Before I tear into this book, I should say that Turner gets a lot of things right. For example, he gives the Catholic Church the proper credit for having always viewed art as a way of approaching the sacred, while Protestantism--particularly the evangelical brand of modern times--often views art as fundamentally worldly and approaching idolatry.
He also correctly identifies the importance of art in all its forms as a means of communicating ideas to large groups of people. And, he recognizes how vital it is for Christians to engage in the arts in order to influence society. I almost said "evangelize" there, but in truth, that's where Turner's argument begins to fall flat. He seems to understand that Christian moral influence on society is a good thing, but worries that actual evangelization via the arts should only be done sotto voce--if at all.
In fairness, I used to believe exactly the same thing and offered many of the same reasons that Turner gives to rationalize this position. However, after considerable reflection over the years, I have identified the true source of this reticence to incorporate my Catholic beliefs into my writing and indeed into practice in my daily life--fear. Cowardice. The desire to be accepted by the great and the beautiful. The urge to be embraced by the elites and to become one of them.
You can usually get some impression of where a man's heart is by who his heroes are. Steve Turner's heroes are all musicians and beat poets from the 1960s through the 1980s--he repeatedly mentions the Beatles, Bob Dylan, Van Morrison, U2, and many others. The name-dropping got so thick at certain points that it made me think that Imagine was less about creating a vision for Christians in the arts than an attempt to reconcile Turner's personal obsession with his Christian faith.
Not surprisingly, Turner aims most of his criticism at Christian rock musicians--an easy target if ever there was one. The contemporary Christian music scene has traditionally been just as he describes: a musical ghetto that specializes in preaching to the choir. But he misunderstands why that is. Like most actual ghettos, the inhabitants of the contemporary Christian ghetto didn't really want to go there--they went there because otherwise, there was nowhere for them to go.
While dismissing the contemporary Christian rock scene, Turner instead holds up the band U2 as an exemplar of how Christians should influence the arts. It is undeniable that U2 has had a major impact on the music scene over the years. And there are undeniable Christian undertones to their music. However, Turner ignores the fact that for U2, the religious imagery is almost always at the service of a political agenda. For example, in the song Pride (In the Name of Love) the Christian religious imagery is used to canonize Martin Luther King who, for all his merits as a civil rights leader, was certainly no saint in the Christian sense.
In fact, U2 seems to do the opposite of what Turner calls for in his book. Rather than use their music to teach a Christian message, U2 seems to use their religious bona-fides as a promotional tool to preach a "social gospel" to their Christian fans. Worse, U2 have used their status as Christian-influenced rockers to give legitimacy to political agendas which are often antithetical to Christianity. Recently, for example, U2 performed at the inauguration of Barack Obama, the single biggest supporter of abortion and "gay" lifestyle issues ever to occupy the White House. Is this kind of thing really how Christian artists should be spreading the Gospel?
And that brings us to politics--an issue that Turner hints at but never addresses directly. Unfortunately, it is an issue that must be addressed if we wish to understand why Christian artists seem to be so absent from mainstream culture and indeed, why mainstream art appears to be intrinsically anti-Christian.
The fact is that since the 1960s, overtly Christian artists have been the target of a blacklist which is worlds more all-encompassing and harsh than any of the largely fictive bans that were imposed on Communist artists during the 1950s. Evidence for this is out there for anyone who wishes to look.
Exhibit A:So finally we come to the subject that Turner dances around in Imagine but never quite addresses: that the absence of Christian message in American popular culture today is not by accident. Nor is it because Christians are untalented or uninspired. The absence is by design. Most of those with the decision-making power in media are overtly hostile to Christianity and are keen to suppress Christian messages and promote messages disparaging Christianity. Even if they don't do it consciously, being overtly anti-Christian is part of the media culture. As someone who has worked in media for 15 years (academic and professional publishing), I have seen this again and again on every level--but especially among the decision-makers.
Cleon Skousen's Current Communist Goals, as read into the Congressional Record in 1963. See especially points 21 through 28, where Communist operatives were encouraged to infiltrate the American media and cultural institutions to influence things for the worse. They were told to promote ugliness, obscenity, and deviance and replace religion with a "social gospel." Given that Skousen's book was written in 1958--well before the onslaught of pop culture spew we experience today, his conclusions can only be seen as frighteningly prophetic.
Secular socialists and communists themselves have admitted that they use "art as a weapon" to promote their ideology and attack those opposed to them, such as orthodox Christians. The concept itself was first promoted by V. I. Lenin in a 1905 pamphlet entitled Party Organization and Party Literature. One need only do a Google search on "art as a weapon communism" to immediately discover how much thought and struggle the secular left has put into this campaign over the years.
The research is finally catching up with this subject and books like Red Star Over Hollywood are finally revealing the truth about the secular left domination of Hollywood that continues to this day.
If you doubt any of this, you need only recall the lengths to which Mel Gibson was forced to go to get The Passion of the Christ to market. Remember, this is a movie that ended up making billions of dollars worldwide, and yet Gibson struggled to find a distributor for it. And the movie was slurred by many within the entertainment media with the most vituperative epithets available: antisemitic, pornographic, fascist, etc. Is it possible that the normally money-hungry Hollywood elites were such financial nincompoops in this case that they didn't realize the potential for this movie to be a huge cash-generator? Certainly not. This was the normally unspoken media and artistic antipathy toward Christianity revealed for the world to see.
