I recently finished reading an advanced copy of the Postmodern Pilgrim's Progress by Kyle Mann and Joel Berry of the satire site Babylon Bee. As satirists, I take them very seriously. Whether or not conservatism has a future is going to come down to whether the next generation of conservative activists have properly internalized what the Bee offers. As a reviewer, I come to this newest offering of theirs from a fairly unique perspective. I am a Jew who has read John Bunyan's Pilgrim's Progress, C. S. Lewis' Pilgrim's Regress as well as Douglas Adams.
In essence, what Mann and Berry have given us is the Bunyan classic if it has been written by a Christianized Adams. In the role of the pilgrim Christian, we have the unbeliever Ryan Fleming, who agrees to attend a church service because of a last request from his teenage younger brother who died of cancer. Ryan then finds himself transported into another world called the Dying Lands where he is given a quest to wake the king and save the world. As Bunyan's original has a companion named Faithful, who helps keep him on the right path, Ryan is joined by a woman named Faith. All of this is told by an angelic narrator who is essentially the Book from Hitchhiker's Guide to the Galaxy. Ryan is modeled after Arthur Dent. He is a perfectly normal unexceptional person who finds himself in an insane world and insists on being his reasonable self. For example, he tries to point out to the people in the City of Destruction that, if they bothered to look up into the sky, they would see a storm of meteorites coming to destroy them and is frustrated when everyone continues eating their bread and cheese. (Granted, Ryan does find the bread and cheese to be quite marvelous and almost fails to escape himself.)
Jordan Peterson argues that true art requires that the artist has an idea but one that they cannot directly put into words. If the artist understands the message they wish to convey then they should come outright and say it. If the artist consciously tries to smuggle a message into a story then what they have is propaganda and the inherent dishonesty of the process undermines its artistic value. What makes the original Pilgrim's Progress work, despite the fact that it is a Puritan sermon crammed into story form, is that it is so blatant and earnest as to be above the charge of guile.
Bunyan's message that he makes no attempt to dress up is the Protestant doctrine of justification by faith. To understand it is to recognize that it is a horrific doctrine that no one would willingly accept unless they were forced to through divine revelation or the reading of scripture. You are a totally depraved sinner and there is no action that you can perform that can make you less deserving of eternal damnation. That being the case, Jesus still died to save you despite your fundamental unworthiness of salvation. To be justified through faith means to walk that tightrope and simultaneously believe both of these things at the same time.
Christian's primary struggle in the early stage of his journey is with this balancing act. He comes to know that he is a sinner living in the City of Destruction by reading a book written by the creator of the world that tells him this fact. Christian, therefore, abandons his wife and children even to the point of covering his ears and shouting "eternal life" as he runs away from them. Evangelist tells him to stay on the road to the Celestial City as that is the only way he will eventually be able to be relieved of his burden of sin. What repeatably gets Christian off of the path is the temptation to believe that there might be an alternative way to escape his burden, such as following the Law, or despairing of ever being redeemed.
The purpose of Bunyan is not to convince us to accept justification by faith by making it sound attractive or reasonable. On the contrary, Bunyan wants us to recognize that we need to accept this belief no matter how much it violates our every moral intuition simply because it is true. It also should be noted that Christian's struggle is not over his belief in God. The king's existence is an assumed fact. The only question is whether he can internalize the logic of justification by faith so that it carries him all the way to the end.
This can be contrasted with Lewis, whose John utterly rejects the Landlord. It is not so much that John does not believe in the Landlord, though he is relieved when Mr. Enlightenment informs him that the Landlord was invented by the stewards, but that John rejects the sort of relationship the Landlord offers where, if you follow his rules, and you can live in his house with him forever but if you violate the rules you will be sent to his scorpion pit. John does his best to keep away from anything connected to the Landlord. His primary companion is Virtue (Kant) who insists on not caring whether the Landlord with his bribes and threats might exist. Instead, John seeks to find his island (joy). What John slowly is forced to accept is that, if he wants to cross the canyon of Peccatum Adae and reach his island, he is going to need the Landlord in the form of Mother Kirk.
In essence, Lewis was a 19th-century style romantic who came to accept that, in order to salvage this romanticism, he needed to ground it within a Christian worldview. Jesus, for Lewis, was all the best of mythology made real in human history. Lewis was not interested in the question of salvation let alone whether one could be saved through faith or works.
The big question for Lewis was whether one could maintain the enchanted worldview in the face of modernity that would allow someone to relate to God as a real individual as opposed to a mere theoretical proposition. Part of the appeal of Lewis, unlike Bunyan, is that his writing was designed to not antagonize readers. Anyone, even a Jew like me, could embrace Lewis as an exercise in attempting to maintain, with a straight face, that there is more to the universe than simple materialism.
