detained to hear him out. He concludes his words to the guest with these, that capture the grace he has gained amid the loss of the journey:

He prayeth best, who loveth best 
All things both great and small; 
For the dear God who loveth us, 
He made and loveth all.

What Malcolm Guite does in this work is to show us how the poem, written when Coleridge was at the height of his poetic powers, presciently parallels the subsequent course of Coleridge’s life as he descends into an opium addiction that destroys his marriage, alienates his friends, and undermines his health.

Part One of the book is both biography and analysis of Coleridge’s work leading up to the composition of Rime. Guite traces his childhood upbringing as the youngest of ten children of a minister in the Church of England, his education at Cambridge, his failure to win a critical scholarship, his first use of opium, his comic career with the dragoons, his early literary efforts, his marriage through his friendship with Southey to Sara, and his growing relationship with Wordsworth, complicated as it was by first supporting him in the joint project of the Lyrical Ballads and then being overshadowed. While his marriage begins to unravel, there is an annus mirabilis of literary production, culminating in the Rime.

Part Two, in seven chapters that follow the seven parts of the poem combine analysis of the poem with a narrative of Coleridge’s deterioration as he struggles with opium addiction, his repeated failed efforts to get his finances on a sound footing, to heal his marriage, and to struggle with his affection for “Asra,” an affair that remains Platonic until broken off. We see the brilliance of his production, even afflicted by addiction, and wonder what might have been. Guite also describes the spiritual journey of Coleridge, his growing realization that his reason, even his reasoning faith cannot save him, but only grace alone. He traces the movement of Coleridge’s faith from head to heart, and the decisive surrender of his life into the care of his physician, with whom he lives the last eighteen years of his life. He writes:

“Most writers about Coleridge have opted to tell only one of two apparently very different stories: the first and best know is the sublime yet tragic story of the poet of inspiration and of agony, of the love who speaks with and from a broken heart, the poet of freedom who finds himself evermore deeply meshed in the bondage of opium, and ends his life, from that perspective, in apparent failure. The second is the story of Coleridge the thinker, the philosopher, the man of faith, the founder of literary criticism, and the originator of almost every school of literary criticism we now possess….But the real story is much more moving….When we see how Coleridge reached out toward, shaped, and attained that dynamic philosophy, that integration of faith and reason, in the midst of the heartbreak of forsaken love and the corruption and damage of opium, how he achieved what he did not only in spite of the pain and despair through which he lived, but with that pain and despair, expressed in prayer and poetry, as his materials, then we begin to see the greatness of his achievement” (p. 220).

I never felt that the parallel that Guite draws between the poem and Coleridge’s life to be forced. Rather, it seems to be a case that Coleridge wrote more than he knew. For Guite, the later glosses on the poem that Coleridge added are vital to his argument, hinting at the insights from life Coleridge has gained that only deepen the meaning of his work.

I also appreciated Guite’s analysis of the poem and its movement of descent and fall, realization of the need for grace, and redemption. In addition, one of the themes Guite explores is an environmental one–the groaning creation, and the necessity of loving what God has loved. I also delighted in how the seven sections of his analysis of the poem are complemented by the illustrations of Gustave Doré.

This book is an utter delight, doing justice to Coleridge, his work, and his most famous poem. Malcolm Guite, an accomplished poet and theologian, brings all these gifts to bear in a study that helps us appreciate the intellectual contribution of Coleridge, the power of his poetic works, and the work of grace experienced by this tormented man. The narrative of Coleridge’s opiate addiction, his inability to save himself, his surrender and dependence upon a Higher Power is a narrative that others who struggle with addiction will understand, and perhaps find hope in for themselves. I think both Coleridge and his mariner would be glad were this so.

Review: Co-Active Coaching

co-active coaching

Co-Active CoachingHenry Kimsey-House, Karen Kimsey-House, Philip Sandahl, and Laura Whitworth. Boston: Nicholas Brealey Publishing, 2011 (3rd edition–link is to 4th edition published in 2018).

Summary: A model of coaching in which coach and client actively collaborate to accomplish the clients needs, and the cornerstones, contexts, and core principles to realize those outcomes.

There are a variety of models for coaching and versatile coaches draw upon different models to meet the needs of their clients. In reading this book, what I found, which is described as a model, really seems to be a description of the ethos of coaching, the framework of practice within which a coach teams with his or her clients to accomplish the client’s goals. That’s not surprising since the authors (one now deceased) have been involved in coaching work since the 1980’s. This work was first published in the late 1990’s and is now in its fourth edition (my review is of the third edition).

