May 6, 2011

We Have the Mind of Christ

This school year I have been taking a course on Philosophy, and my term paper happens to be on the question What is Truth? I started out with much fear and trembling and intense feelings of the paltriness of my mind, wondering how on earth I could produce a worthwhile ten- to thirteen-page essay on such a difficult topic. I've actually found, however, that writing this report is easier than my other essay for History, primarily because of the large amount of literature on the topic. The issue of objective versus subjective Truth has been around for ages, expressed by Pilate so famously in his brief, skeptical question to Jesus: "What is Truth?" Nowadays, with destructive postmodernist philosophy strong in the world and in the Church, the common answer is that there is no truth. Or, at least, there is no objective Truth. Truth is what you make it to be; it's all a matter of perspective.

This view has worked itself into the modern Church with alarming success, resulting in the widespread belief among professing believers that the Bible is not God's objective Word and does not need to be obeyed. Phrases like "Well, that's true for you..." and "That's just your opinion" tumble easily out of the mouths of the majority of professing Christians. This disbelief (usually subconscious) in the existence of objective Truth in the moral realm then also manifests itself in the types of entertainment that are accepted - in music, literature, art, what-have-you - because if there is no objective Truth, there is no standard and everything is simply a matter of personal opinion.

It's understandable that because of this ecclesiastically-accepted postmodernism, more reformed churches react against it and begin to lay down rules as to what things Christians should listen to or compose, read or write, admire or draw. We begin to see the development of the use of "Christian" as an adjective - "Christian" novels, "Christian" music, etc. - and even if what are termed "secular" forms of entertainment are not wholly condemned, we are encouraged to stay primarily within those categories labeled "Christian." These are considered healthy and safe and God-honoring.

Unfortunately, this reaction to the looseness of modern Christian morality is just that - a reaction. It moves to the other end of the spectrum and begins to construct definitions of "good" and "bad," "healthy" and "unhealthy," "God-pleasing" and "God-dishonoring," that are not found in the Scriptures. Some body of officials is set up to say that this book is good because the author mentions God a few times, but that book is bad because the characters don't profess to be Christians. That music is bad because it uses drums, but this music is sacred because it is in the hymnbook. But do all men not have the Imago Dei? And isn't it possible that the image of God that they bear comes out in a beautiful or powerful or even truthful way in their work, whether or not they are a believer? Paul himself quoted a pagan poet in addressing the Athenians and gave the man credit for speaking truth. Is it not possible for a thinking Christian to find diamonds of truth in the works of Plato or of Marcus Aurelius; in Charles Dickens and in Shakespeare; in works of fiction and works of history?

But you might say, "Well, surely there are a great many bad books and music and art in the world." And I say yes, most certainly; and there are a great many bad books and music and art that call themselves Christian, too. The point is not to be lulled into comfort by tags and labels, not to be trusting because a CD has "CCM" on it or because a novel is in the Christian fiction part of Barnes & Noble. Believers must be thinking men and women - thinking and fearless. When you combine a sanctified mind with trust in God, there is not only no danger in "secular" works, but you will often find good challenges and truths.

In case you think I am saying that Christians can benefit by every genre of book and style of music and ought to read and listen indiscriminately, I'm not. I think that being critical of what you read is as important as being critical as you read. But this critical thinking should not be guided by what the Higher Ups have in their great and boundless wisdom termed "Christian"; it should be guided by a firm knowledge (and by that I mean a scriptural and well-considered knowledge) of objective good and bad.

Naturally, the first question is of the morality of any work. If the lyrics of the song are obscene or the content of a book is immoral, there is no reason for a believer to waste his time in listening to the music or reading the book. But something may be decent without passing the test of objective worth; it may simply not be any good. Personally, I think many "Christian" novels fall into this category. (Sadly, most of the ones I have read fail to pass the first test, either.) The plot is so old that the author is not just beating the dead horse, he is, as my sister likes to say, "beating the greasy patch where the horse used to be." Or the writing is flimsy and unpolished, with no beauty or truth or impact. In one area or another, or perhaps a whole bunch, the book isn't good. Why waste time with such a thing when there are thousands of other objectively good books to be read and enjoyed? Or perhaps a song is clean - perhaps even a rendition of a hymn - but the music is discordant, or the singer's voice is horrid. Is this beauty? Is this worth spending time listening to?

