Tag: Discuss
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Notes on Jessica Sequeira’s “Rhombus and Oval”
Notes on Jessica Sequeira’s “Rhombus and Oval” (117 pages), 2017, What Books Press, The Glass Table Collective, Los Angeles:
“Rhombus and oval” is the title of the lead piece in this collection of stories by Jessica Sequeira, a translator of Spanish and French and a writer. The text of twenty-one stories runs 112 pages, each story from 3 to 9 pages long. They are fictional short stories.
What is a fictional short story, and why write or read one? “I used to work at a translation agency,” we learn from the narrator of “A journey that leaves no trace.” We should not confuse the author of a work with the narrator of a work, but toward the end of this second story in the collection, we hear, “I was tired of being a medium, of having words pass through me. Now I wanted to create.”
Fifteen of the twenty-one stories were previously published in small magazines. “In the rose garden” appears in Hawansuyo under the title “In the Rose Garden: A Tale of Researching Ribeyro,” and the story concludes with an interview conducted by Jessica Sequeira with the Peruvian writer Jorge Coaguila, a specialist of Ribeyro. The piece was published in the book Sounds and Colours Peru. The story provides a clear glimpse of Sequeira’s style, where genre expectations might be mixed together to form new perspectives. Other stories in Sequeira’s collection appeared in Berfrois, Glasgow Review of Books, Queen Mobs Teahouse, and Entropy.
For a long time, The New Yorker magazine opened, after “The Talk of the Town” section, with a fictional short story or two. I used to read them. I remember looking forward to seeing a new Donald Barthelme story. The May 24, 1969 issue featured his “At the Tolstoy Museum” (including odd pics, drawings, and diagrams). Barthelme’s story was the lead piece, immediately following “Notes and Comment.” Following the Barthelme story was “The Corner,” a short story by John Updike. But the reader was not told these were fictional short stories. The writer was identified only at the bottom of the piece (and in the table of contents). Today’s New Yorker subscribers can access all its past issues in the magazine’s online archive. Of particular interest in older issues are the ads, which often look today like fiction, though at the time, readers may have considered them real. Today’s New Yorker short fiction piece has been moved farther back into the magazine, usually just ahead of the critics.
I’m not arguing cause and effect here, but now I spend most of my New Yorker time reading the non-fiction. I make exceptions; if I see a Roddy Doyle story I’ll read it right away. We might have learned by definition non-fiction is true and fiction imaginative, or not true, though fiction may contain truths, while non-fiction may, through errors of omission or commission, be mistaken or otherwise fallacious. Neither fiction nor non-fiction should be confused with “the news.” The New Yorker, a weekly, is not a news magazine, though some articles may comment on or analyze what’s been going on lately. A fictional short story is by definition imaginary, and any resemblance to the real disclaimed as purely coincidental, but it’s possible an unsuspecting reader might take a fictional short story as non-fiction, and a non-fiction piece as imaginary. Crossing that threshold back and forth is maybe one characteristic of how fiction works. At the time it was first broadcast, many listeners believed Orson Welles’ radio play “The War of the Worlds,” about a Martian invasion of Earth, was really happening, was real news. That the broadcast was in fact fiction made no difference to those listeners who at the time believed aliens had landed and were on the move. Today’s audiences often seem as easily duped.
Deliberate fake news is a form of fiction. Fiction, like non-fiction, is an attempt to persuade – to persuade, if nothing else, that what you are reading is in some way real and true. The more we read both fiction and non-fiction, the larger and stronger our antennae for discerning the real from the unreal. Actual news (to the degree there is such a thing) is neither fiction nor non-fiction. The news in no way should attempt to persuade. To persuade is to argue. There should be no argument in the news. Statements of fact may be used in persuasive arguments, but standing alone, these statements are not claims of viewpoint. To the degree that the news is factual, there can be no argument, no reason for any kind of persuasive means: pathos, ethos, or logos. Fiction may be considered anti-news. No promises are made, no guarantee, no warranties. Ratings are of no consequence. There are no sponsors, no ads. But why then are some books banned, others censored or abridged? Dust jackets are covered with persuasive means. Read me! Why?
We might consider reading fictional short stories part of our daily experience. We don’t need to ask what anything means. It’s enough to observe, pay attention, and go about our day. What is the experience of reading one of Jessica Sequeira’s short stories? We might find a hint of this experience when the protagonist of “Conversation outside El Pastizal” decides to satisfy an obsession by trying to get a closer view of a building complex: “…I began to make my way down the path. As I continued it seemed to grow increasingly narrow, the air increasingly thin. At some point I even found it difficult to walk. But at last I reached the end.” But instead of satisfying his curiosity, he experiences “Something you can’t fathom…a flickering presence, inexplicable, beyond the known.”
