Culture Watch

POLICE BRUTALITY, the Affordable Care Act, climate change: When people with differing convictions on issues such as these come together for conversation, some prefer to first set aside the issues and focus on building relationships, while others want disagreements front and center. In his book I Beg to Differ: Navigating Difficult Conversations With Truth and Love, Biola University communications professor Tim Muehlhoff says relationship and honesty are necessary for progress to be made.
“If every conversation we have with others is about the issues that divide us, the intensity will hurt the communication climate,” he writes.
For example, he offers the hypothetical story of an evangelical Christian who wants to share his faith with a Muslim co-worker. Over lunch, the colleagues take time to learn about each other’s differing religious convictions, but the conversation doesn’t invade their work relationship. Back at the office, they return to their easygoing, day-to-day relational habits.
It’s a mistake to begin conversations by trying to convince others of our position, Muehlhoff says. It is better to listen with a sincere desire to understand what the other person believes and why they believe it.

IN NOVEMBER 1964, as the long Cold War heated up again, this time in Vietnam, Trappist monk Thomas Merton set forth a koan to 14 peacemakers: “By what right do Christians protest?” For three days, these activists and theologians—famously uniting Catholic and Protestant faith traditions—met with Merton in the Kentucky hills, grappling with how and why Christians should resist the violence of war.
Historian Gordon Oyer has re-created this meeting so pivotal to the peace movement and—most important—assessed its meaning for our time. The historic retreat is meticulously sourced with detailed textual analysis of the presenters at the retreat and the writers who influenced them. Particularly impressive is the lucid summary of the era and the delicacy and respect with which the author treats cultural and doctrinal differences among the participants.
Ecumenism in peace work is thankfully common today, but in the early ’60s the blending of faith traditions at the retreat was groundbreaking. Even more revolutionary were the two Masses the group celebrated together, with Jesuit priest Dan Berrigan presiding, everyone in the group receiving communion, and John Howard Yoder, a Mennonite theologian, preaching at the second liturgy. (Both practices were proscribed at the time.)
Attendees included Phil Berrigan, later one of the creators of the Plowshares actions for nuclear disarmament, and A.J. Muste, dean of the U.S. peace movement at the time, with years of experience in War Resisters League, the Committee for Nonviolent Action, and the Fellowship of Reconciliation (FOR). FOR’s Paul Peachey and John Heidbrink were instrumental in initiating and organizing the retreat, although neither of them could attend in the end. (Neither could two other invitees—Bayard Rustin and Martin Luther King Jr.)

IT’S EASY to lose heart when tackling the painful challenges we live with—poverty, racism, violence, sex trafficking. We volunteer and donate our time and money, but do those efforts really make a difference?
Nicholas D. Kristof, a New York Times columnist, and Sheryl WuDunn, a former Times reporter who works in finance, had the same question; A Path Appears is the result of their investigation. The husband-and-wife team canvassed the giving world, interviewing socially minded people working as individuals or in community with nonprofits, corporations, for-profit organizations, and everything in between. Turns out millions of lives are being transformed next door and across the globe—including our own.
Bernard Glassman, for example, is an aeronautical engineer who wanted to do something about homelessness. After researching the issue for six months, he decided jobs were the most urgent need and started Greyston Bakery in Yonkers, N.Y., a for-profit company whose mission is to employ homeless men and women.

