by Jason Joyner | Feb 21, 2011 | arts, Blog, boundaries, christian fiction, creativity
It seems in the blogosphere there has been new conversation on the topic of language use and violence in Christian art. Note that the ideas presented aren’t necessarily new, but a healthy conversation is brewing in a few different sectors.
Mike Duran is always up to stirring up contention, discussion on his blog Decompose. He uses the example of the counting of different potentially offensive terms in the movie The Blind Side to springboard into a discussion of language in Christian fiction. His recent novel The Resurrection had a jaded construction worker, who couldn’t say damn or hell because it was produced for the CBA market.
In the recent issue of Relevant, Dan Haseltine of Jars of Clay asks if “offensive art can be Christian.” He starts off talking about a secular band declaring their allegiance to Jesus in a song that also drops an F-bomb. Does the fact that they used such a word demean their otherwise Christian content? For a little more food for thought, check out this quote from the article:
We have come so far from reflecting the rebel Jesus in our art and cultural engagement that we do not recognize Him when He surfaces. I still wrestle with the fact that Jesus hung out with prostitutes not simply to tell them what they were doing wrong, but to love them where they were. He was in the world, and His agenda was to love. He was not looking for reasons to be offended. He was not looking for reasons to stay home, safely out of harm’s way. We weren’t set apart in order to live apart. We were called God’s own so we could confidently go into the world.
In a contrary grain, another author writes in Relevant that “Christian artists should (not) use violence.” He uses the term “violence” to include gratuitous sex and language. His contention is that the world is so jaded that using rough violence or stark violence or sex doesn’t faze the world anymore. When our morals were on a similar level, works like Flannery O’Connor’s provided a shock that hit complacency. Now when modern art tries to find new levels to shock and awe, then perhaps the answer for the Christian artist is to paint a picture of beauty to be the contrast.
Whatever should be done, it is clear the Christian artist faces a peculiar enemy today: the expanding boredom of the modern age, which has the power to wash out even the severest expressions, and violence is its latest casualty. It is the constant duty of the Christian artist to outwit this amoebic tendency to consume and excrete, to make retail of riches. She must forge new paths of expression and restore old ones. When the world builds for itself a Tower of Babel, then she must paint a pile of rubble, and then when it is knocked down and the peoples wander in the refuse, she must paint a glittering city with jasper walls and foundations of precious stone.
A very intriguing article, and if you have to pick one, I think this would be it.
Finally, the flavor du jour here has been The Civil Wars. In an article in the Los Angeles Times, Joy Williams describes the freedom she now experiences being out of the Contemporary Christian Music realm.
“The process of being with John Paul (White, her band partner) is this wonderful discovery of creative freedom that I didn’t know that I had,” she said. “I started in a very restrictive genre of music. But the reality is that I’m able to write a lot more about the world around me, if it’s about faith or about cigarettes, or about murder or adultery, or about a movie that I saw, or a book we’ve both read.” Emphasis mine.
I like to put out interesting thoughts and articles for people to explore more. If you have thoughts on it, I’d enjoy your comments here as well.
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by Jason Joyner | Feb 21, 2011 | arts, Blog, boundaries, christian fiction, creativity
It seems in the blogosphere there has been new conversation on the topic of language use and violence in Christian art. Note that the ideas presented aren’t necessarily new, but a healthy conversation is brewing in a few different sectors.
Mike Duran is always up to stirring up contention, discussion on his blog Decompose. He uses the example of the counting of different potentially offensive terms in the movie The Blind Side to springboard into a discussion of language in Christian fiction. His recent novel The Resurrection had a jaded construction worker, who couldn’t say damn or hell because it was produced for the CBA market.
In the recent issue of Relevant, Dan Haseltine of Jars of Clay asks if “offensive art can be Christian.” He starts off talking about a secular band declaring their allegiance to Jesus in a song that also drops an F-bomb. Does the fact that they used such a word demean their otherwise Christian content? For a little more food for thought, check out this quote from the article:
We have come so far from reflecting the rebel Jesus in our art and cultural engagement that we do not recognize Him when He surfaces. I still wrestle with the fact that Jesus hung out with prostitutes not simply to tell them what they were doing wrong, but to love them where they were. He was in the world, and His agenda was to love. He was not looking for reasons to be offended. He was not looking for reasons to stay home, safely out of harm’s way. We weren’t set apart in order to live apart. We were called God’s own so we could confidently go into the world.
In a contrary grain, another author writes in Relevant that “Christian artists should (not) use violence.” He uses the term “violence” to include gratuitous sex and language. His contention is that the world is so jaded that using rough violence or stark violence or sex doesn’t faze the world anymore. When our morals were on a similar level, works like Flannery O’Connor’s provided a shock that hit complacency. Now when modern art tries to find new levels to shock and awe, then perhaps the answer for the Christian artist is to paint a picture of beauty to be the contrast.
