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Reimagining Apologetics: The Beauty of Faith in a Secular Age
How should one proclaim of the gospel of Jesus Christ in a secular age? For many Christians, the traditional approach of apologetics has grown stale. In light of the current secular climate, as described by Charles Taylor and others, rhetorical strategies that previously served the church and apologists well are no longer effective. Justin Bailey seeks to address this dilemma by infusing apologetics with an appeal to the imagination, the aesthetic, and the affective. Demonstrating that this is possible, he engages with two examples of those who have done apologetics through the imagination: George MacDonald and Marilynne Robinson. By beginning with the imaginative and the aesthetic dimensions of faith before expounding proofs, Bailey argues, hearers of the good news will find both their hearts and their minds engaged.
272 pages, Paperback
Published October 13, 2020
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About the author
Justin Ariel Bailey
3 books43 followersJustin Ariel Bailey works at the intersection of Christian theology, culture, and ministry. Having served as a pastor in a number of diverse settings, his research seeks to bridge gaps between church and academy, and the formational spaces where they overlap. He is the author of the book Reimagining Apologetics (IVP Academic, 2020) and the forthcoming volume Interpreting Your World (Baker Academic, 2022). He serves as associate professor of Theology at Dordt University and is the host of the In All Things podcast.
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Displaying 1 - 17 of 17 reviews
May 3, 2021
Summary: A case for an apologetics appealing to beauty and to the imagination that points toward a better picture of what life might be.
When most of us hear the term “apologetics,” we think of reasoned argument for why one should believe, indeed, reason that compels belief. Yet in this age of epistemic uncertainty, such argument often elicits suspicion and may turn people ways from faith rather than remove obstacles to it.
Justin Ariel Bailey doesn’t dismiss the value of this traditional approach to apologetics, which he calls “Uppercase apologetics.” What he proposes instead is that some may be drawn to consider Christian faith through the imaginative, the telling of a better story or the painting of a better picture of an authentic Christian life makes better sense of the human condition. He frames it this way:
“By reimagining apologetics, I mean simply an approach that takes the imaginative context of belief seriously. Such an approach prepares the way for Christian faith by provoking desire, exploring possibility, and casting an inhabitable Christian vision. When successful, it enables outsiders to inhabit the Christian faith as if from the inside, feeling their way in before attempting to criticize it by foreign standards. Whether a person ultimately embraces the vision that is being portrayed, imaginative engagement cultivates empathy. It enables a glimpse, even if just for a moment, of the possibilities that Christian faith facilitates for our life in the world.”
JUSTIN ARIEL BAILEY, P. 4.
The book is broken into two parts. The first is more philosophical in elaborating the relationship of apologetics and the imagination. Bailey begins with the work of Charles Taylor, and the disenchantment of the modern world under secularity. He treats secularity as a crisis of the imagination that reasoned argument alone cannot address. He then turns to Schleiermacher as a pioneer of an imaginative apologetic that sought to “feel our way in,” albeit at the expense of a connection to truth. Bailey argues that such an approach with a thicker theological ground is possible. He then deals more properly with the nature of imagination itself and how it is shaped by creation, fall, and redemption.
The second part then considers two writers, George MacDonald of the Victorian era, and Marilynne Robinson of our own, and how their writing models imaginative approaches to Christian faith in the face of the Victorian “crisis of faith” and the contemporary “new atheism.” MacDonald wrote his works with his friend John Ruskin in mind. Using the Wingfold trilogy, he shows how MacDonald sought to awaken his readers to a vision of virtue leading to a vision of God and his world. Bailey sees Robinson revealing a capacious vision of authentic Christian life in her characters. Then he looks at the Calvinism of both writers that sees the world filled with the presence of God that makes sense of our homesickness for God.
Bailey concludes with identifying three elements of an apologetic of the imagination:
1. Sensing. Imagination as an aesthetic sense and gives primacy to the aesthetic dimension.
2. Seeing. Imagination as orienting vision that invites exploration of a more capacious vision of the world
3. Shaping. Imagination as poetic vision that situates the human project within the larger redemptive project of God.
He points to Makoto Fujimura’s idea of “culture care” as a model for how this apologetic may work in commending the faith through appealing to beauty, for seeing this care for beauty in every aspect of life, and reflective of the creative and redeeming beauty of God.
I believe Bailey is onto something. I think of the power of stories like Narnia Tales, or in the case of C.S. Lewis, the fiction of George MacDonald to capture the imagination and open it up to Christ. What does this mean for the apologist? Here, Bailey’s book is only suggestive and needs a follow up. It doesn’t mean buying everyone copies of MacDonald’s and Robinson’s works. At the very end he points to the work of understanding the stories of others and relating our stories to those. I also think, when people are ready, that the narratives of the gospels are also powerful stories, where we allow people to situate their stories within the Jesus story. I hope Bailey will do further work in this area, offering believing people more help in telling their stories and the story. What this work has done is offer the grounds for that work.
____________________________
Disclosure of Material Connection: I received a complimentary review copy of this book from the publisher in exchange for an honest review. The opinions I have expressed are my own.
When most of us hear the term “apologetics,” we think of reasoned argument for why one should believe, indeed, reason that compels belief. Yet in this age of epistemic uncertainty, such argument often elicits suspicion and may turn people ways from faith rather than remove obstacles to it.