One of the characteristics of Sequeira’s stories includes densely packed paragraphs that both detail and enlarge setting and plot. In a few pages, the story expands like a bubble made of soap blown through the small hole of a wand. The bubble has a short life drifting with the breeze, soon popping into spray. Most of the stories are told in the first person, and characters appear from nowhere, around a corner, as if by random, the narrator working, on break, taking a coffee, walking, thinking, observing. An exception, “The Hypersound,” begins, “Under normal circumstances Leo never would have visited the sauna.” Something is apparently out of place, a character introduced, and a setting suggested, and we’re on our way into the story, just like that. In the story “Bouvier,” on the other hand, we hear, “I was still studying then, and in those years, the great debate carried out in journals of anthropology and at congresses concerned the value of direct experience against secondhand analysis. Bouvier, my supervisor, was firmly in the camp of those defending experience. He considered it important to be out in the field, writing as elegantly and clearly as possible, openly incorporating oneself as a first person in the description.” Sequeira strikes an interesting balance between experiential description and analysis of that experience. Almost always in the background lurks a mystery shrouded in surreal overtones. But as in the best surrealism, the details shine with clarity and control. The writing is concise and not rambling, yet each turn may surprise: “Perceptual experience is what matters, I know; with big data you still only key in searches for things you expect, predetermined coordinates. But what if perceptual experience turns up something really ‘unbelievable’, which doesn’t sync with consensus reality?” Then you might have the occasion of a fictional short story.
In “On the island,” we get another view into Sequeira’s predicament and solution: “I knew he was interested in the interaction between subject and object, the form in which a literary or artistic work can comment on itself or call attention to its conditions of production or industry.” The stories in “Rhombus and Oval” do contain dialog, but not in any sense, for example, like Henry Green’s fiction. The paragraphs are thick blocks, though aligned left and not justified, and the reading is a bit slower than the slim volume might seem to promise. The tone sounds formal, without being academic, polite, creating distance, in spite of the close first person so prevalent. The writing style is consistent throughout: clear and concise, effective and efficient, the vocabulary accessible, the sentence structure mixed, always purposeful. “What convincing words can I use?” the narrator of Bouvier asks. At the end of “Inflamed eye,” we get another glimpse into the world of the fictional short story, why it’s written and read: “Just like the mouth with red lipstick, however, it returned to him from time to time when least expected – a vision that was unsettling, out of place – a reminder that other worlds exist.” And we are reminded of the collection’s epigram: “What would it matter, what would it change if these pages were written in Buenos Aires?” In the story “Limbo,” we get this: “There must be an infinity of older felines in this world as if it were a warehouse, disappearing progressively, one by one. Right now there may also exist a Jessica in the ‘real world’ younger than me. (If not now, someday there will be.) When she reaches my age, I will disappear.”
The stories in “Rhombus and Oval” are about as short as they can be, averaging just under five pages. This might be in deference, in part, to Internet reader habits, where distractions are rife and attention spans short. In fact, these stories are probably all too long to qualify as what’s been called “flash fiction.” The length of the collection’s stories might also be a requisite to a convention, or a habit, of writing that combines notes, reflections, diary entries, conversations, things seen or read or experienced or thought on the go. “Any variation could be folded into a narrative (110).” Having read some of the stories previously online, I’m interested in how different the experience of reading them was for me in hard copy form. The experience is sort of like the difference between watching a movie on TV and seeing it in a big screen theatre. Or watching a baseball game on TV and watching it out at the ballpark. But read either way, the stories are inventive, sophisticated without being pretentious or portentous, entertaining, and interesting examples each of the form of the fictional short story, particularly its continuing popularity and possibilities.
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Alma Lolloon: 5th Installment of Work in Progress – Epigraphs
The novel “Alma Lolloon” opens with two epigraphs, both of which serve the ordinary purpose of the epigraph but are also part of the fiction being created. In each, the original is given, followed by an “interpretive translation” by the narrator of “Alma Lolloon,” who is Alma Lolloon:
Experience, though noon auctoritee
Were in this world, is right ynogh for me
To speke of wo that is in marriage…
But yet I praye to al this compaignye,
If that I speke after my fantasye,
As taketh not agrief of that I seye,
For myn entente nys but for to pleye.from Chaucer’s The Prologe
of the Wyves Tale of BatheWhat atrocity this insult of experience
As if somehow right for me and all
Wode talk woe of the marriage camp.
But complain not in present company,
For all tales told in pitiful woe
Tell not a whole story
If want is not to please.from interpretive translation of Chaucer,
by Alma Lolloon, 1966Die Erste Elegie
Wer, wenn ich schriee, hörte mich denn aus der Engel Ordnungen? und gesetzt selbst, es nähme einer mich plötzlich ans Herz: ich verginge von seinem stärkeren Dasein.
from Duineser Elegien by Rainer Maria Rilke
The First Elegy
Who, if I cracked my little mouth, would listen to me in the din of rules of angels? And quickly so near his heart home of pounding hammers, sparkling nails, and gargantuan waves, I would fade in the muscle of his gaze, or in the back seat of his dark ride.
from Duino Elegies, interpretive translation of Rilke,
by Alma Lolloon, 1996.I’m still working on editing and proofing and design.
