Andy Le Peau – Page 24 – Andy Unedited

A Welcome Approach to Mark’s Gospel

One of the besetting sins of churchgoers throughout the ages has been to take verses out of context. We show disrespect for and do damage to the Bible when we act like it is a grab bag of timeless truths we can rummage through at will. We mislead others and ourselves about what the authors actually meant.

The paragraphs surrounding a particular verse are key, of course. But so is the way authors structure their work—how episodes are laid side by side or paired in different sections. Structure conveys meaning which we are wise to pay attention to that lies beyond the surface of the text.

In Dean Deppe’s tour de force, The Theological Intentions of Mark’s Literary Devices, he systematically unpacks the dense networks of meaning embedded in Mark’s gospel. Though not organized as a commentary, the book covers virtually the entire gospel.

Mark is famous for his “sandwiches” (also called intercalations or chiasms) in which he divides a narrative in two, inserting another in the middle. The story of Jairus’s daughter, for example, is interrupted by the woman who has been sick for twelve years.

In this academic work, Deppe also considers other devices such as framing (matched episodes that bookend a section), allusionary repetitions (recurrences of Old Testament references), mirroring (reflecting the experiences of the community Mark wrote for), and narrative surprises (such as a response of fear or lack of understanding to a miracle rather than amazement or faith).

Under his detailed analysis, four themes emerge: the Messiah is a suffering, crucified servant; discipleship will also be met with suffering, confusion, and failure; the Gentiles are welcomed into the new community in Christ; many Jewish regulations are fulfilled in Jesus and are no longer in effect.

In these last two themes, Deppe sees Mark closely aligned to the theology of Paul who pioneered mission to the Gentiles. Luke and Matthew, by contrast, regularly soften Mark’s diminishment of OT regulations (e.g., eliminating “The Sabbath is made for man, not man for the Sabbath,” “In saying this, Jesus declared all foods clean,” and others). In this vein Mark likewise suggests that Jesus’ temple action is more than a symbolic cleansing but a symbolic destruction.

Deppe comes to these conclusions partially through his use of biblical criticism. While this results in seeming to set Jesus against Mark at times, his approach also unearths interesting insights regarding Mark’s use of geography. His work on the absence of Jesus (when Jesus is separated from the disciples) is also worthwhile.

I have long favored Deppe’s general approach of paying attention to Mark’s sophisticated use of literary devices. In Mark Through Old Testament Eyes, I especially consider two interpretive keys. The first is, as the title suggests, Mark’s intertextuality and the second is the way he structures his gospel.

I welcome Deppe’s comprehensive work both for the overall emphasis he gives to these and other devices for understanding Mark as well as for the thirty, sixty, hundredfold yield of insights into the gospel that he harvests in this important book.

Did Jesus Make a Difference?

In the last century millions were killed in genocide, a hundred million in armed conflicts, fifty million more in political purges. Has Jesus, acknowledged as the most influential person in world history, really made any difference?

Thomas Cahill begins to answer this question in Desire of the Everlasting Hills by considering the written record of Jesus’ life and the other documents his earliest followers left behind. He doesn’t make the mistake of homogenizing the four gospels into one bland account. Instead he recognizes the distinct emphases of the gospel writers, devoting a chapter to each of the four, and as a result giving us a richer picture.

While starting with an introduction on the Greek and Roman history that led up to the New Testament era, chapters on Paul and the early church round out his account. Throughout he shows respects for the text by quoting many long New Testament passages—including the entire letter of Paul to Philemon! This Cahill shrewdly summarizes as “instructing the slave master in his Christian duty, while seeming not to do so” (237).

Cahill offers a popular history based in mainstream scholarship. Having written a book on Mark’s gospel, I take issue with some points, but I agree with far more. Cahill does not, for example, dismiss miracles and the resurrection as mere fantasy. He calls for us to seriously consider the evidence that supports such reports.

Rather than focusing on particularly “spiritual” topics, Cahill emphasizes other themes inspired by Jesus—peace, justice, and lifting up the poor and marginalized. While the book is not religious in its intention, the author seems not to be able to help lapsing into some wonderfully devotional passages.