Justin Ariel Bailey doesn’t dismiss the value of this traditional approach to apologetics, which he calls “Uppercase apologetics.” What he proposes instead is that some may be drawn to consider Christian faith through the imaginative, the telling of a better story or the painting of a better picture of an authentic Christian life makes better sense of the human condition. He frames it this way:
“By reimagining apologetics, I mean simply an approach that takes the imaginative context of belief seriously. Such an approach prepares the way for Christian faith by provoking desire, exploring possibility, and casting an inhabitable Christian vision. When successful, it enables outsiders to inhabit the Christian faith as if from the inside, feeling their way in before attempting to criticize it by foreign standards. Whether a person ultimately embraces the vision that is being portrayed, imaginative engagement cultivates empathy. It enables a glimpse, even if just for a moment, of the possibilities that Christian faith facilitates for our life in the world.”
JUSTIN ARIEL BAILEY, P. 4.
The book is broken into two parts. The first is more philosophical in elaborating the relationship of apologetics and the imagination. Bailey begins with the work of Charles Taylor, and the disenchantment of the modern world under secularity. He treats secularity as a crisis of the imagination that reasoned argument alone cannot address. He then turns to Schleiermacher as a pioneer of an imaginative apologetic that sought to “feel our way in,” albeit at the expense of a connection to truth. Bailey argues that such an approach with a thicker theological ground is possible. He then deals more properly with the nature of imagination itself and how it is shaped by creation, fall, and redemption.
The second part then considers two writers, George MacDonald of the Victorian era, and Marilynne Robinson of our own, and how their writing models imaginative approaches to Christian faith in the face of the Victorian “crisis of faith” and the contemporary “new atheism.” MacDonald wrote his works with his friend John Ruskin in mind. Using the Wingfold trilogy, he shows how MacDonald sought to awaken his readers to a vision of virtue leading to a vision of God and his world. Bailey sees Robinson revealing a capacious vision of authentic Christian life in her characters. Then he looks at the Calvinism of both writers that sees the world filled with the presence of God that makes sense of our homesickness for God.
Bailey concludes with identifying three elements of an apologetic of the imagination:
1. Sensing. Imagination as an aesthetic sense and gives primacy to the aesthetic dimension.
2. Seeing. Imagination as orienting vision that invites exploration of a more capacious vision of the world
3. Shaping. Imagination as poetic vision that situates the human project within the larger redemptive project of God.
He points to Makoto Fujimura’s idea of “culture care” as a model for how this apologetic may work in commending the faith through appealing to beauty, for seeing this care for beauty in every aspect of life, and reflective of the creative and redeeming beauty of God.
I believe Bailey is onto something. I think of the power of stories like Narnia Tales, or in the case of C.S. Lewis, the fiction of George MacDonald to capture the imagination and open it up to Christ. What does this mean for the apologist? Here, Bailey’s book is only suggestive and needs a follow up. It doesn’t mean buying everyone copies of MacDonald’s and Robinson’s works. At the very end he points to the work of understanding the stories of others and relating our stories to those. I also think, when people are ready, that the narratives of the gospels are also powerful stories, where we allow people to situate their stories within the Jesus story. I hope Bailey will do further work in this area, offering believing people more help in telling their stories and the story. What this work has done is offer the grounds for that work.
____________________________
Disclosure of Material Connection: I received a complimentary review copy of this book from the publisher in exchange for an honest review. The opinions I have expressed are my own.
December 11, 2020
I’ve developed a habit of judging a book by its cover. Is the title enticing? Do I know the author? Am I familiar with the publisher? Is the cover design appealing? Is the synopsis intriguing? Is the table of content systematic? Are the first few and the last few pages written eloquently? And who are the endorsements and what are they saying?
After reading hundreds of endorsements of non-fiction (mainly theology), I notice a number of repeated words and themes. Perhaps, they are words every author wants to hear. Or maybe those who write endorsements know that these words sell. Here are some from this book’s back cover: accessible, relevant, scholarly, practical, important, and convincing. I don’t doubt that these endorsements mean what they say—and I agree with them. I just don’t want to limit the book to these words alone.
It is accessible, but that doesn’t mean it is superficial or shallow. The first part of the book is philosophically heavy. Justin Bailey is working with two very contested fields of study: on the one hand, imagination and aesthetics; on the other, apologetics (typically defined as “defending the faith,” though Bailey is arguing more for “invitation to faith”). Never shall the twain meet? Many in these circles and out would say: “Duh.” Bailey (and a few others) would say otherwise. So, the first part is top heavy: deconstructing stereotypes, arguing for more expansive definitions, discouraging other limited ones, all to show the interstitial space imaginative apologetics dwell between the twain.
Is it practical? I like this word, and most cases it is a fitting word for a theory or a book. I don’t know, however, if it is for Bailey’s book. It’s not practical in the sense that it gives you steps to follow. Creating or nurturing imaginative spaces juggles multiple things. For example, Bailey names three essential “elements” (not steps) for reimagining apologetics: aesthetic sense, orienting vision, and poetic participation (228-239). Not all are always operative, and there is no mandated order. But it is practical in the sense that it will change your practices, if you are convinced by the book’s project. Bailey offers a paradigm shift, a new to practice imagination and faith.
But the words I like best are relevant and important. This is a timely work. Those who are convinced of Charles Taylor’s work, especially on authenticity and secularity, can more readily see how Bailey’s work bridges Taylor’s assessment to theological substance. Indeed, if Marilynne Robinson’s popularity is a testament to anything, it is that moving one’s imagination moves people.
