America has been searching its religious soul for a number of years now. The results of this search describe a cultural rift that can be neatly measured by data on church attendance. And by book sales.
On the right, everyone knows, one finds Jesus with a loaf of bread in one hand and the entirety of the Christian publishing industry in the other.
On the left, one finds . . . well, what does one find?
Strafing across recent titles on religion from mainstream publishing reveals a trend:
The argument from the left seems to be that if we stick to the old guns of evolution and reason we’ll soon banish the bugbear of superstition once and for all.
But is it correct to accept religion and science as squaring off across a red-blue scrimmage line? Cracks in the wall of fundamentalist Christianity appear to be widening, politically. And the latest book to claim that science has finally killed God—Richard Dawkins’s un-subtitled The God Delusion—was met with a hammering, led by Marilynne Robinson in Harper’s. Robinson eviscerates poor Dawkins (in a way that should get Oxford rethinking that tenure appointment), demonstrating in Dawkins’s own terms that his science wasn’t particularly scientific and that the rap sheet recited against religious history was matched by a list of indictments compiled against scientific history. And then some.
That religion would find defenders on the left is hardly new, and three recent books about William James, whose The Varieties of Religious Experience set about defending religion from just that perspective, may indicate another trend in modern publishing. One of the three books is my own, The Devil is a Gentleman: Exploring America’s Religious Fringe, which examines James’s thinking on religious matters as measured through narratives to modern “new religious movements.” The other two are Deborah Blum’s The Ghost Hunters: William James and the Search for Scientific Proof of Life After Death, which looks at James’s work with the Society for Psychical Research, and Robert D. Richardson’s just released William James: In the Maelstrom of American Modernism, an intellectual biography that completes the substantial trifecta Richardson began with celebrated biographies of Thoreau and Emerson.
Using science to evaluate religion returns directly to James. The Varieties of Religious Experience suggested that a “science of religions” could usefully examine our ever-growing set of myths, dogmas and metaphysical theologies. But obviously there’s a difference with James’s science. He didn’t want to exhaust religion, or strangle its mystery. He wanted to justify it. And James—who protested the occupation of the Philippines after the Spanish-American War, crusaded against lynchings, worked on behalf of the mentally ill, and lent his name to the anti-vivisectionist movement—was decidedly on the left.
But here he is explaining why, even as a scientist, he argued for religion:
The first thing to bear in mind (especially if we ourselves belong to the clerico-academic-scientific type . . . for which to ignore others is a besetting temptation) is that nothing can be more stupid than to bar out phenomena from our notice, merely because we are incapable of taking part in anything like them ourselves.
Sam Harris and Richard Dawkins appear unmoved.
James would not be surprised by our divided society. Indeed, he may have anticipated it with the basic classifications of people he distilled in The Varieties of Religious Experience. His “sick souls” and “healthy-minded” categories are perhaps the best-known aspect of his thinking, and together they very nearly describe the way things stand today.
The most troubling thing about our divided society, as I see it, is that each side appears discomfited that there’s a rift at all. Both the scientists and the fundamentalists conclude that their counterparts would be better off if they simply gave up their silliness and hopped on board with the living truth.
James would have been cynical of this prescription for a uniform world.
“Philosophy has often been defined as the quest or the vision of the world’s unity, he wrote, “but how about the variety in things?”
The Varieties of Religious Experience celebrated just that. Strict reason was no refuge. Even in James’s own time, “Science’ [was] . . . genuinely taking the place of a religion” and he worried about “the hideous rift that science, taken in a certain narrow way, has shot into the human world.”
One hundred years later, both America’s promise of religious pluralism and its cultural diversity rely on the strength inherent in variety—the same variety that James made the heart of his system. But philosophically we’ve lost this as our soul-searching has set us on divergent paths. Marilynne Robinson reminds us that we have as much to fear from the scientists as the fundamentalists, and advises that “it is diversity that makes any natural system robust, and diversity that stabilizes the eccentricity and arrogance that have so often called themselves reason as science.”
In 2000, when asked who his favorite philosopher was, candidate George W. Bush responded, “Jesus Christ.” And when Oprah Winfrey asked Al Gore roughly the same question, Gore responded, “Jesus Christ, you have to say that . . . “
Wouldn’t it have been nice if just one of them had said William James, a made-in-the-USA philosopher now fading from memory but still prepared to address the rift growing between us? Perhaps the new slate of James books means that, like those fundamentalists rethinking their fidelity to the right, at least some on the left have begun to question a science which, with its cold dead “no,” seems just as fundamentally wrong.
Lipsyte: Well these were the famous classes that he taught and others have written about it. He would kind of perform an amazing monologue for hours that would be a work of art in and of itself, in the way it was constructed in real time and kept pulling threads through and weaving all these elements together, but the content of it would be reflections on writing and art and what it is to be an artist and how one should approach the page. And then at the end of that—and that could go for four or five hours—at the end of that, he would call on students to read from whatever it was they were working on, but normally you wouldn't get too far, because he would stop you probably within a sentence or two and point out all that was false in what you had perpetrated.
