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IMAGINATION FOR READING
You are a chosen people, a royal priesthood, a holy nation, Godâs special possession.
â1 Peter 2:9
Architecture is the thoughtful making of spaces.
âLouis Kahn1
âWHY ARENâT THEY AS EXCITED about this as I am?â I often asked myself that question in my first year of teaching theology as a college professor. My students and I were there in the classroom huddled around some text. It was sometimes a book with the word âtheologyâ on the cover, but not always. I worked hard to mix it up. One day weâd be studying a sermon, another day an ancient treatise, another day maybe a bit of poetry or an icon, and many days we worked our way through swaths of Scripture. With the Bible they perked up, but their reaction was noticeably different with anything called âtheology.â
I saw a younger version of myself in their eyes. As a college student, and later as a seminary student training to be a pastor, I had little interest in theology. I was passionate about studying Scripture ⌠but not theology. Yet, somehow, between college and seminary and the start of my teaching career as a theologian, something changed. Now reading theology puts me on the edge of my seat. It fuels my love for God. It widens my view of Godâs world. It deepens my love for my neighbors. It enlivens my encounters with Scripture. It fosters rich conversations. Something changed, but what?
I canât identify a moment when this shift took place, but my perception of what happensâwhatâs actually going onâwhen we read theology altered dramatically. My students and I looked at the same words on the page, but we clearly thought about what was happening in vastly different ways. You might say that, when it came to reading theology, my students and I had different âimaginations.â
Imagination: Whatâs Happening When You Read?
Your imagination and mine are constantly at work, fitting what we see and do into a larger whole, some unifying story. Using the word âimaginationâ this way is probably different from your normal use. We say that kids who play for hours in make-believe worlds have âgreat imaginations.â Or we credit imagination with the power to transform an ordinary activity, as when a street sweeper manages the tedium of work by imagining herself reaping a field of swaying grain. Imagination has that sense, but it also has another. With the word âimagination,â we also name the human capacity for perceiving reality beyond the surface of things. Itâs perception that takes place without having to consciously think about perceiving (this is how people who study such things use the word).2 We just do it.
With imagination we make sense of our world. We fit together whatâs really happening at any moment. Even now, as I type these words, my imagination is at work. I donât mean that it helps me come up with creative ideas; rather, through my imagination I perceive the larger whole of my life within which this writing fits. My perception of the larger whole is undeniably shaped by my faith. I write as an adopted child of God, seeking to fulfill my calling as a member of Christâs kingdom under the power of the Holy Spirit. Imagination is a matter of perspective. Within my imaginationâa distinctly and unapologetically Christian oneâI have a sense of perspective that shapes my moment-by-moment perception of what is happening as I type these words. When we exercise our imagination in this sense, âwe come to see what kind of world we actually inhabit and how we should act within it by glimpsing it from the right angle.â3
The letter of 1 Peter is a good example of imagination at work. Peterâs original readers were experiencing persecution because of their faith, and Christian readers have experienced persecution of various kinds ever since.4 In every new instance the question arises, How do we make sense of suffering? Peter answers by drawing from the deep well of his Christian imagination. Suffering makes sense only when you see it in terms of Godâs larger story, of which youâre a part. In other words, suffering has meaning only when you know who you are. And what is most essential about you, the Christian, is that youâre caught up in the story of what God is doing through Jesus, which sometimes entails suffering. Naming the reader is Peterâs first move at the outset of chapter 1: âTo Godâs elect ⌠chosen according to the foreknowledge of God the Father, through the sanctifying work of the Spirit, because of the obedience and the sprinkling of the blood of Jesus Christâ (1 Pet. 1:1â2).5 Again in chapter 2 he writes, âYou are a chosen people, a royal priesthood, a holy nation, Godâs special possessionâ (1 Pet. 2:9). That is who you are. Peter seems to be saying that to perceive our suffering rightly, we have to rightly perceiveâimagineâour identity in Christ. He wants you to see that you are part of a larger story.
Consider this story by the French cultural theorist Ătienne Wenger. Picture yourself approaching two stonecutters. You ask, âWhat are you doing?â and the stonecutters give very different answers. âOne responds: âI am cutting this stone into a perfectly square shape.â The other responds: âI am building a cathedral.ââ6 Both answers are, in a certain sense, correct. And both stonecutters may be equally skilled when it comes to wielding a chisel. What, then, accounts for the difference? What limits one stonecutter to the task at hand but enables the other to âseeâ the unbuilt cathedral? The answer, of course, is imagination. The second stonecutter perceives that she is part of a greater story, a grander project; because of this, each hammer stroke transcends the block she happens to have in front of her.
The stonecutters in Wengerâs tale are really no different from readers of theology. Picture yourself approaching a group of readers with theology books open. You ask them, âWhat are you doing?â
One responds, âI am mastering this material to ace my next test.â Another, âI am trying to please my professor.â The next, âI am trying not to disappoint my parents.â Then the next, âI am preparing for ministry.â And the last one says, âIâm being conformed to Christ by the Holy Spirit.â
If you were asked, âWhat are you doing when you read theology?â how would you answer? What is happening when you read? What cathedral might you be helping to build?
