On the Lived Theology Reading List: A Christian and a Democrat

A Christian and a Democrat: A Religious Biography of Franklin D. Roosevelt, by John F. Woolverton and James D. BrattA Religious Biography of Franklin D. Roosevelt

A work begun by religious historian John Woolverton (1926-2014) and recently completed by James Bratt, A Christian and a Democrat is an engaging analysis of the surprisingly spiritual life of one of the most consequential presidents in US history, Franklin Delano Roosevelt.

When asked at a press conference about the roots of his political philosophy, FDR responded simply, “I am a Christian and a Democrat.” This is the story of how the first informed the second—how his upbringing in the Episcopal Church and matriculation at the Groton School under legendary educator and minister Endicott Peabody molded Roosevelt into a leader whose politics were fundamentally shaped by the Social Gospel.

A Christian and a Democrat chronicles FDR’s response to the toxic demagoguery of his day, and will reassure readers today that a constructive way forward is possible for Christians, for Americans, and for the world.

Reviews and endorsements of the publication include:

“This timely, inspiring portrait of the role of Christianity in the life and presidency of Franklin Delano Roosevelt helps us better understand one of the influential leaders of the twentieth century. Woolverton has made a great contribution here that should lead us to reevaluate our view of the role of faith in the progressive movement, the Democratic Party, and American politics generally, while also stoking our imagination for how Christian principles might guide us today.”—Michael Wear, author of Reclaiming Hope: Lessons Learned in the Obama White House about the Future of Faith in America

“Rare is the opportunity to read a biography by someone who ran in the same circles as the author but who was not an acquaintance. Through a collective biography of FDR’s many influences and their religious backgrounds, we learn that Franklin Roosevelt had the Social Gospel imprinted on his character. His boarding school teachers, as well as those of his wife Eleanor and his Secretary of Labor, Frances Perkins, raised him with a strong sense of responsibility toward the less fortunate. This Social-Gospel-sense of “Christian charity” drove both his concern for the poor and his rejection of authoritarian methods of establishing justice. Woolverton and Bratt depict a man whose ‘simple faith’ drove his decisions in both domestic and foreign policy. It was this faith, they suggest, that helped save the prospects for democracy in the United States.”—Janine Giordano Drake, University of Providence

“With James D. Bratt’s deft revision, this study of Franklin Roosevelt’s religious life by respected Episcopal historian John Woolverton arrives at just the right time. Woolverton’s warm but frank spiritual biography describes a president who practiced a Christianity based on hope, charity, and faith and grounded in a deep sense of mutual responsibility. This book is a reminder that American Christianity might have followed an alternative trajectory into the twenty-first century.”—Alison Collis Greene, Emory University

For more information on the publication, click here.

Fellow travelers are scholars, activists, and practitioners that embody the ideals and commitments of the Project on Lived Theology. We admire their work and are grateful to be walking alongside them in the development and dissemination of Lived Theology.

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On the Lived Theology Reading List: The Life of Saint Teresa of Avila

The Life of Saint Teresa of Avila: A Biography, by Carlos EireA Biography

The original book entitled The Life of Saint Teresa of Avila is an autobiography of sorts, a confession written for inquisitors by a nun whose raptures and mystical claims had aroused suspicion. In it, St. Teresa details one of the most remarkable accounts ever written of the human encounter with the divine.

In The Life of Saint Teresa of Avila: A Biography, Carlos Eire tells the story of this incomparable spiritual masterpiece, examining its composition and reception in the sixteenth century, the various ways its mystical teachings have been interpreted and reinterpreted across time, and its enduring influence in our own secular age. The book has had a profound impact on Christian spirituality for five centuries, and has also been read as a feminist manifesto, a literary work, and even as a secular text. But as Eire demonstrates, Teresa’s confession is at its core a cry from the heart to God and an audacious portrayal of mystical theology as a search for love.

Reviews and endorsements of the publication include:

“Carlos Eire analyzes Teresa of Avila’s Life and chronicles its reception from the late sixteenth century to the present with profound erudition, insight, and conviction. His carefully documented survey of trends in editing, translation, and artistic production makes a significant contribution to the history of the book and readership, as well as women’s writing, spirituality, and the Catholic intellectual tradition.”—Jodi Bilinkoff, author of The Avila of Saint Teresa: Religious Reform in a Sixteenth-Century City

“Carlos Eire leads readers expertly and learnedly through the composition of the Life and its fortunes over the centuries. Not only does he slice, dice, and classify with the skill of a medieval theologian, he does so with the wit of a philosophe and with an unusually sensitive understanding of the mystical Teresa. I loved this book even more than I expected I would.”—Craig Harline, author of A World Ablaze: The Rise of Martin Luther and the Birth of the Reformation

“Eire has an uncanny ability to write scholarly work in an engaging and accessible style. He knows how to get to the heart of the matter. This is the story of a mystic and her book but also a story of how reactions to extreme religious experiences have changed—and been deployed—over centuries.”—Alison Weber, author of Teresa of Avila and the Rhetoric of Femininity

For more information on the publication, click here.