The “co-active” refers to the kind of relationship that exists between coach and client, in which each actively collaborates to accomplish the client’s goals. Coaches are fully engaged in attentive listening, drawing upon their own curiosity and intuition. Clients are fully engaged in identifying their goals and aspirations, and doing the work that coach and client identify are necessary to pursue those goals. The authors talk about a “coaching power triangle” consisting of the coach, the client and the coaching relationship. It is the coaching relationship that is powerful, not the coach, and the power each grants to the relationship is directed to the empowering of the client. It strikes me that this is what all good coaching strives for, whether under the “co-active” label or not, but the term highlights the shared agency of both parties.

The model works around four cornerstones, five contexts, and three core principles

The four cornerstones provide the structure for the co-active relationship:

  1. People are naturally creative, resourceful, and whole. The assumption here is that clients are capable of discovering and implementing actions toward their goals.
  2. Focus on the whole person. While there may be a problem to solve or a business goal to attain, the client brings all of who they are, and the most effective coaching relationships address that whole person.
  3. Dance in this moment. This is to be fully present with the client in the moment, to what is happening in the conversation.
  4. Evoke transformation, not just “ahh” but “aha”–deeper awareness and expanded capacity to act in the client.

The five contexts are aspects of the coach’s contact or presence with the client:

  1. Listening: There are three levels of listening. Internal is the coach listening to their own internal dialogue, focused is the coach attentively listening to the client, and global goes beyond what is said, to everything around that, the subtle nuances and the total context of the client. Good listening is at the latter two levels.
  2. Intuition: This synthesizes attentive listening, subtle cues, and our experience, and often presents as a gut sense or hunch.
  3. Curiosity: Asking questions, exploring in open, inviting, playful, and companionable fashion that creates the sense of safety to explore even the dark and unknown spaces.
  4. Forward and deepen: “Forward” refers to moving the client forward in action. “Deepen” emphasizes learning that goes beyond the action to core principles of the client.
  5. Self-management: Mostly this means the ability of the coach to not make it about them but about the client. It’s not about being right about insights and hunches. It is about the client

The three core principles have to do with the whole life of the client:

  1. Fulfillment: what the client values and how they define their purpose in life. In co-active coaching, the “wheel of life” exercise is one tool used to help people identify the degree of fulfillment they are experiencing in different areas of life.
  2. Balance: often clients get stuck being out of balance. Coaching opens up new perspectives, helps clients choose a different perspective, figure out what to say no and yes to, to act out of that new perspective, and commit to that plan.
  3. Process: It is easy to focus only on results in coaching and lose sight of the process occurring in the coaching relationship, celebrating the person the client is, and is becoming along the way.

A chapter of the book is devoted to each of the five contexts and three core principles with coaching dialogues that illustrate each of these as well as many personal examples from the authors’ coaching practice. Additional resources are offered throughout the book in an online Coaches Toolkit that may be accessed for free and used freely at: http://www.coactive.com/toolkit — a huge resource for coaches.

What I liked in this book is the emphasis on coaches bringing their full selves, including their intuitions and curiosity to the coaching relationship. I also appreciated the idea of clients as creative, resourceful, whole people, who often know far more than the coach about the situation in which they are being coached. I also appreciated the focus on the whole person and not just business problems or goals. The generous resources of the online Coaches Toolkit are another asset.

What I would have liked more help with is how one negotiates the focus on the whole person with the business goals, particularly if it is an organization, and not the individual who has hired you. This book also seems to play down the role of fluency in the types of organizational or business situations one is coaching in (start-up versus large organization, local business versus global, etc.). It focuses on the “soft” versus “hard” skills of coaching, it seems, and I wonder if some caveats here might be helpful.

As I commented above, I think, of the several books I’ve read (I’m by no means an expert in this area), I thought this book did the best job describing the ethos or fundamental nature of coaching. The authors provide a helpful description of the environment of a good coaching relationship, the nature of coaching and what transformation looks like for the client. It left me more excited about the coaching aspects of my own work.

 

 

Review: The Power of the 72

the power of the 72

The Power of the 72John Teter. Downers Grove: InterVarsity Press, 2017.

Summary: A description of the theology and practice of equipping ordinary people to join in the mission of calling people to follow Jesus.

John Teter is convinced that evangelism does not belong to the experts, but that Jesus plan is to work with and through ordinary people to call many to follow Jesus. That is “the power of the 72,” the unnamed group of people described in Luke 10 who Jesus sent out as his “advance team” to preach and heal in the towns Jesus would visit.