Lewis was a fundamentalist, not in the modern sense of holding particularly conservative theological views but in the sense of the early twentieth-century Christian Fundamentals pamphlets. Lewis was not interested in rehashing the early modern debates within Protestantism and ultimately with Catholicism, but in offering a few basic principles for a wide spectrum of Christians to rally around, what Lewis referred to as "mere Christianity." For Lewis, this primarily meant accepting that the God-Man had entered history in the person of Jesus in a completely factual and literal sense.
With this in mind, we can begin to explore a major challenge of using Adams to make Bunyan work for a modern audience. The key to translating Bunyan is that there is no way that you can make him acceptable to most modern readers. Considering the amount of time that he spent in prison, it is not as if his message was all that acceptable to seventeenth-century ears.
Bunyan was too earnest to do satire. I do not read Pilgrim's Progress as any kind of absurdist comedy. The book needs to be read with full salvation or damnation seriousness. The only thing absurd is why would a sinner like Christian be given so many chances to get back on the road when he did not even deserve to make it out of the City of Destruction? By contrast, Lewis can be seen in a comic light as he wished to mock his own highly roundabout path to Christianity and he offers a romp through modern philosophy.
Absurdity was something essential to Adams and it connected to his atheism. His point was not the conventional Dawkins-style atheist polemic to render religion as absurd and atheism rational. Rather, he embraced a world that was absurd. The question then becomes, if the world is absurd no matter which way you turn, might it make more sense to accept a world that is absurd in its lacking of meaning than one where there are beings in charge who are ridiculous?
Mann and Berry struggle with striking the right tone in their writing and ultimately in finding the purpose of their book. The book could have been a self-acknowledging satire of themselves as the kinds of people who read Adams and yet have somehow remained religious Christians. Alternatively, it could have served as a vehicle for the authors to explore something about their worldview that defies straightforward exposition. Much of the strength of the Babylon Bee is that it captures certain truths that could only be expressed by satire. If readers take nothing else from the Bee it should be the simple question of how is it that a satire site consistently offers a more thoughtful analysis of the world than CNN.
The Postmodern Pilgrim offers some genuinely excellent moments with ideas that are best expressed through the surreal allegory of Pilgrim's Progress. The random people getting killed by falling meteorites in the City of Destruction offer a powerful response to Ryan's struggle with theodicy. We are tempted to turn the unfairness of children dying against God when it should cause us to contemplate the fact that we may randomly die at any time. People living in the time of Bunyan had a certain spiritual advantage over us as they were constantly confronted with dead children. There could be no pretense that life on Earth could be perfected as an end in itself.
We have one of the best versions of the Devil since Screwtape. There is this delightful ambiguity to him because he tempts Ryan with what Ryan honestly wants, mainly to escape his miserable situation and get back home to his life. Ryan's Arthur Dent personality works well in these scenes. He knows better than to make an agreement with the Devil yet also sees nothing wrong with just talking to the Devil and struggles to say no when the Devil turns out to be so unfathomably reasonable.
Similarly, there is Ryan and Faith's visit to Urbina. Readers of the original will be familiar with Faithful's martyrdom in the city of Vanity Fair, which is modeled after Jesus' passion. As such, the narrator offers the spoiler that Faith is going to die. Even though I was expecting Faith's death, how it is done still managed to be poignant.
What I loved is how the authors make use of the issue of abortion with Humanist demanding that the travelers murder a child as the price of staying in the city. The scene captures why abortion is so important for religious conservatives. Living in a secular society that offers ever greater material comfort and seems to also make moral progress all without religion, where does one find the moral grounding to resist? If a person can truly see a fetus as a living being then the moral authority of modern secularism simply collapses. At the center of secular society is the mass murder of children. Without this murder of children, secular society, with women being able to pursue careers and sexual fulfillment as opposed to family and children, would not be practical. If people on the left demand that conservatives deny that abortion is murder and instead celebrate abortion as a constitutional right and as the liberating act of a woman freeing her body from the control of patriarchal society as the price of being accepted into secular society, then conservatives need to accept that they cannot be part of that society.
This is a good book that makes for a fun read whatever your religious beliefs. I think it could have been a better book if the authors had been willing to spend the time giving it a more consistent narrative. The angel fails as a character because he does not advance the narrative and ends up as a distraction. One should not confuse making references to popular culture with actually being funny. The final meeting with the king certainly suffers as a McGuffin. Perhaps, instead of writing The Postmodern Pilgrim as a book, the authors could have used the travels of Ryan and Faith as a regular feature of the Babylon Bee where the Devil could offer us updates on their travails and progress.
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