LEFT BEHIND may be a soft target, but once seen, you may realize that it’s a soft target for anyone who has ever been on an airplane, seen what Nicolas Cage is capable of in Leaving Las Vegas, met a Muslim, or not been cryogenically frozen since the era when it was socially acceptable to treat people with dwarfism as punchlines.
It really is worse than most theatrically released movies—shot and edited like a political attack ad/music video mashup, written like a child’s Sunday school lesson, and then strangely denuded of almost anything that would make it identifiably Christian (teasing those who already believe, yet scared of alienating people who just want to see a cheesy disaster movie without heavy proselytization).
The people who made it aren’t bad people, of course. (I’m not sure anyone is, with the line between good and evil running through each human heart and all—although that’s another argument that wouldn’t make it into this film.) The producers are ideologically committed to advancing a message that they were indoctrinated into by an unthinking system—let’s call it the Christian Industrial Entertainment Complex. They’ve stumbled upon the money and basic skill to make movies. They think that what they’re doing is changing the world for the better, but that’s doubtful—it’s more likely just reinforcing the closed-set worldview of the CIEC’s pre-committed adherents. This isn’t new, so I’m not too concerned about one more example of bad art masquerading as religious experience.

Calling to the Deep
In Radical Spirituality: Repentance, Resistance, Revolution, Jason Storbakken, co-founder with his wife, Vonetta, of the Radical Living Christian community in Brooklyn, N.Y., fluidly weaves scripture work with political critique and his own fascinating history in this call to find deeper life in Christ found on the margins. Orbis

AS LINUS ONCE pointed out, Charlie Brown could turn a wonderful thing like Christmas into a problem.
Well, America’s post-industrial economy, in which the children of middle-class families frantically compete for slices of a shrinking pie, has done Charlie Brown one better: Our culture has managed to turn children’s sports into a problem. More and more, the fun and games of bygone days are being displaced by a network of pay-to-play competitive club sports organizations—gated communities of the youth sports world that are marketed to middle-class parents as the only route to coveted college athletic scholarships.
Two sets of statistics tell the story. As of 2010, according to the Columbus Dispatch, youth sports organizations took in at least $5 billion per year. In addition, according to a 2013 National Association of Sports Commissions study reported in the Dallas Morning News, the travel industry associated with youth sports is worth another $7 billion a year. And all that money is being spent on fewer kids. According to the Wall Street Journal, participation of kids age 6 to 17 in the most popular U.S. team sports fell by about 4 percent between 2008 and 2012 while the population of 6-to-17-year-olds fell by only 0.6 percent.
Competitive youth sports is becoming an elite phenomenon. Kids whose families can afford it spend the year migrating from tournaments to training camps. Meanwhile, the majority of kids just give up and stay home to play video games.

INSIDE TOWN HALL, New York’s legendary concert venue, the dusty twang of a harmonica slices through the low din of the crowd filling the 1,500-seat auditorium. Most are likely here for the headliner, singer-songwriter Patty Griffin, who will take the stage after this, a performance by her opening act, Parker Millsap.
The bluesy riffs from Millsap’s harmonica are intense, long and wailing, before fading into the slow, dirty licks of a slide guitar. Then a voice, old and soulful, throbs through the room, crying out the first line of the old gospel standard “You Gotta Move” and shocking many in the audience, residents of a city where very little is shocking. You can see the wave of surprise move like a serpent across the room, with people turning to their companions, eyebrows raised and a whisper on their lips.
It’s the age that gets them—the man standing at center stage, flanked by two bandmates and looking like a rockabilly idol, with his gelled quiff and rolled-up shirt sleeves, isn’t the 60-year-old blues singer he sounds like. No, he is baby-faced, young—barely even 21—and yet he’s pulling this song from some secret, battered place inside him that’s far older than his years, and matching it with a sensual intensity that sizzles in the audience. By the time Millsap allows the last note from his weathered voice to fade, he has commanded the undivided attention of one of the world’s toughest crowds.
And they are raring for more.

