Reviews
SEEMINGLY OUT of nowhere, the newly founded conservative tea party delivered a stunning blow to Democrats in the November 2010 election, causing them to lose control of the U.S. House of Representatives. Just two years earlier, the 2008 election had severely weakened Republican forces with the election of the country’s first African-American president, Barack Obama, who won by promising change after eight years of the Bush administration.
Two recently published, fascinating books, The Tea Party and the Remaking of Republican Conservatism, by Harvard social policy experts Theda Skocpol and Vanessa Williamson, and Ayn Rand Nation, by award-winning financial journalist Gary Weiss, provide a treasure trove of careful research, new material, and balanced reporting that throws much-needed light on how the tea party was born and how it became a lightning rod for many frustrated Americans.
Who are the tea party members? They are, for the most part, middle-class white people over the age of 45, as the general media have already reported. But as one tea partier told the Harvard researchers, “We are not a bunch of uneducated, racist rednecks.” Her view is, in part, corroborated in the book. Skocpol and Williamson found through hundreds of interviews that the movement is indeed made up of many college-educated people (some graduates, some not) who live throughout the U.S. They are engineers, IT managers, small businesspeople, home contractors, and teachers. Although as a group they lost jobs, businesses, and retirement money in the recent recession, they were not hit nearly as hard, report the Harvard researchers, as those with lower incomes.
What brought out tea party rage? One source was an unlikely populist crusader, CNBC financial broadcaster Rick Santelli, who suddenly began ranting on the air on Feb. 19, 2009, that “the government is rewarding bad behavior” by subsidizing those about to lose their homes through President Obama’s home foreclosure relief plan. His rant was picked up by the Drudge Report and then rebroadcast through the major media.
IN THE 17TH century, Thomas Brooks published the devotional Precious Remedies Against Satan’s Devices, which he hoped would serve as a “salve for sores” and a “remedy against malady,” to provide those who face hardship with nourishment, support, and cheer to continue God’s work in themselves and the world.
It’s no coincidence that The Welcome Wagon borrows Brooks’ title for its second LP. In unsettling economic and political climates, the married gospel-folk duo of Vito and Monique Aiuto write songs that offer a balm of spiritual medicine to heal their congregation and wider audience.
Before the Aiutos gained a musical presence, Vito worked at a Presbyterian church in Manhattan and was a minister to students at New York University. Six years ago he helped found Resurrection Presbyterian Church (PCA) in Brooklyn, where he and Monique continue to serve a young, diverse congregation.
In their ministry at Resurrection, they released their first album in 2008 (Welcome to The Welcome Wagon); close friend and indie music icon Sufjan Stevens helped record and produce it. The album was met with high acclaim and sounded like a natural extension of Stevens’ own catalogue. With a popular musical ally and an overtly spiritual foundation, The Welcome Wagon yielded an unlikely coupling: the hip and the religious.
In a New York Times article titled “A Congregation in Skinny Jeans,” Vito confronts this, saying that while he may fit the “cool” bill, it’s an unhelpful way to describe a church community. Despite his tweed jacket and gentleman’s cap, he’d prefer to be known for his personhood and for speaking honestly.
THE VIDEO for the title track of 2/3 Goat’s EP Stream of Conscience features members of the New York City-based band standing knee-deep in a stream in the mountains of Central Appalachia. Lead singer and mandolin player Annalyse McCoy belts: “Stream of conscience hear my cry / I don’t want my hills to die.” The video intermixes a fictional family’s daily life in the coalfields with harrowing footage of mountaintop removal (MTR) coal mining, which has destroyed more than 300 mountains in the region. In later scenes, the band walks down a country road with coal-dust covered miners, young people, and families in a rambling, spontaneous protest march. It truly is a visual evocation of Appalachia Rising—a tagline of the region’s anti-MTR movement.
