1) All the previous content (including comments) was moved over to the new site. However, the user accounts are just pointers so if you registered on this blog, you’re going to have to register on the new blog now.
2) The site design is pretty much the same – it was the quickest way to get all the content in place, formatted, and live. A redesign is in the wings, but I need a bit more time.
3) All of this is to pave the way for two things. I want to have better access to track visits, learn what content people really dig and make more of it. And, I will be starting to post some audio in the New Year, so I needed room to grow.
If you have subscribed to this blog, thank you! Now go to the new blog at http://reflectivemusings.com and resubscribe!
I’m working on a transition to take this from a wordpress.com site to a self-hosted site. The reasons are pretty simple. I want more flexibility for the design process, I want better stats for the site and, finally, I have intentions to start throwing down some audio on here in the new year. All of those things equate to the need to jump to the wordpress.org self-hosted platform.
All the content will come along for the ride, and the day of the transition I’ll post to redirect you. But that’s the scoop.
Living in God’s Two Kingdoms: A Biblical Vision for Christianity and Culture by David VanDrunen was released recently by Crossway Books and presents a readable, comprehensive view of two-kingdom theology. I’m just a youngster in terms of theology, especially that of a reformed flavor, so I was excited to dive in with VanDrunen and stretch my brain.
The main premise is a counter to the “transformationalist” view of culture that seems to be pervasive with emergent theologians, those who ascribe to the New Perspective on Paul and neo-Calvinists (depending on your definition of neo-Calvinists). In transformational theologies, the church and Christians are about the work of restoration, as we march across creation and culture putting things back how they were meant to be before all this sin and death entered the world.
Whilst that can sound all well and good, the ramifications of that worldview are twofold:
1) When Scripture asserts that this world will be put away and a new heaven and a new earth will come, we have to reject any of the cataclysmic language that accompanies such claims. Instead, the new heaven and earth will come by a restoration to utopia.
2) VanDrunen states that when we embrace a transformationist view of culture, we cling to the work of Adam in the common kingdom rather than living in the grace of the redemptive kingdom which Christ has already won for us by living the life Adam, and each of us, should have lived.
This concept of resting in grace with regard to cultural activities was a refreshing exhortation, and one that could easily go unnoticed for many of us as we seek to understand the implications of the gospel in our everyday lives. Having been engaged with the idea of vocation recently on the blog, I was particularly keen to get to the end chapter wherein VanDrunen unpacks the theological foundations into meat for the daily life. But I will say that the book is best read from beginning to end.
As an attorney, he is skilled at building a case and it will provide more scope for discussion when approached in that linear fashion than if you were to pick and choose chapters. The defining of terms such as “church” and “Christian” are key to understanding his argument. Without these underpinnings, his passage on ministerial authority would be excessively contentious – and he knows already that some of his ideas will be met with opposition, especially when that final chapter deals with education and politics. Continue reading
I have long been a fan of the works of C.S. Lewis, Francis Schaeffer, Norman Geisler and a multitude of other apologists who have worked hard to give a defense of the faith which we as Christians hold to. I was thus intrigued by Crossway’s recent release that acts as a primer on apologetics, both in terms of specific writers and specific arguments.
The book divides into two parts, focussing first on particular apologists and then in the second half moving to a broader view of the apologetics field. Markos is focussed on tracing out the evidentialist line of apologetics, as opposed to the presuppositionalist line. Evidentialists base their arguments on the evidence and build upwards towards a defense or reason, whilst presuppositionalists begin with the need for revelation and argue from the Scriptures.
I find myself to be most naturally in the presuppositional field, but with deep respect for and great love of the work of Christian evidentialists. At some point, in either camp, revelation is required. The arguments of the evidentialist apologist may convince a person that belief in God is not illogical, it may even satisfy that the testimony of the Bible to the person of Jesus is not fictitious, but it cannot cause a man to bend his knee to the Lord Jesus and repent of his own sins. Likewise, without revelation a person can follow the arguments of a presuppositionalist but they cannot receive them as really true unless some divine operation occurs.
That being said, I believe Markos has done a great service to the field of contemporary apologetics by drawing together what is essentially a brilliant introduction to the last 100 years of apologetics. Six chapters o the theology of Lewis are worth the asking price alone, as they provide a cohesive and insightful understanding of Lewis’ writing and thought. In amongst here is an outstanding chapter on the apologetics of myth, explaining the idea of True Myth and how it pertains to Lewis and his contemporaries. After this focus on C.S. Lewis comes a couple of chapters on G.K. Chesterton, one on the much overlooked Dorothy Sayers, an interesting one on Francis Schaeffer that is not all complementary (in fact it is here that Markos sounds a little put-out by presuppositionalists), and ends with a chapter on Josh McDowell.
Yes, Josh McDowell. I was somewhat surprised to find his name amongst such thinkers and writers. He is a man who has done much to spread the good news, but I’ve never considered him an apologist. Markos makes a good argument for his inclusion in the evidentialist tradition, and more so reveals my snobbery about apologetics.
