books

Bites of the Best Books: December 2020

This month, passages on the dangers of political power for the religious, the problem of idealizing the past, the need for deep souls, and the instructive power of pain.

Christianity in the Twentieth Century

Brian Stanley

Stanley, studying the complicity of the Christian Church in the Holocaust and the Rwandan genocide,
draws this important conclusion about Christians and proximity to political power:

“Christians often look for inspiration for their guidance in political behavior to the Hebrew prophets, who fearlessly declared the word of the Lord to king and nation, often at risk to their own lives. The hopeful expectation is that the churches should display similar theological fidelity and moral courage, but it tends to be forgotten that the Old Testament prophets were often isolated and deeply unpopular figures. Effective prophetic speech depends on a paradoxical balance between maintaining access to the sources of political power and preserving sufficient distance from those sources to enable moral independence to be safeguarded. Both the cases discussed in this chapter [the Holocaust in Nazi Germany and the genocide in Rwanda] suggest that wherever churches have become large and influential human institutions, they tend to prioritize the maintenance of political access over the safeguarding of moral independence. … [An] awareness of sinfulness ought to lead Christians, not in the first instance to censure the behavior of others, but to continual self-criticism and repentance… Christianity proclaims a gospel of redemption from sin, but what Christians find hardest of all is to recognize the extent to which evil can infect even the company of the redeemed.”

Novels, Tales, Journeys: The Complete Prose of Alexander Pushkin

Alexander Pushkin

Two gems from the prose of Alexander Pushkin are as relevant now as they were 200 years ago.

First, in “The History of the Village of Goryukhino,” we read a caution against seeing the past through a hagiographic lens: “We should not be seduced by … charming picture[s] [of the past]. The notion of a golden age is inherent in all people and proves only that they are never pleased with the present and,
experience giving them little hope for the future, adorn the irretrievable past with all the flowers of their imagination.”

And in “Roslavlev,” we encounter an insight relevant to today’s multitudes who are in a constant state of frenzy by keeping too close to 24-7 news coverage. “Surrounded by people whose notions were limited, constantly hearing absurd opinions and ill-founded news, she fell into deep despondency; languor took possession of her soul. She despaired of the salvation of the fatherland, it seemed to her that Russia was quickly approaching its fall, each report redoubled her hopelessness.”

The present has always been messy. But it’s never so bad that hope is lost. A focus on ultimate things—the stuff that stands above the smog and shifting terrain of everyday life—keeps our souls on solid ground.

Celebration of Discipline

Richard J. Foster

“Superficiality is the curse of our age.” So begins Richard J. Foster’s classic 1978 work on spiritual
growth via the disciplines of meditation, prayer, fasting, study, simplicity, solitude, submission, service, confession, worship, guidance, and celebration.

“The doctrine of instant satisfaction is a primarily spiritual problem. The desperate need today is not for a greater number of intelligent people, or gifted people, but for deep people,” he writes.

How does one attain such depth if, as Foster says, the work of inner transformation is uniquely God’s to bring to pass? Foster’s take on the grace-works debate is smart and inspired. “The analysis is correct—human striving is insufficient and righteousness is a gift from God—but the conclusion [that no effort on our part is required] is faulty. Happily there is something we can do. We do not need to be hung on the horns of the dilemma of either human works or idleness. God has given us the Disciplines of the spiritual life as a means of receiving his grace. The Disciplines allow us to place ourselves before God so that he can transform us. … If we ever expect to grow in grace, we must pay the price of a consciously chosen course of action which involves both individual and group life. … We must always remember that the path does not produce the change; it only places us where the change can occur. This is the path of disciplined grace.”

Persuasion

Jane Austen

This novel moves slowly, but such is the price we pay to discover enduring wisdom. And that is precisely what we get from the main character, Anne Elliot.

While among others who ask her questions as a way to talk about themselves instead of hear her speak, she senses the need of “knowing our own nothingness beyond our own circle.” After extending a listening ear to Captain James Benwick in his time of sorrow, she comes away with a humbling epiphany. “When the evening was over, Anne could not but be amused at the idea of her coming to Lyme to preach patience and resignation to a young man whom she had never seen before; nor could she help fearing, on more serious reflection, that, like many other great moralists and preachers, she had been eloquent on a point in which her own conduct would ill bear examination.”

Later, reflecting on a difficult moment endured in the beautiful coastal town of Lyme, Anne shares a
thought that we would want to be said of our time here on earth. Yes, we experience pain and misery. But in the end, we hope to look back and see growth and joy.