Paternal Insights
Father Factor: American Christian Men on Fatherhood and Faithoffers diverse perspectives from men under 40 who are rooted in a broad spectrum of Christian traditions, ethnicities, and backgrounds. Edited by R. Anderson Campbell, this is the fifth volume in the I Speak for Myself series. White Cloud Press
Sing Freedom
In Nothing but Love in God’s Water: Volume I, Black Sacred Music from the Civil War to the Civil Rights Movement, gospel music scholar Robert F. Darden explores the sustaining and revolutionary power of sacred song in African-American history. Penn State Press
THE CRY OF the church to the world should be “Forgive us.”
At a time when the American church struggles with finding its place in the world and struggles with asserting its identity, could the church be known as the community that models confession, repentance, and the seeking of forgiveness? At this moment in history, the American church is often ridiculed or portrayed as unforgiving and ungracious. Could the church offer a counter-narrative, not of defensiveness or derision but of an authentic confession and genuine reconciliation? By examining seven different areas where the church has committed sin, we ask the church to consider the spiritual power and the theological integrity of a church that seeks forgiveness for those sins.
Our scriptures testify to the necessity of confession. Confession is central to the Christian faith. The importance of confession arises from the Christian view of sin. Sin is a reality and must be taken seriously. Evangelicals consistently begin our gospel presentation with the centrality of sin to the human experience. American evangelicals often assert that the beginning of the work of God’s forgiveness is the recognition of our need for God because of human sinfulness.
It is antithetical to the gospel when we do not confess all forms of sin—both individual and corporate. The reason evangelicals can claim to be followers of Jesus is because there has been an acknowledgement of sin and the seeking of God’s grace through Jesus Christ that leads to the forgiveness of sin.

CHEF IS A small-budget film with an all-star cast and artful storytelling. Jon Favreau, who also directed Iron Man, stars in his own film as a head chef named Carl Casper at an acclaimed restaurant in Los Angeles. Casper is left in a vocational tailspin after a scathing review and a public meltdown. He loses his inspiration and finds himself in an existential crisis.
In Chef Casper’s quest to recover his culinary mojo, he takes a trip to Miami and buys a used food truck. The film plays on the power of relationships in a messy, winding, but authentic path. Chef Casper’s community—his ex-wife, his son, and his best friend—are invited into the one thing Casper loves to do, demonstrating how community, at its best, can propel us on the way we should go.
Each truck stop on the journey back to California fills Chef Casper with new vision and adds distinctive ingredients. He makes his way to once again bring beauty and flourishing back to his street corner of the world.
My small group at church watched Chef together and bonded over it. We explored themes of vocation—how we can contribute to flourishing through the distinctive things “we’re good at.” And how activism isn’t just about waving the proverbial picket sign; it also can be about loving what we do with great friends.
IN 1998, AWARD-WINNING writer Linda Lawrence Hunt and her husband, Jim, were forced to consider a question no parent wants to ask: How do you find meaning in life after losing your child?
Their 25-year-old daughter, Krista Hunt Ausland, had just died in a bus accident in Bolivia while volunteering with the Mennonite Central Committee.
“Your joys become more intense,” consoled a friend whose family had also lost a child.
This resonated with Linda, especially since Krista was known for her energy and enthusiasm. Linda and her husband, now retired professors of English and history at Whitworth University, had always encouraged Krista to travel and take part in community service, but even they were amazed by the intense joy Krista exuded serving as a school teacher in inner-city Tacoma, Wash., or volunteering in poor communities in Latin America. Writing about that joy might help to recover some of it in Linda’s own life, she thought.
Fifteen years later, Linda’s newest book is more than just an ode to a remarkably happy daughter. Pilgrimage through Loss: Pathways to Strength and Renewal after the Death of a Child is a collection of ideas and insight from more than 30 parents who decide in their darkest hours to “face grief in creative and intentional ways.” The book, which contains study questions at the end of each chapter and references new research on grief, is intended as a resource for grieving parents, as well as for those hoping to support them in the right ways and at the right times. “Closure is an illusion,” explains Linda, but she describes multiple examples of parents finding strength and even joy in sacred spaces and rituals, as well as in giving and receiving symbolic acts of kindness.

