Since at least the time of Nietzsche, a major objection to Christian faith has been that it is bad for the human spirit generally, and the imagination in particular. It produces people with tiny souls, content to monger prooftexts, take everything on authority, stay on the surface of life, and investigate nothing. Pat answers satisfy our lethargic minds and trite nostrums guide our moral lives, while “Christian art” (if the term itself is not indeed oxymoronic) is considered wildly successful if it rises to the level of bare mediocrity.
So goes the critique, and it’s got some bite. But Daniel Amos’ 2001 CD, Mr. Buechner’s Dream, is a standing refutation of the notion that faith kills art. This sprawling CD (actually a double-CD set) doesn’t refute the Nietzschean suspicion simply by being swell art and therefore a bit of evidence to the contrary –though as the mature product of an accomplished group of Christian musicians it is certainly that. No single CD will turn that tide; in fact a generation or two of Rembrandts and Bachs would barely suffice to that end.
Instead, what Terry Taylor and his band offer here is the fruit of a quarter-century’s personal struggle with questions of art and faith. In the unpromising arena of Contemporary Christian Music, the band Daniel Amos has been fighting this battle across a career that spans more than two dozen major releases (if you count all the solo projects, side bands, and whatnot). Taylor has been turning this problem over and over in his head, asking himself and his listeners about the way Christian faith shapes art.
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I guess if it weren’t for a road trip, I might have missed this altogether:
In the latest issue of in
“There are souls too in the world which have the gift of finding joy everywhere, and of leaving it behind them when they go. Joy gushes from under their fingers like jets of light. There is something in their very presence, in their mere silent company, from which joy cannot be extricated and laid aside. Their influence is an inevitable gladdening of the heart. It seems as if a shadow of God’s own gift had passed upon them. They give light without meaning to shine; and coy hearts, like the bashful insects, come forth and almost lay aside their sad natures. Somehow, too, the joy all turns to God. Without speaking of him, it preaches him. Its odor is as the odor of his presence. It leaves tranquility behind, and not unfrequently sweet tears of prayer. All things grow silently Christian under its reign. It brightens, ripens, softens, transfigures like the sunlight, the most improbable things which come within its sphere. A single gifted heart like this is the apostle of its neighborhood. … To live with them is to dwell in a perpetual sunset of unboisterous mirth and placid gayety.
Dear Miss Lonelyhearts
Jaroslav Pelikan (1923-2006) wrote a book in 1959 called The Riddle of Roman Catholicism (Abingdon: 1959). While parts of it are dated, it’s also a wise and patient Lutheran interaction with the phenomenon that is the Roman Catholic Church. In chapter 16, “The Challenge of Roman Catholicism,” Pelikan muses about what American Protestantism can learn from the Roman church, and among the other items on his list (comprehensive world view, inclusive appeal, urban ministry, sacramental worship), he includes “a living tradition.”
In the year 381, the second ecumenical council (also known as the First Council of Constantinople, or Constantinople I, to distinguish it from two later councils in the same city), met to make decisions on Christian doctrine and order.