Showing posts with label Book reviews. Show all posts
Showing posts with label Book reviews. Show all posts

Thursday, October 3, 2013

We Have Been to Gray Places: A Review of Addie Zierman's When We Were On Fire

by Charity Erickson

I cannot tell a lie. Because, as we all know, liars go to hell (Revelation 21:8). But the hard truth is that Addie Zierman’s When We Were on Fire: A Memoir of Consuming Faith (Convergent; releasing October 15, 2013) is a book that’s going to wreck some people.

This memoir didn’t just hit close to home for me as a See You at the Pole alumnus and former evangelical-culture warrior; it also spoke to me in an eerily specific way because so much of it takes place in my own backyard, in the coffee shops and Christian college campuses of Minnesota. In fact, when I came to a scene where we find our narrator settling into a black faux-leather chair at a Caribou Coffee, I looked down to find myself in the exact same coffee shop chain, the exact same chair.

So that was unsettling.

But as I kept turning the pages, it wasn’t the physical place anymore that was resonating; it was the emotional space. The emotional setting Zierman describes is achingly familiar to me—that dark exile from a faith that claimed to be a sanctuary and stronghold, an idyllic fantasy that so many of us found to be nightmarish in reality—I found it so true to my experience that I had to recuse myself to the Caribou restroom and cry some terrible, racking sobs.

This book is difficult, but we need it, because its story is ours: the evangelical youth who were supposed to be the ones to “take back America for God,” we who were to usher in the revival, we who gave-it-all for Jesus and wound up drained and disoriented. Zierman, while sticking close to her personal narrative, makes use of the second person—a device so terribly overused in the Christian blogging world, and poorly too—but it works to nice effect here, emphasizing the connection of her experience with that of her readers:

"You organized a prayer rally. You stayed up all night pinning white ribbons to small square fliers that you distributed the next day at school. When you stood that night around a flagpole with a great crowd of your peers, holding lit candles and praying aloud, you felt as if the world could absolutely change in this moment. That this rally with its growing numbers could be the catalyst for some kind of revival. (186)"

Yes, we did.

But now we, like Zierman, have been to “gray places,” visited by that oppressive fog of doubt, wishing against hope for a miracle but uncertain whether we should even ask for one. It’s just that we’ve been burned before. We were on fire, you see.

I appreciated this work for its honesty, for the cathartic release it affords, and for the grace it offers to those still working out their faith. Zierman names the truths behind the evangelical vocabulary (the original working title of the book was How to Talk Evangelical) but she also provides us with some new language, phrases like “cultic relationships,” and “thought-terminating cliché,” useful and fitting additions to religio-cultural semantics. (And on a similar note, I would like to personally thank Zierman’s therapist, “Rachel Martin,” who gives us permission to punch a few pillows to exorcise the Ghosts Of Youth-Group-Boys Past.)

I recommend When We Were on Fire as a well-paced, vivid memoir that doesn’t sweep any dirt under the rug. It is a sometimes disturbing, but thoroughly touching and artistically gratifying window into a life of passion gone awry. I am so grateful that this story—our story—has been recorded with such hope and respect for the faith that so many of us long to love. Addie Zierman, thank you. 

Charity Erickson and her husband live and work together in the north woods of Minnesota. Check out her blog for more of her writing and follow her on Twitter @CharityJill. She received a free advance copy of the book, but was not otherwise compensated. Except she obviously liked the book...so that's compensation of a sort.

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Friday, September 6, 2013

These Women Preach: On Jesus Feminist and Pastrix

by Charity Erickson

I first encountered Sarah Bessey during a pregnancy scare in 2011, when she was still Emerging Mummy and I was on a Google bender. It turned out that I was not with-child, but rather with-paranoia (ladies—you know); nevertheless, my discovery of Sarah Bessey was a date with destiny. She introduced me to the Christian interwebs: Rachel Held Evans (who had just called Mark Driscoll a bully,) Christianity Today and Her.meneutics. It took a year for me to get on Twitter and experience the full glut of Christian internet content, but for that year, it was just Bessey and a few special others.