The other core members are guitarist, song writer, and vocalist Ryan Dunn and fiddler Ryan Guerra. 2/3 Goat is a self-proclaimed metrobilly band, a portmanteau referring to the music’s urban audience and its roots in country and mountain music. Its acoustic-driven, bluegrass- and old-time-music-inspired sound has engaging harmonies and a sweetness and honesty to it. The other tracks on this five-song release are strong, both in musical composition and storytelling. “Lay It on the Line” is a playful duet between McCoy and Dunn with upbeat fiddle, guitar, and mandolin accompaniment that will make you want to flat foot (if you have enough mountain swagger to pull it off) to this almost-love song. “Band of Gold” highlights McCoy’s textured alto voice and ability to wail when the lyrics call for it. The tone is emotionally heavy, but the fiddle accompaniment and the shift in tempo at the end of the song save it from needing a side of whiskey to wash it down.
WITHOUT SOME advance warning, you might not know that Jeff Sharlet is a man of God. That’s not an insult or backward compliment so much as it is fact. Though perhaps best known for his acclaimed nonfiction expose The Family: The Secret Fundamentalism at the Heart of American Power, Sharlet doesn’t beat readers over the head with the proverbial Bible he carries in his knapsack. If you don’t know what clues to look for—tales of Germans born again in Oklahoma, descriptions of hipster trucker caps emblazoned with flashy youth crusade logos—you might miss some of his most powerful nods to spiritual and religious influence in his travels. You might mistake the nondenominational journalist for just another fantastically gifted storyteller, a shrewd correspondent reporting back from remote spiritual enclaves, rather than a disciple of God seeking to understand those with whom he shares some belief.
Sweet Heaven When I Die begins by tracing Sharlet’s youthful days visiting a girlfriend’s Colorado ranch and his grandmother’s Knoxville home. His keen sense of personal history first grounds his essays in what is clearly important in his own life: the closeness of loved ones, the nearness of God. But he quickly moves beyond situating himself in his writing and instead steps back to peer like a prophet into the lives of others—philosopher and educator Cornel West or Yiddish novelist Chava Rosenfarb.
Sharlet also nimbly passes through the outer realms of faith and lack thereof. In one of the book’s most poignant vignettes, he retraces the short life of Brad Will, once called one of the country’s “leading anarchists.” (The oxymoronic label suitably amused Will.) Will’s activism began in a same-sex marriage standoff with Promise Keepers in Boulder, Colorado, and then carried him north to Quebec City and south to his 2006 death in Oaxaca de Juarez. Throughout his fiery life, he kept in close contact with his straight-laced Republican family; attending his mother’s 60th birthday party celebration was a chief concern when he was detained for a week following the 1999 WTO protests in Seattle.
AL TIZON’S Missional Preaching, as one might expect, is designed for those who proclaim the gospel. The text, moreover, should prove useful to homiletics professors, local ministerial groups, and church bodies seeking to encourage more reflective approaches to the craft of sermon-making. Tizon, an ordained minister in the Evangelical Covenant Church and professor of evangelism and holistic ministry at Palmer Theological Seminary, writes with lively prose, frequently deploying humor and hyperbole to complement biblical exposition and theological reflection.
For Tizon, missional conviction is about joining “God’s mission to transform the world, as the church strives in the Spirit to be authentically relational, intellectually and theologically grounded, culturally and socio-economically diverse, and radically committed to both God and neighbor, especially the poor.” Tizon’s commitment to mission is both theological and autobiographical: The author spent nine years doing community development in the Philippines and currently serves as the director of the Word and Deed network of Evangelicals for Social Action.
Structurally, Tizon begins with three chapters on missional theology, covering liturgy, biblical perspectives on mission, and the missio Dei (the mission of God). For Tizon, missio Dei signifies God’s restorative purposes for the world, beginning with Israel and consummating in Christ. To complement the opening essays, each subsequent chapter pairs Tizon’s reflection on a missional topic with a sermon on the same subject matter. In a particularly compelling chapter, the author’s insights on whole-life stewardship are concluded by a riveting homily from Shane Claiborne.
Pariah, written and directed by Dee Rees. Focus Features.
Gandhi and the Unspeakable: His Final Experiment with Truth, by James W. Douglass.
The Dream is Freedom: Pauli Murray and American Democratic Faith, by Sarah Azaransky.
A review of Why Love Will Always Be A Poor Investment: Marriage and Consumer Culture, by Kurt Armsrong; foreward by Aiden Enns. Wipf & Stock.
Digital Jesus: The Making of a New Christian Fundamentalist Community on the Internet, by Robert Glenn Howard. New York University Press.