HIGHBROW FILM criticism and fanboy comment pages alike often manifest as if their purpose is to make snarky points about who knows how much about what. Whether in an academic journal or on Reddit, film criticism can either get the point or be the point. We can either convince ourselves that we exist to show the world how smart we (think we) are—or to facilitate a conversation about the purpose of art that’s spacious enough to stimulate both the heart and the mind.
The lack of clarity about such purpose means that it has to be continually reasserted, so here goes: The purpose of art is to help us live better. I contend that this is the primary evaluative lens through which we should watch. Of course aesthetics, craft, and content matter, but how I watch films depends at least as much on the notion that art emerges from a human creative impulse that is at its best directed at the common good.
The protagonist of the new documentary The Overnighters has made a similar shift in consciousness regarding his own vocation. North Dakota pastor Jay Reinke understands that the purpose of church isn’t far different from that of art, and he opens his building to economically disenfranchised folk trying to find a job in the oil boom, letting them stay overnight despite local suspicions. It’s a manifestation of Christian vocation mingled with lightly ringing alarm bells—the pastor appears to be a Lone Ranger, not collaborating with supportive church leaders or members; the jobs are in an environmentally degrading industry—and a picture of community service that seems at once miraculous and exhausting.

JESUS RETURNED this past August. Or at least a new depiction of him appeared on late-night cable television, in the comedy Black Jesus, created by Aaron McGruder (of The Boondocks). There was no rapture, and no subsequent tribulation, beyond what passes for normal these days. Instead Jesus appeared, as he did in Palestine, in a manner both obscure and mysterious. And, again, his incarnation became a scandal among some of the powerful and pious.
In Black Jesus, on the Adult Swim network, the second person of the Trinity turns up one day on the streets of Compton, a very poor and heavily African-American community in southern Los Angeles County. Played by a tall and beefy Gerald “Slink” Johnson, Jesus walks the streets in his first century robe and sandals, but with his hair in a Tina Turner perm. Aside from the eccentric get-up, this Jesus fits right into his surroundings. He has no cash, and no place to lay his head. But that goes for plenty of Comptonites. He enjoys malt liquor and marijuana, just as much as he did good wine back in the day at Cana. He’s still preaching and practicing unconditional love, forgiveness, nonviolence, and service to all, but his street talk averages about 1.5 bleeps per sentence.
There’s plenty that’s problematic about Slink Johnson’s character. For one thing, I can’t imagine the Jesus I know using the disrespectful canine term for women so freely or being quite so nonjudgmental about the marijuana trade. But neither does this depiction approach “blasphemy,” which is what the American Family Association called it. The Catholic League, which often leads the charge against perceived offenses to the faith, got it about right when it said, “The Jesus character in this show is a mixed bag: He is irreverent and can be downright crude, but he also has many redeeming qualities.”