All that to say, Sarah Bessey’s Jesus Feminist: An Invitation to Revisit the Bible’s View of Women (Howard Books, releasing November 5, 2013) holds a special place in my heart, and I am excited for those who will discover Bessey’s distinctive voice in this important work.

I will admit, I was expecting Jesus Feminist to have more of an emphasis on feminist critique, but as I got more into the book I realized that such an approach would not be “Sarah Bessey.” Just as with her oft-imitated blogging style, her work in Jesus Feminist shines most when she is telling stories and issuing rally cries. Bessey is a lover of poetry and it shows in her creative word-coinage and interesting-noun-play-with-use-of-complex-hyphenates.

The third chapter is where things really pick up, when we learn that Bessey discovered feminism not in critical theory or a social movement, but in early experiences with a church where women’s leadership was highly valued. In later chapters she expounds a feminism that is rooted in kingdom theology, God’s love of justice, and the movement of the Holy Spirit. She doesn’t need theory to prove her point; her stories testify to the value of women’s service and leadership in the Church.

The chapters that do contain more scholarly analysis are interesting, but are not her strongest points; Bessey relies heavily on sources her readership may already know very well (i.e. Rachel Held Evans) and as a result, her distinctive voice gets a bit lost. But when she enters her métier, calling the Church to a better way—climaxing with the “Commissioning” chapter to end the book—her prose-y poetics explode into full-on prophecy.

Bessey characterizes her work “to build a prophetic outpost for the Kingdom’s way of womanhood” as “small ops,” but she is being self-deprecating. Jesus Feminist is on the vanguard of feminist apologetics in the evangelical world, and this initial charge manages to be both challenging and guided by Christ-like humility. Those who most need this book are the same ones who will find it most accessible, as Bessey’s voice is attuned to the needs and language of her evangelical and mainly female audience—though dudes with poetic souls will find much to like here, too.

Nadia Bolz-Weber’s Pastrix: the Cranky, Beautiful Faith of a Sinner and Saint (Jericho Books, releasing September 10, 2013) serves as an interesting counter-point to Jesus Feminist. Pastrix is as straight-forward in its language as Jesus Feminist is lyrical. Bolz-Weber’s use of scene, dialogue, narration and straight-up sermonizing is masterful—and I’m sure, much harder than she makes it look. Here we have another author whose sharp, engaging voice has won her many fans—her voice, and her commitment to the Gospel. It surprised me to discover the strongest connection between these two works on the fringe of the Christian culture is that they are both unabashedly focused on the saving message of Jesus Christ. No embarrassment, no mincing of words. These are women who preach.

I can’t really say enough good things about Pastrix. I picked up a copy at Wild Goose and despite the fact that it got soaking wet (yes, I’m harping on that again), I couldn’t stop peeling back page after soggy page. On the way home I had the opportunity to chat up my heroes—Krista Tippett and the On Being crew, with whom I shared a long layover and flight back to Minnesota—but I couldn’t think of anything to say. I just wanted to stay buried in what were by that point dry, curled pages, my copy already showing signs of being well-loved.

The concept behind Pastrix is pretty simple—hard-living former fundie finds sobriety, God, and a call to ministry. Bolz-Weber tells her story, touching on themes of addiction, death, and failure—but always bringing the reader to a place of hope, even “defiant hope.” She speaks from a pastor’s heart, crafting her work for the sake of our ultimate edification, but dang it if she doesn’t just make it fun.

My only criticism—and I don’t know if this is a true criticism at all—was that I was left at the end wanting more. More stories, more creativity, more cranky insight from someone who we might lovingly call a curmudgeon-at-heart. Could we perhaps look forward to a Pastrix II: The Reckoning of the White Collar? I hope so. In any case, Pastrix comes out this week. You need to get it.

