James

James.  The Holy Bible.  New King James Version.  Nashville: Thomas Nelson, 1982.

James wrote to Jewish Christians.  His letter is full of practical wisdom for all Christians.

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Several related themes run through James.  These are trials, self-control, practical faith, and humility.

James begins his letter with a discussion of trials.  We all have troubles.  Disconcertingly, sometimes our worst problems arise from doing the right thing.  Though it may seem like God has abandoned us in such times, God is at work.  Facing trials with patience and faith builds our character.

Part of a godly character is self-control.  A mature Christian will discipline himself.  In particular, he will watch what he says.  It is hard to control what we say, refraining from idle and harmful words.  It is hard to speak convincingly about the love, grace, and faithfulness of God when you just spewed a lot of gossip, lies, and nonsense.

James writes of faith in very practical and active terms.  Sermons, exultations, and moral sayings are hollow and useless if they are not coupled with service, aid and upright living.  If we really believe the Gospel and have call to be followers of Christ, we will act like Christ who humbled Himself to labor with men, heal the sick, feed the hungry, and care for the needy.

Emulating the humility or Christ is a theme of the letter in itself.  James extols believers to act with humility and treat everyone fairly.  Wealth and position are temporary, but in our eternal relation to God we’re all the same:  each Christian is a sinful person saved by the grace of God.  Pride is a source of strife, people in conflict as they all try to get their own way, but humble people trust God and can let go of strife.

If you’re interested in this book, you may also be interested in

Deuteronomy

Exodus

Genesis

The Gospels

Hebrews

Leviticus

The Most Effective Organization in the U.S. by Robert A. Watson & Ben Brown

The Pauline Letters

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The Picture of Dorian Gray by Oscar Wilde

Oscar Wilde’s novel The Picture of Dorian Gray is a classic of English literature. I’m writing a review of it because I want some horror to feature on Halloween.

Dorian Gray is, in my mind, a weird tale. Wilde produces a sense of creepiness that begins even in the seemingly light and hopeful first chapter. The title portrait is a supernatural object that horrifies and fascinates Gray. He is preserved in youth and beauty, and possibly even saved from the consequences of evil deeds, but the portrait become a mirror to his dark and sinful soul, something that eventually becomes too horrible for him to endure.

In addition to being a weird tale, it is a moral tale. Gray has beauty, wealth, and status, but he gives himself over to any kind of wickedness if their might be pleasure in it. At first, it is the infatuation of a hollow love for the actress Sibyl Vane. When she disappoints him on the stage by failing to present an ideal picture of love because acting it seems shallow compared to her real passion, he rejects her. Her suicide nearly turns him off the path he is pursuing, but when the thrill of the moment passed, he nearly forgot her. The sins of youth and ignorance turn more willful as he falls into using drugs and prostitutes. Eventually he murders a man. The book hints at other wrongdoing, possibly homosexuality, affairs with married women, seduction for the sake of its own pleasure, gossip, excessive drink, greed, blasphemy and leading  others into all these things.

The book could be a social commentary on the upper class of his time. With all the advantages they had, they were still corrupt. A fortunate life is not a sign of a good person. As with Job, poverty and hardship are not indications of an evil life.

Some think Wilde is exploring own life in the book. One can read hints of homosexuality in Basil Hallward’s feelings toward Gray (Basil paints the portrait), and in Gray’s feelings toward Lord Henry Wotton. Possibly Wilde was critiquing his own aestheticism, finding that it did not necessarily lead to a higher morality, but could as easily lead one to an immoral, selfish, and consuming pleasure-seeking.

In the book, Wilde never comes out and says what his intentions are, if he has any at all in terms of exploring himself, his society, or notions of beauty, art and morality. It seems clear, though, the Wilde suggests a person cannot be separated from his deeds and his consequences as Gray is with the aid of his magical painting. A man, his deeds, and their consequences may not be the same thing, but they are linked in a powerful way. When Gray tries to destroy the painting that bears the ugliness of his soul, he plunges the knife into his own heart.

Though some have accused Wilde of writing an immoral book, one could as easily argue that he wrote a very moral book. Gray is sympathetic to a degree, but he is an evildoer destroyed by the evil he did. The reader can contemplate issues of art, beauty, and morality for himself. Along the way, he can enjoy a creepy thrill.

If you’re interested in this book, you may also be interested in

The Amazing Adventures of Kavalier & Clay by Michael Chabon

Wilde, Oscar. The Picture of Dorian Gray.  1890. New York: Barnes & Noble, 2003.