Tag Archives: story

A theology of Broadway

I’m fairly sure I’m losing my mind. You read about it often in artists’ biographies – at the end of their lives they descend into some kind of mania, growing obsessed with astrology or spiritualism or organic food or bitcoin or something. “He was always a little oversensitive, a little unstable,” friends will report. “But at the end he seemed to lose all touch with reality.”

Of course, in the cases of many of those artists, that fatal condition had something to do with syphilis or alcoholism or drugs. And last time I checked, I don’t have a problem with any of those. No, my descent into unreason can only be blamed on my home-grown neuroses and manifold phobias.

All the verbiage above constitutes my quaint method of introducing an idea I’ve conceived, one that’s just silly enough to embarrass me. But that doesn’t make it wrong.

What if the Kingdom of God is a musical comedy?

You may recall my recent theological speculations. In one line of thinking, I posited the theory that the created universe is a Story.

In another, I suggested the universe is Music.

And I asked myself, “Is there any way to fuse those two ideas into a single, Grand Unified Theory?

And then it hit me. What if the universe is a Musical Comedy? That would be perfect! (The argument works for ballet and opera too, I suppose, but I’m a little lowbrow for those metaphors.)

I’m not a major fan of the musical stage – though I once played Mordred in an amateur production of Camelot, and was, it goes without saying, brilliant. But I’ve seen a fair number of the older, classic productions – The Sound of Music, My Fair Lady, etc. They can be pretty enjoyable.

But one thing that always troubled me was the moment – so common in musicals – when people are conversing in a normal way, and then somebody suddenly bursts into song, and a few moments later the whole crowd is singing and dancing in intricate choreography. (I embedded a clip of that sort above, a scene from the Marx Brothers’ film, “A Night at the Opera,” featuring Allan Jones with Harpo and Chico.)

I always had trouble with that moment. There are points – occasionally – in real life when people do burst spontaneously into song. Back when I was in a musical group, my friends and I sometimes even did it in harmony. But nobody ever started a chorus line.

But what if the problem isn’t with the musicals, but with the fallen world?

How often have you experienced a sublime moment in life, when your feelings surpassed mere words? When only song and dance would really have been sufficient to adequately celebrate what was going on?

Maybe that was what the world was meant to be like. Maybe Adam and Eve were doing taps and high kicks in the Garden of Eden (perhaps with animals backing them up, as in an old Disney film). Maybe that’s one of the things we lost at the Fall, and we enjoy musicals now because we’re longing for our unfallen state?

It’s just a theory, of course. But let me add this kicker, which I consider weighty indeed –

The American musical comedy was invented, in part, by P. G. Wodehouse. That would make Wodehouse a kind of prophet.

And that wouldn’t surprise me one bit.

The city and the sea

Photo credit: Milad Fakurian. Unsplash license.

The city lies foursquare, its length the same as its width. And he measured the city with his rod, 12,000 stadia. Its length and width and height are equal. He also measured its wall, 144 cubits by human measurement, which is also an angel’s measurement. (Rev. 21:16-17, ESV)

Amateur theology tonight. (“I’ve had a thought,” he said, as readers sighed in disappointment and scrolled on.)

Way back in 2010, I blogged about how the Book of Revelation (21:1) says that in the Kingdom of God, the sea will be no more. That always troubled me, because I like having the sea around. I come from a long line of sailors and fishermen, and I find the ocean beautiful and romantic.

But I’d learned that for the ancient Hebrews, the sea symbolized chaos, the depths of despair, the place where there was no safety or certainty. The opposite of God’s order. The Old Testament uses the sea as a metaphor for death and Hell (as in the Book of Jonah). So there’s a strong case to be made that when St. John says in Revelation that the sea will be no more, he’s talking about chaos and disorder being wiped out.

And it occurred to me today that the image used in the passage from Revelation at the top of this post, about the “city foursquare,” is in fact a contrasting image. They complement each other. The chaos (sea) has been taken away, and instead we have this huge, perfectly square city. Now, even though I was born to be a city boy, and I moved to the city as soon as I decently could in my life, the idea of a great big square city never appealed to me much. Sounds kind of Bauhaus, kind of Brutalist. Not much scope for green spaces. Most of us would have interior apartments, and one assumes the view and the ventilation wouldn’t be great.