What of the initial question that inspired the book? He only hints at answers. Certainly the crucified image of the righteous sufferer has remained strong, inspiring many to follow his example even at great risk. Also, it is hard to imagine the Bill of Rights and the United Nations Universal Declaration of Human Rights emerging without the widespread influence of Jesus. “The pressure to make peace [in various quarters of today’s world] is quite unlike anything the Greeks or Romans or even the Elizabethans could have imagined” (310).

We have far to go in becoming the people Jesus called us to. Yet because of Jesus, we know the way.

—–

photo credit: Pixabay, wynpnt

The Shape of Democracy

Is democracy worth fighting for and even dying for? Does it need greater goals than itself? What should be the shape of our social order?

In an era gone by, Christian thought leaders believed they had a public role in answering such questions, and the public thought they did too. In 1943, as the Allies began to realize that victory over the Axis powers was inevitable, the independent work of five key intellectuals coalesced in remarkable ways concerning what the post-war world should look like.

In that year a French Catholic philosopher, a British poet living in America, an American poet now a British citizen, a French mystic working for the resistance in England, and an Oxford Don gave lectures, wrote poetry, produced books, and spoke on the BBC. The five—Jacques Maritain, W. H. Auden, T. S. Eliot, Simone Weil, and C. S. Lewis—all addressed the larger questions of society and politics for what would soon become the post-war world. Taking up themes of education, the demonic, and force, all asked how Christian perspectives might inform such answers.

Since the Allies used the methods of mechanized, technocratic warfare against the Fascist powers who employed the same techniques, the five wondered, What was needed so that we would not become like them? Despite the best efforts of these intellectual powerhouses to point society in a different direction (spoiler alert here), they failed. Such thinking and warnings were overwhelmed by the ultimately dehumanizing technological worldview that had been employed to win the war—and which would permeate the peace.

Of the five, only Jacques Maritain actually engaged substantively in the world of politics after the war as the French ambassador to the Vatican. Weil died and the others moved on to other concerns.

Alan Jacobs concludes his book The Year of Our Lord 1943 with an afterward about a somewhat younger Frenchman who had many of the same concerns as the five—Jacques Ellul. His conclusion about what Christians ought to do in such times is outrageous for the age we live in. I will not spoil the shock of that recommendation here but will encourage you to read it.

The unwritten agenda of this book and its relevance for today seems to be the similar questions that are now afoot. Does democracy have a future? Can it withstand the impulses of our now hyper technological society joined with the forces of nationalism which once more assert themselves–now in currently democratic societies like Great Britain, India, the United States and elsewhere? What role if any does Christianity have to play other than chaplain to the powers or hand-wringing bystander?

——

photo credit: Pixabay/Mark Thomas

Bible Myth #23

We all know the story.

Saul persecuted the early Christians until, in a flash of light from the sky, God knocked him off his horse. He heard a voice call to him, “Saul, Saul, why do you persecute me?” And who was speaking? “I am Jesus, whom you are persecuting.” And that’s how Saul turned from tormenting Jesus Followers to being their foremost missionary.

But there’s one detail in this tale that is wrong. A mistake. The Bible never says it. Yet we have retold this error over and over. What’s amiss?

There was no horse. Acts 9 doesn’t mention it. What about the other two times in Acts that Paul tells his story of meeting Jesus? No horse. Maybe it’s in one of Paul’s letters where he gives a bit of his life story? Sorry. No horse. Even reputable writers like Thomas Cahill perpetuate the myth.*

Why do we keep insisting on a horse? No doubt something is at work here similar to the adage about repeating a lie often enough that it becomes the truth. But there may be another reason. Religious artists over recent centuries have depicted Paul with a four-footed friend, Caravaggio chief among them. So the image fixes itself in our minds.

Admittedly, not much hangs on whether Saul rode a mighty steed or even a bedraggled burro. No decisive doctrine is cast down. No historical record is blinded.