Training Your Imagination
In this little book, I offer to train your imagination for reading theology. But hereâs the problem: I canât give you that in these few pages! Imagination is formed over long stretches of time, and it takes shape just as much through embodied actions as through ideas. What you do with the rest of your everyday life matters for your imagination just as much as what you do with your mind.
What I can do, however, as a fellow Christian, is try to winsomely portray this imagination for you, and (I hope) to write in such a way that it bubbles up onto the page. I can also suggest classroom-tested practices that help form this imagination. I call them âtheology labs.â Youâll find a lab at the end of each chapter.
I did not set out to write a how-to book. I donât mean for this to be a book of tips, even though I often make practical suggestions. Instead, read the book as a lens for reading theologyâan aid to seeing what is happening when you study theology as a Christian. I assume youâre a Christian, so the larger, grander story within which your reading fits is not the classroom but the journey of following Jesus.
The vision I offer, therefore, is a distinctly Christian one and theological from start to end. This is simply to say that I will show how reading theology fits within the Christian story, and I will do so by unapologetically drawing from the Christian story.7 Seen this way, reading theology is not merely an academic exercise. The story of the class is not the larger story! The Christian reads theologyâeven when sheâs not aware of itâfrom within the story of her Christian life. I offer this account of imagination so that you retain that larger story when reading theology and remain open for what it could mean for you.
Could reading theology turn you toward God in astonished worship? Could it enliven your reading of Scripture? Could it move you toward your true self in Christ? Could it turn you toward your neighbors in self-giving love? Could it unmask your prejudices? Could it dethrone your idols? Should we hope for anything less?
Reading Theology is âŚ
Reading theology is ⌠what is it? We need a brief thesis. Of course, to keep this explanation from getting unwieldy, I canât say everything all at once. Yet we still need something, a shared point around which to wrap ideas and practices. Letâs work with this:
Reading theology is a living encounter with an authorâs world of meaning, as fellow members of the church who are being conformed to Christâs image.
1. A living encounter âŚ
Reading theology is a living encounter because reading is a bodily activity. What could having bodies mean for reading? First, reading engages more than our minds. We are not disembodied data processors. We are not walking brains or merely thinking things. God creates persons in bodies, living in time, space, and communities. Thus, we bring all that we are to readingâwe have no other option. This is bodily life.
Second, reading reflects our perspectives. Because you are a living reader, some insights are plain to see from your particular bodily perspective, but others hide from view. You cannot climb outside your place in time, your family history, faith story, emotional makeup, or gender. You can learn to see from other perspectives, but you can never leave yours behind. Is this reason for lament? No, I donât believe so. Although our lives are stories that mix blessing and tragedy, joy and sorrow, hope and despair, life in bodies is the life God gives us and the life God promises to redeem.
As readers, we should not lament bodily life, but we should understand how it helps and hinders us. It helps by priming us to perceive elements of goodness, truth, and beauty in what we read. In this sense, our perspective is like a door that swings wide open. But it also hinders us, shutting us out from perceiving other elements of goodness, truth, and beautyâor, much more dangerously, preventing us from perceiving our blind spots, cherished falsehoods, and idols. We may read, for instance, from positions of privilege and power or from positions of poverty and vulnerability. We may not realize that such perspectives matter for reading, but they do.
Lest we forget, writing theology is also a bodily activity. It may seem too obvious to say, but we sometimes forget: written words donât drop from the sky. An author writes as an embodied person just as we read as embodied persons. Iâm simply reminding you, dear reader, that reading theology involves you because the words on the page are an authorâs unfinished act of communication. Reading is an encounter. The author invites you to inhabit the space she created and encounter her world of meaning.8 Will you accept the invitation?
2.⌠with an authorâs world of meaning âŚ
An invitation awaits us in every written work. Itâs an invitation to encounter the authorâs world of meaning. All texts âproject a worldâ and speak of a âpossible way of orienting oneself within it,â explains the literary theorist Paul Ricoeur.9 First, they project or portray the world a certain way to the reader, even if not explicitly. Second, they suggest ways to live within that projected world, even if not explicitly.
Novels and news stories project worlds. Totalitarian governments know this, which is why they control the media and banâor sometimes even burnâbooks that portray the world in ways contrary to their vision of things. Movies project worlds as well. Roy Anker describes the world-projecting power of film this way:
No matter what the genreâfrom romance to science-fiction horror movieâthe product is the same: a vast prolonged array of images and sounds that conjure up a vision of what a world looks and feels like as it moves along. Most moviemakers set out to convince viewers that the stories they etch with light âshowâ in some way what the world is, or what it could or should be.âŚ
The truth is that every film, whether a Bergman or a fairy tale, has its own version of the way the world is: garden or j...