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Alma Lolloon: 3rd Installment of Work in Progress
I’m still proofing and editing my new novel, Alma Lolloon. I hope to have it out by December. Meantime, I’m posting installments Saturdays here on the blog. Here is the third installment.
(Alma has told her knitting group she is writing a book. The book is to be about her five husbands, and the knitters agree to hear Alma reading from her book in installments at their Saturday knitting sits.)
3rd Installment of Alma Lolloon:
I simply would like to have someone to talk to, someone who actually listens to me. Is that too much to ask? So even though I don’t know you, and you might not be listening anyway, I’m talking to you, and I’m going to share everything. That’s not a trigger warning. Simply a goal. You might safely skip parts, your attention wandering. I’ve already skipped a few beginnings. But I want you to get your money’s worth. Even if you’re reading on-line for free or something, or you picked up this abused paperback copy you’re holding in the neighborhood library box. Go on, take it, read it on the bus. It takes time to read, and most of us value time. The thing is to sit down and relax. Breathe. Smell the paper and the ink, or whatever it is they print words on and with these days. Pour yourself a cup of coffee or tea, a glass of wine, or pop a can of beer, or pour a juice or a clean clear glass of fresh water. Feel my hands kneading your shoulders. You carry tension there. I know. Let it go. Drop the shoulders. I know you have your own story. Let that go, too, for now.
We must have ritual. Ritual is what stops the crazy traffic on the bridge so the tall lovely ship can slip quietly by. Make some space in your day for reading as a kind of ritual. Nothing serious, of course, on the contrary, just a few quiet moments to yourself, for some peace and silence, to get away from your scares for a few moments, those voices in your head that won’t shut the hell up, or to find yourself, or to forget yourself, or to remember something you maybe should have never forgotten and is such a joy to find again. I’m well aware you could be reading something else, something more dramatic, sexy, literary, trashy, or some delightful ichor with goor and geer from some silly battle zone somewhere, or some soapy sap television shows are often stuck together with, if that’s what you like. Sure, and you’ll find soap here. I’ve eaten plenty of soap in my lifetime. My mouth is clean. Or non-fiction, some people prefer because it’s supposedly true. Nothing like getting one’s facts straight. We all need ritual, but we should not consider ritual what is merely compulsive.
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Alma Lolloon – Work in Progress
Continuing from last Saturday’s installment, from chapter one of my work in progress titled “Alma Lolloon,” the first chapter titled “Casting On.” The book is finished, but I’m still proofing and editing. I hope to have it out in December. Meantime, I plan to continue putting up excerpts here on Saturdays:
from chapter one of the novel “Alma Lolloon”:
My first marriage was annulled within a couple of months. I never saw Mary or Gabriel again. We all signed complex legal documents sealing the moment. My second marriage was to a draftee. Joe wasn’t so much love or even a decision or a choice. But he adored Freddy and was a fun guy who made Freddy and me laugh and when we were together my bad thoughts vanished. Joe was a high school dropout, but he had a car, a 1953 Chevy, two toned, cream over turquoise blue. Joe walked off to boot camp, marched home and we married, and off he flew to Vietnam where he was fried up in napalm, his squad a straw basket of squids. Leaving me pregnant with Sally and a fragment of a family. My third husband drowned in a fishing accident, the sun that hot August day scalding, not a single blade of shade, the sand boiling, not a breath of breeze, and the rocks seething with seaweed and foam, Murphy’s body trapped in the eddies below the cliff, finally coming to rest atop a barnacled rock perch, the waves running on and on the tide coming in they couldn’t reach him and the water lifted him up and floated his body flotsam out to sea. My fourth husband took his own life. How could so many neurotic demons occupy one man’s mind? His head was an ant farm, ants like tiny cars digging tunnels through the clay. Wags was possessed by his corporate gig and rig and regalia and risk. He stuck a hose in the tail pipe in the garage, the other end through a wind wing, the car windows and doors all shut up, and Wags turned fifty shades of bluefish-purple. My fifth husband was shot and killed by a private eye, who mistook him for a wise guy at a poker game, shot him coming out of an outhouse between hands. Well, Jack was a bit of a joker, but not the kind the dick was thinking. Jack was a wild card.
Yes, and I told the knitting ladies I am writing a book, and they laughed. Rufa called to ask why I missed Saturday knitting group three weeks in a row and did I need a noise session. I told her I was writing a book. I went down to Lards Coffee to sit with them again, and they asked what I was up to, and I told them I was writing a book, and they all laughed. Why did they laugh? I’m not sure. Maybe they think I don’t have a story or a voice to tell it with. Or maybe they think no one reads books anymore, at least not one written by an old woman who has never traveled much, never finished college, never finished a marriage, a career part time waitress. But I’ve read a few books over the years, some over and over, the ones I really like.