My favorite chapters are on George MacDonald and Marilynne Robinson, not because I read many of their works but because I want to read many of their works upon finishing the chapters. Plus they are beautifully written.
What I wish is a case study of a non-Christian imaginative work that has gripped the masses. I think an important part of reimagining apologetics is not just learning how to facilitate imaginative spaces, but to discern other operative imaginations. Indeed, not just to see through “the eyes of the heart” (Bailey’s allegory for imagination) but to see other eyes of hearts as well.
After reading hundreds of endorsements of non-fiction (mainly theology), I notice a number of repeated words and themes. Perhaps, they are words every author wants to hear. Or maybe those who write endorsements know that these words sell. Here are some from this book’s back cover: accessible, relevant, scholarly, practical, important, and convincing. I don’t doubt that these endorsements mean what they say—and I agree with them. I just don’t want to limit the book to these words alone.
It is accessible, but that doesn’t mean it is superficial or shallow. The first part of the book is philosophically heavy. Justin Bailey is working with two very contested fields of study: on the one hand, imagination and aesthetics; on the other, apologetics (typically defined as “defending the faith,” though Bailey is arguing more for “invitation to faith”). Never shall the twain meet? Many in these circles and out would say: “Duh.” Bailey (and a few others) would say otherwise. So, the first part is top heavy: deconstructing stereotypes, arguing for more expansive definitions, discouraging other limited ones, all to show the interstitial space imaginative apologetics dwell between the twain.
Is it practical? I like this word, and most cases it is a fitting word for a theory or a book. I don’t know, however, if it is for Bailey’s book. It’s not practical in the sense that it gives you steps to follow. Creating or nurturing imaginative spaces juggles multiple things. For example, Bailey names three essential “elements” (not steps) for reimagining apologetics: aesthetic sense, orienting vision, and poetic participation (228-239). Not all are always operative, and there is no mandated order. But it is practical in the sense that it will change your practices, if you are convinced by the book’s project. Bailey offers a paradigm shift, a new to practice imagination and faith.
But the words I like best are relevant and important. This is a timely work. Those who are convinced of Charles Taylor’s work, especially on authenticity and secularity, can more readily see how Bailey’s work bridges Taylor’s assessment to theological substance. Indeed, if Marilynne Robinson’s popularity is a testament to anything, it is that moving one’s imagination moves people.
My favorite chapters are on George MacDonald and Marilynne Robinson, not because I read many of their works but because I want to read many of their works upon finishing the chapters. Plus they are beautifully written.
What I wish is a case study of a non-Christian imaginative work that has gripped the masses. I think an important part of reimagining apologetics is not just learning how to facilitate imaginative spaces, but to discern other operative imaginations. Indeed, not just to see through “the eyes of the heart” (Bailey’s allegory for imagination) but to see other eyes of hearts as well.
October 20, 2020
In "Reimagining Apologetics," Justin Bailey offers exceptional clarity and eloquence, as well as profound substance and appropriate restraint, for what a reimagined approach to Christian apologetics can look like, specifically, within and in relation to the postmodern age of authenticity. As one of his former (youth group) students who had later gone on to read Karl Barth, I must admit that I was little more than skeptical, but by the end, I must say, I was pleasantly and gratefully surprised.
To be sure, Bailey doesn't categorically denounce, or exhaustively critique, what he calls Uppercase Apologetics, that is, apologetic approaches in their more conventional, argumentative forms. He generally acknowledges their value, but, in this work, toils to go beyond them by tending to the social imaginary, or the imaginative conditions, in which belief is made believable. Indeed, apologists often want to plant the seeds of truth, but without paying much attention to the viability of its soil. Thus, a reimagined approach, which Bailey proffers, not only speaks to cognition but also ignites the imagination, by helping seekers, doubters, and outsiders vicariously "feel their way in" through the aesthetic gifts of the Christian faith. Refreshingly, it takes seriously the human person as a whole, while not forgoing the decisive role of the revelation of Jesus Christ.
As mentioned, critiques are hardly leveled against Uppercase Apologetics, which does leave the reader wondering whether Bailey's reimagined approach can, in fact, sit so neatly on top of them (and if so which ones and just to what extent). Moreover, Bailey does not take a critical stance toward the ethic of authenticity itself, or make a case as to why it's worth reimagining apologetics within its frame. Following in the footsteps of Charles Taylor, he, more or less, accepts the value of its underlying moral ideal, and simply steps into it as the unavoidable site for reimagining his reimagined approach. Granted, neither of these things is the fundamental aim of his project, but, again, it may leave some readers wondering.
In the second half then, Bailey poetically demonstrates the possibility - or, perhaps more accurately, the beauty - of his reimagined approach, by helping his readers take up a sense of vulnerability and feel their way into the captivating, literary worlds of George MacDonald and Marilynne Robinson, that is, with all of their Calvinistic sensibilities. By way of these models, the possibilities of his propositions are enlivened, and the status of Reformed Protestantism as being aesthetically bankrupt is now unavoidably brought to new and long-overdue reconsideration.
Here, what we receive is theological apologetics at its best. Grace over militancy; hope over despair; empathy over entrenchment; hospitality over hostility. All pointing to the revelation of Jesus Christ. Indeed, not just for a culture of authenticity, but for a culture of polarization as well, the implications of Bailey's vision of a reimagined approach will undoubtedly extend far beyond the narrower field of apologetics itself.