Carlos Eire is a professor of history and religious studies at Yale University in 1996. He specializes in the social, intellectual, religious and cultural history of late medieval and early modern Europe.

For more of “On the Lived Theology Reading List,” click here. To engage in the conversation on Facebook and Twitter, @LivedTheology, please use #LivedTheologyReads. For more recommended resources from our fellow travelers, click here, #PLTfellowtravelers. To sign up for the Lived Theology monthly newsletter, click here.

To Reimagine Community As Art

I often feel at odds with my love for art and my understanding of the work of justice. There is a lot within the culture of art to criticize: the eliteness, the consumerism, the cost. Even when it comes to the artists who use their art as a platform to speak address issues in society, I find myself wondering, “Is there not a more direct way to address this problem?”

However, despite my cynicism, I cannot deny the authority of art and beauty over humankind. Art draws me in. I enjoy it, I study it, I make my own. Working at a gallery this summer, I have been able to think more about my own views on art. I am learning to appreciate the complexities of beauty and why we humans are so obedient to it. I think that we are drawn to stories of creation: the coming-together of smaller pieces to form a new a larger whole.

The Walls-Ortiz Gallery has a project that demonstrates this artistic coming-together very well. For a while, the gallery hosted weekly yarn circles, where neighbors were invited to knit and crochet together. The beginners learned from the experts, and we all produced various handmade squares of green, blue, yellow and brown yarn. After many were collected, we stitched them all into a patchwork of colorful textures to encase the tree trunks of the young trees growing outside of the gallery entrance.

They call this project the Yarn Bomb and I love the idea of it I love the conversations that the Tree Sweaters have encouraged and I love that people now stop to admire our trees. They give the neighborhood an extra spark of color. Above all these things, I love the Yarn Bomb because each covered tree trunk is proof of community. Just like beauty can be made by the coming-together of smaller pieces, community must be as well. To me, the Tree Sweaters show beauty and community at the same time, in the same way.

To me, this concept of coming-together is redemptive. It gives an immeasurable collective value to each small component, both in a work of art, and in a community. I have not, before this, made a connection between the qualities of art and the qualities of community, but I find both entities essential to the world of faith. I am trying to start looking at community as a manifestation of beauty. It helps me attribute value and dignity to each person involved in an aesthetic kind of way instead of a rational one. It allows me to reimagine the existence of community, like art, as a medium of worship. Like the trees that we dressed in yarn, I want circles of fellowship and faith to enhance the space that they exist in, to add a humble splash of color. How remarkable would it be if passers-by could look at such a community and see the intentional and continuous coming-togetherness of a piece of artwork? Like the pedestrians who admire the trees, I want the beauty that people see in our communities to prompt them to ask, “What is this? And can I help?”

The gallery team celebrating the completion of the Yarn Bomb

Stitching the squares together

Julian Bond Transcribe-a-Thon

By Eduardo Montes-Bradley – Own work, CC BY-SA 4.0

The University of Virginia is embarking on a project to make social justice and civil rights icon Julian Bond’s collection of documents accessible to the world through a crowdsourced transcription effort. #TranscribeBond is the first stage in the ultimate production of an online, digital edition.

The Albert & Shirley Small Special Collections Library, Center for Digital Editing, UVA Scholars Lab, and Virginia Humanities are collaborating on this transcribe-a-thon. A reception introducing the scope and goals of the digital project will be held at the Carter G. Woodson Institute on August 14 in room 110 of Minor Hall. On the following day (August 15) from 11:00 a.m. to 4:00 p.m., registered participants will head to one of five locations on Grounds and in Charlottesville to transcribe a wide and varied sample of his papers, starting with his speeches.

Join us to contribute to this historic project by transcribing a wide and varied sample of Bond’s papers!

RSVP here

Locations:

  • The Woodson Institute, 110 Minor Hall, UVA
  • The Scholars’ Lab, Alderman Library, UVA
  • The Virginia Center for the Book at the Jefferson School, 233 4th St. NW, Charlottesville, Va.
  • Shenandoah Joe, 945 Preston Ave., Charlottesville, Va.
  • McCue Center, Virginia Athletics, 290 Massie Rd, Charlottesville, Virginia 22903

In addition to the transcribe-a-thon, UVA’s Albert and Shirley Small Special Collections Library will hold an exhibit of original materials related to Julian Bond. The exhibit will be held on Thursday, Aug. 15 from 12:00 pm to 2:00 p.m. in the Byrd-Morris Room of the Special Collections Library.