But just because you can climb into a dress and maybe even look good in it, doesn’t mean you have any idea how to cut and sew a pattern together, Hattie said.
Hattie’s in a book club, Rufa said, so she reads books, presumably. I don’t recall her ever talking much in knitting group about the books her club reads. Do you think the rest of us can’t read, then, Hattie?
Who’s to say who should talk and who should keep quiet? Who should try their hand at a book or grow flowers, swing a bat, or go after the dogs and beer? Curly said.
Why are you writing this book? Hattie said. Do you not realize how difficult it is to publish anything these days? There’s a reading crisis in this country, newspapers disappearing, book shops closing up, kids born with a cell phone stitched into their palm, though there’s still a chance of some success with a children’s book, they say. So what are you writing, Alma, your memoir with all these husbands of yours? But I still don’t understand why. What do you get out of writing? Isn’t writing rather boring, actually, sitting, sitting, sitting? Oh, shit, I dropped a stitch. I never imagined you one with the imagination for it, anyway. So what is it? Memoir? Or some science fiction horror fantasy about these five husbands you’ve been through? And at that they all had another good laugh.
But why don’t you read it to us, Rufa said, on the installment plan? Saturday mornings with Alma.
Hattie laughed barkedly at that. Annie and Curly didn’t seem to get it.
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Alma Lolloon – Work in Progress
“Alma Lolloon” is the title of my next novel, which is in the final proofreading and editing stages. I’m using the same publishing platform (CreateSpace) as I used for “Penina’s Letters” and “Coconut Oil,” but I’ve decided to roll chapter one onto the Toads blog to introduce the new work and to spark interest. I hope to have completed hard copies ready in December. Meantime, I’ll be posting excerpts here on the blog.
From Chapter One of the novel “Alma Lolloon”: Casting On
“Words is just sounds,” I heard Annie was saying, coming back from the lanterloo to rejoin them on the stuffed couches in the picture window at Lard’s Coffee they were Saturday morning, the knitting ladies.
“Words are noise,” Rufa nodded.
“Ah, fiddlesticks, I left my notebook in the loo,” and when I came back again they hushed like people do when they’ve been talking about you and suddenly you appear in their midst and there’s that pregnant pause.
“So you’re writing a book, then, are you, Alma,” Annie breaks the water of that wait and you could feel the rupture spill and spread across the hardwood floor.
“How long does one give labor to a book before quitting?” Hattie said with her know better than you ever will crooked smile.
“But what do you possibly have to fill a book with, Alma?” Rufa said.
“But I married five times, didn’t I, one selfish boy and four hapless men? Surely that ought to hold enough to fill a few chapters.”
“Ah, but what is good, what is marriage, what is a boy or a man? There must be some argument,” said Hattie.
“And what, pray leave me, is a wife?” Hattie went on, as is her wont, questioning everything but leaving no time for an answer before moving on to another question. Times she could be such the rhetorical bitch, and always jumping to the supposed hidden meaning of something when you hadn’t even discussed what was actually happening yet. But that Hattie was the book club hostess. The knitting Hattie was rarely so contrary. But the idea of my doing a book seems stuck in her professorial craw and she’s having trouble swallowing it.
“And I never divorced a one of my hopeless helpmates, wouldn’t you like to know?” I said, amplifying my voice a bit to hold the floor while I got something all out.
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The Flags of Our Dispositions
Some talk again
about the end
of this world
but yr rapture
might not be
his rapture &
maybe he’ll be
happy as hops
to see you go.Kneel, stand, or
dodge the show
weekend TV
questions for
the status quo
diversion plays
reductio ad absurdum
the flags of our
dispositions.More disposed
to please or dis
now a word
from the sponsor
who decides
penultimately
what is ok
& what
unacceptable.The crickets’
crackles
diminish
lights off but
sounds off
continue
the broadcast
day now
infinite. -
Body of Christ and Body Politic: Notes on Luke J. Goble’s “Worshiping Politics: Problems and Practices for a Public Faith”
In one of the early scenes of H. G. Wells’s “The Time Machine,” the Time Traveler discovers a group of Eloi lounging in the sun by a small river, bathing in the shallows. One of them, Weena, cramps and is caught in a rapid, and is in danger of drowning, but her screams are ignored. None of the other Eloi help her. They don’t even seem interested. They don’t seem to care. The Time Traveler saves Weena and learns the Eloi live lives of elite, privileged pleasure. But they pay a price. Each evening, the Eloi are summoned by a kind of futuristic church siren, a pair of giant doors slide open, and one by one the Eloi enter, walking slowly and devoutly into the underground home of the Morlocks, where the chosen Eloi are cooked and eaten. The remaining Eloi, after the siren stops and the doors close, without protest wander back to their pleasure dome to a dinner of luscious fruit and vegetables, never missing their lost ones. The Eloi have no religion and no politics.