To be sure, Bailey doesn't categorically denounce, or exhaustively critique, what he calls Uppercase Apologetics, that is, apologetic approaches in their more conventional, argumentative forms. He generally acknowledges their value, but, in this work, toils to go beyond them by tending to the social imaginary, or the imaginative conditions, in which belief is made believable. Indeed, apologists often want to plant the seeds of truth, but without paying much attention to the viability of its soil. Thus, a reimagined approach, which Bailey proffers, not only speaks to cognition but also ignites the imagination, by helping seekers, doubters, and outsiders vicariously "feel their way in" through the aesthetic gifts of the Christian faith. Refreshingly, it takes seriously the human person as a whole, while not forgoing the decisive role of the revelation of Jesus Christ.
As mentioned, critiques are hardly leveled against Uppercase Apologetics, which does leave the reader wondering whether Bailey's reimagined approach can, in fact, sit so neatly on top of them (and if so which ones and just to what extent). Moreover, Bailey does not take a critical stance toward the ethic of authenticity itself, or make a case as to why it's worth reimagining apologetics within its frame. Following in the footsteps of Charles Taylor, he, more or less, accepts the value of its underlying moral ideal, and simply steps into it as the unavoidable site for reimagining his reimagined approach. Granted, neither of these things is the fundamental aim of his project, but, again, it may leave some readers wondering.
In the second half then, Bailey poetically demonstrates the possibility - or, perhaps more accurately, the beauty - of his reimagined approach, by helping his readers take up a sense of vulnerability and feel their way into the captivating, literary worlds of George MacDonald and Marilynne Robinson, that is, with all of their Calvinistic sensibilities. By way of these models, the possibilities of his propositions are enlivened, and the status of Reformed Protestantism as being aesthetically bankrupt is now unavoidably brought to new and long-overdue reconsideration.
Here, what we receive is theological apologetics at its best. Grace over militancy; hope over despair; empathy over entrenchment; hospitality over hostility. All pointing to the revelation of Jesus Christ. Indeed, not just for a culture of authenticity, but for a culture of polarization as well, the implications of Bailey's vision of a reimagined approach will undoubtedly extend far beyond the narrower field of apologetics itself.
November 9, 2020
Several years ago, I sat on my bed and typed out some of my teenage struggles and fears into a Facebook message. My correspondent, my then-youth pastor Justin Bailey, took a few minutes to reply, and then what popped up on my screen in response was a lengthy quote from one of Tolkien's appendices at the end of the Lord of the Rings trilogy. I remember thinking at the time that no other youth pastor I knew would send an excerpt from the appendix of a fantasy novel in response to a teenager's spiritual angst. Now, some eight years later, that youth pastor is a professor of theology and the author of a new book on apologetics and the imagination, and I couldn't be less surprised or more deeply grateful.
"Reimagining Apologetics" is an elegant, cohesive, and concise treatment of the crisis surrounding the field of apologetics, the post-romantic modern era that we live in, and the vital need for a more holistic, generous apologetic framework with which we can rebaptize our weary imaginations. Without necessarily throwing out the traditional approach to apologetics that seeks through rational argument to create epistemic obligation, Bailey persuasively demonstrates the need for a revitalized approach that encapsulates one's heart as well as one's mind, one's desires as well as one's beliefs--an aesthetic method, in other words, that opens space for epistemic permission rather than obligation. For this challenging but necessary task, Bailey invites George MacDonald and Marilynne Robinson to the conversation table, drawing on their literary canons and the theology that inhabits them to envision what such a reimagined apologetic might look like today.
At just under 250 pages, Bailey's book is refreshingly accessible. It marries together references to pop culture, appeals to Reformed theology, and segues into phenomenology without sacrificing on rhetorical elegance or scholastic integrity; this is a book an undergrad student and a seminary professor could read and find satisfying. Its argument is compelling, persuasive, and generative; one leaves the book wondering at the possibilities such a reimagined apologetic might mean for the Church, for the academy, and for broader society. More than a compelling argument or rhetorical elegance, however, Bailey's book offers deep refreshment and hope to this reader, a seminary student tired of the ivory tower of academics and the culture wars that plague Christian communities just as much as political ones. It does indeed "baptize the imagination" by providing possibilities for an approach to Christian apologetics that invigorates rather than exhausts, that is hospitable in the truest sense of the word. This book is a must-read not just for seminary students like me or those interested in aesthetics, but for anyone who longs for a less combative and more generous Christian theology with which to journey with God and bless this aching world.
"Reimagining Apologetics" is an elegant, cohesive, and concise treatment of the crisis surrounding the field of apologetics, the post-romantic modern era that we live in, and the vital need for a more holistic, generous apologetic framework with which we can rebaptize our weary imaginations. Without necessarily throwing out the traditional approach to apologetics that seeks through rational argument to create epistemic obligation, Bailey persuasively demonstrates the need for a revitalized approach that encapsulates one's heart as well as one's mind, one's desires as well as one's beliefs--an aesthetic method, in other words, that opens space for epistemic permission rather than obligation. For this challenging but necessary task, Bailey invites George MacDonald and Marilynne Robinson to the conversation table, drawing on their literary canons and the theology that inhabits them to envision what such a reimagined apologetic might look like today.
