Jesus is coming. Look busy?


New EWP Talk: A Sacred Church

The “faith and work movement” in America is in danger of deepening the sacred-secular divide . . . by approaching and understanding church in some secularizing ways. If we want to find the sacred in the world – including in our workplaces – we must first find it in our churches. And when we do, our work can be revolutionized.

That is the burden of this short TED-style talk I recently presented at a meeting of faculty members teaching in the Oikonomia Network of seminaries. The talk draws from a still-popular book called For the Life of the World, based on a series of talks on the mission of the church by the late Alexander Schmemann of St. Vladimir’s Seminary (Eastern Orthodox) in New York.

New issue of Christian History fights back against the church’s modern amnesia


Let’s get medieval on the church today!

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Seriously, it’s great to see this article, and this whole issue – which Joel Scandrett and I first envisioned many moons ago – come to fruition through the as-always-excellent work of Jennifer Woodruff TaitDawn Myers-MooreDoug Johnson, Dan Graves, Joeli Banks, Meg Goddard MossEdwin Woodruff Tait, Kaylena Radcliff, Deb Landis, and of course our redoubtable Executive Editor Bill Curtis. You can peruse every page in glorious color at https://christianhistoryinstitute.org/…/issue/modern-amnesia. And if you like it, don’t forget to subscribe! (It’s on a donation basis.)

 

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Book Review: The Artist and the Trinity


An outstanding short review of a book about Dorothy L. Sayers’s theology of work. Book by Christine Fletcher. Review by my friend, faith & work journalist Dr. Jennifer Woodruff Tait. Platform: a faith & work blog geared for movement leaders, and well worth reading: http://www.greenroomblog.org. Book Review: The Artist and the Trinity.

Enjoy!

Another testament to the “earthiness” of medieval culture


Now this is fascinating.

Medieval image for women-in-drag piece“Knighton may confirm some of our Game of Thrones-esque expectations about the European Middle Ages, one marked by God’s wrath and a conservative religiosity. But, despite his intentions, Knighton also undermines our expectations by showing us a vibrant Middle Ages filled with color, pageantry, laughter, and performance – one in which people don’t act like we think they’re “supposed to.” In other words, Knighton almost by accident shows us a slice of the real Middle Ages, populated by living, breathing human beings.”

Any thoughts on this out there in Friends-of-Grateful to the Dead-Land?

Death, Desire, and the Sacramental Function of Humor in Lewis and His Medieval Sources – or, A Funny Thing Happened on the Way to Self-Denial – part III


Miniature of Robin, the Miller, from folio 34v of the Ellesmere Manuscript of Chaucer’s Canterbury Tales – early 1400s

Death, Desire, and the Sacramental Function of Humor in Lewis and His Medieval Sources – or, A Funny Thing Happened on the Way to Self-Denial – part III

This is the conclusion, continued from part II.

Lewis’s incarnational appreciation for the earthiness in medieval literature and drama—including the mystery plays—can be seen in an interview from months before his death. The interviewer asked Lewis about the source of the “light touch” in his writing, even when dealing with “heavy theological themes.” Lewis responded, “I was helped in achieving this attitude by my studies of the literary men of the Middle Ages [Chaucer and Dante at least, one would think], and by the writings of G. K. Chesterton[, who] was not afraid to combine serious Christian themes with buffoonery. In the same way, the miracle plays of the Middle Ages would deal with a sacred subject such as the nativity of Christ, yet would combine it with a farce.”[1]

Those who know the medieval miracle play (or “mystery play”) tradition will recognize at once how themes of desire and death get treated in this way – with the earthy, humorous touch of buffoonery and farce. As for death, I think of the crucifixion play in the York cycle. The nailers’ guild (who had the hereditary responsibility for the play) had the workmen, as they prepared the cross and pounded the nails through Christ’s hands and feet, keep up a stream of complaints at the difficulty and boredom of the work, oblivious to the divine significance of what they were doing.

In his Life of Christ, Bonaventure (1221–74) had counseled: “You must direct your attention to these scenes of the Passion, as if you were actually present at the Cross, and watch the Crucifixion of our Lord with affection, diligence, love, and perseverance.” The plays helped their audiences do this by marrying the sublime and the ridiculous, heightening the bizarre reality of a God who becomes human and dies at the hands of those he created.

