A Reading Life (prt 14): Own your Writing


two books on wood plankBy Joe LaGuardia

A Reading Life is a blog series focused on the literature that has shaped my life and call to ministry. Find the introduction here.

I got more copies of my book A Whispering Call to sell around town.  I haven’t been in possession of the final draft in a while, so, upon receipt, I started to read it.

There is something about reading your work months after you wrote it that makes you pause–there is a great deal of self-doubt, and you wonder whether the final copy is any good.

I read the first page of the introduction, and I was stuck.  The transition from the first two paragraphs to the third was awkward.  I read it again, and I tried to get into where my head was months ago:  What was I thinking when I segued from one paragraph to the other?

A long time ago, someone told me it was hard for her to follow my sermons.  I lost her, she said, when I was transitioning from one subject to the next.  She said that my transitions left people behind or confused.   Although I dealt with that issue over time (it was a valid critique), it seems that some of my writing still carries that burden.

But I am also a big believer that a new paragraph begins a new topic.  That’s what I learned in grade school, at least.  Its not my fault that our digital, short-form world breaks everything into paragraphs after only a few sentences just because readers lose interest if a paragraph is too long.  (I learned this the hard way as a syndicated columnist–paragraphs are only two or three sentences long not because of the topic, but because of how it appears on the page; the internet is no different.)

I decided that my writing was just fine, and it hit me: I have to own my writing.  I have to take responsibility for my idiosyncrasies and trust in the work.

Ernest Hemingway inspired me in this.  I am currently reading A Farewell to Arms, and its been a while since I’ve read Hemingway.  His writing is unique–its short, brisk, and choppy.  At times he is repetitive.  He doesn’t fill in all the gaps, and his dialogue communicates basic information.

On the back of the book’s dustcover, it boasts that Hemingway “did more to change the style of English prose than any other writer in the twentieth century.”  He was, of course, a Pultizer winner for The Old Man and the Sea.

I wonder if Hemingway doubted his writing.  I wonder if he thought, “I hope people don’t think I write like a fifth-grader.”  But fans of his work will quickly note that, as concise as he may be, he communicates an entire vista within just a short economy of words.  He is amazing, and I like to think that he was unapologetic for his unique writing style.  He owned his writing.

My reflections on writing conjured the works of other off-beat authors.  Annie Dillard comes to mind–she is downright difficult to read, but oh! how she makes for majestic reading!

The first time I picked up Frank McCourt, with his long run-on sentences and lack of quotation marks, it was almost the last time I picked it up–not because it wasn’t good, but because I couldn’t put it down!

Preachers also tend to have their own style–the good ones, at least.  The late Fred Craddock is probably the most famous idiosyncratic preacher.  When he preached you forget that he is preaching, and by the time he finished (and he finishes whenever he wants), you think you’ve had a conversation with a best friend.

Brett Younger, pastor of Plymouth Church in Brooklyn (and one of my old professors), is also unique.  He weaves together comedy and tragedy and sacred text in ways that few can emulate.

Then there is Joel Osteen.  I don’t care what you think of his theology, but the man is an amazing storyteller.  Whenever I listen to him on XM radio, I feel better, like all is well with the world.

So take ownership of your writing.  No one is going to express what you need to say for you, and your silence may disenfranchise the world.  It may need another point of light in the darkness, so shine brightly for others to see.  Don’t mimic voices of others, come up with your own.  Take responsibility for your writing.  As long as you follow the basics in grammar, you should be fine–and empowered to keep on keeping on.

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A Reading Life (prt 12): An Impasse and Seasonal Affective Disorder

Image result for lucy psychiatric booth christmas

By Joe LaGuardia

A Reading Life is a blog series focused on the literature that has shaped my life and call to ministry. Find the introduction here.

I must apologize, everyone. I have not been in the mood to read or write lately. I blame it on the recliner and cold weather. My cat may be in on this too.

Its been an arid month: no inspiration to read anything, no impetus to write. I had an existential crisis just today: How come I don’t feel like reading? What about my “A Reading Life” blog series?

It was just, “Meh.” I suffered from Seasonal Affective Disorder when I lived in the north, but haven’t since I moved south. This is nowhere near as bad, but I have a feeling that people who do suffer with SAD during winter can relate. Where has all that passion gone?

Now I just sit in my recliner when I am not cleaning, exercising, playing, cooking, or doing churchy things. I read a devotional. I catch up on the news. I (gag) scroll through social media. I fall asleep with my cat on my lap, a cat who finds her way over to me whenever I am in a resting position.

This is not new for me just as I’m sure it inflicts other bibliophiles. You’re in between books. You pick up a book here or there and nothing really captures your heart. There are false starts and impassioned leafing through of pages. No titles catch your attention. You wonder why half the books on your “to read” pile are there in the first place.

Even the old love affair with book catalogues grows stale, and your eyes wander to other things. I started watching a lot more television. That’s always a bad sign.

I don’t know how it is for others, but for me, reading and writing go hand-in-hand. If I am reading a lot then I tend to write a lot. If my reading tarries, my writing dries up. The muses fall silent. The Television turns on, and it is a distraction.

I decided today that I must move on. I can’t stay in this malaise forever, and I need something to get out of this rut. We went to our local used-book store (a weekly routine), and I determined to find something to read.

Sure enough, I returned to that genre that has saved me on more than one occasion: long-form essays, usually in the tune of a memoir or travel narrative, which have appealed to me during times of melancholy. They are short so there is no serious commitment. They are not laborious, so they tend to be compelling and artistic. They inform, but are personal enough to get me out of myself–to move my sense of consciousness beyond my little world and into the larger world where life moves on.

