Andrew Greig

“Suffering, sin, and evil are no longer located in God's will, but are understood as arising within a finite, open, developmental, and future-oriented creation. They are dealt with by the power of God's love revealed in the cross and resurrection of Jesus Christ. God's answer to the problem of woundedness and wickedness is not to show us now or in the eschaton how they fit into God's design or mosaic, but to show us how God overcomes the brokenness and maliciousness of the creation now and in the eschaton through the redemptive power of the cross and resurrection. Divine power is rethought as the suffering and transforming power of Jesus' cross and resurrection, not as the omnipotent power of the timeless will of God. Incarnation, instead of immutability, defines God's will and way. God is the suffering and transforming God.”
― Tyron Inbody, The Faith of the Christian Church: An Introduction to Theology

“Shed peace, not discord, wherever you go. Try to be part of the cure of every situation, not part of the problem. Try to ignore evil, rather than to actively combat it. Always try to build up, never to tear down. Show others by your example that happiness comes from living the right way. The power of your example is greater than the power of what you say.”
― Anonymous, Twenty Four Hours A Day

“Agent Black wanted to put Lauren Carmichael in a ten-by-ten prison cell. I had a better idea: a hole out in the desert, three feet wide and six feet deep.”
― Craig Schaefer, The Living End

“The dominant literary mode of the twentieth century has been the fantastic. This may appear a surprising claim, which would not have seemed even remotely
conceivable at the start of the century and which is bound to encounter fierce resistance even now. However, when the time comes to look back at the century, it seems very likely that future literary historians, detached from the squabbles of our present, will see as its most representative and distinctive works books like J.R.R. Tolkien’s The Lord of the Rings, and also George Orwell’s Nineteen Eighty-Four and Animal Farm, William Golding’s Lord of the Flies and The Inheritors, Kurt Vonnegut’s Slaughterhouse-Five and Cat’s Cradle, Ursula Le Guin’s The Left Hand of Darkness and The Dispossessed, Thomas Pynchon’s The Crying of Lot-49 and Gravity’s Rainbow. The list could readily be extended, back to the late nineteenth century with H.G. Wells’s The Island of Dr Moreau and The War of the Worlds, and up to writers currently active like Stephen R. Donaldson and George R.R. Martin. It could take in authors as different, not to say opposed, as Kingsley and Martin Amis, Anthony Burgess, Stephen King, Terry Pratchett, Don DeLillo, and Julian Barnes. By the end of the century, even authors deeply committed to the realist novel have often found themselves unable to resist the gravitational pull of the fantastic as a literary mode.

This is not the same, one should note, as fantasy as a literary genre – of the authors listed above, only four besides Tolkien would find their works regularly placed on the ‘fantasy’ shelves of bookshops, and ‘the fantastic’ includes many genres besides fantasy: allegory and parable, fairy-tale, horror and science fiction, modern ghost-story and medieval romance. Nevertheless, the point remains.
Those authors of the twentieth century who have spoken most powerfully to and for their contemporaries have for some reason found it necessary to use the metaphoric mode of fantasy, to write about worlds and creatures which we know do not exist, whether Tolkien’s ‘Middle-earth’, Orwell’s ‘Ingsoc’, the remote islands of Golding and Wells, or the Martians and Tralfa-madorians who burst into peaceful English or American suburbia in Wells and Vonnegut. A ready explanation for this phenomenon is of course that it represents a kind of literary disease, whose sufferers – the millions of readers of fantasy – should be scorned, pitied, or rehabilitated back to correct and proper taste. Commonly the disease is said to be ‘escapism’: readers and writers of fantasy are fleeing from reality. The problem with this is that so many of the originators of the later twentieth-century fantastic mode, including all four of those first mentioned above (Tolkien, Orwell, Golding, Vonnegut) are combat veterans, present at or at least deeply involved in the most traumatically significant events of the century, such as the Battle of the Somme (Tolkien), the bombing of Dresden (Vonnegut), the rise and early victory of fascism (Orwell). Nor can anyone say that they turned their backs on these events. Rather, they had to find some way of communicating and commenting on them. It is strange that this had, for some reason, in so many cases to involve fantasy as well as realism, but that is what has happened.”
― Tom Shippey, J.R.R. Tolkien: Author of the Century