We should never defend Christianity by saying it is traditional. From the beginning, it has stood against the traditions of its day.
Beginning in the fifth century, Christian leaders finally began to wield enough political influence to pass laws against sexual slavery. The church fathers called it “coerced sin.” One historian notes that the most reliable index of the Christianization of an ancient society was the recognition of the injustice of sexual slavery.
Let that historical fact sink in: The most reliable index of how deeply Christianity had permeated a society was whether [the society] outlawed sexual slavery.Nancy R. Pearcey, Love Thy Body, pp. 69 – 70, 71 – 72
They number in the hundreds, can be larger than an NFL football field and are found across Saudi Arabia. … radiocarbon dating of charcoal found within one of the structures indicates people built it around 5,000 B.C.
“This ‘monumental landscape’ represents one of the earliest large-scale forms of monumental stone structure construction anywhere in the world.”Ibid
Oooh, so many thoughts.
We keep finding these things everywhere. And every time one is found, it’s older than expected, such that it seems we are constantly being told that “the earliest” or “one of the earliest” has just been found.
There is Gobekli Tepe in Turkey, the earliest (?) stone temple.
There are standing stones, marching stones, and stone circles all over the Middle East and Europe.
The Giza pyramids, and the Sphinx, are arguably much older than commonly believed.
So, I don’t necessarily believe that these monuments in Saudi Arabia are “the first” of anything (even though, I’d like to point out, the monument could be older than the charcoal they found in it).
What I do believe is that they are yet more evidence that the compulsion to build massive stone structures, and the engineering skills to pull it off, was near universal among ancient humanity.
It looks most probable to me that these “earliest monuments” in Arabia were contemporaneous, or nearly so, with the other “earliest stone monuments” and temples and things that we keep finding, all over the world.
Perhaps people were dispersing from somewhere (somewhere near the Fertile Crescent, say), taking this building culture with them as they went. They would have hit northwest Arabia fairly quickly. The Table of Nations, in Genesis 10, lists all the peoples that descended from Noah’s three sons after the Flood. Though this is supposedly a comprehensive list, when it tells where they settled, the homelands listed for them are all in the Fertile Crescent, the Levant, and Arabia, though it is obvious that some of these peoples eventually ended up settling in much more far-flung places.
See also my posts about The Lost Civilizations of the Stone Age, by Richard Rudgley, who presents evidence that fully functioning human civilizations existed 10,000, 20,000, or even 30,000 years ago.
Just a thought for the day.
… but this apocalyptic song has been running through my head lately.
The word of the Lord came to me: “What do you people mean by quoting this proverb:
‘The fathers eat sour grapes/and the children’s teeth are set on edge’?
“As surely as I live, declares the Sovereign Lord, you will not longer quote this proverb in Israel. For every living soul belongs to Me, the father as well as the son — both alike belong to Me. The soul who sins is the one who will die.
“Suppose there is righteous man who does what is just and right. … Suppose he has a violent son, who sheds blood or does any of these other things (though the father had done none of them) … Will such a man live? He will not! Because he has done all these things, [the son] will surely be put to death and his blood will be on his own head.
“But suppose this son has a son who sees all the sins his father commits, and though he sees them, he does do not such things. He will not die for his father’s sin; he will surely live. But his father will die for his own sin, because he practiced extortion, robbed his brother and did what was wrong among his people.
“Yet you ask, ‘Why does the son not share the guilt of his father?’ Since the son has done what is just and right and has been careful to keep all my decrees, he will surely live. The soul who sins is the one who will die. The son will not share the guilt of the father, nor will the father share the guilt of the son. The righteousness of the righteous man will be credited to him, and the wickedness of the wicked will be charged against him.
“Yet you say, ‘The way of the Lord is not just.’ Hear, O house of Israel: Is it not your ways that are unjust?”Ezekiel 18, most of the chapter
Writing about the afterlife is tricky. It does not always go well.
Bookstooge recently reviewed a book that was set entirely in the afterlife, and it failed (at least, based on his review, it failed) because writing about the afterlife immediately brings out the limitations of the author’s understanding of: God, eternity, human nature, human embodiment, space, time, etc.