One final reason why you should check out both Pastrix and Jesus Feminist: They exemplify so much of what is going on in the world of young Christian culture. These authors defy any attempt at categorization. They do not toe party lines. They are inspired by a variety of Christian traditions and don’t see a problem with taking the best from new things they find. These books represent a moment in history when Christians who used to strictly adhere to denominational identities are busting out and finding exciting, confusing, and promising possibilities for their faith. And as my call for sequels suggests, I’m already excited to see what might come next.

Charity Erickson and her husband live and work together in the north woods of Minnesota. Check out her blog for more of her writing and follow her on Twitter @CharityJill.


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Tuesday, March 5, 2013

Review: Faith, Doubt, and Other Lines I've Crossed by Jay Bakker and Andy Meisenheimer



Jay Bakker, Jericho Books
Jay Bakker
by Ben Howard

When I first heard Jay Bakker speak in January of this year, I was immediately captivated by his honesty, his vulnerability and his intense desire to find hope in love and unity. So I was more than happy to find out that Jay was releasing Faith, Doubt, and Other Lines I’ve Crossed in February along with his co-writer Andy Meisenheimer.

As a pastor’s son and, for lack of a better term, recovering evangelical, Bakker’s thoughts inevitably trace their way through the theological minefield that many like-minded people have also found themselves navigating. He begins with the struggles of doubt, the realization that doubt is a part of faith, rediscovering the Bible as a living document instead of a list of rules, and a recasting of what atonement and salvation really mean.

To be honest, the first five chapters reminded me of similar books, like my first experience with Rob Bell when I was in college, or Brian McLaren’s early work. Though they were familiar, I found myself drawn in by Jay’s openness. Whereas Bell and McLaren’s work showcased the positives of this new way of believing, Jay’s work shows the darkness and the pain of the struggle. He does not sugar coat the fact that this transition has been difficult, or really that life in general has been difficult, and this transparency helps to form a bond between reader and writer.

Jay Bakker, Faith Doubt and Other Lines I've Crossed, Jericho Books, Andy Meisenheimer
Read this book
Though the first half of the book may seem familiar, the final three chapters send the book into the stratosphere. In Chapter 6, Jay lays out his view of grace. He opens the chapter with the following quote from Brennan Manning:  “[Grace is] not cheap. It’s free, and as such will always be the banana peel for the orthodox foot and a fairy tale for the grown-up sensibility.”

From there, Jay begins to lay out an understanding of grace that is so self-evident and simple, yet simultaneously so difficult to swallow that it forces the reader to confront their own prejudices. He embraces the idea that when we say grace is for everyone, including those we hate, including those who hurt us, and including those who don’t deserve to be offered grace. Even if it offends us and we cannot offer grace ourselves, grace is for all.

He continues by showing that grace also extends to us, and that means that it extends through and beyond our own inability to accept what we find as “unacceptable” in our lives.

In my favorite passage in the book Jay lays out what happens when we accept ourselves:

“When we see and accept the unacceptable in our own lives, we recognize the unacceptable in other people’s lives and yet accept those people anyway. Then we are truly able to help others, to lead them to grace, to help them to grace, to help them discover transformation.”

This vision of grace and acceptance extends into the final two chapters which explore the world of the marginalized and the church’s call to seek the lost and the excluded. In these chapters he speaks over and over about how Jesus ate with the tax collectors, who were hated for their traitorous work for the Romans, and the sinners, who were ostracized by society. He loved people because society was allowed to hate them. He was on their side because they needed someone to love them too.

In the final chapter especially, Jay explores the need to accept gay and lesbian people into the church. He relates his own experience with this acceptance and how it led to him losing his job in Atlanta. How he did what he felt he had to do, because it was right, regardless of the pain and the cost.

grace, Jay Bakker
Free, offensive and wonderful
That’s what I love about this book. It does not shrink from the pain of doing the right thing. It understands that a quest for loving unity, acceptance, and grace will lead to a lot of pain from those who are afraid of the implications. 

Additionally, I appreciated the way Jay came to his beliefs. He did not attempt to twist scriptures or re-contextualize them to make them say something that he wanted them to say (a temptation I am all too familiar with), instead he seems to have looked at them with fresh eyes and has been able to see through the grit and grime of a mountain of bad interpretations.