The very fact of the presence of the Imago Dei in mankind that I mentioned earlier demands better things than this. We ought to search for beauty and cherish it when we find it, and not be content to sit in the mud and make pies. It may be that subjectively you don't care for Bach or for Jane Austen, but the mind should be attuned to the objective worth of such works of art. In I Corinthians Paul talks about the wisdom of God and the unsearchable, unknowable depths of His mind, then says powerfully and succinctly: "But we have the mind of Christ." That is a deep thing, having the mind of Christ. I cannot imagine that having this mind of Christ, we are meant to let it stagnate by remaining always in our comfort zone and never exercising the power we have through the indwelling of the Holy Spirit. We ought always to be searching out good things and enjoying them as gifts from God, and honoring Him in that enjoyment as the Giver of every good gift.

May 3, 2011

Characters and Music

Music is like painting without paint, description without necessarily using words. In a way it transcends both of those in its power to evoke emotion; it has an otherworldly aspect. I know some people are more geared toward it than others, and I'm not one of those who cannot survive without it, but I find it fascinating how linked music is to the human soul.

So with that said, I dug up some of the music that either inspired my characters or novels, or that I found especially applicable to the characters or novels, and here it is.

The Soldier's Cross

Fiona - Daughter of Grace by Twila Paris. The spirit of the song, the coming to the end of one's self and finding that Grace is the only thing to save, characterizes Fiona's search for peace and her loneliness through The Soldier's Cross.

She sat down inside to wait, to rest her mind awhile
No use trying to fight with fate, or fake a smile
There she found the end of herself
Heard a small voice crying for help


Leah - Windows in the World by Andrew Peterson. The way these lyrics reflect what C.S. Lewis called "sehnsucht" - a joyful, heartbreaking longing for something beyond this world - is perfect for Leah's nature. Fiona's first thought on meeting her is that her soul seems to be shining through her body like a star, and Andrew Peterson's song captured that idea.

It’s the way the clouds are burning from the angle of the light
as the earth is slowly turning you to meet it.
And you’re watching at your window at the ending of the night--
it’s as plain as day so any fool could see it: it’s a window in the world.

Pierre - I'm not sure Pierre really has a song, but the nearest I could come up with was Boy Like Me / Man Like You by Rich Mullins. It isn't perfect, but it reflects to some degree Pierre's boyishness and the way he grows into a man.

Did they tell you stories about the saint of old?
Stories about their faith?
They say stories like that make a boy grow bold
Stories like that make a man walk straight.



Wordcrafter

Justin King [the wordcrafter] - Justin gets two songs. Just because. His first would be Brother, Stand Beside Me by Heather Dale*. That song, although it concerns King Arthur's last stand, captures, in a way, the whole thrust of Wordcrafter (because no one has set Kipling's "The Thousandth Man" to music). His other song is instrumental: A Gift of Thistle, from the Braveheart soundtrack*. The soft sadness of it has an element in it that reminded me of Justin at times.

Brother, stand beside me - Brother, lend your arm
Brother, stand beside me - Brother, lend your arm
See the weakness in the world
And choose to be strong
Let them sing, let them sing our praises when we've gone.


Ethan Prince [the hound] - And Ethan gets two as well, because Justin got two and of course one must be fair. The solidness of If I Stand by Rich Mullins makes it Ethan's first, but it has a joyful theme as well that also fits him. In Wordcrafter I did not get "inside" Ethan's head, as the story unfolds from Justin's perspective, but this song depicts his mindset, his foundation, quite well. And then his second song is the instrumental The Blood of Cu Chullain by Mychael Danna and Jeff Danna. It is perfectly wild and vivid - and is also one of my favorite songs.