What it does tell us is that we must read the text. And read it carefully. Just because we think the Bible says something, doesn’t make it so. Even if we’ve heard it a hundred times, we need to read slowly, ask good questions, pay attention, write down what we see, be quiet, and listen.

If we do, we might even hear the voice of Jesus.

————–
*Thomas Cahill, Desire of the Everlasting Hills (New York: Doubleday, 1999), p. 123.

“Buy This Stock Now!”

You’ve seen the pop-up adds and click bait many times. “He predicted the Great Recession. Now look what stock he says to buy!”

What few ask, however, is this. What other predictions did he make that failed? Were there dozens? Hundreds? No one remembers those. But if you make lots of such guesses, then odds are one or two will be right.

Freakonomist Steven Levitt tells us just this. “Most predictions we remember are ones which were fabulously, wildly unexpected and then came true. Now, the person who makes that prediction has a strong incentive to remind everyone that they made that crazy prediction which came true. . . . And without any sort of market mechanism or incentive for keeping the prediction makers honest, there’s lots of incentive to go out and to make these wild predictions.”

As Daniel Kahneman points out in Thinking, Fast and Slow, the intuition of experts is pretty good when (1) an environment is regular, and (2) when one has learned “these regularities through prolonged practice” (240). So in specialized fields like nursing and firefighting, expert intuition is likely to be valid.

But where the variables are so wide ranging and the environment so vast that it cannot be regular (like picking the next hot stock or the next political hot spot), then expert intuition has the approximate same value as a warm bucket of spit.

Photo credit: Pixabay, nvodicka

The Enemy of Faith

We often consider unbelief and doubt to be enemies of faith. After all, if we perpetually embrace them, we never embrace God. But a very different response can also be the enemy—certainty.

As Tobias Wolf said, “Certainty is one of the greatest spiritual problems of our time.”* When we are absolutely sure of what we believe, we may inadvertently cut God out of the equation. We rest instead on ideas, statements, propositions, logic, argumentation, and viewpoints which we think stand on their own as universal truths.

The Christian faith is full of things we do not know, however. Though we believe in the Trinity we have very little understanding of how Three can be One and One Three. We know Jesus died for our sins but exactly how faith and grace work together in the cross is something we cannot entirely know. The Bible is very sketchy on the character of heaven or hell. And as to how the universe came to be? Well, God did it but a few details seem to be missing.

Mystery is everywhere in Christianity. The Bible is God’s Word but also written by humans. Jesus is fully human and fully divine. The more we try to remove the mystery, put everything in a neat and tidy system, the more we may fight against faith. God wants us to rely on him, not on our convictions.

It’s no coincidence that the certainty of Proverbs is immediately followed by the uncertainty of Ecclesiastes. And not just because so much of both are attributed to Solomon. God gives wisdom, yes, but we don’t have it all. “No one can comprehend what goes on under the sun. Despite all their efforts to search it out, no one can discover its meaning. Even if the wise claim they know, they cannot really comprehend it” (Eccl 8:17).

Certainty can engender pride and arrogance. When we are certain, we have no appreciation for human limitations. It means we have little to learn, maybe nothing even from God.

Lack of certainty is an underappreciated virtue which can make room for faith, humility, and love of others.

*Calvin Festival of Faith and Writing, April 2016.

Good Writers Borrow

T. S. Eliot famously said, “Good writers borrow. Great writers steal.”

As it turns out, Pablo Picasso and Oscar Wilde are also credited with saying the same thing—which perhaps proves how true the saying is. While we actually can’t find any evidence that Eliot made this statement, he did say say something very much like it:

Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.*

What did he mean? In a way, he’s saying all writers, indeed all artists, take inspiration from the past. Bad writers take something from the past and make it less than it was, turning it into nostalgia, sentimentality or sensationalism. We can all think of examples.

Eliot went on to say, “The good poet welds his theft into a whole of feeling which is unique, utterly different from that from which it was torn; the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest.”*

Good writers take from the past and add to it, creatively turning it into something different and perhaps deeper. Everyone borrows when creating a new work. No one is entirely original. That’s not the point.

