book review

Daniel José Older’s novel is a powerful meditation on love and betrayal in times of revolution.

IN HIS ESSAY “The Land Ethic,” environmentalist Aldo Leopold tells a story from The Odyssey in which Odysseus, upon returning to Troy, hangs a dozen slave girls for misbehaving in his absence. The act, Leopold writes, was not one of ethics but of property: “The ethical structure of that day ... had not yet been extended to human chattels.” Leopold uses this as an example of how our ethical structure has expanded over history. This expansion of the moral circle is a common thread in history, encompassing, slowly, people and things that were once outside moral consideration.

IN SPRING 1917, as the stark brutality of World War I continued into its fourth year, U.S. President Woodrow Wilson reversed his advocacy for neutrality and declared war on Germany. This controversial decision allowed a financially strapped Britain to hold out against the German onslaught.

As the war ended in November 1918, Wilson, the tight-lipped, egotistical former Princeton University president and governor of New Jersey, emerged as a great hero in Europe. “Thousands ... knelt along railway tracks to offer prayers as he passed,” writes historian Patricia O’Toole in her recently released biography, The Moralist: Woodrow Wilson and the World He Made. “Wilson ... beamed and bowed and tipped his silk hat times without number.”

Back in the U.S., Wilson was not so popular. His party, the Democrats, lost both houses of Congress. On Oct. 2, 1919, Wilson suffered a paralyzing stroke after a month of travel to build support for the Treaty of Versailles to formally end World War I.

THE POWER IS THE fourth novel by Naomi Alderman, protégé of award-winning author Margaret Atwood (The Handmaid’s Tale). It centers on the discovery among the world’s women that they have a unique muscle, called a “skein,” embedded into their skin that when activated gives them an electric power that they can use to both hurt and heal.

The story is told through the narration of four protagonists—Tunde, Allie, Margot, and Roxy. Tunde is a journalist who provides the reader a global perspective on overturned social orders and flipped cultural norms through his travels. Allie gives us a glimpse into the religious order forming around women and lightning. Margot is the mayor of an undisclosed U.S. city and walks the reader through the governmental and political consequences of the power. Roxy’s involvement in organized crime affords the perspective of people leveraging a new social order for financial gain.

Alderman explores in depth the role reversals between men and women. Gender-based power structures and assumptions of the previous order do not last as more women discover the power within themselves. Alderman creates a world in which men are seen as less-than, echoing stereotypes that burden women in our world: “Men are dangerous ... Men are less intelligent, less diligent, less hard-working ... Men are more likely to suffer from diseases and they are a drain on the resources of the country.”

Does this novel depict a dystopia or a feminist utopia?

IN THE EARLY 1940s, Raoul Wallenberg was a slight, balding young man living modestly in Stockholm. He worked for a trading company that imported Hungarian poultry to Sweden. Wallenberg’s colleagues were mainly Hungarian Jews.

He had trained in the U.S. to be an architect. But on his return to Sweden, Wallenberg discovered that he didn’t have the engineering courses required to be hired in his homeland. His other career alternative, banking, also eluded him. The extended Wallenberg family owned one of Sweden’s most prosperous banks, Stockholms Enskilda Bank. But they found Wallenberg to be overly talkative, too artistically inclined, and having a penchant for drama that did not signal, for them, the makings of a top-drawer Swedish banker. So Wallenberg fell into depression, feeling that he was a failure, now known to his family disparagingly as “the grocer.”

Yet this unfulfilled young man would become, virtually overnight, one of the great heroes of World War II.

Veteran Swedish journalist Ingrid Carlberg has written a remarkable, nuanced, 600-page biography featuring extensive original research and new material: Raoul Wallenberg: The Heroic Life and Mysterious Disappearance of the Man Who Saved Thousands of Hungarian Jews from the Holocaust. The English translation of this award-winning work was released earlier this year.

When the Germans sent 500 Norwegians to Auschwitz in late 1942, the outraged Swedish government, which had remained neutral, declared that Sweden would accept any Jew who could make it to the Swedish border. They also decided to set up a special humanitarian aid mission in Budapest to help Hungarian Jews being annihilated by Hitler’s troops. A colleague at the trading company immediately recommended Wallenberg to the Swedish Foreign Mission to head the new mission.

“YOU HAVE MADE us for yourself, O Lord, and our hearts are restless until they find their rest in you.”

These oft-quoted words, delivered from pulpits, books, and classrooms through the centuries, came from the theological giant St. Augustine. Augustine is widely noted as one of the most important theologians in Western Christianity. His acclaimed works, most notably Confessions and City of God, have shaped the thinking and spirituality of pastors, scholars, and regular church-going folk.

However, even with all the pages written about Augustine, there’s been a missing element that hasn’t been significantly excavated, namely, Augustine’s mestizo makeup. This is why historical theology scholar Justo González’s new book, The Mestizo Augustine: A Theologian Between Two Cultures, is a welcome and much-needed contribution to Augustinian theology.