What do today’s Christians want, and why? And why would what today’s Christians want be any different from what anyone else wants? And what should Christians want, since they don’t all seem to want the same things?
“Worshiping Politics: Problems and Practices for a Public Faith” (2017) is an even-tempered argument exploring the place and practice of politics as a consequence of religion. Definitions (what is politics, what is justice) are patiently unpacked and assumptions and predispositions brought to light and questioned within an academic shell (researched citations, references, extensive bibliography), but the text is written in an accessible, at times almost conversational, style. Written in the first person throughout, the book is carefully organized to include discussion of multiple opposing, diverse, or varying viewpoints. Each chapter closes with personal reflections and concrete examples of practices of political importance showing politics as a necessary, wanted, and useful element of daily life. The target audience is probably the thinking Christian, but as in Kwame Anthony Appiah’s “Cosmopolitanism,” which argues for a citizen of the world, a more diverse, broader audience is implied and addressed. The tone of “Worshiping Politics” is not arrogant or preachy. The occasion is not knocking door to door, evangelical Bible in hand. The book’s claims are challenging and their opposition anticipated, acknowledged, and handled respectfully.
The author of “Worshiping Politics,” Luke J. Goble[1], a Harvard graduate, professor of history, and adoptive parent, does not simply break with the old convention of etiquette that advises one not to talk about politics or religion. He argues that religion is politics. To ignore talking about either is to miss the point in a vapid exercise of politeness. But to talk about politics and religion in a qualified academic argument is not to rant and rave, attack or scare, browbeat or arm-twist, inflict guilt or wish perdition. In any case, that’s not Luke’s style. Militant atheists might be surprised by this book, as might many militant Christians. We should not ignore, or worse, scorn, those in need of help, and, arguably, our politics and religion need help, separately and together. But how do we help a drowning victim if we don’t recognize a call for help when we hear one, or we can’t swim either, or we just don’t want to get wet, or when we do jump in and reach them they are in such a panic they drown us with them?
Common words and terms are carefully qualified: “Based on my emerging definition – that politics means engaging in the process of debating, negotiating, and pursuing the good of a particular community – and by almost any definition of church (other than a building), it should not be difficult to grasp the political nature of church. If church is a kind of community with a common call, goal, or good, then participating in that community is inherently political.” That is what effective argument does – defines, specifies, draws a field of play. Goble references the Bible, but his book is not simply a collection of biblical quotes selected to create a convenient credibility. Whatever else it might be, the Bible is a historical artifact, and Goble uses it for proof and backing of claims in a historian’s voice. For some readers, Christian and non-Christian, this might come as a kind of revelation, that the Bible is not necessarily read literally, that there are insider questions regarding how and when its books were written, and why, and how some writings came to be included and others left out, while at the same time the Bible does provide historical evidence. The Bible is history, or at least a part of history. That the Bible is interpreted in various ways and often used for what might seem cross-purposes should come as no surprise; the US Supreme Court interprets the US constitution – no one questions the historical fact of that constitution, but what any part of it might mean today is backlogged with case reviews.
Early in Goble’s text, five foundational claims are examined: “1. The Bible is political 2. Jesus was political 3. The gospel is political 4. The church is political 5. Christians are called to be political.” But if everything is political, what remains? If “Come follow me” is a political invitation to vote one’s religion, how authentic are the called who only vote, or vote their conscience, as the saying goes? Of what is the conscience made? But Goble isn’t talking about simply voting, or voting at all. He’s talking about living a political life as an outgrowth of the religious life, what he calls a formative life, which, in one sense, means making an existential decision to break from one’s learned, emotional reasoning to reach a more clear understanding of why and how one thinks and behaves and what one wants to do and how to go about doing it. Formation is not an easy process. We are easily and naturally formed, but our formation does not necessarily inform us. We are rather like the Eloi. When the siren goes off, we get in line and follow. We don’t always choose what is good for us or for others. We may not know what is good for ourselves or for others.
“When it comes to negotiating power and pursuing the good of a community beyond ourselves (i.e., politics), we are deceived about our capacity to be fair, honest, and objective. So, while most of us tend to represent our political views and activity as what is best for the community (or country) overall, we are not very good judges of what is good for others” (30).
Central to his argument about how we think and behave (what informs decisions such as how we vote or who we help or who we scorn), Goble closely examines Jonathan Haidt’s work on decision making informed by rationalizations and justifications that suit us comfortably, that make us comfortable with our decisions and behaviors. Conscience is a deeply embedded magician performing sleight of hand tricks we come to believe are real.
