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Echoes of Eden: Reflections on Christianity, Literature, and the Arts
From comic books to summer blockbusters, all people enjoy art in some form or another. However, few of us can effectively explain why certain books, movies, and songs resonate so profoundly within us. In Echoes of Eden, Jerram Barrs helps us identify the significance of artistic expression as it reflects the extraordinary creativity and unmatched beauty of the Creator God. Additionally, Barrs provides the key elements for evaluating and defining great art: (1) The glory of the original creation; (2) The tragedy of the curse of sin; (3) The hope of final redemption and renewal. These three qualifiers are then put to the test as Barrs investigates five of the world's most influential authors who serve as ideal case studies in the exploration of the foundations and significance of great art.
208 pages, Paperback
First published May 31, 2013
65 people are currently reading
1254 people want to read
About the author
Jerram Barrs
26 books49 followersJerram Barrs is Professor of Christianity and Contemporary Culture at Covenant Theological Seminary, as well as a founder and Resident Scholar of the Francis Schaeffer Institute there. He was a part of Schaeffer's L'Abri Fellowship in Switzerland shortly after becoming a Christian and he and his wife were on staff at English L’Abri for many years. "During our 18 years at L’Abri and in my role as a pastor, we provided constant hospitality, talked through endless questions received from both believers and unbelievers, led discussions, taught and preached, offered pastoral care, participated in lots of practical work serving people and doing home and garden chores with them" (Interests).
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Displaying 1 - 30 of 102 reviews
July 17, 2013
I honestly wish I could give this book 5 stars, since the idea of finding echoes of Eden in literature and other arts captivates me. In addition, I've had the benefit of listening to lectures by Barrs on these topics and found his insight to be helpful in that format.
Yet Echoes of Eden, despite its unifying idea, fails to apply that idea throughout the book. In particular, the latter chapters in which Barrs discusses particular works have the feel of a defense of his favorite literature, rather than a presentation of their positive aspects for readers' examination.
For example, in the chapter on Harry Potter, Barrs spends what feels like half his time defending the series against its critics, especially Christian ones. He makes good points, and I heartily support his conclusions--but the whole discussion took a negative tone that seemed out of place in this book. If anything, much of the material could have been moved to an appendix, while the positive echoes of Eden found in Rowling's series could be given their proper place.
Yet Echoes of Eden, despite its unifying idea, fails to apply that idea throughout the book. In particular, the latter chapters in which Barrs discusses particular works have the feel of a defense of his favorite literature, rather than a presentation of their positive aspects for readers' examination.
For example, in the chapter on Harry Potter, Barrs spends what feels like half his time defending the series against its critics, especially Christian ones. He makes good points, and I heartily support his conclusions--but the whole discussion took a negative tone that seemed out of place in this book. If anything, much of the material could have been moved to an appendix, while the positive echoes of Eden found in Rowling's series could be given their proper place.
March 19, 2023
Interesting and enjoyable discussion of the arts—particularly literature—and ways for Christians to evaluate these works. This might be a good book for Christians to read together and discuss, because while I don’t agree with the author, Jerome Barrs, on all points, his exploration of the topic helps his readers to think through the issues. Barrs suggests the following criteria for evaluating works of art:
1. Whether giftedness from God is evident in the work of a particular artist. (“We should ask this question about the presence of giftedness for all artists, Christian or not.”)
2. Dedicated development of the artist’s gift through hard work and humble learning from others. (“What is needed, of course, is personal humility, which takes seriously the responsibility that comes with the gift. …So, just as with a preacher or a doctor or a chef, we will ask whether the artist has been well trained, whether he or she has been prepared to learn from those who have mastered their discipline.”)
3. A commitment by the artist to use their gifts for others as well as for their own fulfillment/self-expression. (“If either the creation of the art or its performance is purely self-centered, even a great artist will not reach full potential, for God has made us to be other-centered.”)
4. Humble submission to the rules of the artist’s discipline, respect for its traditions, and a readiness to find freedom of expression within these forms. (“I am not suggesting that the development of new forms to express one’s message and one’s gifts is inappropriate, but rather, I am recognizing that all artists work within artistic traditions.”)
5. The presence of truth: is the work of art in accord with reality? (“Only rarely will we find art that attempts to be completely consistent with some system of radical unbelief. But art that becomes pure propaganda for a totally false universe of the artist’s making ceases to be art… All genuinely great art will appeal universally because of this element of truthfulness to the world as God made it and to the world of our human existence.”)
6. Is there moral goodness? (“I am not suggesting that we can readily judge and dismiss works because they have nudity, violence, explicit sex, blasphemy, or cursing. Our judgments must learn to be wiser than those simple tests. Basically, we must be prepared to ask questions about the moral intention of the artist. Is the purpose of a work to deprave or corrupt?”)
7. Continuity of form and content (“Is the form the artist has chosen one that works with or against the message of the piece the artist is creating?”)
8. Technical excellence (“We look for work that is well done, and we find pleasure whenever we come across what is genuinely excellent.”)
9. Integrity of the artist (“Is the work true to who the artist is? Or is it merely fashionable or commercial, or even false to the artist’s own convictions and understanding?”)
10. Integrity in the work (“We all know that there is a difference between genuine sentiment and sentimentality… Does the artist seek to manipulate our emotional response by cheap tricks, or does the artist seek to generate genuine emotional response by the power of the work?”)
11. Entertainment (“Human art, just like God’s art, need not always have a ‘higher’ purpose than enjoyment—ours and God’s.”)
For me personally, I would probably take issue with at least a few of these criteria—and I would heartily agree with others. It was hard for me to decide how many stars to give this book—I really enjoyed the later chapters, in which he explores the works of Shakespeare, Lewis, Tolkien, Austen, and J.K. Rowling. But I had some concerns about Barrs’ standards, particularly in his #6 criteria. He suggests that rejecting a work because of nudity and explicit sex is overly simplistic:
“The presence of these in a work of literature, drama, film, painting, or sculpture is not by itself an indication of problems. …The Song of Songs contains explicit descriptions of nudity and of very sensual sex. Yet there is no heading on the book: ‘For married couples only. Young people just beginning to awaken to their sexuality are forbidden to read this.’ When we come across nudity and sex in any work of art, we need to ask some careful questions—and many times we will see that there is no problem.”
I’m not sure that the presence of the inspired Song of Solomon in Scripture justifies our consumption of sexual content in the work of fallen humans. And as for its lack of a “heading,” what about all those repetitions of, “I adjure you, O daughters of Jerusalem, that you not stir up or awaken love until it pleases”? So I’m not comfortable with his permissive standard here.
However, although Christians will always have a variety of perspectives on these issues, I do think it’s helpful to think these things through. So I enjoyed the book from that aspect.
1. Whether giftedness from God is evident in the work of a particular artist. (“We should ask this question about the presence of giftedness for all artists, Christian or not.”)
2. Dedicated development of the artist’s gift through hard work and humble learning from others. (“What is needed, of course, is personal humility, which takes seriously the responsibility that comes with the gift. …So, just as with a preacher or a doctor or a chef, we will ask whether the artist has been well trained, whether he or she has been prepared to learn from those who have mastered their discipline.”)
3. A commitment by the artist to use their gifts for others as well as for their own fulfillment/self-expression. (“If either the creation of the art or its performance is purely self-centered, even a great artist will not reach full potential, for God has made us to be other-centered.”)
4. Humble submission to the rules of the artist’s discipline, respect for its traditions, and a readiness to find freedom of expression within these forms. (“I am not suggesting that the development of new forms to express one’s message and one’s gifts is inappropriate, but rather, I am recognizing that all artists work within artistic traditions.”)
5. The presence of truth: is the work of art in accord with reality? (“Only rarely will we find art that attempts to be completely consistent with some system of radical unbelief. But art that becomes pure propaganda for a totally false universe of the artist’s making ceases to be art… All genuinely great art will appeal universally because of this element of truthfulness to the world as God made it and to the world of our human existence.”)
6. Is there moral goodness? (“I am not suggesting that we can readily judge and dismiss works because they have nudity, violence, explicit sex, blasphemy, or cursing. Our judgments must learn to be wiser than those simple tests. Basically, we must be prepared to ask questions about the moral intention of the artist. Is the purpose of a work to deprave or corrupt?”)
7. Continuity of form and content (“Is the form the artist has chosen one that works with or against the message of the piece the artist is creating?”)
8. Technical excellence (“We look for work that is well done, and we find pleasure whenever we come across what is genuinely excellent.”)