Essays have always been an easy and quick escape in my reading repertoire. There are essays by Marilyn Robinson and Annie Dillard. There are anthologies, such as the annual The Greatest Essays publications. Several years ago I picked up This is New York by E. B. White, an essay that originally appeared in a travel magazine. That was SOME essay–an amazing tapestry of words and thoughts, and probably one of the best things I’ve ever read in my life.

It took me a while to find the right book. I perused travel, biographies, classics, mysteries, and the religious sections. I was tired, so I sat in a plastic lawn chair among the memoirs. I spotted an autobiography by Ephriam Tutt, Yankee Lawyer. I don’t know who Tutt is, but the inscription on the inside was to an “Uncle Harry” and dated Christmas day, 1943.

Parker Palmer’s Listen to Your Life was nearby, and it too had an inscription from Jen to Mitch: “Food for thought along your vocational journey.” It was dated January 25, 2002. Not quite Christmas day, but close.

I spotted some books I donated several months ago. I picked up several of them and saw my own notes throughout their pages. It is odd to see your handwriting in a book that is for sale, as if it was inscribed by some alien life force and is now staring back at you from across the galaxy. (If you go to the religion section and you find the print “The Library of J. V. LaGuardia”, wonder no more.)

And, back in the memoir section, I finally found a book worth reading. It is an essay just as I preferred, and published originally in Vanity Fair or some such magazine. It is by Pulitzer-prize winning novelist William Styron, Darkness Visible, about his bout with clinical depression. The subtitle (“A memoir of madness”) did not catch my attention so much as the writing did; and I didn’t get it because of my own lethargy. I got it because of its brevity and its well-written prose. It will do.

I realize now that my feelings of lassitude is not uncommon around this time of year. Many people get a little angst around the holidays. Charlie Brown bemoans of his own existential crisis to Lucy (psychiatric help for a nickel!) in the Christmas special my children and I watched earlier today.

But ’tis the season, and books will always find a way to speak into our lives. We will eventually move off the recliner and into worlds that words construct or conjure. It takes some time, and in only a few days that Christ Light will shine in the darkness of all our nights. And, eventually, this too shall pass.

A Reading Life (prt 11): The Bible, from a different point of view

By Joe LaGuardia

A Reading Life is a blog series focused on the literature that has shaped my life and call to ministry. Find the introduction here.  

I attended a pastor’s Bible study recently and did not learn anything new.  If you are going to bring pastors together, then have something new up your sleeve: a new insight into reading the text, an esoteric resource that garners a cutting-edge interpretation of scripture, a new twist on an old tale.  But don’t spout lessons we have likely taught for years in Sunday school.

One of the greatest compliments I get as a preacher is not that a sermon was interesting or exciting, but that something new was learned.  “I never heard that before,” or “I’ve never read the passage like that,” is music to my ears.  It is impossible to hit a sermon out of the park every Sunday morning, but not to have at least one thing unique to each sermon–a new reading, an insight that is not cliché, a way to enliven the imagination.

I came into seminary with a formidable religion degree from college.  Classes were basic, therefore, and getting at something new was difficult.  But when I got into a New Testament course with a professor by the name of Dr. Carson, I got hooked on his methodology of reading the text.  I’ve never read the Bible that way!

Dr. Carson was from Union Theological Seminary and Southern Seminary, so he was able to bring a reading from two very different points-of-view.  As a way of protest, he threw out many tried and true historical-critical interpretations of scripture because of faulty foundations of reading, and relied on the purity of reading a text for what it says and how it is said, not from a translation.

Dr. Carson emphasized socio-rhetorical criticism, which was new to me.  Socio-rhetorical criticism explores how authors write what they write, why they write, how they write, and what they exclude.  The critic reads the Bible, noting that the order, shape, and context of the original language says something about the intent of the writing.

Rhetoric is the “art of persuasion,” and it asks questions of persuasion in the text.  Socio-historical criticism looks at the world of the text and how culture shapes literature, speech, and language.  It is a fairly recent criticism, only some forty years old.

This was a life-giving methodology for me.  I spent a great deal of time with Dr. Carson after that first course, and his recommendations went to the top of my reading list.  He recommended Vernon Robbins’ The Texture of Texts; socio-historical criticism by the likes of Bruce Malina, Jerome Neyrey, and others from the “the Context Group”; and a pithy book, Hermeneutics and the Rhetorical Tradition, by Columbia University professor Kathy Eden.

Since I love words and writing, a focus on the function and dynamics of rhetoric opened a new world of joy and wonder.  It added depth to the biblical story, and it provided applications that made sense and applied to real life.  It brought Jesus to life, too, and painted a picture in both testaments that sit squarely in a mysterious culture foreign — and yet similar — to our own.

As a Baptist, I like how that type of reading pushed against the powers of interpretation and the privileges of the academy.  It exposed assumptions of historical biblical criticism and up-ended mistaken interpretations–often perpetuated by those in power and the academic establishment–that failed to take the ancient world seriously.  It also has a global leaning, allowing other voices to shape how the text–and the persuasion and arguments therein–apply to a variety of cultures in our own day and age.

I am deeply indebted to Dr. Carson because he opened a new window of biblical exploration, and that interpretation plays heavily on my preaching and teaching.  If you ever visit my church there’s a good chance that you may not always agree with the content, but you will learn something new.