After this we move to part two which we could essentially split into three sections. Section A deals with arguments for the existence of God, within the realms of logic, science and suffering. Section B looks at specific facets of the Christian faith and arguments in defense of those beliefs (the authority of the Scriptures, the historical Jesus, the resurrection) and then finally we turn to section C to look at contemporary issues (pluralism, postmodernity, neo-gnostics, creation and the new atheists). My favorite of this section was chapter 21, which deals with apologetics for postmoderns.
Markos writes well, is clearly widely read, and is able to present a huge amount of thought, argument and insight in a concise and understandable way. If you are just starting in your studies of apologetics, or you are looking for some clarification of the work of C.S. Lewis, or specific contemporary arguments, this book would be a great resource for your library.
A review copy was provided to me at no charge by Crossway Books. No attempt was made by the publisher to gain a favorable review, and all opinions and recommendations expressed are the author’s own.
The Bible Story Handbook by John and Kim Walton
Crossway Books, 2010
The Bible Story Handbook is a new resource for parents and Sunday School teachers wanting to clearly and correctly communicate the truth of the Bible to children. Unlike many such resources, this is not a curriculum or lesson plan, but is a rather unique tool that will assist and enrich all those who seek to communicate God’s timeless truth to young hearts and minds.
Beginning the collection off is an essay on the need for this book and the dangers of “dumbing down” Biblical stories. It is the danger of hermeneutics trumping exegesis, to use the language of Stuart and Fee’s “How to Read the Bible For All Its Worth.” Though the gray area theological points of the authors shines through a little too strongly at times (in particular their views on creation and the continuation of charismata), the introduction should be essential reading for all who minister to children and have the sacred duty of teaching them about God from the Scriptures. This includes ALL parents! To sum up the concept of the book, here’s a quote:
“Though we might be able to learn innumerable things from a passage, the passage is not teaching everything that anybody sees in it.” (p.22)
The books aims to help teachers understand both what the main point of a Bible story is, and what it specifically is not. This is a really useful thing to have, especially for people less well versed in the Scriptures who may not so quickly recall other areas of the Bible that help identify the meaning of the text being studied. John and Kim Walton have provided a quick reference guide to check context, and so it is a book that can be used whether following a curriculum, or creating your own lessons from scratch.
After the introduction, the book is broken into Old Testament and New Testament, covering a lot of the narrative of the Old Testament, and then providing lesson coverage for the Gospels, Acts and Revelation. The epistles are not covered since they do not meet the requirements of narrative story. Each lesson contains the following sections:
– Lesson Focus
– Lesson Application
– Biblical Context
– Interpretational Issues in the Story
– Background Information
– Mistakes to Avoid
The lessons take up around a couple of pages each, so the material is not particularly lengthy, but is written for adults to consult and consider prior to teaching. I daresay that there will be disagreements along the way. For instance, comparing the Walton’s take on the story of Jonah with Tullian Tchividjian’s brilliant Surprised By Grace, it is clear that they hold strong opinions about the use and abuse of the text that may differ with other writers and theologians. I do appreciate their strength of conviction, but it will have to be weighed against other sources too – no carte blanche for anyone but God, I’m afraid!
I do not foresee this being a book that is allowed to gather dust – with two young sons of my own, and regular ministry to children in our home church, I will be routinely consulting this volume for a quick checkup to see if the lesson is on point, and will likely employ it in personal study and sermon preparation too! This is a unique resource to add to your collection.
A review copy was provided to me at no charge by the publisher. No attempt was made to gain a favorable review, and all opinions and recommendations expressed are the author’s own.
Here’s the deal. Last Friday I reviewed Milano‘s fabulous new eP, Gloria. In the review I mentioned that a) the third track dropped the f-bomb and b) I’d have an interview with lead singer Jon Guerra. Here is that interview, which we conducted via an email exchange. I actually had a conversation with him outside of the interview to discuss how to present the material. Obviously we were always going to talk about his choice of words, and I couldn’t decide whether to censor the writing with ***s or just write them as they stand.
That discussion with Guerra was very insightful to the difference between sung/aural mediums versus the written word. The word just stares you down, hard and unflinching. The spoken or sung word passes by and, though it has an impact, is only one part of a broader canvas. Thus, in some ways, the audible version is oftentimes less startling, though I would say I think it depends on its usage. To read such words in a non-specific context may be more arresting than to hear them sung in a similar way, but to hear them directed at an individual person in a demeaning way, especially a child, is to me more of an issue. Anyway, I listened to Jon and went with his suggestion that for the benefit of discussion and drawing people in, rather than risking their leaving offended, I have used the ol’ **s to blank out words. Without further ado, meet Jon Guerra:
Congratulations on the release of Gloria – what’s the response been like from fans and press so far?
Response has been phenomenal from fans and press alike. It’s a marvelous thing to live in a day and age where you can record something in a dingy makeshift basement studio and have it turn out sounding ok!