“We are not as good as we think we are. Our behavior is conditioned by factors like 1) our natural propensity to want to be liked by those around us, 2) our need to protect the group(s) that comprise our core identity, 3) our desire to preserve our current self and path unless otherwise forced, and 4) our need to be ‘ok’ with our existing behavioral patterns and our ability to find ways to do so. In the studies referenced by Haidt, these conditioning factors all take on a negative light. But the same propensities can also make us the kind of human beings that can live well in community – to seek compromise, to build commonality, to operate according to convictions. What they show most of all is that we are creatures whose deep feelings drive our behavior even though we think it is our reason” (42).
Or we don’t think about it at all. We behave first, then we create a reason that seems to give that behavior some kind of sense. We do something similar when judging or trying to explain someone else’s behavior. What were they thinking? Likely they weren’t thinking at all. Their siren went off and they behaved accordingly, according to assumptions and predispositions so deeply rooted they are not thought out at all. This may be particularly true of religious behavior, which presupposes and assumes good. If we behave a certain way for what we or others take to be a religious reason, that behavior must be good.
“Does that mean people of faith operate under an illusion of moral superiority? Does it mean that religious convictions do not have anything significant to contribute to public justice or cultural mores? I would say yes and no. Yes, sometimes people of faith operate under an illusion of moral superiority. Research in moral psychology seems to defy any claim that beliefs or religious identity labels are accurate predictors of behavior. But perhaps convictions that come by way of belief also have something significant to contribute to the ways in which our deep feelings are formed, and subsequently the kinds of actions that emanate from those ways of being formed” (43).
Goble’s book, an argument that religion is politics and politics means caring for others, “opening up to the interests and circumstances of others” (57), takes turns that lead down paths of psychological work; historical precedent and interpretation; practical applications for regular community exercise; works of classic and contemporary philosophy; popular expressions of contemporary life (for example, scenes with dialog from the television series The West Wing); scripture and the history and practice of reading, studying, and passing down scripture, his discussion of Talmudic study compared to contemporary Christian reading of the Bible, for example: “…when we read the Bible, we don’t typically read the most important interpretations or debates alongside” (57); and his own personal reflections from his experience of “living in the world,” of “being in the world.”
How does one be in the world, working outward from nature to self to family to community to state to a world where one feels safe, and why does being in the world often seem so fraught with conflict that all we can think to do is run and hide to the supposed safety of our own affective emotional constructs? Or, as Appiah puts it in “Examined Life”: “There’s a certain kind of philosophical universalism, which is often associated with evangelizing religions, where, yeah, we love everybody but we want them to become like us in order to love them properly. There’s a great German proverb, which says, ‘If you don’t want to be my brother, I’ll bash your skull in’…And that’s the opposite of cosmopolitanism. It’s the universalist who says, ‘Yeah, I want you to be my brother, but on my terms,’ whereas the cosmopolitan says, ‘I want to be your brother figuratively, your fellow citizen, but I don’t make it a condition of that that we come to be the same’” (p. 92 of the text of the film). And “but the Bible says,” regardless of what we might think it might say (i.e. how we interpret and determine what’s most important in the Bible), is an inadequate response.
“Once certain connections between guiding narratives and political dispositions are made explicit, it is easy to see how political biases shape interpretive choices…the tendency to interpret Scripture according to intuitive frameworks of meaning but to see and declare our own interpretations true, absolute, and unchanging. Our intuitions lead us to choose different narratives to emphasize. This approach leads to deadlock and disunity among Christians, not to mention a confusing and compromising witness to those who put little or no authority in Scripture to begin with” (back to “Worshiping Politics,” 56).
At least one reason some citizens may give no authority to Scripture might be found in the history of the Church. One is tempted to take the metaphor to its rhetorical end, its reductio ad absurdum, the body of Christ so infected by the worms of heresy and hypocrisy it is now a skeleton hanging in the closet of a high school biology class, a dried up framework that without muscle supports nothing. Goble recognizes the fickleness of the Church though the centuries: its WASP-ish table settings; its compromises, treaties, or concessions; its contradictions; its inquisitions – in short, how for many of the world’s people, the body of Christ has been either a turned back or an experience of acculturation. That history though is fascinating reading. Goble’s book includes a survey of changing church paradigms over the centuries, including “the early church, the early Roman Church, the medieval church, the Lutheran ‘Two Kingdoms’ model, Puritan Theocracy, Kuyperian Calvinism, Christian Realism, Amish/Anabaptist Sectarianism, Christian Anarchy, Liberation Theology, Yoder’s Middle Axiom Model.” Readers may begin to wonder what held the body of Christ together throughout time and the world, the good news continually subsumed by the bad.
“Not only has theology excluded voices, but like other forms of dominant discourse, it has participated in constructing and maintaining structures of power. A huge blind spot in each of the previous paradigms is in the conception of the social body or society itself. Taking society or ‘the world’ for granted without thinking about the political implications for those who do not wield dominant power, essentially multiple societies or social bodies, is a gap in the paradigms that come after the Middle Ages” (116).
It seems ordinary members of the faithful may have over time held more sway than Church leaders in restoring what health we might find currently in the body of Christ.
