Christian Fiction, part 3

Elsie Dinsmore

The Elsie Dinsmore series has the misfortune of being recommended widely throughout the Christian home-schooling community. At first glance, the stories are charming and strongly uphold Christian character. However, Martha Finley does not demonstrate Christianity accurately or appealingly. Elsie rarely sins, and the few sins she has are not addressed well. In addition, her primary temptation is not considered a sin by the majority of Christians today.

Elsie has almost no faults, although she repents of several throughout the series. Her faults mostly consist of thoughts or feelings that last no more than a few seconds before she implodes into days of tears and repentance. While many girls raised in Christian homes may find that their faults are primarily within their heads and hearts, the author could have helped such readers by making these faults more explicit, or more realistically long-lasting. Also, giving Elsie the comfort of the cross and the Holy Spirit earlier in her repentance would be advantageous not only to her own fictitious soul, but also to the souls of girls encouraged to emulate her.

Her other sins seem accidental. Though I don’t claim to know the hearts of other readers, I am willful sinner. Elsie’s example discourages my will to obey by showing how impossible true obedience is, instead of the intended effect of encouraging by her example.

In addition, much of the plot of the first two books surrounds a “sin” that is no sin. Elsie is commanded on several occasions to play on Sunday, which she considers a mortal sin. She refuses, courageously enduring peril to her health. Again, because this is not considered sinful by many orthodox interpretations of scripture, her courage seems wasted. In sum, the books do little to encourage young saints in their process of sanctification, despite their technical adherence to orthodoxy.

Christian Fiction, part 2

Patricia St. John

Elementary readers will love Patricia St. John's stories. I still do. St. John skillfully presents the gospel in every story, often tying it to particular Scriptures by showing how God saves us from darkness, death, fear, or other aspects of man’s sinful condition. The books rarely, though not never, preach; the characters are identifiable and likable. Each has an interesting setting or plot, too. A few may be more interesting to girls than boys, but many will appeal to both.

Her best work, Treasures of the Snow, takes the reader to the Alps and climbs up among the goats and flowers. Annette and Lucien, the main characters, learn lessons of forgiveness, both God’s forgiveness of us and our forgiveness of others, when Lucien is responsible for crippling Annette’s little brother. Other fun settings include England, North Africa, and New Testament Palestine. While showing some serious situations, St. John keeps the tone of her works appropriate for children.

Foreign missions is depicted from several different angles. In two separate books (The Tanglewoods’ Secret and Three Go Searching), children are raised apart from their parents because the parents work as missionaries. This may require some discussion. Other books also show missionary work.

Another reason I love St. John’s works is because she actively demonstrates in many of the books how and why all Christians, even children, should evangelize the lost. Each protagonist has a family member, friend, or community that needs the same Savior that the child himself finds. Again, without being preachy, St. John shows the gospel active in lives and hearts.

Christian Fiction, part 1

I have mixed feelings about Christian fiction. There is value in explicit references to God, the Bible, and living a faithful life; all these help with understanding and learning from a work of fiction. The problem lies in the many works of “Christian” fiction which do not represent Christ well. Either they are extremely secular in content or worldview, or the author presents orthodoxy in an unflattering light. In the following series of posts, I want to examine a few varied works which fall into this category.

Christian Romance

In general, I have come to believe that this is a terrible genre. Nevertheless, here are two exceptions to my general dislike of authors in this category. The first is Janette Oke. Oke’s romances for the most part are wholesome, but more importantly, the theme of her stories does not center on the romance, but on living the Christian life. In a simple way, she writes of various trials in life, and—without being preachy—shows how faith brings her characters through each. The lessons learned in each story are not very profound, but are nevertheless worth telling. An intermediate reader would be mature enough for her works.

The second author I enjoy is Francine Rivers. Many of the topics discussed in her novels are mature, so readers should be advanced (maybe even married in some instances). Yet she deals with these mature topics with honesty and adheres to essential Christianity (for example, showing man’s sin, but also the greatness of God to forgive and change His people, showing the difficulty Christians may have in obeying Christ). Her novels often focus more on the application of Christianity to difficult circumstances than on romance, yet her character development suffers no lack as a result.

Boxcar Children

by Gertrude Chandler Warner

The Boxcar Children series has easy chapter books for young elementary children. With the approval of the parent, these adventures may be enjoyed by all ages.

Pros:

- The children model a strong work ethic. Adults around them encourage them to continue and improve their work ethic. Only a couple books of the series do not make work a heavy theme. #18 would be a negative exception.

- The children enjoy their work and often find ways to make even dull or difficult tasks fun for one another, especially for Benny while he is young. See especially #1, #2.

- In solving the mysteries, they often are able to serve and show love for others. Compassion for the hurting is featured in many books, as well as a strong loyalty to family. See especially #3, #4, $7, #16.

- In spite of being children, the family finds ways to be useful and productive. They are not hindered by their youth. See especially, #1, #4, #10, #19.

Cons:

- While the work ethic and independence of the Boxcar Children in many ways is positive, the series has received criticism because the children often seem independent of adult assistance and input. With only a few exceptions, this criticism accurately represents the series (#1, #3, #17 are positive exceptions). A child who struggles with being too independent may feel condoned in this failing. Conversely, a child who is too dependent might be given greater confidence by reading these adventures. The parent or teacher should use discretion.

- While the Boxcar children are presenting a good example of numerous character traits to the reader, few flaws can be found in any of the children or other main characters. These faults often do not play a major role in the plot, although they are always portrayed as legitimate failings. Again, the parent or teacher should use discretion; the reader should understand that all humans err and are in need of correction. Positive exceptions: #2, #3, #4.

- Book #9 contains a reference to evolution. The theory is treated as fact by the characters.

