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160 pages, Paperback
First published June 26, 1998
It’s not a long book at all (146 pages of rather large type), and it barely has a narrative. It was still exhausting to read. Part of this has to do with the language. Tedious exposition is used at every possible juncture, and things that are explained once are explained again in greater detail later on. This book is intended to win people over, so maybe the authors don’t want to leave anything to chance, but it seems to me that they’re shooting themselves in the foot with this approach. I didn’t believe in the rapture when I started, but I believe in it less now. I found it annoying to read a description of what Vicki watches on TV (a montage of people around the world vanishing), but I found it even more annoying to read the exact description again, almost verbatim, in the second book when Judd watches TV. (There's also a segment in the adult series that uses almost the exact same language as well.)
Next we have to reckon with the tension inherent in creating an evangelistic tool that is also supposed to make money. When Christians create art (especially in Evangelical-land), they usually seem to feel that the work has to explicitly present and defend the gospel. At the same time, the work has to be commercially successful. But the only segment of the population that will pay to be preached at is the same Evangelical subculture that gave rise to the work (and does not need to hear its central message). Thus, American Christian art has become a kind of apologetics theater, where born-again believers pay for saccharine, moralistic slop in the (largely mistaken) belief that it is doing some good in the world, and that they are successful Culture Warriors. This book could only arise in that environment.