So if I stand let me stand on the promise
that You will pull me through
And if I can't, let me fall on the grace
that first brought me to You.
And if I sing let me sing for the joy
that has born in me these songs
And if I weep, let it be as a man
who is longing for his home.


Jamie Fairbairn [the vixen] - When the Coyote Comes by Fernando Ortega. The bouncy, slightly dark tune fits Jamie and the coyote in the lyrics is a good analogy to her.

The night heats up when the coyote comes
He won't rest till his work is done
Critters flee when he comes around
Some won't make it home...

Copper - Love Theme from the Merlin soundtrack. I couldn't find an actual song that fit her, and her quiet nature is better suited to an instrumental piece. The sweetness of the Love Theme is just perfect.


The White Sail's Shaking

Tip Brighton - Let Mercy Lead by Rich Mullins. Something of an odd choice for the kind of character he is, but the tune and the chorus seemed to fit. Perhaps because it is a "growing" song, and Tip does a lot of that through the story. Perhaps because the concept of mercy worked itself more into the novel than I was expecting at the start. Anyhow, it fit.

Let mercy lead
Let love be the strength in your legs
And in every footprint that you leave
There'll be a drop of grace

Marta Rais - Storm by Fernando Ortega. Much of her story is her coming to grips with life, now that so much that was "life" for her is taken away. I love the tenderness of the song, and the way it is both a love song and something more. I love it so much and all of it is so fitting, I had a hard time deciding which bit to use here.

It takes the rain between the lines to know what sorrow finds
The way the cloud divides sometimes
The clearing and the blue...
I love you.


Charlie Bent - He got two. So much for "fairness"; the main character didn't get two. Anyhow, one song that particularly reminds me of Charlie is Owl City's To the Sky. I'm not a big fan of most of Owl City's songs (the lyrics don't make any sense, and I like lyrics to make sense), but for one reason or another the synthesizer-strong tune and the optimistic feel suits Charlie - when he is feeling upbeat. His other song, however, goes down to the other end of his mood-spectrum: After the Last Tear Falls by Andrew Peterson. The sadness and the almost (but not quite) hopelessness captures his other side.

After the last tear falls
After the last secret's told
After the last bullet tears through flesh and bone...
There is love
Love, love, love
There is love
Love, love, love
There is love.

Jo Darkwood - Sweet Grace by Fernando Ortega. Because Darkwood left a sweetheart back home, and because he never really wanted to go to sea in the first place.

I thought I heard your voice last night
Carried on the wind
Singing lines from old songs,
Calling out all our names again.

So, what songs are especially fitting for your characters?

*I don't recommend all of Heather Dale's songs, nor have I watched Braveheart; I just like the soundtrack. The image for Brother, Stand Beside Me is from the Front Street cover of The Mark of the Horse Lord by Rosemary Sutcliff. All usual disclaimers apply.

 
meet the authoress
I am a writer of historical fiction and fantasy, scribbling from my home in the United States. More importantly, I am a Christian, which flavors everything I write. My debut novel, "The Soldier's Cross," was published by Ambassador Intl. in 2010.
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published writings






The Soldier's Cross: Set in the early 15th Century, this is the story of an English girl's journey to find her brother's cross pendant, lost at the Battle of Agincourt, and of her search for peace in the chaotic world of the Middle Ages.
finished writings






Tempus Regina:Hurled back in time and caught in the worlds of ages past, a Victorian woman finds herself called out with the title of the time queen. The death of one legend and the birth of another rest on her shoulders - but far weightier than both is her duty to the brother she left alone in her own era. Querying.
currently writing



Wordcrafter: "One man in a thousand, Solomon says / will stick more close than a brother. / And it's worthwhile seeking him half your days / if you find him before the other." Justin King unwittingly plunges into one such friendship the day he lets a stranger come in from the cold. Wordcount: 124,000 words

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