But it occurred to me that, if the deletion of the ocean is metaphorical, that cube of a city is just as likely to be metaphorical. It means everything’s going to be squared away, put right.

This brings us into the realm of mystery. I think it’s beyond question that we are promised that at the very end of God’s story, all things will be made right. Sin and evil will be swept away. Wrongs will fixed. Injustices will be balanced. Tears will be wiped away. Nobody will have any reason to complain about the raw deal they got.

How that will work out, I have no idea. I absolutely reject Universalism. It’s a snare. But I do believe there will be Big Surprises.

A twist ending. That’s what you want in a good story. And as I’ve written here before, I think it’s all a good – no, a great — story.

Hubristic musings on Story

Photo credit: Infralist.com. Unsplash license.

Let’s see. Where am I? I did a Zoom interview with a student from the University of Wisconsin-Green Bay this morning. Some kind of history class assignment. She was supposed to speak with a more impressive Viking reenactor, but had to settle for me due to a glitch in the system. It was nice. She was an intelligent young person. Gave me hope.

I’m trying to figure out Adobe Indesign (not Light Desk, as I erroneously termed it last night; I saw the I and D logo in my mind, and they looked like an L and a D, so I vamped). I was referred to a YouTube video for an introduction, but that created as much confusion as it cleared up for me. I bought a book, which I shall try out this evening. I intend to learn this irrational, user-unfriendly mouse maze of an app, or die in the attempt.

Packed for my trip to Brainerd tomorrow. Paid my bills a day early, because I’m flexible that way. Walked to the post office for stamps.

But what shall I blog about? I think, on consideration, that I still have things to say about Story as a key to the universe, as if I didn’t overtalk my intelligence in my previous post on the subject.

Dale Nelson, in commenting on that post, noted that our Lord, when He came to earth, did not come as a philosopher, but as a storyteller. This is an excellent point, one I wish I’d thought of.

So I’ll double down. When God chose to reveal Himself to us in written form, He did not give us a book of systematic theology (I’ve often wished He had, but oddly He did not consult me). Instead, He told us a story.

Wouldn’t it have been a relief if the Bible had begun with The Book of Epistemology? We could have a Book of Trinitarian Doctrine, and a Book of Soteriology, and it would all end up with a Book of Eschatology.

The Quran is kind of like that, as best I understand it, based on my limited examination of the book, though it’s not very organized. The Quran is essentially a book of doctrines and commands. It’s not what you’d call a gripping narrative.

The Bible we’ve been given, however, is a narrative. God chose to tell what is essentially a story. There’s other elements in there – poetry, and law, and wisdom literature, etc. But it’s all set within an epic dramatic narrative. The world is created, Man is created, Man falls, Man runs berserk, God begins calling out a series of individuals, then a family, then a nation, through whom He will – gradually – reveal His purposes for redemption. Finally the Hero – God Himself in human form – appears and – through great sacrifice – undoes the Fall, conquers death and the devil. Finally, we’re given a glimpse of Christ’s ultimate triumph and the eucatastrophe.

A lot of church schism and religious war could have been avoided if we’d had a divine book of unambiguous theology instead of the Bible we got. But God hasn’t chosen to reveal Himself that way, either in His written Word or in His incarnate Word. He seems to prefer stories. And stories tend to be so… ambivalent. The better the story, the harder it is to explain.

During my recent long road trips, I decided to splurge on a couple audio books. Both were by Andrew Klavan – books I’d read before but wanted to revisit. My Minot book was The Truth and the Beauty, Klavan’s manifesto of art-oriented theology. My Green Bay book was The Great Good Thing, his spiritual autobiography.

I found The Great Good Thing easier to grasp. It’s a straight memoir, with its lessons fairly obvious. Great story, too.

But The Truth and Beauty, though fascinating and inspiring, eludes me at some points. Even after two readings, I still have a hard time articulating what the point of the book is. It’s mostly about how the Romantic poets followed their perceptions of beauty, which led them (in some cases not very far) towards the truth of Christianity in a world gone apostate.