In the brief essay that J.C. Hallman will deliver at a panel discussion at the 2010 AWP Conference in Denver, Hallman will offer up his own insights as to the nature of this admittedly flawed practice. The essay will be, to some extent, experimental. It will have a self-referential quality, it will aspire to innovation, indeed it will even be accurate to describe it as "meta-," but of course Hallman will use none of these terms, though he would like to. Book proposals are not places for words like innovation and experimentation. Instead, Hallman's essay will be "quirky and fun."
Seven Nights Jorge Luis Borges (trans. Eliot Weinberger). New Directions. $12.95, 128pp. In Seven Nights, the recently re-released collection of lectures-turned-essays originally given in Buenos Aires in 1977, Borges does not discuss the phenomenon of déjà vu. He does, however, speak at great length about nightmares and dreams, which he describes as “a kind of modest [...]
Best European Fiction 2010 edited by Aleksandar Hemon, preface by Zadie Smith. Dalkey Archive Press.448 pp, $15.95. “The great pest of speech is frequency of translation,” Samuel Johnson once wrote, in the preface to his iconic Dictionary of the English Language: No book was ever turned from one language into another without imparting something of its native [...]
“There are, of course, newspapers to keep responsible Americans up to date when trouble looms, and public television or even the History Channel to inform us about the occasional historic battle or archaeological discovery or civil war. What else do we need?” Claudia Roth Pierpont frames her essay on the contemporary Arabic novel, published in [...]
Winter 2007
With jokes from Joyce Carol Oates and "wild imaginings" from 92-year-old winner Diana Athill -- not to mention talk of a sequel from "Wolf Hall" author Hilary Mantel -- this year's NBCC Awards were noteworthy for their celebration of literature by women.
DFW's latest cover makeover, plus a great-looking cover and a really not-so-great-looking cover.
Since buying The Selected Poems of Wallace Stevens at City Lights, I’ve been rereading many Stevens poems and trying to understand it from a more mature perspective. Last time I read a vast amount of Stevens was when I was 22 for a class on Stevens, T.S. Eliot, Yeats, and Marianne Moore. With fifteen years [...]
The 2010 Best Translated Book Awards were announced last night at Idlewild Books, Manhattan. The Confessions of Noa Weber by Gail Hareven, translated by Dalya Bilu won the fiction award, and the poetry award went to Elena Fanailova for The Russian Version, translated from the Russian by Genya Turovskaya and Stephanie Sandler. Check out the [...]
The National Book Critics Circle Award is announcing their winners tonight. The diversity of their nominations, from the better known (such as Hilary Mantel and Mary Karr) to the less mainstream (such as Rachel Zucker and Eula Biss), makes the blog entries on the nominees an interesting read. I added Stephen Burt’s Close Calls with [...]
Translator Jonathan Wright said last night that he felt, for the English-language reader, "religious references [in Arabic literature] are in general problematic."
Poems and Paintings by Salena Gerdes and Joseph P. Wood in the newest issue of Dear Camera
Haruki Murakami’s breakout novel, Norwegian Wood, is being made to a film. But wait! There’s more! It’s being scored by Radiohead.
To mark the one-year anniversary of his outstanding literary webzine, The Second Pass, editor John Williams asked a whole bunch of reading folks to wax on about their favorite OP titles.
Despite Eliot's oft-quoted line about April, we all know that March is really the cruelest month, refusing to set us free of winter's bleakness even as it tantalizes us with hints of spring. This year however, Thoreau's journals in hand, I've decided to choose my own March.
Lipsyte: Well these were the famous classes that he taught and others have written about it. He would kind of perform an amazing monologue for hours that would be a work of art in and of itself, in the way it was constructed in real time and kept pulling threads through and weaving all these elements together, but the content of it would be reflections on writing and art and what it is to be an artist and how one should approach the page. And then at the end of that—and that could go for four or five hours—at the end of that, he would call on students to read from whatever it was they were working on, but normally you wouldn't get too far, because he would stop you probably within a sentence or two and point out all that was false in what you had perpetrated.
In the brief essay that J.C. Hallman will deliver at a panel discussion at the 2010 AWP Conference in Denver, Hallman will offer up his own insights as to the nature of this admittedly flawed practice. The essay will be, to some extent, experimental. It will have a self-referential quality, it will aspire to innovation, indeed it will even be accurate to describe it as "meta-," but of course Hallman will use none of these terms, though he would like to. Book proposals are not places for words like innovation and experimentation. Instead, Hallman's essay will be "quirky and fun."
Seven Nights Jorge Luis Borges (trans. Eliot Weinberger). New Directions. $12.95, 128pp. In Seven Nights, the recently re-released collection of lectures-turned-essays originally given in Buenos Aires in 1977, Borges does not discuss the phenomenon of déjà vu. He does, however, speak at great length about nightmares and dreams, which he describes as “a kind of modest [...]
Best European Fiction 2010 edited by Aleksandar Hemon, preface by Zadie Smith. Dalkey Archive Press.448 pp, $15.95. “The great pest of speech is frequency of translation,” Samuel Johnson once wrote, in the preface to his iconic Dictionary of the English Language: No book was ever turned from one language into another without imparting something of its native [...]
“There are, of course, newspapers to keep responsible Americans up to date when trouble looms, and public television or even the History Channel to inform us about the occasional historic battle or archaeological discovery or civil war. What else do we need?” Claudia Roth Pierpont frames her essay on the contemporary Arabic novel, published in [...]