9. Integrity of the artist (“Is the work true to who the artist is? Or is it merely fashionable or commercial, or even false to the artist’s own convictions and understanding?”)
10. Integrity in the work (“We all know that there is a difference between genuine sentiment and sentimentality… Does the artist seek to manipulate our emotional response by cheap tricks, or does the artist seek to generate genuine emotional response by the power of the work?”)
11. Entertainment (“Human art, just like God’s art, need not always have a ‘higher’ purpose than enjoyment—ours and God’s.”)
For me personally, I would probably take issue with at least a few of these criteria—and I would heartily agree with others. It was hard for me to decide how many stars to give this book—I really enjoyed the later chapters, in which he explores the works of Shakespeare, Lewis, Tolkien, Austen, and J.K. Rowling. But I had some concerns about Barrs’ standards, particularly in his #6 criteria. He suggests that rejecting a work because of nudity and explicit sex is overly simplistic:
“The presence of these in a work of literature, drama, film, painting, or sculpture is not by itself an indication of problems. …The Song of Songs contains explicit descriptions of nudity and of very sensual sex. Yet there is no heading on the book: ‘For married couples only. Young people just beginning to awaken to their sexuality are forbidden to read this.’ When we come across nudity and sex in any work of art, we need to ask some careful questions—and many times we will see that there is no problem.”
I’m not sure that the presence of the inspired Song of Solomon in Scripture justifies our consumption of sexual content in the work of fallen humans. And as for its lack of a “heading,” what about all those repetitions of, “I adjure you, O daughters of Jerusalem, that you not stir up or awaken love until it pleases”? So I’m not comfortable with his permissive standard here.
However, although Christians will always have a variety of perspectives on these issues, I do think it’s helpful to think these things through. So I enjoyed the book from that aspect.
January 30, 2024
This book challenged my perspective of literature and the arts in a unique way. I dare say that it has given me a sense of freedom in the way that I approach and enjoy the arts as a Christian. Though they may not be explicitly expressed—beauty, goodness, redemption, moral admonishment and a righteous grief over brokenness are but a few of the themes found in art and literature that have the potential to direct and evoke longings for what we know is true. I am further reminded of the opportunity to we have to revel in the incredibly imaginative mind(s) that our Creator has bestowed upon his created. I give this book a 4.5 only because I do feel that Barrs could have expounded on certain issues in a more thorough way. Overall, I highly recommend!
August 2, 2017
Barrs has offered a good, solid apologetic for the importance of art--specifically literature in the Christian life. His approach to literature is heavily indebted to C.S. Lewis and J.R.R. Tolkien, both whom he cites extensively.
He writes that, "All great art will echo these three elements of Eden: (1) Eden in its original glory, (2) Eden that is lost to us, and (3) the promise that Eden will be restored." These "echoes of Eden" are a recognition of our fallen state and a need for man's restoration to God.
He adds that, "all creative work is a form of praise and worship: by creating we declare the glory of God, who made us in his likeness." But the arts are also a blessing to man, as they "enable us to look beyond ourselves and beyond the horizons of our own experience."
Barrs writes, "Art needs no justification. It is simply a gift of God, part of his created reality, to be received like any other gift—with gratitude. We must not say that “art is for art’s sake,” for this is the Romantic heresy. Art is to be tied to the reality of God’s creation and to our human calling to live as his image bearers. The Christian artist will regard himself or herself as a craftsperson. Artists will see themselves not as self-serving visionaries, but as ordinary humans (that is glorious enough!) with a particular calling from God to serve him and their fellow humans by working with words, music, color, stone, metal, and so on."
Once he has built up his theory of literature, he then shows how we ought to read literature by examining some popular works. He examines C.S. Lewis, J.R.R Tolkien, J.K. Rowling, William Shakespeare, and Jane Austen.
This book is geared toward the popular reader, so it is very accessible. Advanced readers will likely nod their heads and plow through it quickly. But there are still some gems here. Perhaps the most helpful thing I found in the book is his critique of what he calls "the Romantic heresy."
Barrs writes of Romanticism: "Perceptions about the arts began to change during the Romantic period. Art came to be seen as “fine art” or “high culture”; the crafts came to be considered inferior. The arts were disconnected from life, and the artist was deemed a kind of noble genius."
He elaborates:
"One result of this shift was that art became museum art instead of artistically made objects that were part of the everyday life. We now go to museums to see the works of “great artists,” works that may be beautiful and meaningful in many ways, but have been set apart from the ordinary by their status as art. Contrast that with the great outpouring of paintings that decorated the churches and public buildings in the late medieval period or at the time of the Renaissance. These works were part of people’s lives; wherever they went in the course of a day or a week, they met with artistic works created to beautify everyday existence. With the redefinition of art, however, this became less and less the case. Along with this shift in thinking and the divorce of artistic endeavors from the everyday, art also became very expensive. Unlike the contemporaries of Michelangelo or Leonardo da Vinci, the common man and woman had very little access to the works of the great artists until the rise of public museums. In addition, there developed a separation of fine art from commercial art or entertainment art, though in every field, a few artists managed to transcend these divisions."
This is a good book and would be a very good book for high school or college aged readers.
He writes that, "All great art will echo these three elements of Eden: (1) Eden in its original glory, (2) Eden that is lost to us, and (3) the promise that Eden will be restored." These "echoes of Eden" are a recognition of our fallen state and a need for man's restoration to God.
He adds that, "all creative work is a form of praise and worship: by creating we declare the glory of God, who made us in his likeness." But the arts are also a blessing to man, as they "enable us to look beyond ourselves and beyond the horizons of our own experience."
Barrs writes, "Art needs no justification. It is simply a gift of God, part of his created reality, to be received like any other gift—with gratitude. We must not say that “art is for art’s sake,” for this is the Romantic heresy. Art is to be tied to the reality of God’s creation and to our human calling to live as his image bearers. The Christian artist will regard himself or herself as a craftsperson. Artists will see themselves not as self-serving visionaries, but as ordinary humans (that is glorious enough!) with a particular calling from God to serve him and their fellow humans by working with words, music, color, stone, metal, and so on."
Once he has built up his theory of literature, he then shows how we ought to read literature by examining some popular works. He examines C.S. Lewis, J.R.R Tolkien, J.K. Rowling, William Shakespeare, and Jane Austen.
This book is geared toward the popular reader, so it is very accessible. Advanced readers will likely nod their heads and plow through it quickly. But there are still some gems here. Perhaps the most helpful thing I found in the book is his critique of what he calls "the Romantic heresy."
Barrs writes of Romanticism: "Perceptions about the arts began to change during the Romantic period. Art came to be seen as “fine art” or “high culture”; the crafts came to be considered inferior. The arts were disconnected from life, and the artist was deemed a kind of noble genius."
He elaborates:
"One result of this shift was that art became museum art instead of artistically made objects that were part of the everyday life. We now go to museums to see the works of “great artists,” works that may be beautiful and meaningful in many ways, but have been set apart from the ordinary by their status as art. Contrast that with the great outpouring of paintings that decorated the churches and public buildings in the late medieval period or at the time of the Renaissance. These works were part of people’s lives; wherever they went in the course of a day or a week, they met with artistic works created to beautify everyday existence. With the redefinition of art, however, this became less and less the case. Along with this shift in thinking and the divorce of artistic endeavors from the everyday, art also became very expensive. Unlike the contemporaries of Michelangelo or Leonardo da Vinci, the common man and woman had very little access to the works of the great artists until the rise of public museums. In addition, there developed a separation of fine art from commercial art or entertainment art, though in every field, a few artists managed to transcend these divisions."
This is a good book and would be a very good book for high school or college aged readers.
March 18, 2024
Ah, for the concept alone I'd give it a 5 because I literally live for this!! I am completely enamoured by the echoes of Eden (and more broadly the story of redemption) found in literature and the arts. I absolutely revel in biblical allusions. When I was doing my A Levels, a notoriously detested English teacher once stood in front of our year group with a bible in hand and announced that the Bible was the most important and life changing piece of literature we could ever read. Everyone laughed at him. I don't remember what I did and I don't even remember his name, but I never forgot his words, because I believed them too.
That being said, maybe my expectations were too high? 3.5 - I did enjoy the first few chapters and highlighted many quotes. The latter chapters on specific works were unfortunately just not that interesting to me as I am not a fan of LOTR, Jane Austen, or Harry Potter... The CS Lewis & Shakespeare sections were interesting though! It all just felt a little random, but love the passion.
