Category Archives: Non-fiction

‘Hitler’s Religion,’ by Richard Weikart

Hitler's Religion

It still amazes me that some people actually believe the public religious image that Hitler created for himself, as if Hitler would never have stooped to deceiving anyone about such important matters.

If you’re in the mood to start an argument and lose some friends on Facebook, you can hardly choose a better topic than Hitler’s religion (or lack thereof). Hitler is the great hot potato of ideologues – whoever gets him in the toss tries to pass him on to somebody else as quickly as possible. Atheists like to declare that Hitler was a Christian, and Christians like to retort he was an atheist, or an occultist.

Richard Weikart, author of Hitler’s Religion, says they’re all wrong. He provides pretty convincing documentation that Hitler was in fact a pantheist. Hitler remained a member of the Catholic Church for political purposes, and appealed to God and the Creator in his public statements. But, like so many modern figures, he cherished very private, secret definitions of those terms. Continue reading ‘Hitler’s Religion,’ by Richard Weikart

Luther’s “Utterly Improbable” Career Shown in New Biography

Lyndal Roper has a new scholarly biography on Martin Luther’s “utterly improbable” life.

Roper took ten years to write this book, which the NY Times calls, ” a fresh and deeply illuminating study of the man who somewhat reluctantly divided a continent.”

Roper is especially good on Luther’s unusual upbringing as the son of a mining family. It was a hard life, full of risk; they lived well, but always one bad business decision away from disaster. Young Martin knew that the price of his education was an investment in the family’s future, and how much his decision to abandon his legal studies in favor of a church career would disrupt his father’s plans.

But reviewer Melanie Gilbert suggests Roper crops out the full picture. “When read for its smaller insights – his prolific letter writing, for instance – this book offers a rewarding look at a specific time and place in history. But in a story where the Gutenberg printing press isn’t even mentioned, and the English Reformation gets only a one-page mention, the larger importance of Luther’s life is lost in translation.” (via Prufrock News)

MIT Presents Communism for Kids


This is not a joke.

From the book page: “Once upon a time, people yearned to be free of the misery of capitalism. How could their dreams come true? This little book proposes a different kind of communism, one that is true to its ideals and free from authoritarianism.”

Historian Philip Jenkins has looked into it and found it isn’t tongue-in-cheek. It’s deeply ignorant. Does it point to Stalin or Mao Zedong as examples of pure communism at work? Of course not. Labor camps? We’ll do it right next time.

Should it not be said that a solid scholarly consensus now accepts that this record of violence and bloodshed was a logical and inevitable consequence of the communist model itself, rather than a tragic betrayal or deformation? Evil Joseph Stalin did not distort the achievements and goals of Noble Vladimir Lenin: rather, he fulfilled them precisely. Pursuing the “for kids” framework, should we not see some equally cheery volumes such as A Day at the Gulag, and even (for middle schoolers) Natasha Is Shot as a Class Enemy? How about Springtime for Stalin?

(via Prufrock News)

New Podcast Is Both Curious, Repulsive

S-Town is the to-rave podcast of the month. It comes from the people who make This American Life and the podcast that spawned 100 imitations, Serial. I heard about Serial at some point in the middle of the run, I think. Maybe it was at the end of its first season. I heard many good things from many people, but I never listened to it. Podcasting, developed in 2000, just hasn’t been my thing, because portable tech hasn’t really been my thing. Whenever I heard a podcast, it was through my PC, kind of like the cans-and-string method. Only in the last few weeks have I begun to use a loaner iPad for something it’s actually good at.

So I was ready when I caught word of the new S-Town, which released all seven episodes on March 28. That initial word described a true crime podcast, but S-Town is a different story. (spoilers)

It begins with the wildly colorful, possibly genius John B. McLemore reaching out to Brian Reed about a murder that happened in his home town, Woodstock, Alabama, about which he needed a barrel of venom to describe. Everyone, including himself at times, was a loser, a failure, an idiot, and many more vulgar labels. His old school was Auschwitz. The police were corrupt. The county had one of the highest rates of child abuse and molestation anywhere. At least a couple people asked John why he didn’t move away since he hated the place so much.