We love because it’s so obvious God loves us. We give grace because it’s so obvious the grace we’ve been given. We do what’s right because it’s so obviously the right thing to do, even when it hurts.

If this is what it looks like to cross the line, then I can’t wait to follow.

Peace,
Ben

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Monday, February 4, 2013

Review: PregMANcy by Christian Piatt

PregMANcy by Christian Piatt is available here. You can visit Christian’s website here.

by Ben Howard
 
I don’t have kids. Even more, I’m rather ambivalent about the entire idea of having kids. So you might ask: what am I doing reading, much less reviewing, a book about pregnancy and fatherhood?

To be honest, I don’t know, but I’m glad I did.

In his memoir-cum-parenting book, PregMANcy, author Christian Piatt mines his personal relationships as well as his own psyche to explore issues of fatherhood, parenting, childhood, fear, faith, love, and marriage all wrapped within the narrative cocoon of his wife’s pregnancy with the couple’s second child.

When I started the book, I expected the pregnancy to take center stage. However, I was surprised to find that other than a few particular areas, the opening chapter and (spoilers!) the birth of the baby, the pregnancy was used a more of a narrative frame. This framing gives the story a distinct beginning, middle and end, the book is even divided into trimesters, and propels the reader through the book on the waves of a narrative.

However, even though this book contains a narrative, and an interesting one at that, it is not a book about a narrative. This is a book about relationships and fear and how love overcomes fear.

The central relationship in this book is one of fathers and sons, in particular Christian and his son Mattias, but also Christian’s relationship to his own father and his own past.

Piatt represents his relationship with his son as one filled with tenderness, love, and pride. When his 
son asks a direct question, he typically receives a direct, honest answer even if that answer leads to more awkward questions. Piatt talks about his son so lovingly, even when talking about the frustrations and quirks of their relationship, that it only heightens the level of vulnerability and fear he feels about the concept of fatherhood.

That fear reveals itself when Piatt talks about his own past struggles and the broken relationship with his own father. The picture we are given in totality shows the valiant and valorous attempt of a man to maturely confront his own personal demons while simultaneously raising a son who he wishes to both protect and shape into a virtuous man.

Each exploration into Piatt’s fears and frustrations, whether they involve his relationship with his son, his wife, his future daughter, or any other aspect of his life, feels like a refreshing breath of honesty and vulnerability. He invites you freely into his story and in the process allows you to explore your own.

My only critique of Piatt’s work is his occasional need to tag a moral onto the end of a chapter. At times it felt as if Piatt was self-consciously aware that his memoir wasn’t “Christian enough” for a Christian publishing house. As a result, several of the chapters end in a quick moral sentiment that feels like an unnecessary addition. It’s not that the points are disconnected from the narrative, simply that they are conveyed in the narrative flow so well that there is no reason for overt exposition.

I thoroughly enjoyed Piatt’s book and would recommend it to any expectant father or for that matter expectant mothers. So little is written authentically exploring both the joys and apprehensions of fatherhood, that it can’t help but be a welcome voice in the conversation of what it means to have a child.

However, even more than those expecting children, I would recommend Piatt’s book to anyone interested in the emotional dynamics of a family. Basically, if you really like the show Parenthood, but want to occasionally scatter a laugh amidst your constant sobbing, you’ll enjoy this book thoroughly.

I can’t wait to see what territory Piatt explores in the future.

Peace,
Ben

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Monday, January 7, 2013

Review of Not Your Mother's Morals by Jonathan Fitzgerald


Note: Not Your Mother's Morals by Jonathan Fitzgerald will be released on January 8th. You can find it on Amazon or visit the official website for more details..

by Ben Howard

Maybe it’s my own sense of generational pride, but I’ve known for awhile that my generation (aka The Millenials/Generation Y) isn’t nearly as bad as people have made us out to be. Thankfully, with Jonathan Fitzgerald’s new book Not Your Mother’s Morals I now have proof. Well, maybe not proof, but definitely a better argument.