At just under 250 pages, Bailey's book is refreshingly accessible. It marries together references to pop culture, appeals to Reformed theology, and segues into phenomenology without sacrificing on rhetorical elegance or scholastic integrity; this is a book an undergrad student and a seminary professor could read and find satisfying. Its argument is compelling, persuasive, and generative; one leaves the book wondering at the possibilities such a reimagined apologetic might mean for the Church, for the academy, and for broader society. More than a compelling argument or rhetorical elegance, however, Bailey's book offers deep refreshment and hope to this reader, a seminary student tired of the ivory tower of academics and the culture wars that plague Christian communities just as much as political ones. It does indeed "baptize the imagination" by providing possibilities for an approach to Christian apologetics that invigorates rather than exhausts, that is hospitable in the truest sense of the word. This book is a must-read not just for seminary students like me or those interested in aesthetics, but for anyone who longs for a less combative and more generous Christian theology with which to journey with God and bless this aching world.
October 7, 2020
Outstanding.
Justin Ariel Bailey aims high, commending an approach to Christian apologetics that takes the imagination, as well as the intellect, into account. In chapter after chapter, he delivers, emphasizing the crucial role of beauty and goodness in partnership with truth. This renewal of the tradition pays careful attention to changing cultural conditions in the age of authenticity. Bailey adroitly engages with theological and philosophical interlocutors like Friedrich Schleiermacher and Charles Taylor, before turning to a sustained interaction with the novels of two literary giants, George MacDonald and Marilynne Robinson. These celebrated Protestant writers are salutary models because they invite their readers into an affective and aesthetic encounter with the Christian faith, equipping outsiders to imagine what believing in and following after Jesus would feel like.
In these ways, Justin Ariel Bailey shows as well as tells. The result is a book that is both intellectually elegant and spiritually stirring. Highly recommended for Christians who are looking and longing for a way to bear witness to Jesus with humility and hope.
Justin Ariel Bailey aims high, commending an approach to Christian apologetics that takes the imagination, as well as the intellect, into account. In chapter after chapter, he delivers, emphasizing the crucial role of beauty and goodness in partnership with truth. This renewal of the tradition pays careful attention to changing cultural conditions in the age of authenticity. Bailey adroitly engages with theological and philosophical interlocutors like Friedrich Schleiermacher and Charles Taylor, before turning to a sustained interaction with the novels of two literary giants, George MacDonald and Marilynne Robinson. These celebrated Protestant writers are salutary models because they invite their readers into an affective and aesthetic encounter with the Christian faith, equipping outsiders to imagine what believing in and following after Jesus would feel like.
In these ways, Justin Ariel Bailey shows as well as tells. The result is a book that is both intellectually elegant and spiritually stirring. Highly recommended for Christians who are looking and longing for a way to bear witness to Jesus with humility and hope.
June 24, 2021
In this book, Justin Bailey seeks to explore a type of apologetic for the Christian faith that is different from the modern age's strong apologetics. He argues that we live in a culture of authenticity instead of a culture of authority or logical rationality, and we should speak to our culture as such. Bailey is quick to point out, however, that he is not arguing that we replace apologetics that seeks to prove the Christian faith rationally, logically or on the basis of hard evidence, but rather we should supplement it, perhaps first, with a lowercase "a" apologetic of authenticity and imagination. His point is well taken that in this age the question is not so much "Is Christianity true?", but rather, "Is Christianity good/beautiful?"
To present this new model (or renewed, as it is not totally new, but rather draws on a rich history), Bailey uses two novelists, George MacDonald and Marilynne Robinson, as his conversation partners to examine how an apologetic of authenticity might be carried out. He argues that these two artists are apologists in their own right, even though we would not characterize them as such (and perhaps they would agree). He uses their art as a model for a reimagined apologetic that embraces the emotion and aesthetic awareness of humanity. But he doesn't just leave it with these artists but rather builds on criticisms of their approach, developing a "thicker" apologetic of authenticity.
Bailey argues that we need this apologetic not to "prove" faith, but rather to "allow" faith. This lower case "a" apologetics opens the door for faith. It clears the path and shows the skeptic or seeker that there is a way into the door. It is when the heart is pricked that logical argumentation can follow if need be. Reimagined apologetics allows those on the outside of the faith to get a peak in the door, to experience what it might be like, and to get them to ask the question, "Could this be true?"
I really like this perspective and I think it is a good challenge to our contemporary model of apologetics, a model that seems to have less effect than it enjoyed at one time. In the modern age, emotion was always viewed skeptically and scientific precision, rational argument, and logical reasoning were seen as the ultimate arbiters of truth. However, we as human beings are not solely rational creatures. If we are to engage the whole person, we must engage with our emotional and aesthetic sides as well, as these parts of us might even be more important than the logical side, as much as we might hate that idea.
When I began this book, I was sure I would give it five stars. I absolutely loved the opening. However, when he got into the weeds of the argument, Bailey used a lot of philosophical terminologies and some of his ideas were a little hard to follow. However, he did finish strong, and I did enjoy exploring MacDonald and Robinson's work as a prototype for reimagined apologetics. I also liked the overall thrust of the book and the perspective Bailey brings to the discussion. I think it is something any Christian who is interested in apologetics should really think about in this age of authenciticity.