Some of these limitations on our understanding can be fixed with better theology. (For example, the TV show The Good Place could have benefitted from an understanding that the human heart is deceitful and desperately wicked, and who can know it?). Others of these limitations can’t be fixed because they are a consequence of our inability to imagine an existence that transcends space and time. New Age accounts of “out of the body” experiences immediately lose me when they describe things like “a cord coming out from between my shoulder blades that connected me to my body.” (Pro tip: if you are out of the body, you do not have shoulder blades.)
But despite these pitfalls, I find it irresistibly attractive to follow my characters just a step or two beyond death. Perhaps it’s because the moment of death is so poignant in a story, or because there is an opportunity to address unfinished business. “Wrong will be right/when Aslan comes in sight.” We are all longing for that wrong will be right moment.
The 11-minute song below is a ballad that successfully (I think) follows a character slightly past death. I find it very moving. I hope you do as well.
For the comments: when an author attempts to write about the afterlife, do you start rolling your eyes or do you go with it? What are some of your favorite post-death scenes in books or movies?
… who takes Genesis 1 – 11 seriously as history. This short theological post discusses the ancient world that I have tried to portray, and the ancienter world that I have hinted at, in my novels.
He who dwells in the shelter of the Most High
will rest in the shadow of the Almighty.
I will say of the LORD, “He is my refuge and my fortress,
my God, in whom I trust.”
Surely he will save you from the fowler’s snare
and from the deadly pestilence.
He will cover you with His feathers,
and under His wings you will find refuge;
His faithfulness will be your shield and rampart.
You will not fear the terror of the night,
nor the arrow that flies by day,
nor the pestilence that stalks in the darkness,
nor the plague that destroys at midday.
A thousand may fall at your side,
ten thousand at your right hand,
but it will not come near you.
You will only observe with your eyes
and see the punishment of the wicked.
If you make the Most High your dwelling
— even the LORD, who is my refuge —
then no harm will befall you,
no disaster will come near your tent.
For He will command His angels concerning you
to guard you in all your ways;
they will lift you up in their hands,
so that you will not strike your foot against a stone.
You will tread upon the lion and the cobra;
you will trample the great lion and the serpent.
“Because he loves me,” says the LORD,
“I will rescue him;
I will protect him, for he acknowledges my name.
He will call upon me and I will answer him;
I will be with him in trouble,
I will deliver him and honor him.
With long life will I satisfy him
and show him my salvation.”Ps. 91:1 – 16
So many things to notice about this psalm. For one thing, it’s one of the better-known psalms. The hymn “Under His Wings” is taken from it. And it’s worth noting that this poem portrays God as … a chicken. This is not the only place in the Bible where God is portrayed as a mother hen protecting her chicks under her wings. (Or, given the mention of the “fowler’s snare,” maybe in this poem a wild game bird is in view.) This is one example of how, though He is called He, the Old Testament God is also shown to be maternal.
Another thing that stands out to me is how the ancient Israelites felt just as helpless as we do in the face of violence, “disaster,” and the “deadly pestilence.”
One of my most vivid memories about this psalm came during an orientation activity when I had just arrived in Asia. A seasoned missionary read the entire thing to us, and then went on to tell a bunch of stories about times when he and people he knew had not been protected from various kinds of disaster.
Jesus knew this as well. Satan actually quotes this psalm to Him, “He will command His angels concerning you …” in Luke 4, to get Him to jump from the pinnacle of the Temple. Jesus does not jump.
This is a poem. It is strangely heartening to read.
Yet it doesn’t always happen this way.
Yet it is the word of God.
I don’t understand it either.
Ben Shapiro interviews an eclectic grab bag of people each week on his Sunday Special. (Their main common factor is that they were willing to come on and be interviewed by him.) The interview embedded below is my favorite of all the ones he’s done so far. It’s super long, but if you are interested in the fiction industry or the writing process or the sci-fi and fantasy genres or identity politics or religion, then it will be worth your while.