“The last few hours [in Lyme] were certainly very painful, but when pain is over, the remembrance of it often becomes a pleasure. One does not love a place the less for having suffered in it, unless it has been all suffering, nothing but suffering, which was by no means the case at Lyme. We were only in anxiety and distress during the last two hours, and previously there had been a great deal of enjoyment. So much novelty and beauty! I have traveled so little, that every fresh place would be interesting to me; but there is real beauty at Lyme, and in short, altogether my impressions of that place are very agreeable.”

The Storm-Tossed Family

Russell Moore

Dr. Moore of the Southern Baptist Convention wrote this book to help people understand how family—a potential source of both transcendent joy and excruciating pain— is an echo of the gospel of Jesus Christ.

“Your family might bring you pain,” he writes. “What of it? To love is to suffer. But you have learned
that suffering is not a sign of God’s absence but his presence. You learned that at the Place of the Skull. … Your family will lead you where you never expected to go. But this is no reason for fear. The path before you is the way of the cross. … The way of the cross leads Home. … Whatever storms you may face now, you can survive. If you listen carefully enough, even in the scariest, most howling moments, you can hear a Galilean voice saying, ‘Peace. Be Still.’ If you give attention to more than just the wind and the waves, you might see some hands reaching out for you. In fact, you may notice that those hands already have you, holding you safely above the waters below. You are not as tossed about as you think you are. If you stop to recognize it, you just might notice that those hands holding on to you have spike- holes. Do not be afraid. The scars remain, but the storm has passed.”

About the author

Samuel B. Hislop

Samuel B. Hislop is a writer in Utah.
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A reflection on violence in film

Gladiator II is a serviceable historical epic. If you loved Gladiator, you’ll like Gladiator II. Gladiator II opens as Rome is about to siege the “last free city in Africa.” Our nameless hero loses valiantly with his wife dying in the battle, and he is brought to be a slave in Rome. But if our hero can perform well enough as a gladiator, he can buy his own freedom. And with that, we’re off. The beats of this film will be familiar, with a massive twist only halfway through that changes the stakes for everyone. Our hero is really the son of our hero from the last movie! Which means he has a legitimate claim to the throne of Rome. The movie tries to follow three different stories. Our hero (Paul Mescal) is trying to win his freedom and avenge his wife’s death. Acacius (Pedro Pascal), the general of the armies, wants respite and time with his wife; he also wants to lead a coup against the emperors. Macrinus (Denzel Washington) wants to work his way up in Roman power through political scheming. And then on top of all of that, we are told that our hero must deal with his father’s legacy and discover who he truly is.  It’s a lot, even for an epic, and the screenplay is not nearly tight enough to keep all the storylines coherent and moving. We are led to believe that Macrinus is successful in maneuvering to the top of Roman society because of his exceptional political skill, and Denzel Washington’s delicious performance makes that believable, but all we actually see him do is win a bet and carry out an assassination. Pedro Pascal’s excellent work as the weary general does some of the work in helping reconcile the contradictions in his character, but a look on his face here or there has to carry a lot that a simple conversation could have fleshed out.  Perhaps the reason the script doesn’t have time to breathe is also its biggest contradiction. There is something grotesque about watching audiences cheer on the brutal violence taking place in the film. And yet, the entire film is centered on having us, the audience, watch one set piece of over-the-top violence after another. We don’t get to see Macrinus manipulate the Roman senate because, instead, we need to see our hero fighting with CGI rhinos or CGI sharks. There is a place for violence in a moral movie. It can be helpful to attune our senses to recoil from violence or recognize the rare places it is justified. But the violence on display in Gladiator II is so relentless and gratuitous that it dulls the senses instead.  This is not to diminish the craftsmanship that has been used to bring this world and its many battle scenes to light. Rome feels broad and alive in true epic fashion, and it’s easy to get swept away into its world—with the exception of a few uncharacteristic pieces of clunky CGI work. The opening battle sequence is perhaps the best ever put to screen.  The best part of Gladiator II was its opening. A 1950s style opening credits are shown over a lavish dreamy animated retelling of the first film. Everything about it screams that something epic is about to be shown. But throughout the movie I stayed fixated on what it could have been. What if it had been more focused on the characters I cared about? What if it didn’t try to connect so much plot to the previous film and let this story stand on its own merits? What if they had expanded it to a TV miniseries so that its many plot points had space to breathe? In the end, despite some good acting and a beautiful setting, the movie just left so much to be wanted.  Gladiator II is R-rated. It is not appropriate for children or, in my estimation, most adults. At its core, this film has a moral message: life is hard, but it’s worth fighting for. But the way it’s presented on screen does more to drag down the spirit than to lift it up. Two and a half out of five stars. Gladiator II opens nationwide November 22, 2024.

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