“Corresponding with the cultural and national liberation movements that came about after World War Two, new spaces of reception opened up for previously marginalized voices in theology. One of the most important developments out of that milieu has been liberation theology. In short, liberation theology grew out of the struggle for justice by Latin American peasants who had long experienced marginalization in all aspects of society – politically, economically, and spiritually by the (mostly Roman Catholic) church. Many Catholic priests, already living and working in solidarity with the poor also recognized the contradiction that the gospel should be ‘good news’ for the poor, yet the institutionalized church and other forms of power in society that it reinforced were not good news at all” (116).
Who were these Catholic priests (and nuns), where did they come from, and from what were they formed and how were they informed?
“Our political behavior is not thought or even taught but ‘caught’ – meaning it is shaped affectively and, at least to some degree, out of our control” (31).
At the end of Wells’s “The Time Machine,” the Time Traveler, having returned to his present and met with some friends and told his story of the future, decides to return to the future: “I came back through the corridor. The Time Traveler met me in the smoking room. He was coming from the house. He had a small camera under one arm and a knapsack under the other.” Wells did not tell his reader what was in the knapsack. In the 1960 film version of “The Time Machine,” staring Rod Taylor and Yvette Mimieux, it’s suggested that the Time Traveler takes with him back to the future two books. In the film, the Morlocks are destroyed in their underground caverns by a giant fire fed by the Time Traveler assisted by the Eloi. The Eloi will now no longer be food for the Morlocks, but they will now have to care for themselves, take care of one another, work, worry. The addition of the question of what books the Time Traveler selects is an interesting Hollywood edit to the Wells text.
The Time Traveler wants to help the Eloi. But then why would he take anything in his knapsack from his own time, his own time having proven to be such a disaster? If there is good in the world, where and what is it? Is what’s good for Christians also good for non-Christians? Goble explores good and justice and explains why we should be careful imposing our own values of what is good or just on others. How do individuals influence the future, their own or that of others? What is the extent of an individual’s influence over religion or politics? How can we be sure our actions in the present are good for the future?
“Belief in the lordship of Christ allows for patience, peacefulness, hope, and sacrifice now. It allows for Christians not to try to force peace through violence, justice by imposition, or well-being through coercion” (129).
There is in Goble’s book a dichotomy at work that readers may find puzzling or problematic. That isn’t Goble’s fault; it comes with the territory. In one sense, the dichotomy is shown in Augustine’s “two cities,” the City of God and the City of Earth. In another sense, the dichotomy might be seen in the insistence that Christians maintain a distinction from other entities also working toward good and justice. And here not that their ideas of good and justice might be different than secular ones, but that the impetus to work toward them “should flow out of our [Christian] identity and not our ambition” (128). That, because the Christian’s identity presumably includes the idea of a happy ending for the good. Phrases like, “…the last thing, the end event, when the Lordship of Christ is full realized” (129) may sound a bit mystical or esoteric to the general reader. Metaphor is always at work. Words like kingdom and lordship suggest a state and subservience to that state as well as class distinctions, from peasant to knight. These are images that enable views. Goble wants to make sure his reader understands he is “not a biblical scholar” (129). (Had me fooled.) Readers might also feel a dichotomy between the old and new testaments. Thomas Merton said that God is un-seeable, unknowable, almost unthinkable – that we can only approach an understanding of God through our human images or symbols or rituals – but those images are human images. They’re not wrong, but they are human-made and serve only a human purpose. Yet there are times the word God appears in Goble’s text as if God’s a go-to-guy. Goble acknowledges that language translations and cultural contexts add to our confusion. Is God’s love for his people a human love or divine love? Does God love everyone, or only his chosen ones? Another dichotomy. We can add love and God to our list of difficult concepts to unpack: good, justice, love, God. God so loved the world that he sacrificed his only son. What the hell kind of love is that? I have seen many sons sacrificed by their fathers, beginning with Vietnam, some on the battlefield, others at the kitchen table. But I digress. Onward, Christian soldier.