Orson Scott Card is the author of the super popular sci-fi novel Ender’s Game. I tried to read this novel when I was way too young and I did not get all the way through it. It was hard for me to keep in mind that Ender and his co-trainees were kids when in some ways they acted like geniuses.
Card is also a Mormon, or LDS (Latter-Day Saint) as many of them prefer to be called. This gives him a unique perspective on religion, specifically on what it’s like to be misunderstood as a religious person.
AT 4:18, Card clears up what exactly counts as sci-fi versus fantasy: “The usual is that science fiction is stuff that has not happened but is possible, and fantasy is stuff that doesn’t happen and isn’t actually possible but we can imagine it. And that almost works except for the fact that it’s considered science fiction if you do things like faster-than-light travel or time travel. And those can’t happen. Time travel especially, because the string of causality is unbreakable. … So it’s arguable. But I learned the practical definition right away. The covers of fantasy books have trees. The covers of science fiction books have sheet metal with rivets. So it’s rivets versus trees. If your story is illustratable with rivets then it’s sci-fi, and if it needs trees to be effective, then it’s fantasy.” (N.b.: This is why my books are fantasy even though they feature no wizards.)
11:35 On the fact that fantasy magic systems have rules too: “You can’t just throw magic on the page and make it fantasy. You have to make it fantasy that would pass muster with a science fiction writer, because that’s who’s writing fantasy now.”
At 15:00, he addresses Pantsing versus Plotting: “I try to think ahead. Mostly milieu development. Then I’ll think of obligatory scenes, things that have to happen. And I’ll have to then set up those scenes so that they mean something. So there’s some planning that goes into it. I know writers who think like screenwriters, and their thought is all on the [outline]. I can’t do that, because anything I wrote for anything after chapter two is going to be discarded as soon as I find out what’s going on in chapter one. The process is pretty flexible, because by the time I’m nearing the end of any novel, the outline is now a relic … And I’ve seen, for example, an early novel by Dean Koontz, where it was obvious to me that after developing an amazing cast of characters that readers cared about, he caught up with the point in the outline where they all go into an alien spaceship together, and at that point he was just following the outline and it didn’t matter who any of the characters were.” (N.b.: Card’s method is plantsing, and it is the method I use as well. )
At 37:00, he starts talking about religions in fiction: “If you are going to create a character that has an existing religion, you have a responsibility to make it plausible. In America, we have two generic religions. If you need a hierarchical religion, you use Catholic. If you need a congregational religion, you use generic-Protestant-but-really-Baptist. Those religions are available and we all have some experience with them by watching movies. Jewish, not so much. I would feel a great deal of trepidation making a character of mine Jewish, especially orthodox, because I’ve known enough orthodox Jews to know how rigorous the demands are, what has to be kept in your head all the time. And I do that as a Mormon. I know all of our rules by heart, I don’t even have to think about them any more. But whenever I watch somebody’s fictional treatment of Mormonism, no one ever gets it right. No one even comes close. Getting somebody else’s religion wrong is a terrible faux pas.”
41:56: “That’s one of my minor messages: people have religion, and the fiction writer who retreats from that is cheating himself and his readers.”
43:51: “There are smart people in Hollywood. There are good people in Hollywood. They just don’t have the power to greenlight a film.”
At 52:00, he starts talking about the move towards identity politics in sci-fi: “And many of them, whom I know, are people who are simply writing their conscience. But their conscience is ill-informed.”
55:20 and following, on race: “When every white person in America knows that they are labelled as racist, that means why keep trying? Because no matter what you do, you are going to be labelled as white privileged and as racist. … But I know that now, all white people are getting more and more nervous that no matter what they say, it’s going to be turned on them and used to call them the ugly name racist. And that is pretty much the ugliest name that we have in our vocabulary right now. If you’re looking for your Tourette’s list of words that you should not speak, words which will wound, the f-word is way way low on the list. We are used to the f-word, we hear it all the time. Compared to racist. Wow! That’s serious. That’s savage.”
Because sometimes we have enough misanthropy.
“I live in a high and holy place,
but also with him who is contrite and lowly in spirit,
to revive the spirit of the lowly
and to revive the heart of the contrite.