But I can’t grasp the nub. I can’t tell you what Klavan is trying to say we need to learn from the Romantic poets.

And it occurs to me that’s the whole mystery of the thing.

Great art generally can’t be reduced to a formula or a moral. It leads you to a place where you confront an idea that is a Person. And persons can’t be defined – not within the limits of human reason. (God can define it all, I have no doubt.)

It’s a little like Zen, where you sit around and meditate until you “get” some irrational concept. I reject Zen, and I reject the irrational too. But the Buddhists have an inkling of some truth there.

Stories can lead us to an encounter with God. Reason can too. But neither the story nor reason automatically produce faith. The faith comes from an encounter with Jesus Christ. That encounter is a miracle; St. Paul knew, and the theologians have agreed, that it’s nothing either our imagination or our reason can produce. It comes from outside. It’s something you receive.

And you can’t always put it into words. You can only tell stories about it.

In which I try to think above my weight class

Photo credit: Patrick Fore. Unsplash license.

Sometimes I have Big Thoughts, which seem to me important. It would appear self-evident, though, that if these ideas are any good, someone must have come up with them before me. And if nobody has, it’s probably because they’re not as good as I think they are.

But I forge ahead, in all the boldness of the simple-minded. I have a sort of an answer to the problem of Theodicy.

No, make that a proposal for an answer.

No, not even that. An approach to a proposal.

In any case, I’ve written about these matters here before, but I think it’s been a while, perhaps quite a long time.

The problem of Theodicy is familiar to many of you. It’s one of the really big questions – if God is good, why does he permit such horrendous evil to exist in His world? (Recent events in the Middle East have given us ample cause to contemplate this question, when we’re not weeping, tearing our hair, and stocking up on ammunition.)

My proposal for thought is that we ought to look at the universe as a Story.

Every writer knows that there’s no story without conflict. And conflict means pain. One of the hardest disciplines many writers must learn is how to torture their characters. Although I love reading exciting stories, I often fear I can’t bear the stress when a good author turns the dramatic tension (which means fear and pain) up to 10. When I’m writing, I’d much rather be nice to my characters (most of whom I quite like), but I know my stories would be degraded.

Does this help explain why there’s suffering in the universe? Is God telling a great story?

Now I can hear the objections – “That’s obscene! When we contemplate the evil suffered by innocents in places like Gaza, it’s simply an insult to suggest that God is using those people like toys in some cosmic story-telling game.”

To that I reply – very tentatively – suppose it’s not just a game. Suppose stories aren’t actually trivial?

Suppose stories are the most important things there are?

Suppose our universe is not just “a” story, but “THE” story – and that story is the glory of God, the music of the spheres, the liturgy of the Great Throne, the song of angels.

If that still seems trivial to you, I ask this question – “What can you suggest that’s more serious than a story – if you’re in it?”

And suppose – just suppose – you had an assurance from the Author that somehow – in some way you can’t comprehend – the ending would be happy?

The Story We Tell Ourselves

Derek Rishmawy describes an idea he teaches young men and women who think they’ll ditch their biblical morality for a season in order to have fun.

I always tell my students they need to be aware of the myths and stories they tell themselves about reality, because the story you think you’re in determines the character you become. Neutral time is a particularly popular story. It goes something like this:

I’ve been a good kid in high school. I’ve done my homework, been to Bible study, and didn’t mess around too much or anything. Now, though, I really want to go out and enjoy myself a bit. The “college experience” is calling, and I can’t be expected to go and not let loose a little bit. I mean, I really love Jesus and my faith will always be a big part of my life, but you know, I’ll just go off for a bit, maybe a semester or two, have my fun, and then be back around. You’ll see.

Where else in real life does this exist? Would they tell the Lord to his face that they’ll mock him with their actions for a time and then come back? This is easily the beginning of a story Old Scratch often tells. It begins with the suggestion that morality doesn’t matter and can be left aside for a time and builds to the declaration that Jesus never cared about you because if he did, you wouldn’t be in this immoral mess.