That being said, maybe my expectations were too high? 3.5 - I did enjoy the first few chapters and highlighted many quotes. The latter chapters on specific works were unfortunately just not that interesting to me as I am not a fan of LOTR, Jane Austen, or Harry Potter... The CS Lewis & Shakespeare sections were interesting though! It all just felt a little random, but love the passion.
March 5, 2024
I love reading books like this.
February 1, 2019
Because these matters are so dear to my heart, I could have preached this sermon myself, though not half so eloquently, about how all God's creation is good and suitable for artistic expression. The falleness of the world is also appropriate subject matter. So is the hope of rescue from and redemption of brokeness. (Barrs calls these echos of Eden.) A must-read for everyone, but especially those Christians who take issue with Harry Potter (an entire chapter is devoted to this). Chapters highlighting the works C. S. Lewis, J.R.R. Tolkein, Shakespeare, and Jane Austen are all equally delightful.
December 15, 2022
A good overview on how Christians should approach and appreciate art. The first part (fundamentals) is great. The second (evaluating five authors and key works) is also good, but more meandering.
October 21, 2018
This book would be its most helpful for skeptics of the place of the arts for Christians. However, as a reader wholeheartedly in favor of the twain, I found it lacking. Barrs's book has its merits, but it lacks diversity in medium and works. He mostly examines literature (Lewis, Tolkien, Rowling, Shakespeare, Austen) and does not delve into visual art, music, handicrafts, et c. And, examining five British authors--not a Canadian, Japanese, Nigerian, Indian, or Brazilian among them--feels rote, though his work on them is mildly helpful. Of course, I love the five authors he examines. But I can read about them and their art anywhere. Courses are taught on them; they are read in high schools and colleges (perhaps without much appreciation); they are adapted within an inch of their lives; their books sell still. Barrs points out that truth is found outside art created by Christians, but he doesn't relate much of it to us. Let's open our windows and doors, white Christians, and let the fresh air of the universe breathe God's immanence to us again.
January 27, 2025
This book is a celebration of how great authors have incorporated reflections of Christ into their work! Each chapter helped me appreciate and understand the author more. I particularly enjoyed the Tolkien chapter, as I think I had previously misunderstood how he was seeking to frame Lord of the Rings.
Having said that, I wish he had picked less obvious or already popular “echoes of Eden.” And what about echoes of Eden that were not intentionally planted by Christian writers but are baked into stories by non-believers because of the inherent truth of the story? Including some echoes from sources that are not self-proclaimed Christians could have taken this book to the next level in terms of teaching Christian media discernment.
Overall though, I gained insight and joy from this book and I won’t take that for granted!
Having said that, I wish he had picked less obvious or already popular “echoes of Eden.” And what about echoes of Eden that were not intentionally planted by Christian writers but are baked into stories by non-believers because of the inherent truth of the story? Including some echoes from sources that are not self-proclaimed Christians could have taken this book to the next level in terms of teaching Christian media discernment.
Overall though, I gained insight and joy from this book and I won’t take that for granted!
February 5, 2021
Really enjoyed this, particularly the chapters on LOTR, Narnia, and HP. I didn't care as much about the chapters on Shakespeare and Austen, as I don't see the "echoes of Eden" in them as much (maybe that's my fault).
Minor problem: for a book on Christianity and the arts, I honestly expected Barrs to spend more time talking about the moral dilemmas we now face in consuming entertainment (e.g., how to handle nudity in movies and TV since it seems to be everywhere). Simply put, he only makes a passing reference to it without going in-depth enough (seeming to affirm that nudity's mostly used well in all forms of art "if we ask some careful questions," save the obvious examples of "hard-core" and "soft-core" pornography).
Minor problem: for a book on Christianity and the arts, I honestly expected Barrs to spend more time talking about the moral dilemmas we now face in consuming entertainment (e.g., how to handle nudity in movies and TV since it seems to be everywhere). Simply put, he only makes a passing reference to it without going in-depth enough (seeming to affirm that nudity's mostly used well in all forms of art "if we ask some careful questions," save the obvious examples of "hard-core" and "soft-core" pornography).
September 24, 2020
I picked up Echoes of Eden with two basic goals in mind: to learn more about Tolkien, and to better understand both sides of the conversation within the Christian community regarding fantasy literature. I feel like EoE came through on both fronts. This book offered many points of thought and discussion for the continued conversations I have been having with other readers and Christians regarding fantasy and the gospel message.
EoE is basically broken into two parts. Part One is a brief encapsulation of the understanding Barrs has about God and how He imparts creativity, how artists are called, how we as Christians should judge the arts and the concept of original vs derivative creation. Part Two is a FUN overview of the works of Lewis, Tolkien, Rowling, Shakespeare, and Austen. Prior to reading EoE I had little knowledge about any of these authors so I really enjoyed learning more. I want to make sure it is noted that these sections are SPOILER-Y. I read until the obvious spoilers in each section, and then set the book aside to go back to when I complete the discussed works. Thank you to Crossway for the complimentary copy! I recommend Echoes of Eden to anyone who has an interest in Christian thoughts on the arts.
EoE is basically broken into two parts. Part One is a brief encapsulation of the understanding Barrs has about God and how He imparts creativity, how artists are called, how we as Christians should judge the arts and the concept of original vs derivative creation. Part Two is a FUN overview of the works of Lewis, Tolkien, Rowling, Shakespeare, and Austen. Prior to reading EoE I had little knowledge about any of these authors so I really enjoyed learning more. I want to make sure it is noted that these sections are SPOILER-Y. I read until the obvious spoilers in each section, and then set the book aside to go back to when I complete the discussed works. Thank you to Crossway for the complimentary copy! I recommend Echoes of Eden to anyone who has an interest in Christian thoughts on the arts.
July 8, 2024
The first few chapters are really really good. Like really really really good. The rest of the book is dedicated to examples and they'll be enjoyable if you really really like the material he's writing about. However, if you're like me, and only casually enjoy most of his examples,you'll find yourself rolling your eyes as you read the back half. I like his general points but I'm just not sure that this book needed to be as long as it is.
February 26, 2018
A very helpful book in two aspects: firstly the criteria outlined for judging art were valid and useful. Secondly, the analyses of Rowling, Tolkien etc were insightful and demonstrative of the criteria. Occasionally, I felt that the author showed some personal bias in skewing his analysis in favor of the work or author but generally he was fair and objective. A book that every teacher of literature, every art, drama and music teacher should read.
July 23, 2018
Extremely clarifying on the issue of how Christians should observe, evaluate, and make art. A book worthy to be thought through thoroughly for any Christian, but artists especially.
May 7, 2023
“The gospels contain…a story of a large kind which embraces all the essence of fairy stories. … This story is supreme; and it is true. Legend and History have met and fused.” CS Lewis
July 4, 2023
This book will help you understand why you are drawn to certain stories/art, and evaluate if these reasons are God honoring, if there is some echo of Eden in them.
August 22, 2025
Excellent!
January 20, 2014
I thoroughly enjoyed Echoes of Eden. Jerram Barrs writes a book the church needs today. There’s a fundamental misunderstanding within the Church about how its artist should create art. Barrs addresses many of the arguments/issues I hear come up time and time again. He does so biblically and winsomely. He also fleshes out the principles he explores by looking out some of the most popular and well written literature of past and more recent years.
Our art is imitative and rooted in the creation narrative of Genesis 1-3. Barrs says,
Our work in any field of the arts will be imitative. We will be thinking God’s thoughts after him—painting with his colors; speaking with his gift of language; exploring and expressing his sounds and harmonies; working with his creation in all its glory, diversity, and in-built inventiveness. In addition, we will find ourselves longing to make known the beauty of life as it once was in Paradise, the tragedy of its present marring, and the hope of our final redemption. All great art will echo these three elements of Eden: (1) Eden in its original glory, (2) Eden that is lost to us, and (3) the promise that Eden will be restored. We will look later in some depth at this call of the artist to make “echoes of Eden.” (p. 26)
In connection, he draws many implication but one relates to whether Christians can enjoy non-Christian art. The simple answer is “yes.” Barrs suggests asking, “Is this good?” (p. 34). One of the major blind spots in our current discussion of the arts surrounds Christians as artists which only “preach” the gospel. Part of this, I’ve suggested many times, is rooted in our pedestaling of artists. This is a lengthy passage but it’s so insightful for our current situation. Barr says,
Christians were a part of this cultural outlook, recognizing their abilities in these areas as gifts and callings from God. The result was a great wealth of music, literature, painting, sculpture, architecture, furniture, and many other things that people still flock to see, hear, and enjoy. Consider the examples of Bach, Rembrandt, and Shakespeare—each an outstanding artisan in his particular craft.