John B. can work himself into a fit by thinking of how no one is outraged over countless liberal talking points, and this murder is a prime example. Everyone knows who did it. The man himself has bragged about it. Why doesn’t anyone give a rat’s rear-end?

The story shifts from that question to focus on John B., which isn’t a selling point. He’s a babbling brook of liberal outrage and profanity. He can’t tell Brian about the many flowers and butterflies on his property without worrying that they’re dying off. By episode two, I was already telling him to shut up. Two of the people who may have cared about him the most pushed him away because they couldn’t bear up under the weight of his poisonous worldview. Continue reading New Podcast Is Both Curious, Repulsive

‘The War of Art,’ by Steven Pressfield

The War of Art

Because when we sit down day after day and keep grinding, something mysterious starts to happen. A process is set into motion by which, inevitably and infallibly, heaven comes to our aid. Unseen forces enlist in our cause; serendipity reinforces our purpose.

Someone suggested to me that I might enjoy Steven Pressfield’s The War of Art (and yes, I caught the reversal on Sun Tsu’s The Art of War… eventually). I’ve been struggling with my work in progress (it’s coming, but I’m fighting for every inch of ground), and I thought, what could it hurt?

It’s a remarkable book. I’m still not entirely sure what to think about it, though.

It might save you the cost of purchase if I give you the basic message right here – the only way to succeed as a writer is to become a professional. Sit yourself down at your desk at the same time every day, and work at your craft. Don’t listen to the negative voices in your head. Especially don’t listen to the ones that say, “I’ll just skip it today.”

But the value of the book is (of course) in the reader’s journey. In polished, powerful prose Pressfield (author of The Legend of Bagger Vance, Gates of Fire, and other bestselling books) analyses the writer’s problem (we have an enemy, which he calls “Resistance,” and we must learn to tread it under our feet). And he tells the story of his own evolution from a blocked, self-pitying wannabee to a fulfilled professional (anyone can do it, he says, which I think is an exaggeration. Not for me, of course, but for you other folks).

What troubles me about the book is its religious nature. When Pressfield talks about his Muse, he’s not being metaphorical. He lays out a whole theory of reality and consciousness (based on Jung), and says he believes that his muse actually exists. He prays to her each time he sits down to write.

On the negative side, he condemns all forms of Fundamentalism. “Fundamentalism and art,” he says, “are mutually exclusive.”

I take that kind of personally. I think you could call the medieval Roman Catholic Church fundamentalist, by his definition, and they did pretty well on the art front. The Puritans themselves gave us Milton and Bunyan.

So I’m uncomfortable with Pressfield’s religious statements. Speaking as a fundamentalist, I worry that he may have sold his soul to a devil, or be possessed in some way.

So I can’t wholeheartedly recommend The War of Art. As a motivational book, it’s excellent (I had a pretty good writing day the day I finished reading it). But spiritually I found it hazardous.

Also, cautions for language.

Why Not Ask the Black Church?

“The Benedict Option fails to ask how black believers have survived racial, economic, and social marginalization with their faith intact.” Jemar Tisby offers an important perspective to Rod Dreher’s new book, a book he has mulled over for at least ten years. When considering options for the persecuted church in America, it seems natural to look to those portions of the church that have lived through persecution, but as Tisby writes, this is a continuing blind spot for many white people.

The reality for many white believers is that Christians of color may provide inspiring stories of resistance and are certainly nice to have on display in the congregation, but they are not a true source of wisdom for the white church. To some white Christians, the faith traditions of racial minorities may offer great aesthetics like preaching or musical style, but they don’t have the legitimacy to lead the way into the future. The constant refusal to learn from the black church can only be termed ecclesiastical arrogance.

The Real Reason the Benedict Option Leaves Out the Black Church

Dreher did start a conversation about the black church four years ago, asking why it hadn’t influenced communities more. That doesn’t answer Tisby’s critique, but it does offer a bit of context.

Cling to Jesus As If Your Life Depends on It

Rod Dreher’s The Benedict Option is being released tomorrow. Collin Hansen reviews it here.

My main fear with Dreher’s book is that the people who need it most won’t read it. How do you convince Americans that replacing fast food and cable news with fasting and hard labor will be good for their souls?

Overwhelming evangelical support for Trump suggests not many conservative Christians would agree with Dreher that “losing political power might just be the thing that saves the church’s soul.” Rather, they seem to believe the American Empire needs our partisan politics in service of God’s kingdom.