The last chapters of Goble’s book are the most difficult, not to read, but to reflect upon, to perhaps put some new way of being or thinking into practice. The arc of the book is threaded. We see how we are predisposed to think and behave and we learn to self-justify our dispositions. We then see examples of that at work in history, philosophy, popular culture, psychology. We then discover how we might work to change our dispositions, change ourselves from being driven by emotional affective design toward being more intentional about how we think and behave, about who we are. Here is an example of the book’s arc. This is just one thread. Goble talks about how we self-deceive: “We are self-justifying creatures who construct narratives about the world necessary to maintain the views of ourselves that we hold” (41). We might think the more educational experience we gain the less likely we would be to self-deceive and be forced to self-justify, but Goble cites research that shows “IQ and education levels do not markedly improve one’s ability to see an issue more objectively, but they do increase one’s capacity to support and defend one’s initial judgment. In other words, greater intelligence or education can help us defend our ideas better, but they do not necessarily result in better thinking” (39). Those quotes are from Chapter 3: “The Problem of Self-Deception.” In Chapter 10, “The Problem of Practice,” the thread of how we think is picked up again, under the sub-heading “Against Closed-Mindedness”: “Intellectual humility describes perfectly rational, disinterested truth-seeking, involving openness and willingness to accept information because it is true…involves an established sense of one’s self and worth apart from how one’s intellect, accomplishments, or legacy are viewed, and a genuine intrinsic concern for knowledge and truth” (165). Since most of us are probably not intellectually humble, but we might agree such humility might make us more effective working and being with others, the question becomes how do we intentionally change our dispositions. Related threads that form the arc include “self-promotion, tribalism, self-justification, self-deception” that “are [not] easily overcome by the cultivation of counter-virtues through material practices” (166).
Goble’s book concludes with an existential examination of formation. Existentialism suggests that existence precedes essence. That means we are born into a circumstance and predicament not of our choosing, but we do have a choice – to decide for ourselves what the essence of that existence might be. For cradle Christians (those born into a Christian circumstance and predicament), that choice can be profoundly difficult. A Franciscan Friar once told me Catholicism was not a religion for children. I thought, then I might want to stay a child forever. As an existentialist, I might successfully make that choice. But Goble suggests the Christian’s choice is not existential, because “Desire for God is not willed, it is a gift” (172). “How [then] does [intentional] formation happen?” (172).
Goble’s idea of formation does seem to share with the existentialists the idea of freedom. It might seem paradoxical, but he seems to think that belonging to God differentiates in a way that creates a freedom from the world that continually works its formation of us without our approval or even awareness. Borrowing from Jesus’s prayer for his disciples, Goble says Jesus is saying something like don’t mix up me with “where you live, who you are with, or the trappings of religiosity or culture that you might mistake for me” (190). In other words, we might want to be very careful with the alliances and treaties we make with the powers that be, because we will be formed and reformed by whatever accommodations we might make. It’s not enough to be born again once. If you really want to be a Christian, you must be born again every day. The existentialist also renews the choice of essence, of existence preceding essence, on a daily basis. The Body of Christ must be very careful not to get too cozy and fall into bed with the Body Politic. Goble summarizes this problem: “How can the church faithfully engage the world while still being set apart? Being in the world makes being formed by the world inescapable. Withdrawing from the world makes engagement impossible. Wherein lies the balance?” (193).
That’s an important question, because one wants to maintain one’s freedom. In the last chapter, Goble provides an example, what he calls a “Model for the Moment,” of a possible balance. The example involves Embrace Oregon, a coalition of diverse forces attempting to care for the needs of orphaned, vulnerable children. “Real relational knowing is mutually formative, and only by being formed by significant relationships with those who are ‘other’ in multiple intersectional ways (race, class, gender, socioeconomic, class, education, nationality, language, sexual orientation, religion) can we live out a culture forming faith. There is always a dynamic movement between formation and culture creation” (200).
The text of “The Time Machine” suggests a characteristic of the Eloi not seen in the film version referenced above. In the text, the Eloi are little people. In a sense, they are children, or they are like children in that they are completely vulnerable. Their caretakers, the Morlocks, care for them. It might be said that the Morlocks may even love the Eloi, but the Eloi are not free.
In Goble’s very last “Practice,” he says, “Cultivate and struggle for relationship in the face of rules that remove, economics that exclude, addictions that alienate” (207).
I don’t know if H. G. Wells, in naming the Morlocks, had in mind the biblical Moloch, but it seems likely he did. Goble recognizes the need for Christians to work with the Morlocks to free the Eloi, without themselves becoming coopted by the Morlocks, becoming a new Moloch, or putting the Eloi at risk of a new captivation.
[1] Disclosure: Luke teaches at Warner Pacific College, where I’ve done work as an adjunct instructor.
- Worshiping Politics: Problems and Practices for a Public Faith
- Page Numbers Source ISBN: 1498225888
- Publisher: Cascade Books, an Imprint of Wipf and Stock Publishers
- Publication Date: May 22, 2017
-

Center of Totality
Between you and the solarium
this hottest of summer mornings
cools a path across the countrysidean eye floater moon receding
in the salt tide of shrunk space
as you wait in your circlerooted in angst
for the darkness
to dissolve.What old fear
draws you here
to this perfect sphere,the moon you want to see
or the sun you can’t
inhabit? -
The Beauty of Prayer
The beauty of prayer
is anywhere,pewless,
without candle or book
or holy water.We can pray in a mall
or in the stall
on our way
or off the wall.Even just the wish
to pray, Thomas Merton says,
is a gift of great grace.Pray at work,
pray at play.
Thich Nhat Hanh says,
relax.That’s the way to prayer
like holding a garden hose
full of spright spray
against a wildfire.