The conversation in Fitzgerald’s work centers on the shifting definition of morality from the idyllic 1950s-style morality invoked by many in the conservative movement (i.e. your mother’s morals, or perhaps grandmother’s to be more precise) to what the author terms “The New Sincerity” of the present day.

Using examples from TV to movies to music to books to politics, Fitzgerald puts forward an argument that cultural trends point toward an emerging sincerity and authenticity in the millennial generation. This sincerity means that far from eliminating morality from the conversation, many avenues of popular culture have moved it to the center. However, the morality in question differs in many ways from traditional moral leanings, or as Fitzgerald puts it, a move from a “moral code” to a “moral posture.”

Fitzgerald adopts a rather tongue-in-cheek rhetorical vehicle to develop this moral posture by utilizing the classical conservative refrain of “God, Family, and Country.”

In the section about God, Fitzgerald examines the role of religion, spirituality, and doubt in popular culture, especially when it comes to music such as indie rock. He uses examples like Arcade Fire and Sufjan Stevens as musical acts who express an interest in theological questions, even if they’re not expressed in a traditional style. He also explores the God-like characteristics found in superheroes both in comic book form and blockbuster-style movies.

The Family section explores how movies and television have helped to shape an evolving view of families. Far from diminishing the value of the family, modern representations actually express a desire for a healthy family life, though that life may look far different than the husband/wife/2 kids/1 dog image many past generations have associated with that ideal. Instead, Fitzgerald points out how the sitcoms of the 80’s, 90’s and 00’s have helped to redefine the expectations of what a family looks like.

Under the banner of Country, Fitzgerald explores how it has become “cool to care” in the world of the New Sincerity. He explores the rise and fall of patriotism in America and the way the September 11th attacks re-energized patriotism in popular culture. He points out that the climactic moment of the New Sincerity’s engagement with politics came during the election of Barack Obama in 2008 when Obama tapped into this desire for sincerity and authenticity with his campaign based on hope and change.

Fitzgerald freely admits that he is not arguing that present-day views of morality are better than previous conceptions, but they also are not worse. They’re simply different. He also jokingly acknowledges that this is a movement of the moment and that his children might write a book advocating the “Old Cynicism” of their generation. However, that’s not a necessary backlash. Perhaps optimism and enthusiasm are here to stay.

As someone firmly ensconced in this culture of sincerity and authenticity to which Fitzgerald is appealing this book certainly reaffirmed many of my own feelings about the developing morality of my generation and culture writ-large. I completely agree with the trends Fitzgerald sees in the development of popular culture. At the same time, I have some concerns which were left unaddressed in the book.

Early on Fitzgerald makes the argument good art is inherently moral. He utilizes this argument to distinguish art and entertainment from more sordid fare such as Jersey Shore. I understand the argument and the appeal to artistic merit, but at the same time artistic culture is not synonymous with popular culture. In fact, what I think Fitzgerald is uncovering more than anything is the fracturing of culture in the wake of the democratization of media.

What does it mean to society at large when the trendsetters of culture (the music, the TV shows, the books, the movies, the political arguments) are so disparately divorced from the mass consumption of culture?

If I have one criticism of Fitzgerald’s work, it would be the length. Published as an ebook, it comes in around 50-60 pages digitally. However, the possible content for such a work is so much larger and I craved more after each time I read the book (I read it twice, it takes about 2 hours).

I would have loved a more in-depth examination of specific movies, shows, books, or musicians. In the section on God, Fitzgerald dedicates a paragraph to David Bazan, one of my favorite musicians, but then quickly moves on to another reference.

Additionally, an analysis of the opposing trends in culture would have been welcomed and given a healthy dose of context to those uninitiated into the world of the New Sincerity.

Ultimately, as with any artistic act, I am left to judge a work on what it is, not what I would like it to be. In that regard this book is charming, well-written, passionate, intelligent, and thoroughly understands the underlying motivations of an oft-misunderstood generation. I would gladly have read another 200 pages and I’m certain you’ll thoroughly enjoy this book.

Peace,
Ben

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