Archive by Author

The Way of Grace: Malick’s Tree of Life

 Relief intern Jacob Slaughter can’t stop thinking about this “filmmaker’s film.”

“There” says the Mother to her three sons, pointing into the sky as the theme from Bedrich Smetana’s Vltava (Moldau) elegantly guides the viewer through the earliest years of a child’s life. “That’s where God lives.”

When Terence Malick’s film The Tree of Life won the Palme d’Or at the 2011 Cannes Film Festival last May, I was excited. Somehow the movie had worked its way into my cultural radar, and I was glad to hear positive commentary on the overall quality of the piece. To my mind Malick, like Cormac McCarthy, is one of those recluse creators who makes exactly what he wants and follows no one’s schedule but his own. Since 1973 he has directed and written only five movies, but these movies include Badlands and The Thin Red Line.

It is understandable why he is not a household name. His movies cannot be passively watched and enjoyed; they demand something which many people nowadays are unable or unwilling to give: attention. Malick’s style of filmmaking is like cinematic poetry. He is a filmmaker’s filmmaker.

Reviews of The Tree of Life exemplify this disconnect between critics and audiences perfectly. Websites that rely on content created by critics rank this film as among the best of the year. Websites that have primarily user-created content show that audience’s opinions are more polarized than I have ever seen. We’ve all said it about some piece of art before, but I think The Tree of Life is a modern example of the old cliché at work, “You either love it or hate it. Nothing in-between.”

I think it is a film better experienced than described, so I will avoid giving an intricate summary or an in-depth analysis of specific symbolism. From my own experience I can simply say that this movie has constantly been on my mind since I first saw it last summer, waiting to be watched again, once I get some time away from mountains of homework.

The movie starts with a quote from Job 38: “Where were you when I laid the foundations of the earth? . . . When the morning stars sang together, and all the sons of God shouted for joy.” We are introduced to a family in pain, a family experiencing the loss of one of their own. We are given insight into the mind of the Mother as she mourns the passing of a child. We hear the thoughts of the oldest son Jack as he tries to come to terms with the death of one of the people closest to him. This particular death is more than just a human tragedy, it is the cause for a religious depression. As they struggle to understand, they ask the inevitable question:

“Why? Where were You?”

The response? A twenty-minute sequence of the creation of the universe that contains some of the most awe-inspiring images in recent cinematic history.

Yet, that is not the whole response. There comes a sudden shift from the large and cosmic to the subtle and deeply personal history of the family. Through one of the better examples of montage, Malik takes us through the experiences before birth until that point of childhood in which we begin to understand the world on our own.

“There are two ways through life,” the three sons are told, “the way of nature or the way of grace.” As Jack and his two brothers grow up they have these two ways exemplified by their Father and Mother, respectively. This conflicting duality will be a part of Jack’s own journey to understanding the faith of his parents in an attempt to make it his own, and the bulk of the film functions as Jack’s bildungsroman.

The film ends with a vision of the afterlife, a moment of reconciliation between loved ones on a beach in which all that can be seen is the never-ending horizon. The scene makes sense, after all, “That’s where God lives,” as Jack was told earlier.

The last words are uttered by the Mother, “I give him to you. I give you my son.” While the meaning is explicitly an acceptance of her son’s death, I think the Biblical framework allows for one to see a secondary implication: a John 3:16 reassurance of the love of God for not only the world, but for the individual. In light of that Son, the Mother is able to trust her own into the hands of God.

As I said, I’ve just skimmed the surface of what is to be realized throughout The Tree of Life. I’ve barely mentioned any of the symbolism at play throughout the film, but hopefully you are intrigued enough to experience it for yourself. I am willing to admit that I may be inserting aspects of my own biases onto the piece, but you can’t watch The Tree of Life without engaging with the Christian faith. While Malick may not have set out to make “Christian Art,” I cannot think of a better work that portrays the tension between God’s unimaginable immensity and his love and interaction with the individual through the world He created and the people placed in one’s life.

Do yourself a favor: see this film.

Jacob Slaughter is an editorial intern with Relief. He will graduate from Trinity International University this spring with a degree in English.

5.2 Is On Its Way!

Issue 5.2

Issue 5.2 is officially printed and on its way! We’ve had our setbacks, as seems inevitable in this business, but we’re really proud of the work we have in this issue. Thanks to all the work by our authors, editors, interns, and especially our techie, Ian Philpot.

Kafka on Reading Books

I just finished listening to Krista Tippet’s interview with Walter Brueggemann, which was interesting on many levels, not the least for this quote by Kafka on reading books. If only we could always read the Bible as the “ax for the frozen sea within us”! The best literature, and the kind of thing we strive to publish in Relief, will disrupt our habitual lives and refresh our orientation to the world – and to the Scriptures.

One Last Push: Special eBook Sale until Jan. 1

Issue 5.2

We are taking 5.2 to print, but before we do we want to offer you one last chance to get your copy at the discounted rate. As a little incentive, we’d like to throw in a free eBook copy of issue 5.1, featuring poetry by David Holper, creative nonfiction by Leslie Leyland Fields and Samuel Thomas Martin, and fiction by Margot Patterson, among others. This will give you something to read while you await poetry by Scott Cairns and Julie L. Moore, fiction by Thomas Allbaugh and Joshua Hren, and creative nonfiction by Jean Hoefling and Chely Roach.

