Ted Grimsrud—December 21, 2017
[This is the 22nd in a long series of posts that will work through Greg Boyd’s important book, The Crucifixion of the Warrior God: Interpreting the Old Testament’s Violent Portraits of God in Light of the Cross (Fortress, 2017). The 21st post may be found here—and an index of the series here.]
In Chapter 21, “The Battle of the Gods: Cosmic Conflict and the Old Testament” (pages 1005-40), Boyd turns to the next major theme in his cruciform hermeneutic—analyses of the third key type of actor in the stories that contain the violent portraits of God, the powers of evil (the first two types of actors being God and human beings). Boyd attributes much of the violence in the OT to these powers, who certainly were not acting directly as God’s agents for good but nonetheless were used by God.
An engaging parable
Boyd began volume 2 of CWG with a fictional story about how, from a distance, he saw his wife, Shelley, acting violently toward a seemingly defenseless panhandler—that is, acting in a way that seems totally out of character (629-30). Because he knows her so well, Boyd assumes that rather than taking what he saw her do at face value, he should assume that “something else is going on.” This is an engaging parable that he uses to illustrate his approach to the violent portraits in the Old Testament. Because he knows God’s character so well, Boyd cannot believe that the stories in the OT that portray God as acting violently actually tell us what they seem, at face value, to be saying. “Something else is going on.”
Boyd leaves the story unresolved when he first brings it up. Now, as he begins Part IV of CWG (“The Principle of Cosmic Conflict”), Boyd returns to his fictional story. He comes to find out that indeed “something else was going on” with Shelley. She was working for the Department of Homeland Security, and the seemingly defenseless panhandler was actually a terrorist. Shelley, in her violent acts, helped thwart the terrorist plot—and was indeed acting totally consistently with her character (1006-7).
I have two points to make in relation to this story. First, while I give Boyd credit for creating an arresting metaphor to help illumine his book’s main argument, I am troubled that he would present the Department of Homeland Security in such a positive light and would further the “terrorism paranoia” that so fuels American militarism. Boyd himself obviously is a committed pacifist who does make some negative allusions to our militarism elsewhere, so it’s too bad he couldn’t have come up with a story that could make his point in another way.
More importantly, as I have discussed earlier, I think Boyd’s “something else must be going on” motif gives the wrong kind of message regarding the violent portrait texts. In his story about his wife, nothing in the scene he observed indicated anything morally positive about his wife—all he could possibly know contributed to a negative perception. It took some totally unobservable information to help him see the actual reality. Likewise, with the violent portraits Boyd’s reading strategy leaves intact a totally negative perception based on the observable content of the portraits and requires some totally unobservable information (the message of Jesus’s cross) to help us see the actual reality. I want, in contrast, to argue against the truthfulness of the violent portraits based on looking at the stories themselves in the context of the role they play in the Bible’s peaceable Big Story. Continue reading