This book is divided into two parts. The first is centered around theology. Three key ideas are emphasized–first that witness comes out of relationship, second that Jesus sends his disciples to the poor, and third, that he prepares them for crushing pressure. Teter’s own ministry in the lowest income section of Long Beach illustrates the second of these points and it is inspiring to read how the church he has planted has loved its community, and how people have come to faith as a result.

The second part outlines Teter’s approach of process conversion. It may be memorably summarized under the rubric of 4-3-2-1.

Four benchmark events:

  1. Trusting a non-Christian (and presumably vice versa!)
  2. Experiencing God and the good news of the gospel.
  3. Hearing and understanding the good news.
  4. Receiving a clear call to follow Jesus.

Three conversations:

  1. Connection or initial investigation–discovering spiritual background and where they are on the conversion timeline (above).
  2. Secular to Sacred–inviting them to prayer, study of God’s Word, and fellowship to explore Jesus and the gospel.
  3. Curiosity to cross–as a person comes to understand who Jesus is and his message, they understand the decision they must make to take up the cross and follow.

Two mission tools:

  1. Food–sharing food together, often being received into a person’s home establishes trust and deep bonds.
  2. God’s Word–where people encounter Jesus for themselves in the gospels and hear his call and experience his healing in their lives.

One line we help friends cross as we call them to faith.

Undergirding all of this is a commitment to prayer. Chapter 5 on “Earnest and Powerful Prayers” is a pivotal part of the book, as Teter not only outlines the priority of prayer in scripture. The seven Habits of the 72 in prayer (p. 103) are ones I’ve copied for my journal.

There are several things I appreciated about this work. One is Teter’s enthusiasm. He not only writes about the joy of seeing people come to faith, but that joy also comes through on every page. Second is John’s honesty about relationships that didn’t lead to people coming to faith, things that didn’t work out the way he hoped. Many of the positive stories are those of others he works with. Third is the clarity of approach that arises out of his immersion in Luke’s gospel and the book of Acts, and his conviction of a ministry that is Word-centered, prayer-focused, and Spirit-empowered.

At one time, evangelical ministries neglected service and physical needs to focus on proclamation. Teter, I believe rightly, senses the pendulum has swung too far the other way, a swing he believes in part to be motivated by fear. He writes:

“A quotation attributed to St. Francis of Assisi says, ‘Preach the gospel at all times. If necessary, use words.’ When I hear that, I wonder if Francis’s larger ministry context emphasized speaking the word over service and acts of love. If that’s the case, it’s an entirely appropriate exhortation to strengthen a weak area of ministry. In our era, I believe many Christians have given themselves over to fear. We must heed the most heeded exhortation in the New Testament, ‘Do not be afraid,’ and open our mouths to proclaim the kingdom. We must choose obedience” (p. 132).

While a statement like this is challenging, what drives this and is evident throughout the book is Teter’s excitement about seeing people transformed as they come to faith in Christ. In this regard, he sounds a note much needed in the atmosphere of self-criticism, fear, and general up-tightness about the practice of evangelism. He reminds us that witness is about loving people, depending on God, experiencing the power of the Word and the Holy Spirit, and above all, knowing the great joy that pervades heaven when people come to faith and are reconciled to God through Christ. He reminds us that experiencing the reality of these things is not the preserve of a few specialists, but rather for ordinary, everyday believers. That is the power of the 72.

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Disclosure of Material Connection: I received a complimentary review copy of this book from the publisher in exchange for an honest review. The opinions I have expressed are my own.

Review: Commonwealth

commonwealth

Commonwealth, Ann Patchett. New York: HarperCollins, 2016.

Summary: Traces the lives of six children and the parents from two families over five decades from the beginnings of an affair at a christening that broke up two marriages and threw the children together.

“The christening party took a turn when Albert Cousins arrived with gin.”

In one sense, the whole story of Commonwealth turns on that first line. Albert Cousins joins Fix Keating’s wife Beverly in the kitchen as they make drinks, and imbibe in a few, setting up the beginnings of an affair that led each to divorce their spouses, Teresa and Fix, throwing together the two Keating girls, Caroline and Franny, and the four Cousins children together, Cal, Holly, Jeannette, and Albie, who spend much of their growing up years together in Virginia (the Commonwealth).

The book moves between their childhood together, how this “blended family” negotiates the passage into adulthood, and maturity. Two of the six children dominate the narrative–Franny and Albie.

Franny, the baby at the christening seems to wander through much of her life, dropping out of law school, unlike her successful patent attorney sister, working as a cocktail waitress, and living for a number of years with novelist Leon Posen, who appropriates the family story in a best selling novel, Commonwealth, rejuvenating his career.