In such an atmosphere, even inspired and copiously talented Christian artists can't be expected to thrive unless they have already made their name as secular stars. But for whatever reason, Turner ignores all of this. Instead, his advice to Christian artists seems to be: Keep a low profile. Engage the audience on their level. Attempt to insinuate Christian messages into your work in ways that won't offend them.
The most damning passage of Imagine comes when Turner envisions himself reading overtly Christian poetry before an audience at a New York poetry slam:
"...if I read a poem about the delights of nature, the awfulness of betrayal or the horrors of war, I would expect to find a resonance in [the audience's] own histories. But what response would I get if I read a poem about the death of Christ? People might snicker. They might feel uncomfortable. In some art circles, religion, especially Christianity, is a matter for laughs. I could get shouted at....Most likely, I'd be faced with bemusement. Is he serious? Is he being ironic?"God forbid that Christians be the target of derision and ridicule! My only response to this passage comes from Mark 48:38:
For he that shall be ashamed of me, and of my words, in this adulterous and sinful generation: the Son of man also will be ashamed of him, when he shall come in the glory of his Father with the holy angels.Interestingly, Turner does not address the one area of contemporary popular culture where Christianity has had--and continues to have--a tremendous impact. Popular country music. I could point to any number of extremely effective popular country songs that have very clear and obvious Christian messages. Here is a short list:
Three Wooden Crosses by Randy Travis
The Little Girl by John Michael Montgomery
What I Love about Sundays by Craig Morgan
Love without End, Amen by George Strait
When I Get Where I'm Going by Brad Paisley
Jesus Take the Wheel by Carrie Underwood
Long Black Train by Josh Turner
The Man I Want to Be by Chris Young
Beyond that, country music is rife with songs that are more subtly infused with Christian, pro-life and positive ideals--exactly what Turner is talking about in his book. Here is a small selection:
The Broken Road by Rascal Flatts
There Goes My Life by Kenny Chesney
Remember When by Alan Jackson
American Honey by Lady Antebellum
I've Been Watching You by Rodney Adkins
Blessed by Martina McBride
The Good Stuff by Kenny Chesney
I would argue that any of these songs, which are devoid of political overtones, are more effective at evangelizing the culture than the entire discography of U2. So why does Turner ignore the country scene? Perhaps he is simply unfamiliar with it. Or perhaps it is because he knows how badly it weakens his thesis. Overt references to Christ and Gospel messages can be done well and achieve popular success without tempering the message.
Turner is very obviously a thoughtful man and a good writer. This book is an easy and interesting read and it makes many good points. However, at the end of the day, I think Turner's key premise is fundamentally flawed. The subtle approach he champions is necessary but not sufficient. What is most needed in this current age are talented artists who are completely unafraid to preach the Gospel overtly through their work. Will the cultural elites criticize and ridicule? Yes, they will. But Scripture gives us a guide on what we are to do during such times:
"Preach the word: be instant in season, out of season: reprove, entreat, rebuke in all patience and doctrine. For there shall be a time, when they will not endure sound doctrine; but, according to their own desires, they will heap to themselves teachers, having itching ears: And will indeed turn away their hearing from the truth, but will be turned unto fables. (2 Timothy 4:2-4)Instead, of Turner's strategy, I propose that Christians will better evangelize the arts by doing the following:
1.) Pray! Pray that God will inspire you to create something that helps bring His Truth to all people. Offer yourself to Him, that He will fill you with His Grace and use you as His instrument.
2.) Make your spiritual life as air-tight as possible. That means frequent confession. Frequent Mass attendance. Spiritual reading. Recognition and avoidance of the near-occasion of sin. Association with others who are spiritually solid. Finding a trustworthy spiritual director, etc.
3.) Understand that it's ok to spread the Gospel of Christ through your art in subtle ways. However, make sure that you are doing it for the right reasons--and not simply for fear that your work will be ridiculed and rejected.
4.) Be totally and completely unafraid to include overt references to Christ, the Church, and Gospel truths in your work. If you are afraid of criticism, you shouldn't be in the arts to begin with. Count yourself blessed if people deride you because you dare to speak the name of Jesus in public.
5.) Recognize that art is a dangerous vocation which appeals to the world, can be pathologically introspective, and can lead to personal hubris and self-congratulation in direct proportion to the excellence of your own talent. If you are truly talented, have a plan for humbling yourself whenever the adulation goes to your head. The mad desire of the public for true talent has ruined the souls of many, many artists.
I have come to the point in my own life where I believe that the prayers and writings of a single Carmelite in a convent will ultimately have a greater impact on salvation history than several $100 million Hollywood productions or a career in popular music. We who are on the outside are only capable of half-measures because we're so wrapped up in worldly affairs. We struggle to remain the salt of the earth and our savor is so easily lost. And if it is lost, all our previous good work can become tainted with the stain of hypocrisy.
Thus it seems clear that worldly success as an artist, writer, or musician often carries within it the seeds of temptation and spiritual destruction to a much greater extent than most other fields. As a result, a career in the arts should only be entered upon with the greatest care and trepidation. The sad trajectory of Mel Gibson--who made one of the most beautiful and successful Christian movies of all time--should be a cautionary tale for every Christian artist. For what purpose is it to gain the whole world and lose one's soul in the process?