Reading Evangelicals

Reading Evangelicals, Daniel Silliman. Wm B. Eerdmans Publishing Co. (ISBN: 9780802886477) 2025.

Summary: A study of how the Christian fiction evangelicals read in recent decades shaped the evangelical imagination.

My wife was the former librarian at our church. That is, until people stopped taking books out and used the library as a place to dispose of books they’d read. Consequently, we decided to repurpose the space and get rid of most of the books. A large portion of those books were in the Christian fiction genre. Four of the authors discussed in this book were heavily represented–Frank Peretti, Janette Oke, Beverly Lewis, and Tim LaHaye.

This was not the Christian fiction that had formed my life. For that, I had C.S. Lewis, J.R.R. Tolkien, Charles Williams, Dorothy L. Sayers, Flannery O’Connor, Marilynne Robinson, Alan Paton, and Frederick Buechner to thank. I realized that I had been formed in a very different outlook (and perhaps literary aesthetic) than the vast majority of my fellow believers. While we had our love for Christ in common, our perception of the world and what was important was just different.

What I could not easily put into words, Daniel Silliman articulates in this cultural analysis of the books evangelicals were reading from the late 1980’s into the late 2000’s. The book begins and ends with the closing of evangelical Christian bookstores like Lifeway and Family Christian by 2015. During the space in which the authors considered here wrote their debut works, these stores functioned as an expression of evangelical identity. Hence, one of the interesting questions he touches on is what will happen to that identity, which he sees as increasingly fragmented.

But the heart of this book is his analysis of five pioneer Christian fiction authors (six if you include co-author Jerry Jenkins) who contributed to the boom of this genre. The authors are Janette Oke, Frank Peretti, Beverly Lewis, Tim LaHaye and Jerry Jenkins, and William Paul Young. Respectively, they pioneered Christian romance, horror, Amish romance, apocalyptic, and emergent Christian fiction.

What is striking is that each wrote books Christian publishing houses weren’t publishing that someone took a chance with resulting in huge sales. Silliman sketches the background of each author, the genesis of their debut work and how it ended up being published, and the market response. Then he reviews the storyline and prevailing ideas behind each book.

Oke’s books set romance within the context of the love of God and the life of faith. Similarly, Lewis’s books focuses on the choices of individuals, in light of their Amish identity. Peretti portrayed cultural conflict as a reflection of spiritual warfare. Then, Tim LaHaye set this conflict in apocalyptic terms to compel belief against conspiratorial world powers. Finally, William Paul Young’s The Shack is an early example of a deconstructed and reconstructed faith expressed through an encounter with a very unusual Triune God.

Silliman stops short of attributing the rise of support for our current president to this literature. However, he thinks both the individualism and the culture conflict motifs of these books cultivated an imagination that resonated with some of the things he said. He writes,

“The imagination was too small, I think. Too narrow. From my perspective, American evangelicals ended up too focused on their own private domains, too fearful of strangers, too fearful of change, too invested in the arrogance of always knowing the right answer. Imagining the chaos of modern life, the confusion, the hardship, and day-to-day struggle, the best-selling fiction gave the wrong answers. But I want more and more varied imagination, not less, so I will mourn the vanishing book market anyway.” (p. 220).

But with the demise of this vanishing book market, what will capture the Christian imagination? Will it be reduced to some form of political activism? Or will there be Christian writers of the caliber of a C.S. Lewis who will capture that imagination? The hunger is there. For example, consider the phenomenal current success of Allen Levi’s Theo of Golden.

What Silliman does show is the power of good stories to shape the imagination. But the question is, who are the new storytellers and can they tell a better and deeper story?

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Disclosure of Material Connection: I received a complimentary copy of this book from the publisher for review.