To present this new model (or renewed, as it is not totally new, but rather draws on a rich history), Bailey uses two novelists, George MacDonald and Marilynne Robinson, as his conversation partners to examine how an apologetic of authenticity might be carried out. He argues that these two artists are apologists in their own right, even though we would not characterize them as such (and perhaps they would agree). He uses their art as a model for a reimagined apologetic that embraces the emotion and aesthetic awareness of humanity. But he doesn't just leave it with these artists but rather builds on criticisms of their approach, developing a "thicker" apologetic of authenticity.
Bailey argues that we need this apologetic not to "prove" faith, but rather to "allow" faith. This lower case "a" apologetics opens the door for faith. It clears the path and shows the skeptic or seeker that there is a way into the door. It is when the heart is pricked that logical argumentation can follow if need be. Reimagined apologetics allows those on the outside of the faith to get a peak in the door, to experience what it might be like, and to get them to ask the question, "Could this be true?"
I really like this perspective and I think it is a good challenge to our contemporary model of apologetics, a model that seems to have less effect than it enjoyed at one time. In the modern age, emotion was always viewed skeptically and scientific precision, rational argument, and logical reasoning were seen as the ultimate arbiters of truth. However, we as human beings are not solely rational creatures. If we are to engage the whole person, we must engage with our emotional and aesthetic sides as well, as these parts of us might even be more important than the logical side, as much as we might hate that idea.
When I began this book, I was sure I would give it five stars. I absolutely loved the opening. However, when he got into the weeds of the argument, Bailey used a lot of philosophical terminologies and some of his ideas were a little hard to follow. However, he did finish strong, and I did enjoy exploring MacDonald and Robinson's work as a prototype for reimagined apologetics. I also liked the overall thrust of the book and the perspective Bailey brings to the discussion. I think it is something any Christian who is interested in apologetics should really think about in this age of authenciticity.
August 25, 2024
"It is in moments of imaginative excess, when Reality breaks through - perhaps summoning unlooked-for tears to our eyes - that we are especially open to the provocations of belief." (pg 9).
For years, this topic has simmered at the back of my soul without the words to explain what I mean or even begin to know how to explore this topic further.
As a musician, creative writer, and admirer of (but bad at) visual arts, I have gone deep into the world of apologetics and found a tension. With my apologist-peers and friends, I find myself constantly defending the arts. "Why don't people understand the gateway that the arts provide to the gospel?"
The arts are picked and pulled apart, criticized with little compassion, and shuffled away as unimportant when compared to, say, perfecting your Kalam argument (I say this with love for the Cosmological argument, btw). God forbid an artist accidentally paints, performs, or writes a heresy.
Justin Bailey has managed to express what's been heavy on my heart and expand my world into this topic I can't get away from.
"I am not arguing that artists should restrict the scope of their art to the narrow aims of traditional apologetics. Rather, I am arguing that apologetics be widened and reimagined to include the faithful imaginings of believing artists and writers. These artists offer an unprecedented gift to the wider world: the opportunity to see with Christian eyes, to experience Christian sensibilities, to feel the way into faith." (pg. 216).
Even now, teaching beginner apologetics to college students, I struggle with balancing my time - do I work on my beloved novel or read those thick and enticing apologetics and theology books? I've been beautifully reminded that the answer is "yes."
Apologetics has made me a better artist. With my art, I hope to be a better apologist.
For years, this topic has simmered at the back of my soul without the words to explain what I mean or even begin to know how to explore this topic further.
As a musician, creative writer, and admirer of (but bad at) visual arts, I have gone deep into the world of apologetics and found a tension. With my apologist-peers and friends, I find myself constantly defending the arts. "Why don't people understand the gateway that the arts provide to the gospel?"
The arts are picked and pulled apart, criticized with little compassion, and shuffled away as unimportant when compared to, say, perfecting your Kalam argument (I say this with love for the Cosmological argument, btw). God forbid an artist accidentally paints, performs, or writes a heresy.
Justin Bailey has managed to express what's been heavy on my heart and expand my world into this topic I can't get away from.
"I am not arguing that artists should restrict the scope of their art to the narrow aims of traditional apologetics. Rather, I am arguing that apologetics be widened and reimagined to include the faithful imaginings of believing artists and writers. These artists offer an unprecedented gift to the wider world: the opportunity to see with Christian eyes, to experience Christian sensibilities, to feel the way into faith." (pg. 216).
Even now, teaching beginner apologetics to college students, I struggle with balancing my time - do I work on my beloved novel or read those thick and enticing apologetics and theology books? I've been beautifully reminded that the answer is "yes."
Apologetics has made me a better artist. With my art, I hope to be a better apologist.
January 13, 2022
I borrowed this audio book from the library and I am going to buy a hard copy ASAP. Bailey does an incredible job drawing on the insights of Charles Taylor and James K. A. Smith to assess our Secular Age and propose an appropriate and contextual apologetic in a register that can be discerned by the post-romantic neighbor seeking to be truly authentic. Rather than critiquing the desire to be authentic, Bailey instead suggests that the authenticity available to us in the Gospel provides exactly the notes we need to sing to our generation. He takes the work of Marilynne Robinson and George MacDonald as case studies for how to do undertake this project in a manner that speaks to our imaginations, and therefore, our hearts. I will return to this again and again, not only for the helpful content but also for the beauty with which it was written! Definitely a new favorite.
September 2, 2021
Riktigt bra! Gillar du apologetik kan detta vara en väg framåt i mötet med de post-postmoderna frågorna för att sen öppna upp för de mer klassiska apologetiska frågorna.
