I first stumbled across this book in a pew at the Benedictine monastery in Atchison, KS. It was sitting in the rack with the hymnals, and after skimming a handful of pages I put it back, knowing I would find it again later and spend much more time with it. Norris sums up her purpose in the preface: "When I began attending church again after twenty years away, I felt bombarded by the vocabulary of the Christian church. Words such as 'Christ,' 'heresy,' 'repentance,' and 'salvation' seemed dauntingly abstract to me, even vaguely threatening. They carried an enormous amount of emotional baggage from my own childhood and from family history. For reasons I did not comprehend, church seemed a place I needed to be. But in order to inhabit it, to claim it as mine, I had to rebuild my religious vocabulary. The words had to become real to me, in an existential sense."
Amazing Grace is an account of that process, with each chapter taking on a new word. This was a hugely influential book for me, as I struggled to reconcile my bizarre new instinct to go to church with ... well ... everything I've ever thought and known about God or church. She refers to the book as, in some sense, her "coming out" as a Christian, and that expression fit perfectly my bashful foray outside of my more comfortable realm of jaded intellectualism. For me, the battle wages on, but when I'm sitting in church and my internal voices mutter "whatever ... this never happened ... what am I doing here?" I do well to remember her description of conversion as "largely a matter of trusting one's instincts, even when reason cries foul."
At the end of the day, what I find most helpful in Norris's book is the way God/religion/holiness are always yoked to the personal, the specific. She says, "I am a Christian, theologically, trusting in the incarnation of Jesus Christ as a perfect union of the human and divine. And I try to take the incarnation seriously; by that I mean I look to the local, the particular, the specific, to determine how to express my Christian faith."
She also helped build my current understanding of the Bible, which I have always viewed as written by human - and therefore fallible - hands (e.g. as in the words of the profoundly Christian poet Emily Dickinson: "The Bible is an antique volume/Written by faded men . . .") But Norris opens my heart to it, or rather helps me articulate why my heart is somehow still open to it. She says, "In a religion centered on what is in Christian convention termed a 'living word,' even our ridiculously fallible language becomes a lesson in how God's grace works despite and even through our human frailty."