“THE COMPUTER’S not the thing. It’s the thing that will get us to the thing,” intones Joe MacMillan (Lee Pace), the enigmatic visionary at the heart of AMC’s new techno-drama Halt and Catch Fire. Set in the early 1980s in Texas’ “Silicon Prairie,” the series chronicles a small, fictional software company that enters the personal computing fray. This is the age of IBM dominance and the improbability of an underdog company taking down the computer Goliath is the premise of the show.
HCF is a kind of origin myth: a drama that tries to capture the spirit and personalities that drove the personal computing revolution that reshaped the world we now inhabit. Across the cable universe, HBO offers another riff on the same theme set in the present day. Silicon Valley is a satirical send-up of startup culture and the boy-men who rule the northern California empire to which we are all in thrall. In tone and style it is the antithesis of the self-consciously serious HCF. But the two shows share a similar preoccupation with exploring the humans who make technology even more than the technology itself.
This is partially a necessity of good storytelling. Nothing slows down a story like having to explain technical expertise. At best you can get a few gags out of the science geek spewing unintelligible jargon to the bewildered “everyperson” (think Sheldon’s whole persona on The Big Bang Theory). But this narrative limitation also hints at the enigma both shows are trying to explore: Who are the people who understand the jargon and create the technology that defines our new digital age? What is the nature of this kind of power?
During his 1930-31 fellowship at Union Theological Seminary in New York City, German theologian Dietrich Bonhoeffer joined his African American classmate Albert Fisher as a regular attendee at Abyssinian Baptist Church in Harlem.
WHEN BONHOEFFER entered Harlem with Fisher, he met a counternarrative to the white racist fiction of black subhumanity. The New Negro movement radically redefined the public and private characterization of black people. A seminal moment in African American history had arrived, and all of Bonhoeffer’s descriptions of his involvement in African American life during his Sloane Fellowship year occurred during this critical movement. He turned 25 that February. Bonhoeffer was experiencing that critical moment in African American history while he was still young and impressionable.
The New Negro, a book containing a collection of essays, was edited by one of the leading intellectual architects of the movement, Alain Locke. The New Negro, as Locke and his authors appropriated the term, described the embrace of a contradictory, assertive black self-image in Harlem to deflect the negative, dehumanizing historical depictions of black people. The New Negro made demands, not concessions: “demands for a new social order, demands that blacks fight back against terror and violence, demands that blacks reconsider new notions of beauty, demands that Africa be freed from the bonds of imperialism.” Bonhoeffer knew the movement by the descriptor New Negro, but James Weldon Johnson preferred to describe the movement as the Harlem Renaissance ... as a rebirth of black people rather than something completely new. ...

HERE’S WHAT Slow Church is not: A how-to manual with five easy steps to make your congregation more thoughtful. A celebration of how using the word “community” often on your church website will multiply your pledge and attendance numbers. An ode to really, really long worship services.
Rather, Slow Church explores being church in a way that emphasizes deep engagement in local people and places, quality over quantity, and in all things taking the long view—understanding individuals and congregations as participants in the unfolding drama of all creation. Authors C. Christopher Smith and John Pattison are self-proclaimed “amateurs,” insofar as they are writers-editors and lay leaders, not professional pastors, theologians, or congregational consultants. But this book is richly informed by their experience in their own church contexts (Englewood Christian Church in a gritty neighborhood in Indianapolis for Smith; an evangelical Quaker meeting in small-town Oregon for Pattison), conversations with other church communities, and close reading of classic and contemporary literature on culture, Christian community, scripture, and spirituality

THE KENNAN DIARIES, carefully edited by Frank Costigliola, a University of Connecticut historian, covers an amazing and sometimes disturbing 88-year period of personal journal-writing by George F. Kennan, who became the most famous diplomat-intellectual of the 20th century.
Born in 1904 (he died in 2005) Kennan, a Milwaukee native, grew up in an upper-class Scotch-Irish Presbyterian family with three older sisters and a father who was a tax attorney.
After graduating from Princeton, Kennan became a Foreign Service officer with the State Department, eventually serving in posts throughout Europe. But Kennan’s first love was Russia. He wrote in his diary that “he had a mystical connection to Leningrad, as though he had once lived there.” He was offered a three-year university stint in Berlin by the State Department—Kennan’s boss wanted him to be educated like a pre-Bolshevik Russian gentleman. Kennan’s grasp of the Russian language and history became exceptional. Together with his prodigious analytical skills, it would be the foundation of his brilliant career.
After 20 years abroad, Kennan fired off his famous 5,540-word “Long Telegram” on Feb. 22, 1946, from Moscow to Washington. Soon afterward, in July 1947, he wrote another piece in Foreign Affairs under the byline “X.” In the two pieces he said that the Soviets under Stalin would try aggressively to expand, but that the U.S. should not employ military means to stop them. Instead, Kennan advocated “containment,” heavily monitoring the Russians with hard-headed diplomacy and tough talk. He also stated that the Soviet Union would eventually self-destruct.