February 20, 2021
A really beautiful book! I wrote down numerous quotations and thoughts while reading. It was a bit dense and thus took me awhile, but was well worth the effort.
I loved this near the end: "In a certain sense authoring some sort of imaginative project is unavoidable. So too the call of reimagining apologetics is not just to tell beautiful stories but, by God's grace, to cultivate beautiful lives. Such lives may give a sense of something greater, offering resonance for smaller stories to be taken up in the glory of God."
I loved this near the end: "In a certain sense authoring some sort of imaginative project is unavoidable. So too the call of reimagining apologetics is not just to tell beautiful stories but, by God's grace, to cultivate beautiful lives. Such lives may give a sense of something greater, offering resonance for smaller stories to be taken up in the glory of God."
January 24, 2021
Thank you, Dr. Bailey, for the chance to read such a well-written book! What a beautiful way of opening my eyes to apologetics.
March 13, 2025
This book is dense! It had me reflecting on various stories, past relationships, and ideas with every other paragraph. Ever since I became slightly obsessed with Charles Taylor’s A Secular Age (which I could only manage to read through the CliffsNotes version, James K. A. Smith's summary, because that book is even more dense), I’ve felt increasingly dissatisfied with traditional apologetics. This book fills in that gap in a profound and thoughtful way, all while acknowledging the other scholarly work that has explored similar topics.
I truly appreciated the range of theologians and philosophers the author engages with, weaving together a nuanced view of imaginative apologetics. The book begins with a summary of Taylor’s work and theories of imagination in relation to theology. From there, it sets the stage for presenting a "baptized" imaginative view of faith, guiding readers to experience this vision through the writings of George Macdonald and Marilynne Robinson. The author then transitions to how Calvinism contributes to the imaginative expressions of faith found in these two authors. I’ll admit, I found myself reconsidering my previous stance on Calvinism—though I likely agree more with Macdonald in the belief that salvation doesn't have to be cornered into Arminiasm nor Calvinism.
The final section of the book explores how this imaginative apologetic can be applied to everyday life. I do wish there had been more concrete examples of its application. However, the discussion of how desires and a vision of faith influence how we, as believers, present our experiences to others was powerful. It was enlightening to see how imagination plays a crucial role in apologetics, and I would have appreciated more real-life examples to further illustrate these ideas.
The last paragraph of the book left a lasting impression on me. The author writes, “Taking the imagination seriously has great promise for the contemporary apologetic task. Insofar as it casts an inhabitable vision, cultivates empathic understanding, and creates space for negotiating difference, reimagining apologetics offers a salutary resource for bridging gaps in apologetic communication. A life of faith, after all, is less like an intellectual achievement and more like a work of art—a work of imagination. As such, it requires a sense of receptivity and a sense of responsibility. Such a work remains rooted in reality. We find ourselves hurled onto a stage we did not make, confronted by the givenness of things. But we must also take authentic ownership of our lives, making something that is attuned to the beauty, goodness, and truth that we find. In a certain sense, authoring some sort of imaginative project is unavoidable. So too, the call of reimagining apologetics is not just to tell beautiful stories but, by God’s grace, to cultivate beautiful lives. Such lives may give a sense of something greater, offering resonance for smaller stories to be taken up in the story of God.”
This passage encapsulated much of the book’s message for me. It was empowering to think about the role of imagination in apologetics, and it encouraged me to approach conversations with unbelieving friends in a more vulnerable and inviting way. This book has equipped me to share a vision of faith that is not only intellectually rich but also emotionally resonant—a hope that surpasses death and a way of living in Jesus that is expansive and beautiful.
I will definitely want to revisit this book, especially after reading more works by George Macdonald and Marilynne Robinson. I highly recommend it to anyone interested in apologetics and the intersection of imagination and faith.
I truly appreciated the range of theologians and philosophers the author engages with, weaving together a nuanced view of imaginative apologetics. The book begins with a summary of Taylor’s work and theories of imagination in relation to theology. From there, it sets the stage for presenting a "baptized" imaginative view of faith, guiding readers to experience this vision through the writings of George Macdonald and Marilynne Robinson. The author then transitions to how Calvinism contributes to the imaginative expressions of faith found in these two authors. I’ll admit, I found myself reconsidering my previous stance on Calvinism—though I likely agree more with Macdonald in the belief that salvation doesn't have to be cornered into Arminiasm nor Calvinism.
The final section of the book explores how this imaginative apologetic can be applied to everyday life. I do wish there had been more concrete examples of its application. However, the discussion of how desires and a vision of faith influence how we, as believers, present our experiences to others was powerful. It was enlightening to see how imagination plays a crucial role in apologetics, and I would have appreciated more real-life examples to further illustrate these ideas.
The last paragraph of the book left a lasting impression on me. The author writes, “Taking the imagination seriously has great promise for the contemporary apologetic task. Insofar as it casts an inhabitable vision, cultivates empathic understanding, and creates space for negotiating difference, reimagining apologetics offers a salutary resource for bridging gaps in apologetic communication. A life of faith, after all, is less like an intellectual achievement and more like a work of art—a work of imagination. As such, it requires a sense of receptivity and a sense of responsibility. Such a work remains rooted in reality. We find ourselves hurled onto a stage we did not make, confronted by the givenness of things. But we must also take authentic ownership of our lives, making something that is attuned to the beauty, goodness, and truth that we find. In a certain sense, authoring some sort of imaginative project is unavoidable. So too, the call of reimagining apologetics is not just to tell beautiful stories but, by God’s grace, to cultivate beautiful lives. Such lives may give a sense of something greater, offering resonance for smaller stories to be taken up in the story of God.”