Actually, we’re offering this bonus on both print and eBook copies of 5.2. Just click the relevant button to the right there and you’ll receive a discount code for 5.1 in your confirmation e-mail.

If you’ve been sitting on the fence on this one, now’s the time to act. We’ll end this deal on midnight New Year’s Day (figuring you’ll be busy the previous evening).

Hand-made Christmas

Thanks to Relief intern Lyle Enright for sharing this Christmas memory with us. N.B.: Lyle won the Trinity College Chapel “My Best Christmas Story” contest with a longer version of this.

When you’re little, life can usually be defined by whatever consistently holds your attention moment by moment. At five years old, my life revolved around trains and dinosaurs – trains because they were awesome, dinosaurs because they ate people, symbols of the total masculinity I exemplified at that age (so no, I didn’t believe in girl dinosaurs).

Mom was studying counseling psychology before she had me and decided that she wasn’t going to need any other patients. Dad was the associate pastor at our church. He’s a carpenter by trade, with thick stubble and a preaching voice that could’ve belonged to an eighties rock-star, landing him somewhere on the spectrum between Jesus and Paul McCartney.

But, as you might guess, we did not have anything close to Paul McCartney’s money. I didn’t know at the time how much work it took for Dad to keep us afloat, but our Christmastimes centered on family, the birth of Jesus, and my parents doting on me as much as practicality would allow. They were content, hopeful in the Lord, and very much in love. I was harder to please.

The fact is that little boys with burgeoning machismo enjoy having numerous miniature replicas of things that they can mangle. If you’ve ever read Calvin and Hobbes, you may be familiar with the scene where Calvin hands his mother his Christmas list:

“This says, ‘Volume One’,” she says.

“‘Atom Bomb’ through ‘Grenade Launcher’,” he explains.

My parents did try. Once when I was eyeing a particularly realistic tyrannosaurus in Toys R’ Us, my father came up and said “Son, I’ll give you a choice: I’ll either buy you that T-Rex now or, if you wait until you’re eighteen, I’ll buy you a convertible.” I knew a deal when I heard one, and I walked out with the massive lizard under my arm. I still haven’t quite forgiven him.

Before too long Dad, in an effort to save their bank account, presented me with several hand-made wooden houses. When I asked him what they were for, he explained that they were scenery for me to build my train tracks around.

“Cool,” I said. “And what else?” With a twinkle in his eye, Dad took one of my toys and demonstrated that a velociraptor could easily demolish it in a pinch.

Right then, I knew what I wanted for that Christmas. I’d found out that hand-made things could be pretty fantastic. I also discovered that they saved money. That was my way in.

“Dawdy,” I said in my best I’m-your-only-son voice. “Dawdy for Christmas I want you to build Jurassic Park in the backyard.”

“Lyle, you’ve never even seen that movie,” Mom said, dumbfounded. Well . . . I’d known the film had to be amazing because it was about dinosaurs and yet my parents wouldn’t let me see it, so on the night they rented it I cracked the door to my room open, squatted in the shadows and marveled at the carnage on-screen from off in the corner.

“I think I saw more than you did, Mom,” I said. “You had a blanket over your head the whole time.” But what had really baffled me was that they thought such violence would scare me. Those sorts of things, and worse, happened on a daily basis during playtime, I explained – and was promptly grounded.

It took Mom to explain that Jurassic Park in the backyard would be way more expensive than I thought, even with Dad making everything by hand. I was disappointed but I understood – I understood everything except for how much time Dad began spending in the garage after that, only getting to say goodnight to him as he would come back inside late at night, exhausted.

There was a part of me that worried I’d hurt his feelings, that he thought I didn’t believe in him anymore, didn’t see him as Invincible Dad. I mean I didn’t, quite, but it wasn’t his fault. Maybe it was a little his fault, but I didn’t want him to feel bad about it.

I didn’t see him at all on Christmas Eve. I thought it was about time he got over himself. I missed him, but Mom told me I couldn’t bug him. Now I was the one thinking it was unfair, and all the marshmallows in my cocoa couldn’t quite make it all better.

That morning I got Mom and Dad up around seven, herding them out of bed like a good only-child. Dad got a hold of me.

“Hey boss-man,” he said. “Mom and I still have to get ready. Why don’t you run downstairs and take a look under the tree?”

I did as I was told, but within moments I’d shot back up the stairs and latched myself around Dad’s neck. I didn’t thank him because I didn’t know how.

Under the tree, the lights flashing across it, was a two-hundred-piece, hand-carved wooden train track with each of my little engines ready to pull coal and passengers for as long as my imagination would allow.

Dad put something of himself into that gift more than fifteen years ago, through all the cuts and splinters. He did it with no other thought in his mind than seeing my joy.

God did that. He knit himself a body in a girl’s womb – His Son, fearfully and wonderfully hand-made, laid on a bed of hay in a cave for us to find.

Clearly, God likes surprises too because it took us more than thirty years to figure out what he’d given us. But we didn’t share it, didn’t use it or give it away . . . we tortured it and hung it up to die. It goes to show God’s genius though, something incomprehensible about his heart, to know that that’s exactly how we were supposed to use his gift after all.

One of these days, I want to finally be speechless about that.

Lyle Enright is a senior English major at Trinity International University and an intern for Relief.

Page 1 of 812345»...Last »