Dreher will have many interviews this week. This one with Russell Moore is bound to be one of the better ones.

When God Passes By

And when evening came, the boat was out on the sea, and he was alone on the land. And he saw that they were making headway painfully, for the wind was against them. And about the fourth watch of the night he came to them, walking on the sea. He meant to pass by them, but… (Mark 6:47-49)

Here’s a somewhat academic analysis of the last clause from the quotation above from Derek Rishmawy. Jesus walked out to this disciples while they floated in the sea, and “he meant to pass by them.” Does this aside refer to something in the Old Testament as so many Gospel references do? How about Job 9:4-13 and Exodus 33:17-23?

It’s subtle but beautiful.

 

Silence: A Difficult, Important Film

John Murdock talks about beautiful, but problematic the movie Silence is. It isn’t a success story. The power of believing doesn’t end the war. It ends on a note that will need explanation for many viewers.

In an age of ISIS brutality, its themes are sadly relevant today, and it opens a window on a period in church history of which too few are aware. It is not a perfect picture, but those who proclaim it a masterpiece have reason to do so.

Recovered Essay on Extraterrestrial Life

Who comes to mind as a public figure who has written an essay on the possibilities of life on other planets?  Not a high school paper, but a fairly scientific essay that concludes, “With hundreds of thousands of nebulae, each containing thousands of millions of suns, the odds are enormous that there must be immense numbers which possess planets whose circumstances would not render life impossible.”

Would you believe Winston Churchill wrote these words?

The essay written in 1939 reportedly has a strong understanding of contemporary astronomy and how scientists would approach the question of extraterrestrial life. It was found by Timothy Riley, director of the National Churchill Museum at Westminster College in Fulton, Missouri. He recommended the essay to astrophysicist Mario Livio, who was thrilled to examine it.

Churchill did his homework, Livio reports. Though he probably didn’t pore over peer-reviewed scientific literature, the statesman seems to have read enough, and spoke with enough top scientists—including the physicist Frederick Lindemann, his friend and later his official scientific adviser—to have had a strong grasp of the major theories and ideas of his time.

Roots of Black History Month

Dr. Carter G. Woodson, founder of what has become Black History Month, wanted to spotlight the many social and academic achievements of African Americans.

“For serious, solution-oriented black conservatives today,” Chidike Okeem writes, “Woodson provided a model of how one can be enthusiastically pro-market, doggedly anti-Marxist economics, and do so while being unapologetically African. He demonstrated that endorsement of free market economics does not have to coincide with self-hatred and anti-blackness.”

“Black Americans have African ancestors who were marvelously accomplished, built civilizations, and were intrepid innovators. African Americans, despite a history of oppression, have demonstrated that same entrepreneurial spirit throughout American history.”

Reading Wiesel as Protesters March Outside

I’m glad we’re talking about refugees, immigration, and what loving our neighbors means in practical terms. I hope all of this becomes perpetual opportunities for the gospel, the life-transforming gospel, not just some shell of good wishes.

On Sunday in New York, a large group met at the Jewish Heritage Museum to read from Elie Wiesel’s Night to remember the Holocaust at the same time other New Yorkers were protesting the US administration’s policies on immigrants from terror-watch countries.

“By the end of the [Rwandan] genocide I lost my entire immediate family, my parents, my siblings, most of my family members,” Jacqueline Murekatete told the audience. “As any child of that time, I witnessed a lot of horrors, people being killed around me and losing my family…but I was fortunate that I had an uncle that lived here [America].

She said Wiesel inspired her as a teenager. Night “became a catalyst for the genocide prevention work that I do now.”

There cannot be a 1:1 comparison between Holocaust or Rwandan genocide and what is happening in Syria and other countries. We live in a different world now. I could understand if President Trump were to say, “We are working very hard to provide safe passage to select Syrian communities who are being targeted and have nowhere to run, because frankly, people, we went over there and made a huge mess, a gigantic, stupid mess.” But that’s not his stance today for reasons that should be completely understandable to everyone. There are enemies among us.