This passage encapsulated much of the book’s message for me. It was empowering to think about the role of imagination in apologetics, and it encouraged me to approach conversations with unbelieving friends in a more vulnerable and inviting way. This book has equipped me to share a vision of faith that is not only intellectually rich but also emotionally resonant—a hope that surpasses death and a way of living in Jesus that is expansive and beautiful.
I will definitely want to revisit this book, especially after reading more works by George Macdonald and Marilynne Robinson. I highly recommend it to anyone interested in apologetics and the intersection of imagination and faith.
April 8, 2022
Stellar work on all fronts. Bailey interacts with Taylor on a substantive level, and you can tell he really *gets* Taylor, which is not true of everyone who likes to quote him. The philosophical work is clear and top-notch, the cultural diagnosis is excellent, and the theological content is superb. Really, it's all that good.
Be forewarned that this is a bit of a philosophically-dense read, so that aspect of the style may put off some potential readers, but I highly recommend putting in the work to get through it. The way Bailey defines the role of "imagination" in the human quest for meaning is so helpful, and the way he navigates a via media between various errors that are overly grounded in either truth-obligation or experiential-affirmation is equally insightful and helpful. The deep interaction with MacDonald and Robinson as novelists and modern "apologists" is just an amazing cherry on top of an exquisite cake.
The more I read about apologetics and the postmodern/secular/post-Christendom cultural turn, the more I realize I resonate with a phenomenological approach, and Bailey has given us one of the best examples. His desire to operate within the "age of authenticity" without spurning it, nor uncritically imbibing it, is exactly what the church in America needs to do to be engaged meaningfully with culture. I could not agree more with Bailey's synopsis, diagnosis, and prescription here. Outstanding stuff.
Be forewarned that this is a bit of a philosophically-dense read, so that aspect of the style may put off some potential readers, but I highly recommend putting in the work to get through it. The way Bailey defines the role of "imagination" in the human quest for meaning is so helpful, and the way he navigates a via media between various errors that are overly grounded in either truth-obligation or experiential-affirmation is equally insightful and helpful. The deep interaction with MacDonald and Robinson as novelists and modern "apologists" is just an amazing cherry on top of an exquisite cake.
The more I read about apologetics and the postmodern/secular/post-Christendom cultural turn, the more I realize I resonate with a phenomenological approach, and Bailey has given us one of the best examples. His desire to operate within the "age of authenticity" without spurning it, nor uncritically imbibing it, is exactly what the church in America needs to do to be engaged meaningfully with culture. I could not agree more with Bailey's synopsis, diagnosis, and prescription here. Outstanding stuff.
October 9, 2022
Bailey argues that positivist tendencies in apologetics have undermined our understanding of what imagination is and where it comes from. For Bailey, imagination taps into divine creativity. We are then not creators, but finders. This framing allows imagination to lay claim to objective truth and beauty. Bailey engages with Frederick Schleiermacher, George MacDonald, Marilynne Robinson, and John Calvin as illustrators of his theory. Bailey, a theology professor at Dordt, makes readers trudge through a lot of philosophical jargon in the first few chapters. He also references Disney princess tales in an intellectual, albeit tonally awkward, way. However, the main thrust of his argument resonated with me deeply and I believed it is justified. Apologetics has a bit of a bad name because it has become equated with arguing, especially on the basis of 'facts.' Bailey does not dismiss the modern apologetic discipline, but he does try to contextualize it as its own historical phenomenon, acknowledging its continued application but challenging its exclusivity.
August 7, 2023
Listened to it via Audible+.
An innovative apologetical work, spanning philosophical, sociological, psychological, and theological topics. I am not quite sure if I understand it enough, so I will revisit it if required. The central thesis of this work is to provide the unbeliever with a glance inside the Christian worldview, and Bailey does this through examining a theoretical framework for the role of the imagination in apologetics and case studies in the works of George MacDonald and Marilynne Robinson, the former in the Victorian era and the latter responding to the New Atheists.
Novel ideas.
An innovative apologetical work, spanning philosophical, sociological, psychological, and theological topics. I am not quite sure if I understand it enough, so I will revisit it if required. The central thesis of this work is to provide the unbeliever with a glance inside the Christian worldview, and Bailey does this through examining a theoretical framework for the role of the imagination in apologetics and case studies in the works of George MacDonald and Marilynne Robinson, the former in the Victorian era and the latter responding to the New Atheists.
Novel ideas.
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July 6, 2023I read the introduction and second half of this book as I was interested in the portion about how authors George MacDonald and Marilynn Robinson wrote about the beauty of faith. The author of this book, Justin Bailey, describes George MacDonald and Marilynne Robinson’s approaches to writing as Waking Things Up and Revealing a Wider World, respectively. I read this immediately after reading Gilead by Robinson and it was a good pairing.
September 7, 2023
Love the concept of this text - that intellectual ascent is not the primary mechanism of faith. It is dense and academic (which is what it is) ... And I don't think I had the capacity to engage with it fully. It is a philosophical provocation more than a practical solution guide. So I think depending on your use it is potentially less useful, but I also think on a second read it may be truly excellent.
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