The point is what do we do when we borrow. Art comes not from developing something completely different but from using the materials of the past to make something in the present which speaks to the future.

*T. S. Eliot, “Philip Massinger,” in The Sacred Wood (Methuen: London; Barnes & Noble: New York, 1920, 1960), 125.

Les Misérables You Never Knew

With the upcoming broadcast on PBS of the final episode of Les Misérables, I offer an excerpt from A Deeper Look at James by my wife, Phyllis, and me. We compare the musical with Victor Hugo’s book, but the same is true for this new six-part Masterpiece Theatre production. While I posted this six years ago when the movie version of the musical came out, this new version also leaves out a key part which explains so much.

The musical based on Victor Hugo’s novel Les Misérables begins in France in the early 1800s. An ex-con, Jean Valjean, is on his way to see his probation officer after nineteen years on a chain gang. He stops at the house of a bishop, where he is welcomed warmly with a hot meal and a night’s stay; Valjean repays this kindness by stealing the bishop’s silverware. The next day he is captured by the police and returned to the bishop for confirmation of his thievery.

Yes, the bishop confirms, this man stayed with him the previous night. Then the bishop turns to Valjean and asks why he didn’t take the candlesticks too. They could have been sold for two hundred francs. He should have taken them along with the flatware. The police are shocked. What Valjean told them was true? He hadn’t stolen the silver? It had been given to him, an ex-con, by the bishop? They can hardly believe it. But the bishop insists and sends the police on their way without the thief.

Before Valjean leaves, however, the bishop tells him, “Jean Valjean, my brother, you no longer belong to evil but to good. It is your soul I am buying for you. I withdraw it from dark thoughts and from the spirit of perdition, and I give it to God!”* As a result, Valjean’s life is radically transformed, and we see him sacrificing dramatically for others through the rest of the story.

The over sixty million people worldwide who have seen and heard the musical based on Hugo’s novel are just as astonished as the police at the bishop’s amazing act of grace. In the face of being clearly wronged, the bishop does not call for punishment but literally redeems Valjean, buying him back from imprisonment and darkness and setting him free for a new life. We wonder if we could ever have done such a thing. How could the bishop have suddenly had this stroke of wisdom, courage and strength to give and forgive so generously?

The answer is that this was not a spontaneous act of mercy. It was behavior shaped and honed over years. This encounter between the bishop and Valjean is where the musical begins, but it is not where the novel begins.

In the novel we learn that years before, the bishop had opened his spacious residence to the patients from the overcrowded hospital next door, while he himself moved into the tiny hospital. He walked to make pastoral visits so he could distribute his own carriage allowance to poor mothers, widows and orphans. When a subordinate refused to visit a murderer on death row, the bishop did not rebuke the subordinate but went to the murderer and showed him how to be reconciled with God. He even convinced a gang of thieves he once encountered to make contributions to the poor.

For over fifty dense pages Hugo chronicles dozens of similar episodes in the bishop’s life before he ever meets Valjean. The dramatic act did not emerge from nowhere but was consistent with a lifelong pattern.

This is the very point James seeks to make in his New Testament letter. Character does not result from a single dramatic act of wisdom, and grace is not fully constructed overnight. Rather, they are built, brick by brick and board by board, throughout a life.

*Victor Hugo, Les Misérables (New York: Signet, 1987), p. 106.

Taken from A Deeper Look at James by Andrew T. and Phyllis J. Le Peau. Copyright(c) 2013 by Andrew T. and Phyllis J. Le Peau. Used by permission of InterVarsity Press, PO Box 1400, Downers Grove, IL 60515. www.ivpress.com

English Made Fun

Benjamin Dreyer is the Stephen Colbert of grammar, style, and punctuation—informative while always being cheerfully acerbic.

When he tells us in Dreyer’s English to never use actually, it is “because, seriously, it serves no purpose I can think of except to irritate.” When offering examples, Dreyer also gives us cause to smile. Honorary titles should be capitalized, as in, “Please don’t toss me in the hoosegow, Your Honor.”

