Library of Religious Biography

Review: The Divine Dramatist

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Cover image of "The Divine Dramatist" by Harry Stout

The Divine Dramatist

The Divine Dramatist (Library of Religious Biography), Harry S., Stout. Wm. B. Eerdmans Publishing (ISBN: 9780802801548) 1991.

Summary: A biography of George Whitefield focusing on the drama of his preaching and his impact on American religious life.

The Library of Religious Biography is a series of scholarly but accessible biographies published by Wm. B. Eerdmans since 1991. This volume was one of the first of the series and helped set the standard for combining careful scholarship and readable prose that has marked this series. Harry S. Stout is an American religious historian at Yale Divinity School.

George Whitefield was born in Gloucester, England to parents who were innkeepers. His youth reflected a conflict between love of the theatre and a call to preach. For a long time, it looked like theatre would win, but in the end ministry did. A central theme of the biography was that the dramatist was always present in his preaching. In fact, this was so much so that Whitefield struggled to separate his private self from the public persona.

Whitefield, while ordained within the Anglican Church, was not cut out for parish ministry. Stout traces the development of his itinerant ministry, and the distinctive aspect of open air preaching, when pulpits were closed to him. While modeling his work on Howell Harris, a Welsh preacher, the combination of his preaching gifts and skills at self-promotion enabled him to exercise a far more extensive ministry on both sides of the Atlantic.

His skill at promotion was another distinctive. He leveraged clerical refusals to let him preach to draw larger crowds. In America, he partnered with a young printer, Ben Franklin to promote his revivals through both newspapers and printed sermons. This led to a lifelong friendship between these two men, very unalike. However, each commanded the deep respect and affection of the other.

He came to America, sent to establish a mission in Georgia. This led to an orphanage and school that became a lifelong cause for which he raised money. On most of his speaking engagements, offerings were designated for the orphanage and he raised huge sums. He was a model of integrity, living modestly and conveying the funds for their intended purpose.

Stout also notes Whitefield’s profound Calvinism. Although at points he associated with lowercase methodism, he disagreed with and eventually distanced himself from John Wesley. They only reconciled toward the end of his life.

Finally. Stout traces how Whitefield’s itinerant preaching gave rise to evangelicalism, from his preaching of the new birth, to open air work, to the means of promotion. Sadly, he destroyed his own health in the process and died while itinerating.

Stout thus portrays both Whitefield’s life and larger significance, particularly for American religious history. This is an important book for American evangelicals, for better or worse, to understand their roots.

Review: Emily Dickinson and the Art of Belief

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Cover image of "Emily Dickinson and the Art of Belief" by Roger Lundin

Emily Dickinson and the Art of Belief, Revised Edition (Library of Religious Biography), Roger Lundin. Wm B. Eerdmans (ISBN: 9780802821270) 2004 (My review is based on the first edition, published in 1998).

Summary: A biography of Dickinson focused on her life and faith drawing upon poetry and letters.

I would describe Emily Dickinson as a “beloved enigma.” Her poetry is among the most loved of American poetry, celebrated for her unusual phrasing and keen insight. That is all the more the case considering that she lived the last three decades of her life as a virtual recluse and with only a few exceptions, refused publication of her work during her lifetime.

Roger Lundin’s biography explores that reclusive behavior without explaining it, apart from the poet’s choice. What is more significant, is that he explores her religious faith. Her life was lived in the intersection of a Calvinist-Puritan New England upbringing and the rise of enlightenment romanticism. Lundin writes of her father’s reading of serious books on sabbaths and Emily’s sense of the distance of God the Father while identifying more closely with Christ. She never entered into church membership, eventually ceasing to attend her parent’s church. While others went down the path of Unitarianism, she remained a Trinitarian, and had some sense of Christ giving away his life for us. And she grieved the loss of those close to her in her last years but clearly believed in an afterlife. Challenged by skepticism, she never gave way to it.

The closest Lundin gets to Dickinson’s inner turn is to explore the idea of her inner Preceptor. For Dickinson, her inner life, her perception of the world was of far greater interest than externals. This “romantic isolation of the self” was so powerful that it led to avoiding social contact outside her home for the last thirty years, apart from treatments for her eyes in Boston. It explains her decision to not publish, forgoing all the literary contacts this would necessitate.

This, however did not mean complete isolation. She and her sister Lavinia were close and, together they cared for her parents, in whose home Emily lived. She had a more difficult relationship with Sue, her brother Austin’s wife. Eventually, the social center of the Dickinson family shifted to their house, and Sue and Emily became more distant. Her rare visitors talked to her from a hallway near her room, separated by a partially open door. She was steeped in books, and missed her Shakespeare when forbidden to read due to an eye condition. And she carried on a significant correspondence, particularly with Thomas Wentworth Higginson, who was her frankest critic and eventually, a friend. He shared in editing the earliest posthumous edition of her work.