Perceptions about the arts began to change during the Romantic period. Art came to be seen as “fine art” or “high culture”; the crafts came to be considered inferior. The arts were disconnected from life, and the artist was deemed a kind of noble genius. What were some of the results of this shift in thinking about the nature of the arts? Here we will summarize some of the points that Rookmaaker makes in his writing on this subject (see, in particular, his essay Art Needs No Justification).
One result of this shift was that art became museum art instead of artistically made objects that were part of the everyday life. We now go to museums to see the works of “great artists,” works that may be beautiful and meaningful in many ways, but have been set apart from the ordinary by their status as art. Contrast that with the great outpouring of paintings that decorated the churches and public buildings in the late medieval period or at the time of the Renaissance. These works were part of people’s lives; wherever they went in the course of a day or a week, they met with artistic works created to beautify everyday existence. With the redefinition of art, however, this became less and less the case. (pp. 34-35)
He goes on to explore the consequences of this change--“separation of arts and crafts . . . [from] most ordinary people” and the creation of “a special class of ‘art interpreters’” whose tastes are frequently vastly different from the ordinary person’s (p. 36). This particular chapter deserves to be read slowly and multiple times. The truth in it is pure gold.
What I really enjoyed was the discussion off literature at the end the book. He discusses four of my favorite authors--J. R. R. Tolkien, C. S. Lewis, Shakespeare, and Jane Austen. These chapters inspired me to plan and take time and re-read these authors. To read them thoughtfully from a Christian worldview.
For anyone who desires to do art from a Christian worldview, Echoes of Eden is a must. The truths found within its pages are timeless yet relevant for our current discussions.
Our art is imitative and rooted in the creation narrative of Genesis 1-3. Barrs says,
Our work in any field of the arts will be imitative. We will be thinking God’s thoughts after him—painting with his colors; speaking with his gift of language; exploring and expressing his sounds and harmonies; working with his creation in all its glory, diversity, and in-built inventiveness. In addition, we will find ourselves longing to make known the beauty of life as it once was in Paradise, the tragedy of its present marring, and the hope of our final redemption. All great art will echo these three elements of Eden: (1) Eden in its original glory, (2) Eden that is lost to us, and (3) the promise that Eden will be restored. We will look later in some depth at this call of the artist to make “echoes of Eden.” (p. 26)
In connection, he draws many implication but one relates to whether Christians can enjoy non-Christian art. The simple answer is “yes.” Barrs suggests asking, “Is this good?” (p. 34). One of the major blind spots in our current discussion of the arts surrounds Christians as artists which only “preach” the gospel. Part of this, I’ve suggested many times, is rooted in our pedestaling of artists. This is a lengthy passage but it’s so insightful for our current situation. Barr says,
Christians were a part of this cultural outlook, recognizing their abilities in these areas as gifts and callings from God. The result was a great wealth of music, literature, painting, sculpture, architecture, furniture, and many other things that people still flock to see, hear, and enjoy. Consider the examples of Bach, Rembrandt, and Shakespeare—each an outstanding artisan in his particular craft.
Perceptions about the arts began to change during the Romantic period. Art came to be seen as “fine art” or “high culture”; the crafts came to be considered inferior. The arts were disconnected from life, and the artist was deemed a kind of noble genius. What were some of the results of this shift in thinking about the nature of the arts? Here we will summarize some of the points that Rookmaaker makes in his writing on this subject (see, in particular, his essay Art Needs No Justification).
One result of this shift was that art became museum art instead of artistically made objects that were part of the everyday life. We now go to museums to see the works of “great artists,” works that may be beautiful and meaningful in many ways, but have been set apart from the ordinary by their status as art. Contrast that with the great outpouring of paintings that decorated the churches and public buildings in the late medieval period or at the time of the Renaissance. These works were part of people’s lives; wherever they went in the course of a day or a week, they met with artistic works created to beautify everyday existence. With the redefinition of art, however, this became less and less the case. (pp. 34-35)
He goes on to explore the consequences of this change--“separation of arts and crafts . . . [from] most ordinary people” and the creation of “a special class of ‘art interpreters’” whose tastes are frequently vastly different from the ordinary person’s (p. 36). This particular chapter deserves to be read slowly and multiple times. The truth in it is pure gold.
What I really enjoyed was the discussion off literature at the end the book. He discusses four of my favorite authors--J. R. R. Tolkien, C. S. Lewis, Shakespeare, and Jane Austen. These chapters inspired me to plan and take time and re-read these authors. To read them thoughtfully from a Christian worldview.
For anyone who desires to do art from a Christian worldview, Echoes of Eden is a must. The truths found within its pages are timeless yet relevant for our current discussions.
June 4, 2013
Here is a book that I enjoyed very much, but one which I enjoyed very much less than I had hoped.
What I appreciated about this book:
1. Dr. Barrs' writing. His style is readable and clear.
2. Dr. Barrs' heart. The book reveals the breadth of his heart's wonder, from childlike delight to meaty theological reflection--with neither at the expense of the other.
3. Dr. Barrs' call to value culture and challenge to Christians to live out the implications of general revelation and common grace in our appreciation of the art (& work) of non-Christians. This book has strengthened my own heart and sharpened my vision in this regard, and for that I am very grateful. I especially appreciated Dr. Barrs' treatment of what he calls "the echoes of Eden," as part of God's general revelation, but, to be honest, it left me hungering for a more in depth treatment of this very important topic.
What I wished were different about this book:
1. The central metaphor Dr. Barrs employs-- "echoes of Eden"--is incomplete as a description of the longings embedded in every human heart. An echo, after all, is the reverberation in the present of an event from the past. But the Biblical story of Redemption is not, in the end, a story of Return, but one of Arrival. Not even Adam & Eve had fulfilled their destiny before their fall. Redemption is not a return to Eden, but, as Revelation 21-22 demonstrate, God's deliverance of HIs people into the Garden City, superior to Eden in every respect. As I read, I frequently found myself wishing Dr. Barrs would have treated this "forward leaning" in the human heart more directly in his discussion of the arts.
2. A much fuller treatment of other arts besides writing. In the first half of the book, Dr. Barrs does give us many helpful principles and insights applicable across the full spectrum of the arts and work, but the second half of the book is composed exclusively of serial reflections on the artistic vision and achievements of writers. I found myself wondering about how this exclusive focus on writing in the book's second half would come across to musicians, visual artists, photographers, dancers etc.
3. Although a much narrower and smaller insight, I thought that Dr. Barrs' chapter on J.K. Rowling, for all of its helpful insights about the theme of self-sacrificial love throughout the Potter books, came across a bit too defensively at multiple points.
All in all, I would recommend this book to you, but advise you to adjust your expectations in view of the foregoing.
What I appreciated about this book:
1. Dr. Barrs' writing. His style is readable and clear.
2. Dr. Barrs' heart. The book reveals the breadth of his heart's wonder, from childlike delight to meaty theological reflection--with neither at the expense of the other.
3. Dr. Barrs' call to value culture and challenge to Christians to live out the implications of general revelation and common grace in our appreciation of the art (& work) of non-Christians. This book has strengthened my own heart and sharpened my vision in this regard, and for that I am very grateful. I especially appreciated Dr. Barrs' treatment of what he calls "the echoes of Eden," as part of God's general revelation, but, to be honest, it left me hungering for a more in depth treatment of this very important topic.
What I wished were different about this book:
1. The central metaphor Dr. Barrs employs-- "echoes of Eden"--is incomplete as a description of the longings embedded in every human heart. An echo, after all, is the reverberation in the present of an event from the past. But the Biblical story of Redemption is not, in the end, a story of Return, but one of Arrival. Not even Adam & Eve had fulfilled their destiny before their fall. Redemption is not a return to Eden, but, as Revelation 21-22 demonstrate, God's deliverance of HIs people into the Garden City, superior to Eden in every respect. As I read, I frequently found myself wishing Dr. Barrs would have treated this "forward leaning" in the human heart more directly in his discussion of the arts.
2. A much fuller treatment of other arts besides writing. In the first half of the book, Dr. Barrs does give us many helpful principles and insights applicable across the full spectrum of the arts and work, but the second half of the book is composed exclusively of serial reflections on the artistic vision and achievements of writers. I found myself wondering about how this exclusive focus on writing in the book's second half would come across to musicians, visual artists, photographers, dancers etc.