Note: Only the first 19 books in the series are written by Gertrude Chandler Warner, though later ones also bear her name. Multiple authors wrote the rest of the series, and many of those books only partially or poorly present the values of the original author. This post should be considered a review of the original 19 works.

Ender's Game

by Orson Scott Card

After an intermediate or advanced child has been taught to discern biblical worldviews and to celebrate them, he learns to discern unbiblical worldviews and to denigrate them. Then there will come a point when the student must learn that, while the author writes from an unbiblical worldview, he has touched on some deep or poignant truth that should be celebrated. Ender's Game falls into just such a category.

The worldview is decidedly humanist. Although the action of the story follows the conflict between man and bugger--a storyline that seems almost silly in the telling--the true conflict is between Ender and himself. The question haunting Ender through the book asks, "Is Ender like Peter?" Peter, who hurts animals for pleasure and was rejected for the position Ender later receives, represents an evil heart. But even Peter's evil is eventually diminished; Ender writes his brother's memoirs, showing how Peter can be understood. Perhaps fate made him cruel, so he cannot be culpable, the author suggests. Or perhaps he wanted something good, but wanted it too much. No. This part of the worldview must be rejected. Man is evil. He needs redemption from sin, not explanation and understanding.

Compared to such a grievous error, the truth I argue to be worth celebrating may seem trivial. Orson Scott Card is a talented author. In Ender's Game, he skillfully relates human emotions, in particular, loneliness. (Card's loneliness is existential, c.f. Kierkegaard or Nietzsche). Not only does he expertly describe loneliness, but he explicates the thoughts and situations surrounding loneliness with poignancy. This ability to portray human emotion is laudable because loneliness is so universal a feeling. The Fall separated man not only from God, but also from other men. Unregenerate man definitely experiences this isolation, and while Christians' community in the Church is partially restored, a full sense of companionship will not be experienced until our Glorification. Card does not depict the biblical reason behind loneliness, though. His genius is merely in expressing it. Because of that, this book should be kept for advanced readers.

Cry, the Beloved Country

by Alan Paton

Anyone who has tasted redemption should read this book. Anyone who needs redemption should read this book. Yet, as a warning, this book is heavy. Only by great heaviness can thene be a true need for redemption.

I do not know whether Alan Paton believes in the gospel, but his priest characters certainly do. Their gospel brings forgiveness for real sins through Jesus Christ's death alone. Through them, the worldview is phenomenal.

I recommend Cry, the Beloved Country to advanced readers, however. Intermediate readers may not be ready for the sin portrayed (e.g. a woman in poverty turns to prostitution); also, they may need to be led through the political and social justice issues. Beyond that, everyone should read this story of redemption.

A Christian Tale of Adventure and Survival In Spite of Tremendous Odds, Displaying the Will of Providence

and the Glories of a Merciful God While Exploring a Savage Country for the Preservation of Life and the Furtherance of the Gospel Among Foreign Persons.

or Robinson Crusoe by Daniel Defoe

Daniel Defoe presents a biblical worldview clearly in his tale of adventure and survival on a remote island. Robinson Crusoe contains acceptable content for any age; however, the vocabulary difficulty will deter many readers. Also, I found the book less interesting--slower-- than I had expected in a story about survival on a deserted island. Boys will perhaps enjoy the book more than girls.

The most enthralling aspect of Robinson Crusoe was Crusoe's spiritual journey. Crusoe freely admits that his sins of discontent with his allotted life and disrespect for his parent's wishes resulted in his predicament. After some years on the island, he opens his neglected Bible and repents, glorying in God's mercy to him. For the rest of his adventure, Christianity plays a distinct part in his choices and attitudes. When he meets Friday, he shares the Gospel with him, and he carefully considers what action most carefully follows God's moral will.

Much of the book follows Crusoe's exploration of the island, pursuit of sustenance and comfort for his life on the island, and various attempts at escape. I thought the plot proceeded slowly, but another reader might disagree. All in all, Robinson Crusoe did not become a favorite, but it was definitely worth reading.

Ella Enchanted

by Gail Carson Levine

Ella Enchanted delves deeply into the tale of Cinderella, explaining the familiar plot freshly while adding a beautiful portrayal of sacrificial love. The short chapter book can be easily read by an elementary student, but would make a fun read-aloud for younger children. Much of the story directly interests girls more than boys, though. Inappropriate content is restricted to mentions of 15-year-old Ella marrying a much older man and some mild violence of the sort that frequently occurs in fairy tales. The love story builds slowly, resting on mutual interests, honor, and integrity.

This telling may be more beneficial to children's character than the original, because the addition to the plot thoroughly explores free will as a concept. Ella is forced to obey any command due to a "gift" given to her at birth by a fairy. Nevertheless, she often finds ways of rebelling while following the letter of commands. While this attitude is not specifically denounced, the book frequently discusses the value of obedience for love's sake, or at least obedience that is chosen. At the same time, because of her "curse," Ella sees how both virtuous and wicked people use the power they possess. A younger child will witness in this book the value of choosing obedience, and choosing an appropriate attitude for obedience; but an older child may begin to explore spiritual ideas of free will, seeing the beauty of God in His decision to grant free will to man.

In analyzing other books, I have criticized those books which demonstrate man as his own savior. Although Ella ultimately does release herself from her curse, this book does not espouse humanism to the same extent. First, Ella herself frequently seeks help from others, most particularly her fairy godmother and the original "generous" trouble-making fairy. She must often work together with others to do good or accomplish goals. Second, like all the other humans and creatures in the tale, Ella has strengths and weaknesses (though not many of the wicked characters have definable strengths). Finally, the story more clearly displays the beautiful truths of free will than other humanist works. Although the author does not acknowledge God, the reader is given ample opportunity to rejoice in His works.