Whatever should be done, it is clear the Christian artist faces a peculiar enemy today: the expanding boredom of the modern age, which has the power to wash out even the severest expressions, and violence is its latest casualty. It is the constant duty of the Christian artist to outwit this amoebic tendency to consume and excrete, to make retail of riches. She must forge new paths of expression and restore old ones. When the world builds for itself a Tower of Babel, then she must paint a pile of rubble, and then when it is knocked down and the peoples wander in the refuse, she must paint a glittering city with jasper walls and foundations of precious stone.
A very intriguing article, and if you have to pick one, I think this would be it.
Finally, the flavor du jour here has been The Civil Wars. In an article in the Los Angeles Times, Joy Williams describes the freedom she now experiences being out of the Contemporary Christian Music realm.
“The process of being with John Paul (White, her band partner) is this wonderful discovery of creative freedom that I didn’t know that I had,” she said. “I started in a very restrictive genre of music. But the reality is that I’m able to write a lot more about the world around me, if it’s about faith or about cigarettes, or about murder or adultery, or about a movie that I saw, or a book we’ve both read.” Emphasis mine.
I like to put out interesting thoughts and articles for people to explore more. If you have thoughts on it, I’d enjoy your comments here as well.
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by Jason Joyner | Oct 13, 2010 | Blog, boundaries, CBA, christian fiction
As the debate rages in Christian fiction about “edgy” fiction, a Mormon author making the following pledge:
Mark the date and save this text. I will never use foul, crude, disgusting language or create explicit images of sex or graphic violence.
This is from Jason F. Wright, an author I am unfamiliar with, but I saw this article linked on Facebook and was curious. There is a subculture of LDS fiction just as there is for the evangelical world in the CBA. I’ve not read any of these books, but seeing them at the library, I can tell there are similarities (such as making knock-offs of popular general fiction such as DaVinci Code).
He asks the question if anyone has put down a book because it is too clean. Since the source of this article is “Mormon Times,” I would expect the answer to be “no”. I admire how he knows his place as an author and his determination to stick to his beliefs.
Still, I think people have put down books for being “too clean” if the book was also too unrealistic, uninteresting, or a combination. Can a good book be clean without the issues he labels above? Certainly. His point about older literature succeeding without gory details of sex, violence, or language is a poignant one considering our culture that demands “realism” above all.
Since I’ve participated in the discussion of edgy Christian fiction, the statement caught my eye. I still believe there is an argument for fiction that glorifies God and speaks to the culture while being grittier than your standard CBA fare, it is good to remember that each author has their own calling, and needs to stay true to that. It would not ring true to have a gritty Amish novel by certain authors, just as Ted Dekker writing a pure, sugary sweet prairie romance would be WAY out of character 😉
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by Jason Joyner | Oct 13, 2010 | Blog, boundaries, CBA, christian fiction
As the debate rages in Christian fiction about “edgy” fiction, a Mormon author making the following pledge:
Mark the date and save this text. I will never use foul, crude, disgusting language or create explicit images of sex or graphic violence.
This is from Jason F. Wright, an author I am unfamiliar with, but I saw this article linked on Facebook and was curious. There is a subculture of LDS fiction just as there is for the evangelical world in the CBA. I’ve not read any of these books, but seeing them at the library, I can tell there are similarities (such as making knock-offs of popular general fiction such as DaVinci Code).
He asks the question if anyone has put down a book because it is too clean. Since the source of this article is “Mormon Times,” I would expect the answer to be “no”. I admire how he knows his place as an author and his determination to stick to his beliefs.
Still, I think people have put down books for being “too clean” if the book was also too unrealistic, uninteresting, or a combination. Can a good book be clean without the issues he labels above? Certainly. His point about older literature succeeding without gory details of sex, violence, or language is a poignant one considering our culture that demands “realism” above all.
Since I’ve participated in the discussion of edgy Christian fiction, the statement caught my eye. I still believe there is an argument for fiction that glorifies God and speaks to the culture while being grittier than your standard CBA fare, it is good to remember that each author has their own calling, and needs to stay true to that. It would not ring true to have a gritty Amish novel by certain authors, just as Ted Dekker writing a pure, sugary sweet prairie romance would be WAY out of character 😉
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by Jason Joyner | Oct 5, 2010 | Blog, boundaries, CBA, christian fiction, Immanuel's Veins, Ted Dekker
File this post under “unfinished business.”
On September 15th I reviewed Immanuel’s Veins by Ted Dekker for the CFBA tour. I made the
comment, “Is this the book that changes what Christian fiction can be about?” I left off a cliffhanger saying I’d discuss it “tomorrow.”
Hope you haven’t been hanging too long!
Still, I don’t want to let this idea go. Immanuel’s Veins is a book that deserves some analysis.
The book is a potent mix of visual and emotional imagery. As I said in my review, Dekker spends time developing his two main characters, Toma and Lucine, and otherwise has placeholder characters that allow him to develop the tension and force the plot on its blistering pace. As Toma falls for Lucine, and she is torn between him and a deceptively dashing royal, there is a lot of description of the desire that develops.