3. Although a much narrower and smaller insight, I thought that Dr. Barrs' chapter on J.K. Rowling, for all of its helpful insights about the theme of self-sacrificial love throughout the Potter books, came across a bit too defensively at multiple points.
All in all, I would recommend this book to you, but advise you to adjust your expectations in view of the foregoing.
December 29, 2023
How are Christians to think about Literature and the Arts?
Is it okay to read works by Shakespeare, Austen, and Rowling? Should we only listen to music, read books, or watch films that have been produced by fellow believers? Do we?
As Christians, do we take delight in the architecture of buildings, monuments, cathedrals, interior decoration, clothes, or beautifully prepared and presented meals without asking if the architect, builder, designer, manufacturer, or chef is a committed believer in the Lord Jesus Christ?
In Echoes of Eden: Reflections on Christianity, Literature, and the Arts, Jerram Barrs, Professor of Christian Studies and Apologetics at Covenant Theological Seminary, shares his passions by allowing us a glimpse of the beauty, truth, and grace he sees in the imaginative work of C.S. Lewis, J.R.R. Tolkien, J.K.Rowling, Shakespeare, and Jane Austen.
For this review, I will look specifically at the art of Literature, Speaking, and Writing using gifts of language [literature, poetry, devotions]. C.S. Lewis recognized that all great artists acknowledge that there is something outside themselves that is greater than they are, and that is greater than the works that they make:
“The greatest poems (indeed all of the greatest artistic works) have been made by men who valued something else much more than poetry. Each painter, sculptor, writer, composer, musician, or designer sees something of the world we do not see, and so as we look or listen or read, we are enriched by each artist’s vision”(28).
Barrs refers to man and woman, God’s image bearers, as sub-creators who follow after their Creator. The arts that we create (paintings, architecture, literature, music, culinary arts, handi-work, etc) are “imitations” of God’s original creation. (29) He gives several examples of famous writers who were sub-creators; these great artists combined their original thoughts with “copies” of God’s first creation: John Donne, T.S. Eliot, Shakespeare, Bach, Rembrandt, and Van Gogh.
Christian artists need to regard themselves as creatures of God, using gifts given by God, delight in the world God made, do their work for the glory of God, and devote their labors to the enrichment of the lives of others.
God has not made us to be isolated individuals who find fulfillment simply by ourselves or even only in a relationship with Him. He has made us for others so that, though finite persons, we together can reflect the unity and diversity within the godhead, and can take delight in the gifts, wisdom, and insight of our fellow men and women (29).
What specific artist has inspired you? Can you name three artists whom you admire and the work they produced that has inspired you? [This can be a visual artist, musician, author, etc.]
What if Bach had never shared his compositions outside of his home (Air on the G string-Suite No. 3 BWV 1068)? Or if Debussy had never shared Clair de Lune? If Van Gogh, Monet, and Renoir had not captured the night stars, sunsets, and freshly fallen snow through landscapes? If Victor Hugo had kept his imagination to himself and had not shared the sacrifice, grace, and forgiveness of his greatest character, Jean Valjean? For me, these artistic creations have brought respite to my sometimes-weary soul!
WHY READ LITERATURE?
As a Professor of World Literature, this is the first question I ask my students each semester. In my courses, we examine several works in Classic Literature: works that have been accepted as being exemplary or particularly noteworthy. These works have been reinterpreted and renewed in the interests of generations of readers succeeding in their creation.
Echoes is one of the required texts for a Seminary course I teach as I believe that Barrs does an exemplary job of giving a balance between theory and literary criticism of authors of Classic Literature. In this course, we engage in “good reading”. C.S.Lewis illustrates the benefits of “good reading”:
in the moral sphere, every act of justice or charity involves putting ourselves in the other person’s place and thus transcending our own competitive particularity;
it admits to us experiences other than our own;
it heals wounds, without undermining the privilege of individuality.
Why do you read Literature? What benefits do you receive? What is your favorite book that you have read? Favorite Author? What genre appeals to you the most?
How do we determine what is “good reading” for ourselves, our children, and our grandchildren?
How are we to set about the task of testing everything and holding fast to that which is good? As Parents and Grandparents, how do we monitor what our children and grandchildren are reading, watching, or listening to? What are some standards you use or have used in the past to help your children “hold fast to what is good” when it comes to the arts? In addition, what standards do you use to monitor your involvement with the arts?
In Chapter 4, Barrs gives several objective standards in which to judge any work of art, whether in music, literature, filmmaking, painting, sculpture, dance, or any other field. These are partly a matter of giftedness, intuition, experience, and common sense! Keep in mind that every family unit is different and should determine what is right for THEIR family through the leading of the Holy Spirit!
I have summarized some of the objectives that Barrs suggests here.
We should ask:
Is the artist using their gifts for others as well as for their own fulfillment? [56]
Is there a humble submission to the rules of one’s discipline and respect for traditions
Is the work of art in accord with reality?[57]
What is the moral intention of the artist? [59]
Is there technical excellence?[61]
Is the work true to who the artist is? [62]
Does the artist seek to manipulate our emotional response by cheap tricks, or does the artist seek to generate a genuine emotional response through the power of the work?[63]
In the final Chapters of Echoes, Barrs shares his passion by allowing us a glimpse of the beauty, truth, and grace he sees in the imaginative work of C.S. Lewis, J.R.R. Tolkien, J.K.Rowling, Shakespeare, and Jane Austen. These chapters were so fascinating to me and gave me new insight into the minds of these great writers and their purposes in writing these great novels.
For example:
C. S. Lewis wrote The Chronicles of Narnia for the children of WWII who were evacuated from London and living with him during the bombings of the Luftwaffe by Nazis (85).
J.R.R. Tolkien wrote his stories as echoes of memories of the truth that God had originally made known to Adam and Eve with hints of the promise of hope and redemption (95).
J.K. Rowling wrote Harry Potter for children to create a world of fantasy which she states is “a foundational part of being a human made in the image of God (133)”.
Shakespeare: according to Barrs, Shakespeare’s characters are persons made by and for God, persons wandering from Him, and persons in need of deliverance from their broken lives (155).
Works Cited
Barrs, Jerram. Echoes of Eden: Reflections on Christianity, Literature, and the Arts. Wheaton, Ill: Crossway, 2013.
Lewis, C. S. “Christianity and Literature”, Genesis: Journal of the Society of Christians in the Arts, Inc 1, no. 2 ,1975: 22.
________ An Experiment in Criticism, 138-41.
Is it okay to read works by Shakespeare, Austen, and Rowling? Should we only listen to music, read books, or watch films that have been produced by fellow believers? Do we?
As Christians, do we take delight in the architecture of buildings, monuments, cathedrals, interior decoration, clothes, or beautifully prepared and presented meals without asking if the architect, builder, designer, manufacturer, or chef is a committed believer in the Lord Jesus Christ?
In Echoes of Eden: Reflections on Christianity, Literature, and the Arts, Jerram Barrs, Professor of Christian Studies and Apologetics at Covenant Theological Seminary, shares his passions by allowing us a glimpse of the beauty, truth, and grace he sees in the imaginative work of C.S. Lewis, J.R.R. Tolkien, J.K.Rowling, Shakespeare, and Jane Austen.
For this review, I will look specifically at the art of Literature, Speaking, and Writing using gifts of language [literature, poetry, devotions]. C.S. Lewis recognized that all great artists acknowledge that there is something outside themselves that is greater than they are, and that is greater than the works that they make:
“The greatest poems (indeed all of the greatest artistic works) have been made by men who valued something else much more than poetry. Each painter, sculptor, writer, composer, musician, or designer sees something of the world we do not see, and so as we look or listen or read, we are enriched by each artist’s vision”(28).
Barrs refers to man and woman, God’s image bearers, as sub-creators who follow after their Creator. The arts that we create (paintings, architecture, literature, music, culinary arts, handi-work, etc) are “imitations” of God’s original creation. (29) He gives several examples of famous writers who were sub-creators; these great artists combined their original thoughts with “copies” of God’s first creation: John Donne, T.S. Eliot, Shakespeare, Bach, Rembrandt, and Van Gogh.
Christian artists need to regard themselves as creatures of God, using gifts given by God, delight in the world God made, do their work for the glory of God, and devote their labors to the enrichment of the lives of others.