The central thrust of The Mestizo Augustine is the exploration of the “mestizo” nature of Augustine and his theological journey. The word “mestizo” (which flows out of Latino/a theology) is a Spanish word that captures what it means to be of mixed heritage. Being mestizo is a recognition of hybridity or, as González notes, “to belong to two realities and at the same time not to belong to either of them.” This mestizaje lens is needed to better understand Augustine.

González unpacks the African/Roman hybridity of Augustine. This hybridity manifested in language, philosophical frameworks, and traditions. For example, being mestizo, Augustine lived in two worlds as it pertained to understanding the concept and practice of authority. González notes that in African culture, authority rested in the holiness, wisdom, and charisma of a leader. In Roman culture, authority did not rest on individual character but “in the function to which that person had been assigned.” Being mestizo meant Augustine needed to wrestle with the implications of these two worlds.

MARTIN LUTHER KING JR. did not initiate black prophetic preaching; he was, rather, initiated into it. Rev. Kenyatta Gilbert’s A Pursued Justice: Black Preaching from the Great Migration to Civil Rights is a theological origin story about the distinctive rhetorical tradition that is black prophetic preaching.

The text begins by naming the social crisis of the Great Migration—shorthand for a massive demographic shift of 1.5 million African Americans from the South to the North between 1916 to 1940—as an essential context for understanding black prophetic preaching. This tradition of Christian proclamation—which Gilbert calls “exodus preaching”—is framed in the context of black pastors seeking to respond theologically to the pressures of injustice, prejudice, and segregation that black migrant workers navigated in Northern urban communities in the inter-war period. Of special note, Gilbert surfaces the social gospel tradition of African-American clerics who, unlike white social gospel leaders Walter Rauschenbusch, Josiah Strong, Washington Gladden, and others, demonstrated a desire to not only build institutional churches that confronted industrial evils but also to address systemic issues of lynching, police brutality, and so on.

While the entire book makes an important contribution to the study and practice of preaching, the third chapter, in particular, sparkles with insight. Within it, Gilbert marshals a solid cast of intellectuals—including Paulo Freire and Zora Neale Hurston—to land on a four-part definition of prophetic preaching. He contends that prophetic preaching unmasks systemic evil, remains hopeful in difficult situations, aids listeners in naming their own reality, and displays a will to adorn. The criterion of adornment—with patient attention to aesthetic categories of beauty, vision, and desire—is some of the most creative theological writing, in any genre, that you are likely to read. On a practical level, the definition provides a yardstick against which working preachers and homiletics faculty can assess the strength of contemporary pulpit work.

IN 1967, I TRAVELED with activist friends from New York to Baltimore to support four people there who poured blood on the 1A files that compelled young men into the military and the massacre in Vietnam. The “Baltimore 4,” as they became known, committed the first of some 100 actions focused on draft boards, the source of cannon fodder in the ever-escalating wars in Indochina. It was during one of these trips that I met Willa Bickham and her husband, Brendan Walsh. Our friendship has been rich, varied, invaluable.

In The Long Loneliness in Baltimore, Walsh and Bickham tell of their nearing 50 years serving the people of Baltimore as the Viva House Catholic Worker. It is a story that needs telling, especially now in this country that is profoundly ruptured by economic and racial conflict.

Try as the politicians and the press might, it is impossible to disengage economics from race. Bickham and Walsh know this intimately, living in the midst of an impoverished black neighborhood. They have experienced drugs, murders, robberies, and destruction right outside their front doors. The alley that runs beside their home, thanks to their creativity, is marked with memorials to men and boys shot and killed there. Repeatedly, after almost every major killing, Walsh has told the press what has become crystal clear to him: that in Baltimore City (as in too many cities), selling drugs is the only job that exists for all-too-many people of color.

In the garden outside Viva House is the Hope Stone. In Bickham’s script, it quotes Martin Luther King Jr.: “We will hew out of the mountain of despair a stone of hope.” That is the invitation to all who come to Viva House for whatever reason, to meet whatever need. Each is sure to receive respectful and caring human interaction, food, fellowship, help with bills, a place to escape the cold or heat or rain, a place of justice and peace.

DO WE LIVE in a post-Christian era? Catholic monk Thomas Merton thought so, back in 1962, when his anti-war book Peace in the Post-Christian Era was banned by monastic censors.

He would surely come to the same conclusion today, when we hear a pulpit Christianity still identified with war and nationalism and listen in shock to a new U.S. president woefully ignorant of the peril of nuclear war. Our deeply divided nation holds scant promise for peace in our streets or in the world, despite the growing chorus of Christian peacemakers.

This new book by Jim Forest adds both deep compassion and timely advice to that chorus. The wise words of Merton, who served unofficially as “pastor to the peace movement” during the Vietnam War, are needed now more than ever. Clearly titled chapters quote from Merton’s published writing as well as his letters to Forest and other peacemakers.

In October 1961, The Catholic Worker published Merton’s essay “The Root of War is Fear,” and Merton ran afoul of monastic censors. He was eventually silenced publicly but fortunately was allowed to circulate Peace in the Post-Christian Era in mimeographed form and to continue writing letters, although for several years everything passed through the censor’s hands. One of the delights of this book by Forest is the first publication of an uncensored and scathingly sardonic letter Merton wrote under the pseudonym “Marco J. Frisbee.”