Dekker describes it as probably “the most Christian book I’ve ever written.” It certainly is laced with the love Jesus has for His bride, as well as a deep connection to the Song of Solomon (he dedicates the book to King Solomon) and other Biblical imagery such as the two sisters in Ezekiel who end up whoring after other countries and their false gods. To build such a premise, this book couldn’t really be tame.
Dekker writes freely of passion and desire in building up the drama. The story wouldn’t have worked without it. The sensuality of the followers of van Valerik is contrasted with the nobility of Toma and Lucine. Still, both of them are tempted by the opportunity, and Lucine is seduced by Duke Vlad van Valerik. The horror of what she encounters after she gives herself to him echoes the mistake people make when they go after the schemes of Satan, only to realize they’ve been snared.
The book is sensual. The story demands it. As I read it, sometimes it was slightly arousing. It is unlike any other Christian (CBA) novel I’ve read. The book was actually not accepted by Ted’s Christian publisher in Holland due to its sensuality (can you say irony?).
I think only someone with Dekker’s clout in the CBA industry could get away with writing this book. Violence has long been accepted in Christian fiction, but any kind of sexuality is resisted. Now, I don’t think we should be seeing “Christian erotica” anytime soon, and that is not the purpose of Immanuel’s Veins. Again I’ll say the story required such language.
So this book could be a book that changes Christian fiction. I don’t think we’ll be seeing smut in the CBA, but if there is a proper place for sexual/sensual language that serves the story and the message, then Immanuel’s Veins sets a precedent. It will be resisted by some for sure – on the Amazon page the book is overwhelmingly praised, but there are several 1 star reviews that decry the language and imagery. I see their point, but I feel those reviewers are missing the point of the book by focusing on the trees and missing the forest.
Will this open up Christian fiction to the idea that “the end justifies the means?” I don’t think that is the case here. But Dekker really is not forging new ground, not when prophets and wise men in the Bible used such imagery first. Time will tell if it pushes CBA fiction, or if it is an isolated case.
What say you?
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by Jason Joyner | Oct 5, 2010 | Blog, boundaries, CBA, christian fiction, Immanuel's Veins, Ted Dekker
File this post under “unfinished business.”
On September 15th I reviewed Immanuel’s Veins by Ted Dekker for the CFBA tour. I made the
comment, “Is this the book that changes what Christian fiction can be about?” I left off a cliffhanger saying I’d discuss it “tomorrow.”
Hope you haven’t been hanging too long!
Still, I don’t want to let this idea go. Immanuel’s Veins is a book that deserves some analysis.
The book is a potent mix of visual and emotional imagery. As I said in my review, Dekker spends time developing his two main characters, Toma and Lucine, and otherwise has placeholder characters that allow him to develop the tension and force the plot on its blistering pace. As Toma falls for Lucine, and she is torn between him and a deceptively dashing royal, there is a lot of description of the desire that develops.
Dekker describes it as probably “the most Christian book I’ve ever written.” It certainly is laced with the love Jesus has for His bride, as well as a deep connection to the Song of Solomon (he dedicates the book to King Solomon) and other Biblical imagery such as the two sisters in Ezekiel who end up whoring after other countries and their false gods. To build such a premise, this book couldn’t really be tame.
Dekker writes freely of passion and desire in building up the drama. The story wouldn’t have worked without it. The sensuality of the followers of van Valerik is contrasted with the nobility of Toma and Lucine. Still, both of them are tempted by the opportunity, and Lucine is seduced by Duke Vlad van Valerik. The horror of what she encounters after she gives herself to him echoes the mistake people make when they go after the schemes of Satan, only to realize they’ve been snared.
The book is sensual. The story demands it. As I read it, sometimes it was slightly arousing. It is unlike any other Christian (CBA) novel I’ve read. The book was actually not accepted by Ted’s Christian publisher in Holland due to its sensuality (can you say irony?).
I think only someone with Dekker’s clout in the CBA industry could get away with writing this book. Violence has long been accepted in Christian fiction, but any kind of sexuality is resisted. Now, I don’t think we should be seeing “Christian erotica” anytime soon, and that is not the purpose of Immanuel’s Veins. Again I’ll say the story required such language.
So this book could be a book that changes Christian fiction. I don’t think we’ll be seeing smut in the CBA, but if there is a proper place for sexual/sensual language that serves the story and the message, then Immanuel’s Veins sets a precedent. It will be resisted by some for sure – on the Amazon page the book is overwhelmingly praised, but there are several 1 star reviews that decry the language and imagery. I see their point, but I feel those reviewers are missing the point of the book by focusing on the trees and missing the forest.
Will this open up Christian fiction to the idea that “the end justifies the means?” I don’t think that is the case here. But Dekker really is not forging new ground, not when prophets and wise men in the Bible used such imagery first. Time will tell if it pushes CBA fiction, or if it is an isolated case.
What say you?
—