WHAT’S A GOOD priest for? So asks Calvary, the second feature film from writer-director John Michael McDonagh, rooting itself in Ireland’s coastal landscape, centering on a pastor threatened with scapegoat-retributive murder from a grievously sinned-against parishioner. Its vibe owes a great deal to the quiet reflection of films such as Jesus of Montreal and Au Hasard Balthazar (in which a donkey evokes the love and wounds of Christ), and the archetypal Westerns High Noon and Unforgiven. Brendan Gleeson plays a priest who was drawn into the church after his wife’s death, which allows us the rare experience of seeing a cinematic Catholic priest who is both a parent to his flock and to a beloved daughter, who feels somewhat abandoned by his commitment to the church.
Gleeson has the uncanny ability to hold his massive frame as both solid—almost concrete—and vulnerable. Knowing that everyone is both broken and breaker, his Father James is healing on behalf of a flawed institution, although he doesn’t confuse vocation with a job. His bishop’s response to a request for help is “I’m not saying anything,” reminding me of Daniel Berrigan’s challenge to religious hierarchies, heard at a public meeting in Dublin in the run-up to the Iraq war: “In Vietnam, they had nothing to say, and said nothing; now, they have nothing to say, and they’re saying it.”
Father James understands the difference between stewarding power and grabbing it (one obvious signal of his goodness), and he is up to his neck in the community, running the gamut from friendship with an American writer looking for inspiration in the land of his presumed ancestors to a visit with a former pupil whose own inner darkness has led him to do monstrous things.

IN 1961, President Eisenhower warned us about the threat to democracy posed by what he dubbed the military-industrial complex. Today we need an Eisenhower to sound the alarm about another threat to our capacity for self-rule: the educational-industrial complex.
The military-industrial complex gained power because it promised to protect Americans from the spectral threat of Soviet domination. The educational-industrial complex has arisen in response to the fear of economic domination by better-educated populations. But the policies it promotes could leave our population increasingly unable to think for itself or counter the saturating influence of propaganda—whether commercial or political.
What I mean by the educational-industrial complex is that vast network of companies and institutions with a vested interest in education policy: the testing companies, textbook publishers, software developers, technology peddlers, “for-profit” schools, and the armies of high-powered “consultants” that circle U.S. schools like vultures picking the last dollars from the emaciated bones of their budgets. All of these players push an agenda of standardized testing and skills-based curricula that is crowding out both content knowledge (outside of science and math) and the slow, labor-intensive process of reading and discussion that produces the capacity for critical thinking. In the end, we’ll have a deeply ignorant and complacent people who will do as they’re told and buy what they’re sold.
I see this narrowing of educational horizons even in my little corner of the higher education world. At our small state university, faculty members are regularly subjected to lengthy presentations from hired consultants deployed to update our pedagogy—or at least our ed-speak jargon. For instance, last year all teaching faculty had to submit measurable “Student Learning Outcomes,” unfortunately abbreviated “SLO,” for every course we teach. When most of our “outcomes” were deemed “unmeasurable,” a SLO consultant was loosed upon us. From his presentation I learned that an “outcome” was really the same thing that, a decade ago, another consultant called learning “objectives.” In fact, in the middle, our SLO guy started using the two terms interchangeably, leading me to suspect that he had simply changed the jargon in an old presentation and missed a few spots when he did.

Church Makers
In Accidental Theologians: Four Women Who Shaped Christianity, Elizabeth A. Dreyer delves into the theology of four female saints of the Catholic Church, Hildegard of Bingen, Catherine of Siena, Teresa of Avila, and Thérèse of Lisieux, describing their impact on the church in their times and today. Franciscan Media
Global Feast
The revised edition of Extending the Table cookbook (first released in 1991) includes new dishes, regional menus, and more photos, as well as prayers and stories. It is part of the World Community Cookbook series commissioned by Mennonite Central Committee, and royalties support MCC’s work. Herald Press