Culture Watch

IN HIS EULOGY at Baptist pastor, civil rights activist, and author Will D. Campbell’s memorial service in late June, Campbell’s close friend, journalist John Egerton, recalled their first meeting. Campbell was wearing the broad-brimmed black hat that became his signature, with jeans and cowboy boots. At the time, Egerton noted, Campbell was in the middle of “a costume change” from the tweed jacket, clerical collar, and calabash pipe he had affected as a young, Yale-educated liberal minister.

Campbell was a notoriously theatrical figure, as famous for his hats and walking sticks as for his theological pronouncements. In fact, in the 1980s Campbell became a cartoon character in the guise of Rev. Will B. Dunn in the late Doug Marlette’s “Kudzu.” Campbell also dramatized his own life in Brother to a Dragonfly, his National Book Award-nominated 1977 memoir, and in a 1986 sequel, Forty Acres and a Goat.

Another favorite prop in the Will Campbell show was the acoustic guitar he would strum while singing his own country compositions and old favorites like “Rednecks, White Socks, and Blue Ribbon Beer.” Campbell, who was based in Nashville from 1957 on, also became a sort of chaplain to the “outlaw” element in that city’s country music industry. He traveled on Waylon Jennings’ tour bus, and Jennings’ widow, country star Jessi Colter, sang at Campbell’s memorial.

CYNTHIA MOE-LOBEDA is a Lutheran feminist ethicist trained at Union Theological Seminary in New York who teaches Christian ethics, gender, and diversity studies at Seattle University. The author of several previous books in Christian social ethics, she has emerged as a significant voice in contemporary Christian economic, ecological, and public ethics.

The evil considered in Resisting Structural Evil is primarily the collective ecological and economic damage being done by wealthy global North folk—such as most readers of this review—through the indulgent and wasteful way of life that we have been socialized into accepting as normal despite its disastrous implications and effects. This evil is structural and driven largely by the unaccountable and nearly unlimited power of the modern corporation.

One reason our ecological and economic injustice can be labeled as evil is because it is largely hidden from our eyes—or if we see it, it is accepted as simply the way things are and always have been and always will be. So we live off the suffering of the people whose land we take or despoil, or whose livelihoods we destroy, or whose water we poison, or whose labor we exploit to get our “everyday low prices.” And we go merrily about our wealthy and comfortable way in a state of what the author describes as “moral oblivion.”

Moe-Lobeda takes the reader on a journey intended to end such moral oblivion. I find the book to be primarily an exposé of the connections between the “American way of life” and the injustices on which it is built—and which it perpetuates. Among these injustices is harm to the earth, which has both terrifying long-term implications for the livability of our planet in the future and concrete short-term costs for those invisible neighbors of ours who suffer ecological harm so that we might drink our soft drinks and get the latest electronics.

CINEMA IS poetry, not prose, and so looking for “realism” in movies is an ambiguous task. Perhaps the better comparison would be with memory, for the way we experience the past might feel a little bit like a film unspooling in a low-lit room, the images urging themselves onto a wall with frayed paper, red-hued, with the sound fading as I get older. Like the opening of the film of Carl Sagan’s novel Contact in reverse, in which all the radio signals that have ever been broadcast speak their way into deep space, the further away I get from a memory, the more like an old movie it seems.

The role that cinema plays in memorializing the past is unparalleled—for both the way we experience memory and the memories themselves are uniquely bound up in each other—Casablanca or There’s Something About Mary alike may remind us of past loves, and perhaps also of the time and place we saw those movies, and watching either of them again enables us to re-experience the very emotions we may have first experienced by watching it. When we experience movies like memories, we meditate rather than consume, and do what Pascal suggested was the antidote to all the problems in the world: sitting still for 10 minutes and thinking. At the cinema we take a walk in our minds and, through an art form that is usually less controllable than reading or listening, we are taken somewhere new.

IN 1900, long-simmering resentment over increasing foreign presence and exploitation in China boiled over into a full-scale uprising, the Boxer Rebellion. It was spearheaded by the “Righteous and Harmonious Fists,” a peasant secret society whose members practiced martial arts—Westerners, observing their exercises, dubbed them “Boxers.” The Boxers targeted foreign officials, merchants, and missionaries, as well as Chinese Christian converts.