Lundin traces the chronology of her work, including her explosion of writing between 1858 and 1865. Then her production tailed off, particularly as affliction struck down members of her family and close friends, and finally Emily herself. She died at 58 of Bright’s disease, a kidney disease, passing into her “Rendezvous of Light.’

A feature of this work is that Lundin quotes frequently from her poems. By doing so, her underscores her perceptions of her inner world and the world beyond. And other quotes articulate her own surviving faith. He also uses her correspondence as well as the spiritual and intellectual backdrop of her life in Amherst to sketch her life and the influences that formed her.

The revised edition of this book (which I did not have access to) includes a standard bibliography, expanded notes, and more discussion of her poetry, something I would have liked to see in the first edition. The revision “has also keyed all poem citations to the recently updated standard edition of Dickinson’s poetry.” These enhance what was already an important biography of this quintessentially American poet.

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Finally, thanks for visiting Bob on Books. People aren’t reading blogs like they used to, so I appreciate that you spent time here. Feel to “look around” – see the tabs at the top of the website, and the right hand column. And use the buttons below to share this post. Blessings! [Adapted from Enough Light, a blog I follow.]

Review: A Prairie Faith

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Cover image of "A Prairie Faith" by John J. Fry

A Prairie: The Religious Life of Laura Ingalls Wilder (Library of Religious Biography), John J. Fry (Foreword by Mark A. Noll. Wm. B. Eerdmans Publishing (ISBN: 9780802876287) 2024.

Summary: The religious life of Laura Ingalls Wilder drawn from her books and manuscripts, other writings and the places she lived.

I did not discover the Little House books until reading them aloud to our son. Just thinking of that brings good memories of the three of us snuggled on the hunter green sofa bed in our guest room, working our way through the books. I particular remember reading The Long Winter through a particularly cold and long winter, and being thrilled by Almanzo’s daring journey to bring food back to the isolated small town. We loved the affection within the family and the Christian values their lives exemplified and suspected these were important to the author.

That is the conclusion held by John J. Fry, the author of this religious biography of Laura Ingalls Wilder. He maintains that for Wilder, Christian faith was important but not central. Throughout her life, there is evidence of regular personal Bible reading and prayer. Where there was opportunity, she was in weekly attendance at church, but refrained from membership. In many ways, her outlook was more stoic than Christian.

Using her memoirs, manuscripts and publications as well tracing her life through the different places she lived, Fry offers a chronological account of her life. While the focus is on the religious influences in her life and evidence for her religious beliefs, Fry does offer an extensive, if not definitive, account of her life. Until the Wilders settled in Mansfield, Missouri and became established, much of it was life on the move–Kansas, Wisconsin, Minnesota, Iowa, the Dakotas, Minnesota again, and Florida.

Surprisingly, before Laura wrote the Little House books, she was, and continued to be, a farm journalist. She translated her own experiences into columns for women in agricultural setting. Then she wrote a memoir, Pioneer Girl, but could not find anyone who wanted to publish it. Working with her daughter Rose, she re-fashioned her account into a series of children’s stories, and with rose’s help found a publisher.

In fact, one of the things we learn, and on which Fry dwells, is the role Rose played in the writing of the books. An accomplished writer herself, Rose reworked Laura’s writing, often “showing” rather than “telling.” This made the books more readable and interesting. In addition, Fry explores the influence of Rose’s religious views on the books, often comparing Laura’s early manuscripts with the published text. Rose was a deist at best, and held a less than friendly view of the church. The record is mixed. Sometimes, she strengthened the portrayal of Christianity. Sometimes the finished manuscripts were more negative. It is striking that Wilder doesn’t mention Jesus in the books, only God. What is clear was that Rose was a significant collaborator in the writing of the books. She deserves more credit than she received.

Fry considers Laura’s religious life in later years. It seems she was less involved in churches and more in fraternal organizations like Eastern Star. But she apparently kept up personal scripture reading. Her faith was characteristic of mainstream moderate Christianity, with a strong emphasis on good works of love for neighbor.

However, she did not extend that love to indigenous peoples. Fry, in assessing the afterlife of her books, notes the criticism of her attitudes toward indigenous peoples. Again, she was typical of her time, which would not be problematic, except for the popularity of her books.