So what’s your day job? Or are you a full time musician?
I actually do get to do this full-time. There is a church in Chicago called The Line that supports me full-time to write, record, and perform in Milano. The idea is this: often times, when a musician is hired by a church, his or her time is monopolized with picking songs for services, youth group meetings, church videos, picnics, bake-offs etc. All that is just fine. The negative side to that model is this: they no longer have time or energy for writing/recording/performing in the music scene in their city. They become staff members and not artists. The Line is a church that is trying to flip that model on its head. All Christians are to be redeemed versions of whatever it is they are – business men, baristas, actors, electricians, and musicians. What if the church actually supported artists to do what they were meant to do? The Line is trying to answer that question, and a full-time salary for me is their first (and brilliant, might I add!!) attempt. I’m gladly the first guinea pig.
Let’s just get into this then: the third track on the EP, “So What?!”, is infectious, epic and features several instances of “p**sed off” and one “f**ked up”. How intentional was the lyrical choice, the musical setting and what are your intentions with using these words?
Everything is intentional, but not intentionally contentious. I do what I think is right for the song. In no way was it an attempt to “push boundaries of conservative evangelical dogma” or something like that. I have some fights to pick and that sure as hell won’t be one of them. If it’s upsetting to people, then turn it off and listen to something else….like any of the other 7 songs we’ve released. My intention was to deliver something true and meaningful. Those lyrics were the best option to me.
OK, so you’re not trying to pick a fight or prove a point. At the same time, it’s stark enough to demand attention, and clearly you believe there are times that strong language is appropriate. It’s contextual. Do you think that Christian culture has ‘churchified’ language? Have we lost some of the appropriate saltiness that we see in Isaiah’s “filthy rags” statement?
I think the issue is deeper than the sterilization of our vocabulary. Language is a means, a vehicle. In a narrow sense, perhaps some communities could use a little more of the prophet’s and psalmist’s blood and guts. But teaching the preacher to cuss isn’t the solution. Not to be “that guy” but Aristotle says the aim of education is to cause the pupil to like and dislike what he ought, or something like that. Augustine and Edwards pound these ideas into magnificent theological treatises. It’s a travesty that some of us don’t marvel at the sight of a waterfall, or sunrise – but it’s equally appalling, if not more, that we don’t recognize the terror of what is inside every one of us. Art can teach us what to love and what to hate in a way that does justice to the inherent loveliness or hatefulness of an object. The problem isn’t that our language is too offensive, but that it’s not offensive enough!
Anyone who’s been the victim of physical or sexual abuse has no problem with the “F” bomb when you say that physical and sexual abuse is f**ked up. In fact, they may resent the use of the language not for it’s impropriety but for it’s disservice. They know that only the greatest poets could describe and condemn physical or sexual abuse with the appropriate vitriol. Similarly, to say that “our praise and delight in beautiful things is far too shallow” would be a stunning understatement. In fact, that may be the core of this issue. If we understood the beauty and praiseworthiness of certain things, we would spare no dignity in condemning that which desecrates it. “So What?!” is meant to be a bit of a playful tune. To say that “Everyone in this room is f**ked up” is a playful way of talking about something far deeper. I just didn’t have a paragraph to get into it…till now!
How have people been responding to this, both within your church, the Christian culture at large and people at your shows?
I can’t really speak to the Christian Culture at large – as far as I know, no one really cares about us “at large” haha. People at shows generally seem to have a good time. There was this one time though – there was an older gentleman sitting in the back – maybe 70 yrs old. He came up to me and asked me why my lyrics were so depressing. I told him in accented broken English that I didn’t know what he was talking about and that he must have mistaken me for someone else, but that I was looking for a man by the name of Baby Face Burke and he sure looked a heck of a lot like him.
People at my church are incredibly supportive. I get to perform a lot of my songs at church on Sunday mornings as a part of our liturgy, so they’ve had some time to get used to it.
It’s pretty obvious that you and your bandmates have been gifted musically, and you’re pushing your creativity hard. What’s your perspective on the creative arts and how that impacts you as a Christian, and how following Jesus should impact your creativity?
I think my perspective as a Christian influences my art more than the other way around. I live in a city where people eat, sleep and crap their work, their art. The cultures of expertise in Chicago really are astounding. People in that tribe have a unique set of motivations, struggles, idols etc. For many of us, art is life or death, work is the end-all be-all of our existence. Not unlike Harold Abrams in Chariots of Fire who gets “10 seconds to justify his existence.” (not sure if that’s the exact quote or not). As a Christian I believe we go on forever. I’ll be writing music long after I’m dead. The urgency comes from a different place. The drama, the pageantry, the successes and failures all mean something different because fundamentally, I believe that I am free. I am free to fail or succeed or do whatever with my music precisely because the weight of my existence isn’t contingent on it. At least that’s how it should work. I’m certainly still in process.
From what I can tell, it might not be long before the culture at large is much more aware of Guerra and Milano. Check out their eP, Gloria, on iTunes now.