Albie, the youngest Cousins was the annoying younger brother, often dealt with by “tic-tacs” from his older brother (benedryl) that put him to sleep and out of their hair, which he was on the fatal day when Cal dies on an outing with the others. Only when he reads Posen’s book, given him as a bicycle messenger to publishers in New York, does he understand the unwitting part he played in his brother’s death, and figures out how the family’s story was appropriated. He’s staying with Jeannette and her husband in a cramped New York apartment. Meanwhile, Holly is off in Switzerland, meditating.

Fifty years later, Fix is dying of esophageal cancer and the other parents are aging. We see how the surviving children of these two families come to terms with their shared family history, the parents they lived with, and those they visited on custodial visits. The tender moments with Fix are those with Franny. Albie, who nearly burned down a school when he was living a difficult adolescence with Teresa becomes the one who checks in on her in her later years. Weirdly, despite Albie’s anger with Franny for giving away the family story, there is a bond between them as the youngest children that brings them together in the closing parts of the book.

Guns, kept but unused, figure both in the death of Cal, and with Fix who wants Franny to end his suffering. Gin also recurs at the end of the story between Albert and the baby at the christening–now mature Franny, married to Kumar in Chicago. Circles close, but Franny makes different choices, keeping “something for herself.”

I’m still deciding what I think of this book. As always, I love the writing of Patchett and the complexity of her characters and their relationships. There is no great crisis or drama–simply the wandering ways of different children trying to find their ways in life, the quarrels and reconciliations that occur in families. The number of children, the movements between childhood, early and later adulthood felt disjointed at times. Perhaps as much as anything, this reflects the disruption and disjointedness that affairs and divorce bring into the lives of all who are touched by them, and the ways children have to come to terms with step-parents, step siblings, non-custodial birth parents. It all seems very modern, a story many readers have lived themselves. Will they see themselves in Patchett’s characters? Will they like what they see or gain insight as they follow these characters through their lives? Will they want to? I’ll leave that to you.

 

Review: Between Two Worlds

between two worlds

Between Two Worlds (Lanny Budd #2), Upton Sinclair. New York: Open Road Media, 2016 (first published in 1941).

Summary: Traces Lanny Budd’s life through two love affairs and his marriage to a rich heiress, during the 1920’s war weariness, good times, the rise of fascism, and the crash of the stock market.

The second of eleven Lanny Budd novels, this work picks up where the first ends, at the end of the Versailles Peace Conference. Budd, disillusioned by the self-interested carving up of the world and subjection of Germany, returns to his Riviera home to figure out what to make of his life. First order is to protect former German spy and school friend Kurt Meissner, to whom his mother Beauty is married, creating a studio for his composing, and a safe place to hide out. He also wants to lend support to his crippled friend Rick, as he tries to establish his life as a writer.

The novel spans the period from the end of the peace conference through to the crash of the stock market in 1929. As in the previous novel, Lanny seems to find a way to be present at all the big events, from the various international conferences to try to “remake” the world to meeting Mussolini, witnessing a speech of Hitler’s at the time of the Beer Hall Putsch, and meeting the famous dancer Isadora Duncan in her waning years. He barely escapes Italy with his life, defending a socialist when socialism was being brutally suppressed by Mussolini. And he is on Wall Street when the market crashes.

One development in his life is the beginning of his career as an art dealer, enabling him to have an income independent from his gun manufacturing father. That independence helps him rescue his father later on. The other is his love affairs, and eventual marriage to an American heiress. First is his affair with Marie de Bruyne, that ends tragically after a number of happy years together. The second revisited his old affair with Rosemary, now a bored wife, broken off for reasons of expedience. Then along comes Irma Barnes, a wealthy heiress. Despite the seeming indifference of both, and Lanny’s dubious background both as an illegitimate child, and a “pink” with socialist leanings, they fall in love, marry aboard ship, and arrive and are accepted by both American families.

Behind the narrative, which barely could be called a plotline, Sinclair portrays the corruption of both capitalism and fascism, and the attraction in this period of socialism. One wonders whether this reflected something of Sinclair’s own social conscience during this period (he later became increasingly disillusioned with communism). He also captures the desire of many to forget war, to indulge in high life and the social whirl, and forget the unresolved issues of Versailles.

The third novel in this series, Dragon’s Teeth, won a Pulitzer. In many ways, this novel felt like a “bridge” between the first and third. If there is any climax, it is the stock market crash of October 1929, with Lanny on hand just in time and flush with funds to rescue his father. Otherwise, this was an engaging but lengthy exercise in character development and historical narrative (with some social commentary thrown in). Perhaps the lack of focused development paralleled a time of frenzied malaise. He quotes Matthew Arnold in the epigraph to this volume from which the title is drawn:

“Wandering between two worlds, one dead,

The other powerless to be born.”