Fry offers an informative and well-paced narrative of Laura’s religious life. This underscores his contention that her faith was important but not central. He also elaborates the collaboration of Rose in the Little House books and the substantial contribution she made to their popularity. None of this detracts from the portrait of the remarkable life of Laura Ingalls Wilder.

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

Review: Dancing in My Dreams

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Cover image of "Dancing in my Dreams: A Spiritual Biography of Tina Turner

Dancing in My Dreams (Library of Religious Biography), Ralph H. Craig, III. Wm B. Eerdmans Publishing Co. (ISBN: 9780802878632), 2023.

Summary: A biography of the life of Tina Turner, centering on how her embrace of Soka Gakkai Nichiren Buddhism was transformative in the fulfillment of her dreams, including that of becoming a religious teacher.

If you remember Tina Turner, most likely your memory of her was in performance, singing “Proud Mary” or “What’s Love Got to Do With It”, often beginning low and slow and climaxing in a frenzy of dancing by her and her backup singers as she belted out powerful vocals–a revival service at a rock concert.

Maybe that should have cued me to powerful spiritual roots in her life. Even so, there was much new for me in this spiritual biography of Turner’s life. What should have been evident, knowing the stories of other, was her Black church experience, beginning at the Woodlawn Baptist Church in rural Nutbush, Tennessee, and later Pentecostal Church of God in Christ churches in Nashville. Growing up as Anna Mae Bullock, she was the child of a strict religious mother and absentee father who died young, She also lived part of the time with an aunt Zelma and her uncle Richard, who she eventually would live with after her mother left, moving to St. Louis where she encountered the clubs, sang for Ike Turner, eventually becoming part of his act, becoming “Tina” and marrying her.

On one hand, Ike Turner turned Tina into the professional who could walk into a studio and lay down a vocal track in one take. But it came at the tremendous cost of physical abuse, making her life a study of partner abuse and the psychological fear and dependency that kept her from leaving for many years, even as Ike further descended into drug addiction.

What distinguishes this book is Ralph Craig’s account of the turning point in her life, resulting from a number of spiritual practices including consulting with readers, astrology, and most significantly, Soka Gakkai Nichiren Buddhism. Through Wayne and Ana Maria Shorter and their friend Valerie Bishop, she was introduced to the chanting associated with this Japanese form of Buddhism and the peace and focus she gained from this practice and their support helped her leave Ike for good, and over several years, launch her solo career, pursuing a dream of performing in stadiums. Craig goes into depth concerning the history of this branch of Buddhism and the embrace of Buddhism in Black America.

He also describes what he calls Turner’s “combinatory religious repertoire” in which she draws upon all her religious influences although Soka Gakkai Nichiren Buddhism remains central. A quote from Vanity Fair (1993), cited by Craig may give a sense of this:

“I do something about my life besides eating and exercising and whatever. I contact my soul. I must stay in touch with my soul. That’s my connection to the universe….I’m a Buddhist-Baptist. My training is Baptist. And I can still relate to the Ten Commandments and to the Ten Worlds [a concept from Soka Gakkai]. It’s all very close, as long as you contact the subconscious mind. That’s where the coin of the Almighty is….I don’t care what they feel about me and my tight pants on stage, and my lips and my hair. I am a chanter. And everyone who knows anything about chanting knows you correct everything in your life by chanting every day” (p. 175)

Craig goes own to recount how she used chanting to prepare herself to connect with audiences in concerts. And he recounts the slow climb from smaller venues to arenas, the struggle and prejudice she encountered with getting recording contracts with American companies and the much more favorable reception she enjoyed in Europe leading to her move to England and eventually Switzerland, where she married again.

The final chapter records her retirement after her Wildest Dreams concert tour, where she filled stadiums, in 2009. In her remaining years, she pursued one final dream, to teach what she had learned, releasing several recordings sharing religious teaching. Her life after 2013 became increasingly a struggle with declining health as she suffered a stroke, kidney disease and later, cancer. Her last US appearance was in 2019 at the New York debut of Tina: The Tina Turner Musical. She died May 24, 2023.

Craig offers an in-depth account of how Soka Gakkai Nichiren Buddhism profoundly shaped the second half of Turner’s life, and offers her as an example of the experience of other Blacks who followed her path into Buddhism. One senses that for Turner, and perhaps others, the church remained culturally formative but failed to offer the spiritual resources found in Buddhism. As much as I wished she would have found the support to leave an abusive partner from the church (even her mother supported Ike against her) and found in the spiritual practices of the church, what she needed to sustain her in her performing life, I’m grateful for the solo career she achieved, her body of work, and the preservation of her life from the violence many women do not survive. Ralph H. Craig, III has added an important, though religiously divergent account, to Eerdmans Library of Religious Biography.

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