You’ll have fun with this book whether or not you care or know that “the verb in a relative clause agrees with the antecedent of the relative pronoun”—not least because Dreyer hates that stuff too! Even as a decades-long copyeditor he still has to look things up in dictionaries and style guides. We should too!

His stance toward the nature of rules in English is one I have long advocated to authors. They are helpful, but don’t take them too far because spoken English profoundly affects written English (eventually, usually). And he chirpily breaks, bends, and bruises them all the time—once, for example, suggesting we “give it a good think,” right there in front of God and everybody.

Memorable tips abound. How do you tell if a sentence is passive (with the likely result of changing it to active)? If you can add “by zombies” to the end. “The floors were swept, the beds made, the rooms aired out.” Yep. Passive.

And here I can now confess that I could never keep straight the rule about restrictive and nonrestrictive commas because neither can Dreyer. But he has a dandy new name for it that makes all the difference.

Use the “only” comma, as he calls it, when the noun in question is unique. So “Lincoln’s eldest son, Robert, was born in 1843” because Lincoln only had one eldest son. But if more than one son could be under discussion and must be named for clarity—no comma. Thus “Lincoln in the Bardo concerns Lincoln’s son Willie.”

He also festoons his text with, well, I wouldn’t call them explanatory footnotes. They are more like asides. After offering three acceptable options for use of a possessive he concludes with, “You choose.†” At the bottom of the page we find, “†Psst. Take the middle option.”

What every one of you is wondering, of course, is how Dreyer’s English differs from my Write Better (available October 2019, since you asked). Dreyer’s book is a wonderful journey into the details of punctuation, grammar, and use of numbers, augmented by many lists of misspelled, misused, and miscellaneous words—all whimsically annotated. I say almost nothing about these things.

My focus is on larger strategies for writing which Dreyer does not —such as, how to find openings, focus on readers, develop a structure, battle writer’s block, be persuasive, make a compelling title, increase our creativity, use metaphors, and say more by saying less. The last part of Write Better considers how the act of writing affects our relationship with God.

The two books should be enjoyable and valuable companions.

The Struggle of Our Better Angels

We seem to live in unusually contentious times. Tensions between established ethnic groups and against new immigrant groups seems on the rise. Many wonder if peace and justice still have a place in our future.

In The Soul of America, Jon Meacham says the lens of history can offer a corrective perspective. Our current situation is not unprecedented. By touching on key conflicts and changes over the centuries, Meacham shows that our better angels have always had to struggle to overcome our lesser instincts.

The Civil War to end slavery was one such struggle. But the battle continued on new fronts, the rise of the Ku Klux Klan in the late nineteenth and early twentieth centuries being one of the most obvious. The decades-long, hard fought struggle to gain women the vote in 1920 was another high point except that it took so much effort to achieve what now seems so obvious.

The powerful fear-mongering of media-savvy Senator “Play Fast and Loose with the Facts” Joe McCarthy in the 1950s was certainly a low point. Yet politicians of both parties were finally willing to challenge him. Soon thereafter the determined efforts of Dr. Martin Luther King Jr and President Lyndon Johnson to overcome fear led to the passing of the landmark Civil Rights Act and Voting Rights Act of 1964 and 1965.

Throughout our history the doors of immigration have also alternately opened wider and narrowed through many cycles. The shameful internment of Japanese Americans during World War II was followed in the 1960s by widening the doors of immigration from Asia.

The three-steps-forward-two-steps-back nature of American history is not new nor is it easy. Meacham suggests nonetheless that this should be cause for hope about our present situation. After all, it will not last.

We are far from a perfect nation. But we are a country rooted in the propositions that “all men are created equal,” that all have a right to equal justice under the law, and that the freedoms of religion, speech, the press, and the right to assemble and petition the government for redress of grievances shall not be abridged.

As we strive to live up to our aspirations for the future, says Meacham, we do well to remember our past.