Or Reflections on the Realities of Big Tent Christianity “As Christians, we are seekers after truth, not merely its custodians.” Michael Bauman1 The Situation “Christianity is in trouble,” everyone seems to be saying, for a variety of reasons. The rise of the “nones.”2 Increased dissatisfaction with institutional religion.3 The forthcoming disintegration of American evangelicalism over politics.4 The growth of the “spiritual but not religious” worldview.5 The general failure of the American Church’s members to reach

In dark moments, I have sometimes wondered whether, when disaster struck, I might lose my faith. Perhaps my God of unbounded kindness would fall away in the face of crisis—shown to be phantom conjured up by an over-hopeful imagination—sand leave me alone in the universe. Yet as it has turned out, the real danger was of this God morphing into a god of wrath, his face twisting into stern, unfamiliar expressions. In this midst of

I’m going to start this off with a pretty controversial statement, Frozen is the best Disney movie. I grew up with the Lion King, Sleeping Beauty, Cinderella, etc.—but none of those can beat a movie that centers sisterly, familial rather than romantic love, features Idina Menzel’s amazing voice, and arguably is an apology for queerness. Given Frozen’s indisputable G.O.A.T. status, I was excited to see Frozen II recently, though admittedly it took me far too

Eugene Vodolazkin’s masterful novel Laurus is a tour de force of literary imagination and theological reflection. In a style reminiscent of Dostoyevsky’s Brothers Karamazov and imbued with as much tragic conviction as Nikolai Leskov’s Cathedral Folk, Laurus stands out as a modern-day masterwork of Russian literature. The novel is full of mystical, sacramental, and eschatological imagery. Vodolazkin marries the mundane to the sacred in a beautiful tapestry of man’s fallenness and God’s redemptive plan. The main character, called at various times

This post is the sequel to an earlier article titled: “Revelatory Crucicentricity: 1 Samuel 16 and 1 Kings 19 as Kenotic Patterns.”  In a previous article, I argued that the kenotic tendency of God clearly evidenced in the Incarnation, Passion, and Death of Christ (Phil 2:5-11) is on display in both the selection of David, the youngest of his brothers, to be anointed King of Israel (1 Sam 16) and Elijah’s encounter with God in

Over the last five years or so, I’ve developed an abiding interest in that most mocked of things: modern art. (Last fall, my long-suffering wife spent about four hours longer in the MoMA than she would’ve liked.) The genesis of that interest was a book I read in law school (thanks to a Conciliar Post recommendation, as it were): Daniel A. Siedell’s God in the Gallery: A Christian Embrace of Modern Art. A few weeks

Opportunities for meditation on the nature of God’s being often present themselves in surprising places. For example, on Holy Wednesday, I was in a Zoom class at my progressive, mainline Protestant seminary. The class was discussing accessibility for disabled people in the Church. In the course of this discussion a classmate of mine posited the idea that, because God is “super able,” our theology can easily tend to exclude people with disabilities. He then followed

What follows is, so far as I can tell, the basic tenets of Catholic integralism— a topic of heated debate lately— or what is sometime called “Gelasian dyarchy,” a reference to Pope Saint Gelasius’ letter to Emperor Anastasius in the late fifth-century which espoused the dualistic principle of church and state, (i.e. “duo sunt”). 1) There are two powers that rule humanity: a temporal power (the state) and a spiritual power (the Church). Since man’s