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Creation and Culture Care

In an Arts & Minds program, conversation is one of the leading forces. Conversation is the pathway to unpacking meanings embedded in the artwork. As an intern, I have the chance to sit on the outside and watch the conversations develop right before my eyes. Meaning weaves itself together naturally, revealing the moving relationship between art and shared experience. When attending Arts & Minds programs in Spanish, however, my attention was brought to the underlying importance of the program, which extends beyond the program’s art speculation.

When I attended a program this week that was entirely in Spanish, my usual routine was no longer plausible. I wasn’t able to do much more than smile and say hello as people entered the museum. As we stood in the lobby of El Museo Del Barrio, one of the teaching artists and a mentor of mine, Nellie, whispered to me that they were talking about Virgin Mary. I gasped and smiled, ahhh!, as if this piece of information suddenly tuned me into their conversation. However, this tiny piece of information did, in fact, make me feel more included. I found myself latching onto little clues such as this.

As the program went on, the language barriers became less visible. We went into the exhibition and gathered around a piece of art. I held onto the tones of the participant’s voices, their gestures, the laughter that would break out when that one woman on the left would say something with a skeptical look.

In Makoto Fujimura’s book, “Culture Care”, Fujimura writes about the importance of gathering together in the face of art. And one thing he presses is the importance of everyone, of all abilities, to be nurtured by art. In my previous blog posts, I have recounted Vanier’s influential perspectives of art and inclusivity. Fujimura emphasizes these lessons, teaching them through the message that, “culture care is to provide care for our culture’s “soul”, to bring to our cultural home our bouquet of flowers so that reminders of beauty- both ephemeral and enduring- are present in even the harshest environments…”

Attending Arts & Minds programs have revealed to me how important it is for all citizens to have the chance to gather together and express oneself through art. And through this, connect with the beautiful humans who are also present. Alzheimer’s is a cruel disease. Many people who live with Alzheimer’s Disease experience difficulties following conversations, along with hearing and speaking challenges. This put me in their shoes in a very unexpected way. In programs with patients who have more developed versions of dementia, some of them have a hard time speaking – some don’t speak at all.

Many people are unsure of what to do with people with Alzheimer’s, whether it be out of fear or with the lack of resources. Fujimura emphasizes that as artists, it is our responsibility to implement programs and care for all people’s creativity. Fujimura writes, “we may need to learn to cultivate these reminders of beauty in the same way flowers are cared for and raised. Culture care restores beauty as a seed of invigoration into the ecosystem of culture. Such care is generative: a well-nurtured culture becomes an environment in which people and creativity thrive.”

Afterwards, Nellie, one of the teachers with Arts & Minds (and one of my role models) came up to me. She said, “it’s humbling, isn’t it?” I agreed. It is humbling to sit in a room where everyone’s lives are so different from yours. The Arts & Minds program in Spanish gave me the distance to see more of my own difference, and to be humbled. As I clung to the little clues outside of language, the laughter shared and the moments of quiet, I saw a big group of friends persisting through their shared experience of something seen as hopeless or tragic.

Fujimura writes that, “Culture care is the imaginative effluence of being a faithful follower of Jesus in any time or place. It’s hope to borne into places where hope that is truly hope must be realistic, slow, disruptive, and limited.” We must extend our care to places such as Arts & Minds, where we confront and feel our differences. Through the act of creation, a connection emerged through all of us. Creation is God’s gift to us, and as an artist, it is our spiritual duty to spread creativity to all communities of people.

Under the light of creation and art, our differences glow.

Ode to the City

Ode to the City Part I

and today
I am reminded
that you will never be mine.

the child who’s nested in her mother’s skirt
the light that bounces up down
up down in central park
there was that one good cry on my way uptown
and the skinny man at the deli

I cannot steal you because I cannot see you
and you are not to take

you offer us all that you have
and it fills up our eyes lips hands
flaming
hands swimming
in your eternal sky

Ode to the City Part II

Ode to the City Reflection

When I set out to create this piece, I started with paints. I changed some key details in my second version amidst my growth and realizations of my place here in the city. In the original version, it also depicted a wrist reaching into a set of buildings. However, the wrist was bound by silver chains. The hand was grasping a melting shape representative of an earth. Living in New York City has been one of the greatest gifts – though with many gifts, we worry that we aren’t consuming enough of it. Receiving all of it. I often build up physical locations, romanticize them, wait for them to change me. This results in disappointment and fulfillment.

I aimed to capture this anxiety in my short poem at the beginning of this entry. And I aimed to capture that in my second version of the picture.

These key changes shift the attention from keeping the city to myself to acknowledging the way the city gives itself to us. There is a spirit that lives here, that follows us wherever we go. Once I leave this city, I will not have lost anything. It will be within me. When looking at this in a more spiritual context, it expresses the boundless love and impact that the love of a God offers us. While we often make efforts to hold onto physical and visible beings, this will never be ours. However, the love that exists beyond our grasp is what will be ours forever.