In Defense of Irony
By Essay Issue 25
IRONY, it seems, is the hot topic of the moment. The trigger for this spate of op-eds and Sunday arts-section essays is the recent publication of a book by a graduate student at Yale University. Nearly all of the reviewers and commentators treated this young man’s book the way my kids treat a box of…
Read MoreTransfiguration
By Essay Issue 27
At its best, art transfigures the world around us for a brief time, strives to let the radiance of truth, goodness, and beauty flash out for an instant. Art wakes us up, trains our perceptions, and reminds us that when we try to build rigid structures around presence we inevitably lose what we attempt to keep.
Read MoreFugitive Energies
By Essay Issue 28
IN his essay, “How the West Lost Its Story,” theologian Robert W. Jenson argues that we postmoderns no longer inhabit what he calls a “narratable world.” The heart of Western civilization, he notes, has been the biblical story, which posited a coherent, dramatic narrative—a world that had a beginning, middle, and at least a vision…
Read MoreFalling Towers
By Essay Issue 32
IN the final section of The Waste Land (“What the Thunder Said”), T.S. Eliot strives to integrate two dimensions of the poem that have been running on parallel tracks: the snapshots of inner, psychic alienation (“On Margate Sands. / I can connect / Nothing with nothing”) and the critique of a decadent social order (the…
Read MoreA Sacrifice of Praise
By Essay Issue 33
AT the heart of every well-made work of art—no matter how dark or disturbing it may be—is an act of praise. In Mark Jarman’s review of Elaine Scarry’s On Beauty and Being Just in this issue he recounts Scarry’s contention that beauty tends to call forth, or beget, more beauty. The beauty of a face,…
Read MoreMending the Broken Estate
By Essay Issue 36
JAMES Wood is a literary critic to die for. Earnest, passionate, and erudite, Wood’s lucid, distinctive voice has cut a wide swathe through what often seem like the mutterings and tergiversations of contemporary literary discourse. Still in his thirties, this British expatriate is now the in-house critic at The New Republic and his first collection…
Read MoreMy Grandfather’s Easel
By Essay Issue 37
MY earliest recollection of my grandfather, James Nicol, comes from a trip to Britain when I was very small. Seeing him and my grandmother was a special treat, because we lived in New York and they lived far away in a place called South Africa. On this trip, however, we were all visiting their native…
Read MoreThe Painter of Lite™
By Essay Issue 34
LAST night, after the kids’ final day of school and a hard slog at work, our family sat down to watch Jurassic Park III, the kind of movie we call E.T. (“entertaining trash”). Like most Hollywood sequels the film is full of recycled scenes—mainly dinosaurs energetically masticating just about any piece of flesh that comes…
Read MoreShaggy Dog Stories
By Essay Issue 38
BACK when this journal was nothing more than a mere proposal, I sought out a meeting with the distinguished church historian Martin Marty to enlist his support. Despite his frenetic schedule, he responded immediately, offering to meet me for a drink when next I came to Chicago. When we got together the conversation eventually turned…
Read MoreShouts and Whispers
By Essay Issue 39
HAVING been a participant in any number of roundtables and panels on the state of religion in America, and in particular the relationship between faith and culture, I’ve grown accustomed to hearing my conservative colleagues argue that contemporary writers of faith are flabby compared to the more muscular writers of the early and mid-twentieth century.…
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