But perhaps Wiesel would not agree. In his Nobel acceptance speech, he said,

Silence encourages the tormentor, never the tormented. Sometimes we must interfere. When human lives are endangered, when human dignity is in jeopardy, national borders and sensitivities become irrelevant. Whenever men or women are persecuted because of their race, religion, or political views, that place must—at that moment—become the center of the universe.

How Victorian Literature Inspired African-American Writers

Despite many arguments to the contrary, many writers and literary advocates have yearned for unique voices within single cultural traditions. In the early days of this country, we wanted to forge distinct American literature that was not dependent on our British roots or British authors. We continue that yearning in all artforms today. You’ll remember that one of the strength’s of the Netflix original Luke Cage is how culturally black it is.

In his fascinating and original new book, Reaping Something New: African American Transformations of Victorian Literature, Daniel Hack provocatively joins the contrarian chorus by examining the relationship between one of the most marginalized literary traditions and one of the most dominant. He has found that a wide range of the most important 19th-century African-American writers drew from and engaged with writers of equal importance to the Victorian literary tradition.

While it may be natural to want one’s own voice in art, many of us may unrealistically define that uniqueness. We may chafe at anything at smacks of dependency while ignoring the relationships and influences we cannot avoid. Nothing, after all, is truly original. (via Prufrock)

Roots in the Mali Empire

One of the things I appreciate about the history books we’ve used with our children is their scope. They are world history books and cover more than Western civilization. As a result, we’ve learned about African kingdoms, the ebb and flow of Japanese and Chinese empires, and a bit about missionary efforts along the way. I wouldn’t be surprised if my children knew something about Sundiata Keita and the Mali Empire, one of the greatest kingdoms of ancient Africa.

Philip Perry has a piece on how a Magna Carta-like document may predate the Magna Carta in the oral history of  the Mali Empire of 1200-1600 AD, thus making the concept of human rights initially an African idea. Not that the “Manden Charter” was the inspiration for the Magna Carta, but it’s interesting that a similar idea emerged in this other context, showing perhaps the innate longing of the human heart.

I bring this up today because Alex Haley’s Roots points back to the people who lived in this part of the world, as Perry notes. The original mini-series based on that book aired today in 1977. Haley called his book a mixture of facts and fiction, but he may have claimed more facts than he should have.

‘The New Philistines,’ by Sohrab Ahmari

The New Philistines

The marginal is the norm. We are in the final chapters of liberal democracy’s story of ever-greater inclusion. What are the hardline identitarians to do? Posing as permanent outsiders, they are deeply uncomfortable now that they own the culture.

This book moves me a little out of my comfort zone. The New Philistines is written by Sohrab Ahmari, who proudly lets us know that he fully supports many progressive social initiatives, such as homosexual marriage (though I was surprised to learn, when he happened to appear on Dennis Prager’s talk show just today, that he has recently converted to Roman Catholicism). In spite of his social views, however, author Ahmari is appalled by the fruit contemporary political movements have produced in the world of the arts. Truth, beauty, all the traditional pursuits of art have been swept from the stage. Only political identity (what he calls “identitarianism”) matters in the art world today.

He starts with a visit to the new Globe Theatre in London. Built some years ago to reproduce the kind of structure in which Shakespeare’s plays would have been originally produced, the theater attempted, in its initial phase, to do Shakespeare “straight,” to give the audience an idea of what a performance would have been like in the 17th Century. It sounds like a project both entertaining and enlightening.

But recently a new director has taken over. She is a doctrinaire feminist, whose goal is not to make Shakespeare accessible, but to deconstruct him, and with him all our “imperialist, oppressive” western civilization. The author describes a production of A Midsummer Night’s Dream in which all roles are distributed equally between males and females (hasn’t she heard there are more than 50 genders?), the love-inducing magic flower becomes a date rape drug, and one of the two chief romantic pairs is male/male.

The author doesn’t argue with the social goals of the kinds of “artist” who produce this kind of ugliness. He merely complains that what they are creating is crude polemic, not art. Instead of truth and beauty (which he is old-fashioned enough to still seek in art), modern art has become a frenzied exercise of ever-decreasing effectiveness, desperate to find new ways to shock an increasingly unshockable – and disinterested – public.

The New Philistines is a well-written, very short book. I found it stimulating and convincing. Cautions for disturbing subject matter, and some foul language.