Comic book author and artist Gene Luen Yang illuminates two very different fictional perspectives on this conflict in his new two-volume graphic novel Boxers & Saints: The first volume, Boxers, tells the story of Bao, a boy who becomes a Boxer leader after seeing ongoing abuse by Westerners; Saintsfollows Four-Girl, an unwanted daughter who converts to Catholicism, takes the name Vibiana, and must flee the Boxers.

Yang’s 2006 work American Born Chinese was the first graphic novel to both win the Michael L. Printz Award for excellence in young adult literature and to be nominated for a National Book Award. He lives in Oakland, Calif., and teaches in the Hamline University MFA program in writing for children and young adults. Sojourners senior associate editor Julie Polter interviewed Yang in July. Boxers & Saints releases in September from First Second Books.

Julie Polter: The characters in Boxers & Saints are driven by varied combinations of ideology (patriotism, cultural imperialism) and mysticism/faith. The flaws and virtues of different beliefs seem to mirror each other. What led you to this complicated story?

Gene Luen Yang: The genesis of the project was out of my own conflicts. I majored in computer science in college and minored in creative writing. I had a professor who was also a novelist, Thaisa Frank. I remember visiting her during office hours and talking to her about my struggles with writing about issues of faith. Faith, especially in college, became very important to me; it became a critical part of how I saw my place in the world. It was really hard for me to put something authentic on the page. Her advice to me was, essentially, you have to write your life and live your faith—you don’t ever try to write your faith, because it will come out funky. That’s the advice I’ve tried to follow ever since.

Conversations in Transition is a veritable graduate course in what South Africans call ubuntu, or good neighborliness.

Charles Villa-Vicencio and Mills Soko present 23 narratives of both well-known and unsung heroes of the anti-apartheid struggle. These narratives are filled with instructive words of wisdom for seekers of peace with justice in countries emerging from post-tyranny chaos and in long-established democracies alike. Historians and activists will find hope in the stories of South Africa’s courageous, diverse citizens, as well as prophetic insights and warnings as the subjects address post-apartheid violence and oppression in a country still on the edge.

My own experiences lead me to an unqualified endorsement of this invaluable compendium. Over several decades I have pondered repeatedly two particular conversations, one with a Jew in Israel and the other with a Muslim from Cape Town.

An effort was made to introduce the Truth and Reconciliation Commission (TRC) process into the Israel-Palestine conflict. At the end of an evening with South African officials and members of the Israeli and Palestinian communities, the director of a Jewish study center in West Jerusalem, Benjamin Pogrund, shared a revealing comment. He said, “TRC will never work here because Israelis do not have the theological and philosophical understanding of forgiveness and reconciliation that Muslims, Christians, and Jews shared in South Africa in order to bring unity and liberation without major conflict.”

FOR ANYONE who’s sick of explaining that not all evangelicals are flag-waving, Quran-burning, gay-hating, science-skeptic, anti-abortion ralliers, The Evangelicals You Don’t Know: Introducing the Next Generation of Christians provides a boost of encouragement. Written by frequent USA Todaycontributor Tom Krattenmaker, this who’s who of “new-paradigm evangelicals” explains how a growing movement of Jesus-followers are “pulling American evangelicalism out of its late 20th-century rut and turning it into the jaw-dropping, life-changing, world-altering force they believe it ought to be.”

Unlike their predecessors, these new evangelicals are characterized by a willingness to collaborate with members of other religions and no religion for the common good, warm acceptance of LGBTQ folks, a rejection of the dualistic pro-life vs. pro-choice debate, and a desire to participate in mainstream culture rather than wage war against it. All this “while lessening their devotion to Jesus by not a single jot or tittle.”

Admittedly, the book’s cover photo doesn’t quite do justice to Krattenmaker’s observations. Featuring young worshipers in a dark sanctuary with hands uplifted and eyes closed, each apparently lost in a private moment of four-chord progression praise, the cover looks more like a Hillsong worship concert circa 1998 than cutting-edge 2013 evangelicals. (If you’re unfamiliar with the four-chord progression, Google “how to write a worship song in five minutes or less.” You’re welcome.)