My hope is that the wandering will end with Dragon’s Teeth. I’ll let you know.

[My review of World’s End]

Review: A Peculiar Orthodoxy

a peculiar orthodoxy

A Peculiar OrthodoxyJeremy S. Begbie. Grand Rapids: Baker Academic, 2018.

Summary: A collection of essays exploring the intersection of theology and the arts.

In recent years there has been an upsurge of conversation relating theology and the arts. One of the leading lights in this conversation is Jeremy S. Begbie, both a trained theologian, and gifted pianist. This work is a collection of essays given as academic presentations, and thus, the reader will encounter some overlap of ideas and themes, but also a rich appreciation of both art and orthodox theology.

Begbie begins with Bach and the subject of beauty. Beauty as one of the transcendentals is often related back to Platonic thought, but Begbie argues for an understanding of beauty in light of the Trinitarian God and then uses Bach’s Goldberg Variations to explore how Bach’s religious beliefs are evident in his music. A companion essay follows dealing with the resistance to an idea of beauty that often reduces to sentimentality, and doesn’t deal with the existence of ugliness, evil, suffering and pain in life. Begbie argues that the Triduum of Good Friday, Holy Saturday, and Easter reveals a perspective in which God enters into human suffering fully and works redemptively. This is a beauty that does not hide from or hide evil, but works restoratively.

A fascinating essay follows, “Faithful Feelings,” that explores the connection between music and emotion and suggests that music may concentrate, indeed purify emotion. Likewise in worship, our emotional lives are concentrated and purifies in the worship of the Triune God, and that the use of music in worship ought to be shaped by a congruency between music, and the theological truth being expressed.

Both the fourth and seventh essays address music and natural theology using the work of David Brown who has written extensively on classical music and belief. Begbie would contend for the specificity of orthodoxy in these discussions rather than the more inclusive theism of Brown. Begbie argues that our thinking about the arts must be shaped by a trinitarian, indeed Christ-centered understanding.

Between these essays are two focused on particular works, one of music, one written. The musical work is Edward Elgar’s Dream of Gerontius, in which Begbie explore the ambivalence in John Henry Newman’s portrayal of purgatory in the words, carried over into the musical setting of these by Elgar–a movement between confidence and anxiety. This is followed by an analysis of George Herbert’s poem, “Ephes. 4.30”, and the link Herbert portrays here between the arts and the Holy Spirit.

Perhaps the essay I found most fascinating was the eighth, exploring the ideas of music, space, and freedom. He proposes that often we have difficulties with questions of the one and the many, or the intersection of divine and human freedom because of perceiving these in terms of either visual or material space. He observes that music opens up another way of conceiving of these in which multiple tones may occupy the same aural space simultaneously, with none being cancelled out, and if anything, producing a richer and more interesting sound than a single tone, whether harmonious or dissonant.

The collection concludes with Begbie’s thoughts on the contribution of Reformed theology to the arts. His discussion of Reformed perspectives on “beauty” and “sacrament” help sharpen the creature, Creator distinction, and clarify the fuzziness with which these ideas are often thrown around in art and theology discussions. He addresses the Reformed commitment to the word as both significant in God’s self-communication, and yet also complemented by other media that communicate realities for which words alone are inadequate.

Reflecting Begbie’s musical training, the essays tend to focus more on musical than other forms of art. As a choral singer and lay theologian, I did not mind this. His thoughts about beauty and sentiment reminded me of singing the second movement of Bernstein’s Chichester Psalms in which the pastoral beauty of Psalm 23 is juxtaposed with Psalm 2 and the dissonant raging of the nations against God. The evocative power of music and the alignment of music and words to express truth in worship was powerfully apparent when we performed Ola Gjeilo’s Dark Night of the Soul that seems to capture the stillness of the soul facing the dark, and the wonder of the sheer grace of God that one finds in this setting of St. John of the Cross’s meditation. There is the wonder (when it happens) of many voices singing different parts coming together as a single entity–where the singing of individuals didn’t cancel out each other but create something more than our separate voices.

Begbie’s essays made me reflect on these experiences and gave theological content to them. The essays are written at an academic level, for academic conferences, but reward careful reading with insight. This is a great service for artists, who seek not merely technical proficiency, but to write, or sing, or play, or dance, or act, or paint with an authenticity that reflects our deepest loves, and for the Christian, the connection of our work with the Creator’s story.

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Disclosure of Material Connection: I received a complimentary review copy of this book from the publisher in exchange for an honest review. The opinions I have expressed are my own