God has not made us to be isolated individuals who find fulfillment simply by ourselves or even only in a relationship with Him. He has made us for others so that, though finite persons, we together can reflect the unity and diversity within the godhead, and can take delight in the gifts, wisdom, and insight of our fellow men and women (29).
What specific artist has inspired you? Can you name three artists whom you admire and the work they produced that has inspired you? [This can be a visual artist, musician, author, etc.]
What if Bach had never shared his compositions outside of his home (Air on the G string-Suite No. 3 BWV 1068)? Or if Debussy had never shared Clair de Lune? If Van Gogh, Monet, and Renoir had not captured the night stars, sunsets, and freshly fallen snow through landscapes? If Victor Hugo had kept his imagination to himself and had not shared the sacrifice, grace, and forgiveness of his greatest character, Jean Valjean? For me, these artistic creations have brought respite to my sometimes-weary soul!
WHY READ LITERATURE?
As a Professor of World Literature, this is the first question I ask my students each semester. In my courses, we examine several works in Classic Literature: works that have been accepted as being exemplary or particularly noteworthy. These works have been reinterpreted and renewed in the interests of generations of readers succeeding in their creation.
Echoes is one of the required texts for a Seminary course I teach as I believe that Barrs does an exemplary job of giving a balance between theory and literary criticism of authors of Classic Literature. In this course, we engage in “good reading”. C.S.Lewis illustrates the benefits of “good reading”:
in the moral sphere, every act of justice or charity involves putting ourselves in the other person’s place and thus transcending our own competitive particularity;
it admits to us experiences other than our own;
it heals wounds, without undermining the privilege of individuality.
Why do you read Literature? What benefits do you receive? What is your favorite book that you have read? Favorite Author? What genre appeals to you the most?
How do we determine what is “good reading” for ourselves, our children, and our grandchildren?
How are we to set about the task of testing everything and holding fast to that which is good? As Parents and Grandparents, how do we monitor what our children and grandchildren are reading, watching, or listening to? What are some standards you use or have used in the past to help your children “hold fast to what is good” when it comes to the arts? In addition, what standards do you use to monitor your involvement with the arts?
In Chapter 4, Barrs gives several objective standards in which to judge any work of art, whether in music, literature, filmmaking, painting, sculpture, dance, or any other field. These are partly a matter of giftedness, intuition, experience, and common sense! Keep in mind that every family unit is different and should determine what is right for THEIR family through the leading of the Holy Spirit!
I have summarized some of the objectives that Barrs suggests here.
We should ask:
Is the artist using their gifts for others as well as for their own fulfillment? [56]
Is there a humble submission to the rules of one’s discipline and respect for traditions
Is the work of art in accord with reality?[57]
What is the moral intention of the artist? [59]
Is there technical excellence?[61]
Is the work true to who the artist is? [62]
Does the artist seek to manipulate our emotional response by cheap tricks, or does the artist seek to generate a genuine emotional response through the power of the work?[63]
In the final Chapters of Echoes, Barrs shares his passion by allowing us a glimpse of the beauty, truth, and grace he sees in the imaginative work of C.S. Lewis, J.R.R. Tolkien, J.K.Rowling, Shakespeare, and Jane Austen. These chapters were so fascinating to me and gave me new insight into the minds of these great writers and their purposes in writing these great novels.
For example:
C. S. Lewis wrote The Chronicles of Narnia for the children of WWII who were evacuated from London and living with him during the bombings of the Luftwaffe by Nazis (85).
J.R.R. Tolkien wrote his stories as echoes of memories of the truth that God had originally made known to Adam and Eve with hints of the promise of hope and redemption (95).
J.K. Rowling wrote Harry Potter for children to create a world of fantasy which she states is “a foundational part of being a human made in the image of God (133)”.
Shakespeare: according to Barrs, Shakespeare’s characters are persons made by and for God, persons wandering from Him, and persons in need of deliverance from their broken lives (155).
Works Cited
Barrs, Jerram. Echoes of Eden: Reflections on Christianity, Literature, and the Arts. Wheaton, Ill: Crossway, 2013.
Lewis, C. S. “Christianity and Literature”, Genesis: Journal of the Society of Christians in the Arts, Inc 1, no. 2 ,1975: 22.
________ An Experiment in Criticism, 138-41.
July 27, 2013
Echoes of Eden is a lively and insightful read, especially for lovers of the literature and the arts, who are of a Christian disposition. The book is divided into ten chapters: chapters 1-5 are foundational, with chapters 6-10 devoted five well-known authors, all the way back to William Shakespeare and up to the contemporary JK Rowling.
The thesis Echoes of Eden runs thus: God, the Creator of all things, visible and invisible, made human beings as his image-bearers, like himself, creative artists. Humans were to function as creative artists in a good creation. But then came the fall. With the fall, this creativeness in humanity was marred, but there remains echoes of the good creation and the longing of redemption. According to Barrs, all great art contains elements of this true story of “the good creation, the fallen world, and the longing for redemption.”
Barrs traces this theme of the good creation, the fallen world, and the longing for redemption through the writings of Shakespeare, Jane Austen, C.S. Lewis, Tolkien, JK Rowling.
Evalution
Jerram Barrs sort of took me back to my college days of Literature A and B and what makes for good literature. Barrs has made a solid case for the Christian understanding of the arts, how Christians are to judge the arts, and God’s testimony to the truth through the arts, whether by Christians or non-Christians. As a student of the arts, Barrs shines in these first five chapters, especially in correcting many Christians aversions and misconceptions, to and of the arts. The reader will either rejoice at or reject Barrs defense of much of the elements in Tolkien, Lewis, and especially Rowling, who herself was inspired by Tolkien and Lewis.
My only criticism of Barrs work is his failure to devote a chapter or two to other arts, after mentioning that the “echoes of eden” may be traced in them. An interaction with a Bob Dylan would have sufficed. Perhaps in a future edition Barrs will address this.
In the end, the underlying strength of Barrs work is his “Echoes of Eden” thesis (the story of the good creation, the fall, and the longing of redemption), which is the stuff of all great work of art, as mentioned above.
The thesis Echoes of Eden runs thus: God, the Creator of all things, visible and invisible, made human beings as his image-bearers, like himself, creative artists. Humans were to function as creative artists in a good creation. But then came the fall. With the fall, this creativeness in humanity was marred, but there remains echoes of the good creation and the longing of redemption. According to Barrs, all great art contains elements of this true story of “the good creation, the fallen world, and the longing for redemption.”
Barrs traces this theme of the good creation, the fallen world, and the longing for redemption through the writings of Shakespeare, Jane Austen, C.S. Lewis, Tolkien, JK Rowling.
Evalution
Jerram Barrs sort of took me back to my college days of Literature A and B and what makes for good literature. Barrs has made a solid case for the Christian understanding of the arts, how Christians are to judge the arts, and God’s testimony to the truth through the arts, whether by Christians or non-Christians. As a student of the arts, Barrs shines in these first five chapters, especially in correcting many Christians aversions and misconceptions, to and of the arts. The reader will either rejoice at or reject Barrs defense of much of the elements in Tolkien, Lewis, and especially Rowling, who herself was inspired by Tolkien and Lewis.
My only criticism of Barrs work is his failure to devote a chapter or two to other arts, after mentioning that the “echoes of eden” may be traced in them. An interaction with a Bob Dylan would have sufficed. Perhaps in a future edition Barrs will address this.
In the end, the underlying strength of Barrs work is his “Echoes of Eden” thesis (the story of the good creation, the fall, and the longing of redemption), which is the stuff of all great work of art, as mentioned above.
November 20, 2013
“We may describe a christian understanding of the arts in the following way: Our work in any field of the arts will be imitative...we will find ourselves longing to make known the beauty of life as it once was in Paradise, the tragedy of its present marring, and the hope of our final redemption”
- Jerram Barrs
In his book “Echoes of Eden”, Jerram Barrs wants to helps us one-viewed, unimaginative, adventure-starved, workaholic, evangelical christians get a grasp of the best story ever and how we are not just pawns; we are participants in this magnificent narrative! A good number (PLEASE notice- NOT ALL) of the past generation of evangelicals seem to have run away from anything that escaped what we had cookie cuttered as reality. We held the exorcism of harry potter from christian schools and assumed that Led Zeppelin was the battle anthem of Satan and his legions. They taught us that these were demonic escapes from reality.