One might find here the same sort of what we might call “sacramental use of humor” we find in Lewis’s treatments of Eros and death. This is a farcical way of talking about our bodily, material lives so as to both challenge our bodies’ insistent claims to ultimacy and remind us that our bodily experiences point beyond our proximate desires to the desire for heaven. “Sacramental humor” thus reinforces the truth that our God, who came to us bodily in the Incarnation, still meets us in our bodies.

I would argue that this is in fact one of the most central insights of medieval faith, fixated as it was on the Incarnation. Continue reading

Death, Desire, and the Sacramental Function of Humor in Lewis and His Medieval Sources – or, A Funny Thing Happened on the Way to Self-Denial – part II


Death, Desire, and the Sacramental Function of Humor in Lewis and His Medieval Sources – or, A Funny Thing Happened on the Way to Self-Denial – part II

Continued from part I.

So, back to Lewis’s words on Eros in the Four Loves:

The highest does not stand[118] without the lowest. There is indeed at certain moments a high poetry in the flesh itself; but also, by your leave, an irreducible element of obstinate and ludicrous un-poetry.

Then, a few lines down, Lewis bridges from Desire and Eros to Death once again:

Pleasure, pushed to its extreme, shatters us like pain. The longing for a union which only the flesh can mediate while the flesh, our mutually excluding bodies, renders it forever unattainable, can have the grandeur of a metaphysical pursuit. Amorousness as well as grief can bring tears to the eyes. But Venus does not always come thus “entire, fastened to her prey”, and the fact that she sometimes does so is the very reason for preserving always a hint of playfulness in our attitude to her. When natural things look most divine, the demoniac is just round the corner.

Here we have a bridge between sexual desire (Venus, a component of Eros) and death. Both involve states of the body, which drag us into the realm of the comic, the un-poetic. That element in the experience of embodiment keeps us from taking any bodily experience too seriously – from making anything bodily ultimate. This comic element, this limitation and haltingness of embodiment, keeps us, in short, from idolatry. It keeps us from the Materialist error, while still leaving open to us a sacramental understanding of our bodily experience as the frequent, or at least potential, gateway to something higher than ourselves. This is where desire reaches out to divinity, or suffering to sublimity. Continue reading

Death, Desire, and the Sacramental Function of Humor in C S Lewis and His Medieval Sources – or, A Funny Thing Happened on the Way to Self-Denial – part I


Each May since 2012, I’ve been presenting at the largest annual academic conference on medieval studies: the International Congress on Medieval Studies in Kalamazoo, Michigan. My papers have always explored some aspect of the medievalism (a term meaning “modern interpretation and use of medieval ideas or practices”) of C S Lewis – and the richness of medieval Christian traditions from which Lewis drew in his own theological and spiritual thinking, doing, and teaching.

This year’s paper was a shorter than usual offering – really more of a suggestive sketch of a research question. It was given as part of a five-person panel on “Lewis and Death”:

Death, Desire, and the Sacramental Function of Humor in C S Lewis and His Medieval Sources – or, A Funny Thing Happened on the Way to Self-Denial – part I

Why look at Death and Desire together, in Lewis or any other Christian source?

Simple: Biblical language of crucifying our disordered desires as a means to cultivate the new life in Christ—or on the contrary, of gaining the world (fulfilling our earthly desires) but losing our soul (fulfilling our heavenly desires)—brings desire and death together in a theological concept of a salutary sort of “death” that helps us realize our (properly ordered) spiritual desires for God.

That is, as Calvin wrote in the third book of his Christian Institutes: We must mortify the sinful self to vivify the spiritual self.

Or, to anchor this more firmly in Lewis’s medieval sources, as that 5th/6th-c. taproot of medieval spiritual practice, Pseudo-Dionysius, taught: the soul ascends to God through a movement of mortification->illumination->union. Lewis found this common medieval formulation of the spiritual life in many medieval places, including the anonymous Cloud of Unknowing and Theologia Germanica, and Walter Hilton’s Scale of Perfection.

So that’s “Why.” Now, “How”?

Continue reading