This is post is part of an ongoing series on the book Christianity, Democracy, and the Radical Ordinary, by Stanley Hauerwas & Rom Coles. This series is being authored by Jonathan McRay, Jonathan Swartz, & Brian Gumm. This post continues our reflections on ch. 2, a letter to Hauerwas from Coles.
Soon after I graduated from college, several friends and I started a reading group called The 451, in honor of Ray Bradbury’s novel. We each nominated several books to a shortlist and decided together which ones to read. Annie Dillard’s For the Time Being, in many ways a poetic anti-theodicy, was one of the finalists. As Brian pointed out in the previous post, Coles references the unbearable theme of suffering throughout Dillard’s book that reminds us of our responsibility to the dead. “Under emperor’s orders,” says Dillard, “living workers crushed their fellows’ dead bones and stuck them into the Great Wall as fill.” Coles wonders out loud how we might live haunted by these disasters that have already happened, because responsibility to the dead can’t mean preventing physical violence because the “disaster has already occurred” (33).
Soon after I graduated from college, several friends and I started a reading group called The 451, in honor of Ray Bradbury’s novel. We each nominated several books to a shortlist and decided together which ones to read. Annie Dillard’s For the Time Being, in many ways a poetic anti-theodicy, was one of the finalists. As Brian pointed out in the previous post, Coles references the unbearable theme of suffering throughout Dillard’s book that reminds us of our responsibility to the dead. “Under emperor’s orders,” says Dillard, “living workers crushed their fellows’ dead bones and stuck them into the Great Wall as fill.” Coles wonders out loud how we might live haunted by these disasters that have already happened, because responsibility to the dead can’t mean preventing physical violence because the “disaster has already occurred” (33).
| Burning olive groves at Ni'lin to clear a path for the wall. Photo by Jonathan McRay |