Barr helps us think through this perspective by taking us back to the beginning. His thesis is that what happened in Eden has stamped every artwork that humanity has produced since then. Our longings, moral dilemmas and heroistic romanticism from the goblin rattled pages of “The Hobbit” to the witty life of Elizabeth Bennet in Jane Austen’s “Pride and Prejudice” are simply expressions of the themes that are part of the big story. We see this in Harry Potters willingness to sacrifice himself in order to save the lives of his friends, or in Led Zeppelins wonder at the sensations from another world (Stairway to heaven).
Barr’s wants the reader to understand that man, in his deepest being, has the memory of what happened to us at eden and is longing for a momentous resolution!
Our dreams are not an escape from reality. Rather, they are the cry of our hearts for redemptive resolution in our individual stories.
- Jerram Barrs
In his book “Echoes of Eden”, Jerram Barrs wants to helps us one-viewed, unimaginative, adventure-starved, workaholic, evangelical christians get a grasp of the best story ever and how we are not just pawns; we are participants in this magnificent narrative! A good number (PLEASE notice- NOT ALL) of the past generation of evangelicals seem to have run away from anything that escaped what we had cookie cuttered as reality. We held the exorcism of harry potter from christian schools and assumed that Led Zeppelin was the battle anthem of Satan and his legions. They taught us that these were demonic escapes from reality.
Barr helps us think through this perspective by taking us back to the beginning. His thesis is that what happened in Eden has stamped every artwork that humanity has produced since then. Our longings, moral dilemmas and heroistic romanticism from the goblin rattled pages of “The Hobbit” to the witty life of Elizabeth Bennet in Jane Austen’s “Pride and Prejudice” are simply expressions of the themes that are part of the big story. We see this in Harry Potters willingness to sacrifice himself in order to save the lives of his friends, or in Led Zeppelins wonder at the sensations from another world (Stairway to heaven).
Barr’s wants the reader to understand that man, in his deepest being, has the memory of what happened to us at eden and is longing for a momentous resolution!
Our dreams are not an escape from reality. Rather, they are the cry of our hearts for redemptive resolution in our individual stories.
July 24, 2020
I am the wrong audience for this book. It is much better suited for those who haven't given much thought to a Christian view of the arts or see little value in the arts being included in the Christian life. But as a Christian who's already quite invested in this topic, this book offered very little "new to me" material (though I did get some good quotes for my Readwise account). I especially didn't need the whole second half of the book trying to convince me to read C.S. Lewis, J.R.R. Tolkien, J.K. Rowling, William Shakespeare, and Jane Austen. I've been spending quality reading time with them for years.
Speaking of the second half of the book, I was actually somewhat disappointed with Barrs's approach. First, he's too determined to find a spiritual lesson or principle in everything. At times, he comes dangerously close to allegorizing. Likewise, his insistence on including J.K. Rowling among the ranks of Christian authors causes him to give her too much credit for certain elements of Harry Potter and to excuse away certain shortcomings.
Finally, Barrs's approach in the second half is too one-dimensional: He reduces his discussion of these five great authors almost entirely to the Christian morality present in their literature. Now, please don't take my statement to mean that I don't think moral values matter in literature! However, when we back literature into a didactic corner like this, we shortchange authors' storytelling abilities and miss out on their stories' full power. Good literature is meant to delight us, enchant us, move us, allow us to see through other eyes. Good literature has beautiful artistry. By limiting the discussion to morality, Barrs misses key aesthetic considerations that are essential to a truly Christian view of the arts.
Speaking of the second half of the book, I was actually somewhat disappointed with Barrs's approach. First, he's too determined to find a spiritual lesson or principle in everything. At times, he comes dangerously close to allegorizing. Likewise, his insistence on including J.K. Rowling among the ranks of Christian authors causes him to give her too much credit for certain elements of Harry Potter and to excuse away certain shortcomings.
Finally, Barrs's approach in the second half is too one-dimensional: He reduces his discussion of these five great authors almost entirely to the Christian morality present in their literature. Now, please don't take my statement to mean that I don't think moral values matter in literature! However, when we back literature into a didactic corner like this, we shortchange authors' storytelling abilities and miss out on their stories' full power. Good literature is meant to delight us, enchant us, move us, allow us to see through other eyes. Good literature has beautiful artistry. By limiting the discussion to morality, Barrs misses key aesthetic considerations that are essential to a truly Christian view of the arts.
July 8, 2013
Full review can be found here:
http://mydigitalseminary.com/echoes-o...
This is just the conclusion from my full review, which can be read on my blog (see my profile).
Barrs has assigned himself a difficult task here, but he has pulled it off very well. There is a delightful balance here of theological analysis and childlike joy in the arts. Barrs rightly grounds everything in Scripture and covers an amazing scope of issues related to this topic while still creating a work that flows well and is very enjoyable to read. As mentioned above, I would have enjoyed a little more on how the content of what we take in, but overall this is a fantastic work. I would not want my praise to be overshadowed by this criticism.
I would highly recommend this book to any Christian interested in the arts or how to think about the arts. Particularly this would include pastors seeking wisdom, artists seeking a foundation, and parents wanting to properly decide what should enter their household. More broadly, I cannot think of anyone, Christian or otherwise, who would not benefit from Echoes of Eden. May we all, like Barrs, take delight God's good gifts in creation!
[Many thanks to Crossway and Netgalley for providing a review copy of this book]
http://mydigitalseminary.com/echoes-o...
This is just the conclusion from my full review, which can be read on my blog (see my profile).
Barrs has assigned himself a difficult task here, but he has pulled it off very well. There is a delightful balance here of theological analysis and childlike joy in the arts. Barrs rightly grounds everything in Scripture and covers an amazing scope of issues related to this topic while still creating a work that flows well and is very enjoyable to read. As mentioned above, I would have enjoyed a little more on how the content of what we take in, but overall this is a fantastic work. I would not want my praise to be overshadowed by this criticism.
I would highly recommend this book to any Christian interested in the arts or how to think about the arts. Particularly this would include pastors seeking wisdom, artists seeking a foundation, and parents wanting to properly decide what should enter their household. More broadly, I cannot think of anyone, Christian or otherwise, who would not benefit from Echoes of Eden. May we all, like Barrs, take delight God's good gifts in creation!
[Many thanks to Crossway and Netgalley for providing a review copy of this book]
July 10, 2014
In "Echoes of Eden", Covenant Seminary professor Jerram Barrs posits that what makes truly great literature are stories which rings true to reality. It is not a matter of genre - some of his favorite works are fantasy - but of how closely they mirror the pattern of reality. "The themes of all great art are the world and human life as they came from the hand of God; the world and human life as they now are subject to sorrow, sin and death; and the world and human life as we long for and look forward to their restoration." This is the grand storyline of the Bible itself. Any part may be emphasized in great literature. He lays out his argument in the first third of the book. In the last two-thirds, the most enjoyable to me, he traces his thesis through the writings of C.S. Lewis, Shakespeare, J.R.R. Tolkien, Jane Austin and J.K Rowling, some of my favorite writers. Much food for thought in evaluating what we read.
December 6, 2014
A lovely and encouraging book for any Christian reader. Barrs has written a great exposition of the gospel, as well as a theology of creative works and how it can all be seen in the works of Lewis, Tolkien, Rowling, Shakespeare and Austen. You'd be hard pressed not to find yourself wanting to read, once again or for the first time, all the books he discusses.
February 16, 2017
My review appeared in
Christianity & Literature
64.2 (March 2015): 211–14.
I received a free review copy at the Southwestern Conference on Christianity and Literature (at Houston Baptist University) in September 2013.
I received a free review copy at the Southwestern Conference on Christianity and Literature (at Houston Baptist University) in September 2013.
November 27, 2020
I really appreciated the ideas central to this book which I think chapters 5-6 sum up nicely and were my favorite chapters in the book. The ideas on what constitutes "great art" involving "the good creation, the fallen word, and the longing for redemption" ring true and are powerful ways for assessing art and other expressions of man's "creative power". In the chapter on the Harry Potter books, there is an extended quote from John Calvin on how people should be able to read or take in works by even secular artists and learn from them knowing that truth in them is possible and still ultimately comes from God. This idea can of course be taken too far but the author earlier in the book warns against trying too hard to derive truth from art when that truth could more easily be derived from art that attempts to be realistic versus gratuitous in its depiction of the fallen nature of man.
