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Gothic first-person accounts of growing up in a Christian subculture have become modern Americans’ equivalent of The Varieties of Religious Experience by William James. They serve as a vast collection of subjective narratives, often focused on the horrors of authority figures who encourage virginity, offer awkward alternatives to pop music (or welcome it uncritically), favor novels about the Apocalypse and otherwise fill the cavernous spaces of megachurches with conformists.
It’s difficult to read such accounts without wishing for more details. In “Ecstasy,” which appears in the May 27 edition of The New Yorker, Jia Tolentino writes this about her life in a Houston megachurch she calls the Repentagon. Here’s a sample:
Girls - Light - Blew - Pool - Tragedy
“Three girls were electrocuted when a light blew out in the pool where they’d been swimming, and this tragedy was deemed the will of the Lord.”
Sensible journalism questions should be obvious: Who deemed it the will of the Lord? Was this declaration from the pulpit? Did it come from one of those boorish pew-dwellers who think it’s comforting to say the Lord must have needed a few new angels in heaven? Was it someone who speaks only of God’s sovereignty but never of living in a fallen world where random deaths are happenstance? Did this assertion represent even a plurality among members of the Repentagon, which Tolentino, for reasons she does not specify, never identifies as Second Baptist Church, one of the Bible Belt’s best known megachurches?
Tolentino - Account - Story - Deprivation - Anger
Tolentino’s account stands out because it is not solely a story of deprivation and unresolved anger. This paragraph leaps off the page:
I have been walking away from institutional religion for half my life now, fifteen years dismantling what the first fifteen built. But I’ve always been glad that I grew up the way that I did. The Repentagon trained me to feel at ease...
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