I will not accuse forever,
nor will I always be angry,
for then the spirit of man would grow faint before me —
the breath of man that I have created.
I have seen his ways, but I will heal him;
I will guide him and restore comfort to him,
creating praise on the lips of the mourners in Israel.
Peace, peace to those far and near,”
says the LORD. “And I will heal them.”
But the wicked are like the tossing sea,
which cannot rest,
whose waves cast up mire and mud.
“There is no peace,” says my God,
“for the wicked.”Isaiah 57:15b – 16, 18 – 21
What’s your stereotype of “indie” (independently published) books? Is it a tame memoir that would interest only the author’s family? A bitter rant where the author finally gets to have their say? An amateurish sci-fi filled with cringe-inducing grammatical errors?
I’ve read all of these types. (And, for the record, my opinion is not the same about all of them. The family memoirs, in particular, will be valuable historical records one day.) But in case you didn’t know it, there is so much more to the world of indie books. Here are two indie authors I’ve discovered, both worth reading and each weirder than the last.
Specter by Katie Jane Gallagher
I discovered Katie right here on WordPress. She likes horror, which I didn’t think was really my speed, but I just had to buy her book to see the results of her self-publishing. The book is, in a word, professional. The cover, the formatting, the editing … it all looks and reads just like any high-quality YA paranormal book you’d pick up in a bookstore (or, in my case, a library). And no, it’s not a paranormal romance where the ghost is the girl’s love interest. (Thank God.) It just features a normal, smart high schooler who starts seeing ghosts. And, refreshingly, her parents are all right, unlike in so many YA books where the parents are either dead, clueless or part of the problem.
And the horror? Well, there are some horrible revelations at the end … but they didn’t turn out to be anything I couldn’t handle. Perhaps I’ve been toughened up by watching Stranger Things.
The Collision series by Rich Colburn
Full disclosure: I knew Rich before he wrote these books. He’s weird. (I honestly don’t think he’ll be offended if he reads that.) When, having not seen him for years, I heard that Rich had indie published a couple of books, I eagerly bought them. They are exactly the kind of books I would have expected from him, which makes them a little hard to describe.
From the Amazon blurb: “What if the spirit world was rampant with technology sophisticated beyond anything mankind has imagined? What if a sociopath got his hands on a powerful piece of this technology? What if you couldn’t die no matter how much damage your body sustained?
“Join a reluctant hero on his quest to discover what the heck he should do with his time now that he has unlimited power and the world as he knew it collides with the unseen world. Will demon-possessed biomechanical monsters kill everyone? Will there be enough coffee to last through to the end of the world? Will that play into our hero’s decision whether or not to bother saving it? These are questions we’ve all wondered about. Explore these and other important philosophical questions as you follow the adventure that was contrived to do just that.
“The Collision series offers a technological explanation for the supernatural. Human psychology, questions of life and death, and the nature of the supernatural play a critical role in the story of a man who becomes aware of the technology used by beings existing in higher modes of reality.”
The Collision books are slightly less professional than Specter. They could have used a second pass with an editor. But they are a joy to read because they are just so darned clever. To take a sampling of the chapter titles from Resolve:
Chapter 34: When an Unstoppable Force Meets an Immovable Object, It’s Best If They Avoid Eye Contact
Chapter 35: Omnipotence: It’s There When You Least Expect It
Chapter 36: I Love the Java Jive but the Java Jive has Found Me Wanting
Chapter 37: Seriously? Another Plot-Thickening Thread?
Chapter 41: It Came From My Parents’ Basement
Believe it or not, these titles are not just one-liners. All of them make sense when you read the chapter. I really don’t think a traditionally published book could have gotten away with chapter titles like this.
So now you are probably thinking that the Collision series is like the Hitchhiker’s Guide to the Galaxy. And it sort of is, if that book had been written by a Christian. But it’s not just metaphysics and humor. The book also becomes surprisingly poignant (in the context of all the weirdness), and also very horrifying and tense. Especially the scene in the parents’ basement. Also, be it noted that the monster made out of corpses in Stranger Things was familiar to me because an even more horrifying version had already roamed the pages of Formulacrum.