IN THE PAST 150 years, the songs historically known as “Negro spirituals” have worn many costumes. They emerged, of course, from the Deep South during the days of slavery, when songs such as “Every Time I Feel the Spirit” or “Wade in the Water” were first sung by anonymous psalmists wielding hoes or pulling cotton sacks. Since that time they’ve been dressed in the style of the European art song, sung as grand opera, or even faithfully mimicked by well-meaning white folk singers.

The spirituals entered the mainstream of American culture through the performances of the Fisk Jubilee Singers from Fisk University in Nashville who, fresh out of slavery themselves, toured the North in the 1870s. In the 1950s and ’60s, the old standards were resurrected, and slightly rewritten, as marching songs for the African-American freedom movement and then echoed across the world as anthems for human rights from South Africa to Northern Ireland to Eastern Europe.

After all that, the spirituals can probably even survive being remade into “smooth jazz,” which is more or less what happens to them on Bobby McFerrin’s new album Spirityouall. Readers of a certain age might remember McFerrin as the guy who, in 1988, conquered the known pop music universe with an airheaded ditty called “Don’t Worry, Be Happy.” The tune was so infectious that it should have had a warning label from the Centers for Disease Control, but instead it dominated radio, won some Grammys, and, to McFerrin’s eternal horror, was used as theme music by the George H.W. Bush presidential campaign.

INTRIGUING AND believable characters are part of what makes Janna McMahan’s new novel Anonymitya memorable read. Through the story, which is set in Austin, Texas, the author provides a well-constructed and evenly paced plot that brings to light critical themes around home and homelessness.

Early in the story we discover classic contrasts between the two protagonists. Lorelei is a young, homeless runaway whose daily grind revolves around finding food and a warm, safe place to sleep, while Emily’s major mission centers on branching out from her bartending job to take up a more artistic endeavor as a photographer. One buys organic greens from the high-end Whole Foods Market, while the other seeks sustenance in restaurant dumpsters.

This interesting juxtaposition of characters reels us in. But as we swim through the thickening plot, we discover the startling similarities between the two: Lorelei’s rebelliousness and grit compared to Emily’s disdain for the superficial lifestyle of big-box shopping and Corpus Christi vacations; Lorelei’s refusal to seek help and get off the streets weighed against Emily’s desire to break from the overindulgence she grew up around. As Emily’s mother, Barbara, observes, “Emily liked the frayed edges of life, a little dirt in the cracks.” It should come as no surprise that Emily takes an interest in Lorelei’s hardscrabble existence.

So much about Lorelei remains a mystery, which serves to add tension and compel the reader forward. We sense she is searching for something, and there’s no way to prepare for the powerful punch McMahan delivers when we discover what Lorelei’s quest is about.

ETHICS ASKS the questions: What is right to do? How do we know? David P. Gushee puts the concept of the sacredness of human life at the center of his moral reasoning. A professor of Christian ethics at Mercer University in Atlanta, Gushee has given us a work that is an important milestone on the road of constructive Christian ethics.

In this book Gushee has set himself a large and ambitious goal. He writes, “I am proposing that, rightly understood, a moral norm called the sacredness of life should be central to the moral vision and practice of followers of Christ.”

He seeks to ground this moral norm in scriptural authority and in the Christian tradition at its best. His survey of scripture and of Christian history is truly impressive, considering most of the major elements of the Christian theological and ethical traditions, including the current thinking of liberation theology. He demonstrates knowledge of the feminist critique of scripture, and he at least mentions eco-feminism. The bibliography alone is worth the price of the book.

Moreover, Gushee also considers such important Enlightenment thinkers as John Locke and Immanuel Kant. He devotes a chapter each to German philosopher Friedrich Nietzsche and to the Nazi desecration of human life. There is much food for thought here.

For me, however, the book is primarily descriptive. And it does not provide an explanatory framework to help us understand why scripture and the Christian tradition have led the way in both the recognition of the sacredness of human life and in the violation of this holiness. It would have been helpful for Gushee to give us a brief discussion of Ernst Troeltsch, who in his two-volume The Social Teachings of the Christian Churches enables us to see that the line of demarcation between the church and the world is porous to the point that there is always interpenetration between the two. Church teachings leaven and flavor the moral thinking of the world outside its doors while the world’s often destructive ideologies come to church every Sunday and sit down on the front pew and sometimes preach from the pulpit.