I think some of the ways he applies this idea of "Eden" echoing through myth and great works of art feel short for me mostly for reasons of personal opinion. I think he overstates the case for the Harry Potter books and therefore undermines there value, especially to those who would already be pre-disposed to not like these stories. Maybe his enjoyment of them and appreciation for the writing skill an world-building in them kept him from a more rounded view of the objections. I enjoyed reading these books but can understand objections and can think of clear and obvious examples of them that he fails to mention such as the objective of disrespect toward authority. He only mentions (and defends) Harry's disrespect to his aunt and uncle, villain-like characters in the book, and does not mention the constant aggressive tone in the books involving students and teachers, parents and children, teachers and students, etc. It wore on me at time reading this books just how much negative banter, dialogue, disrespect, insults, and general attitude of anger and hostility existed in the Hogwarts environment. I know this is just my opinion, but he mentions disrespect as one of the objections to these books and if he was truly interested in defending against this point, he should have taken a more well-rounded view. I would have been interested anyways to read his take on it all, not just on one easily defended, obvious example. He also ascribes motives to Harry that he may or may not have - Harry is one of those characters who does the right thing, yes, because he cares about his friends, but also because he feels caught up in forces that he cannot control (which he somewhat is) and just gives himself up to them, not because it burns in his heart to do the right thing completely of his own free will, like a character such as Frodo. Harry is still a hero, but a somewhat unwillingly one, which certainly makes him more human but also not as glowing of an example of self-sacrifice as Barrs makes him out to be.
Also, I think some of his comments on Jane Austen, especially is criticism of Charlotte in P&P are obviously missing the point. He criticizes her for her view of marriage and puts her as an example of someone who is misguided and doesn't honor the true ideal of marriage - one with love and respect. But I don't believe Charlotte to Austen was a bad "un-Christian" person - just someone caught in the web of her time and making practical decisions for her and her family that were not easy to make and that held unfortunate consequences. I think Barrs completely misses the social commentary here which must be a willful omission as I am sure he has knowledge and an understanding of it. Austen's books are always commenting on the inequality of the society around her especially in regards to the choices women were given and not given in her time. So his commentary here was extremely disappointing. Secondarily, I think justice always prevails in Austen's novels and love that feature of her stories. No matter how selfish and almost wicked a character is in her books, they always receive the end of their actions in some way - big or small. And, oppositely, those acting honorably are rewarded and in the most handsome of ways. This reflects the promise of redemption, and I was disappointed again not to hear anything about that in this chapter taken up instead with is attempts to use Austen's writings almost solely as a commentary on marriage.
Overall, I liked the concept and the truth in that concept (that humans are always looking for Eden, for what is true) more than I actually liked this book. The first part is pretty repetitive and even in the end of the book the same quotations from books or plays are repeated at length in different sections. There is also a short chapter "The 'Outing' of Dumbledore" at the very end which was wholly unnecessary and makes a load of assumptions that simply cannot be known unless he had a personal conversation with Rowling which he admittedly has not... So 3 stars for idea/concept and I might recommend this book only to people who really love books and fantasy - they could sort through his opinions based on their own readings of these works.
I think some of the ways he applies this idea of "Eden" echoing through myth and great works of art feel short for me mostly for reasons of personal opinion. I think he overstates the case for the Harry Potter books and therefore undermines there value, especially to those who would already be pre-disposed to not like these stories. Maybe his enjoyment of them and appreciation for the writing skill an world-building in them kept him from a more rounded view of the objections. I enjoyed reading these books but can understand objections and can think of clear and obvious examples of them that he fails to mention such as the objective of disrespect toward authority. He only mentions (and defends) Harry's disrespect to his aunt and uncle, villain-like characters in the book, and does not mention the constant aggressive tone in the books involving students and teachers, parents and children, teachers and students, etc. It wore on me at time reading this books just how much negative banter, dialogue, disrespect, insults, and general attitude of anger and hostility existed in the Hogwarts environment. I know this is just my opinion, but he mentions disrespect as one of the objections to these books and if he was truly interested in defending against this point, he should have taken a more well-rounded view. I would have been interested anyways to read his take on it all, not just on one easily defended, obvious example. He also ascribes motives to Harry that he may or may not have - Harry is one of those characters who does the right thing, yes, because he cares about his friends, but also because he feels caught up in forces that he cannot control (which he somewhat is) and just gives himself up to them, not because it burns in his heart to do the right thing completely of his own free will, like a character such as Frodo. Harry is still a hero, but a somewhat unwillingly one, which certainly makes him more human but also not as glowing of an example of self-sacrifice as Barrs makes him out to be.
Also, I think some of his comments on Jane Austen, especially is criticism of Charlotte in P&P are obviously missing the point. He criticizes her for her view of marriage and puts her as an example of someone who is misguided and doesn't honor the true ideal of marriage - one with love and respect. But I don't believe Charlotte to Austen was a bad "un-Christian" person - just someone caught in the web of her time and making practical decisions for her and her family that were not easy to make and that held unfortunate consequences. I think Barrs completely misses the social commentary here which must be a willful omission as I am sure he has knowledge and an understanding of it. Austen's books are always commenting on the inequality of the society around her especially in regards to the choices women were given and not given in her time. So his commentary here was extremely disappointing. Secondarily, I think justice always prevails in Austen's novels and love that feature of her stories. No matter how selfish and almost wicked a character is in her books, they always receive the end of their actions in some way - big or small. And, oppositely, those acting honorably are rewarded and in the most handsome of ways. This reflects the promise of redemption, and I was disappointed again not to hear anything about that in this chapter taken up instead with is attempts to use Austen's writings almost solely as a commentary on marriage.
Overall, I liked the concept and the truth in that concept (that humans are always looking for Eden, for what is true) more than I actually liked this book. The first part is pretty repetitive and even in the end of the book the same quotations from books or plays are repeated at length in different sections. There is also a short chapter "The 'Outing' of Dumbledore" at the very end which was wholly unnecessary and makes a load of assumptions that simply cannot be known unless he had a personal conversation with Rowling which he admittedly has not... So 3 stars for idea/concept and I might recommend this book only to people who really love books and fantasy - they could sort through his opinions based on their own readings of these works.
This entire review has been hidden because of spoilers.
June 24, 2020
Definitely my favorite piece of meta literature to date.
As a lover of Jesus and literature, sections of the book were like music to my soul. The premise of this book is my life’s greatest passion- appreciating the beauty and wisdom of God portrayed in literature- both Christian and secular. As a child, I wasn’t allowed to read Harry Potter, but upon reading it in college I was absolutely captivated by the themes of self-sacrifice, friendship, loyalty, and the dignity of humanity. Barrs highlights these themes beautifully and makes a wonderful case for the value of other writers’ works: Tolkien, Lewis, Austen, Shakespeare.
That being said, I enjoyed the second half of the book much more than the first half. In the opening chapters, Barrs devotes a great deal of space to discussing the merits of art in general for the Christian. Though insightful, I definitely was longing for more literary analysis. Just a personal preference. Barrs also made use of many lengthy block quotes. At times his writing seemed to be more of a summation of others’ thoughts than a contribution of his own. Lastly, the writing could have used a bit of sharpening. The opening chapter seemed especially unpolished, and most of the book reads more like a casual conversation than a polished piece of literature. However, I’m sure this was Barrs’s intent. It was just a bit too casual for my liking.
Overall, an exceptional read, especially for Christians who love literature and grew up in conservative evangelical environments or for those who don’t see the inherent value of fiction writing.
As a lover of Jesus and literature, sections of the book were like music to my soul. The premise of this book is my life’s greatest passion- appreciating the beauty and wisdom of God portrayed in literature- both Christian and secular. As a child, I wasn’t allowed to read Harry Potter, but upon reading it in college I was absolutely captivated by the themes of self-sacrifice, friendship, loyalty, and the dignity of humanity. Barrs highlights these themes beautifully and makes a wonderful case for the value of other writers’ works: Tolkien, Lewis, Austen, Shakespeare.
That being said, I enjoyed the second half of the book much more than the first half. In the opening chapters, Barrs devotes a great deal of space to discussing the merits of art in general for the Christian. Though insightful, I definitely was longing for more literary analysis. Just a personal preference. Barrs also made use of many lengthy block quotes. At times his writing seemed to be more of a summation of others’ thoughts than a contribution of his own. Lastly, the writing could have used a bit of sharpening. The opening chapter seemed especially unpolished, and most of the book reads more like a casual conversation than a polished piece of literature. However, I’m sure this was Barrs’s intent. It was just a bit too casual for my liking.
Overall, an exceptional read, especially for Christians who love literature and grew up in conservative evangelical environments or for those who don’t see the inherent value of fiction writing.
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