One of the last books from Robert Webber, Who Gets to Narrate the World? Contending for the Christian Story in an Age of Rivals (IVP, 2008) may become one of his best-remembered. Though the book is brief (137 pages), it is a substantive work that addresses the fundamental spiritual issue of our day: Whose worldview will triumph? Or as Webber puts it: Who gets to narrate the world?
Written during Webber’s battle with cancer shortly before his death, Who Gets to Narrate the World exhibits a personal urgency that stands out among his other books. The ideas flow freely and quickly here, with Webber pleading for renewal of Western Christianity in the face of the challenges of our day.
Webber sees both an external challenge (Radical Islam) and an internal challenge (Christian accommodation to culture) facing the church. He believes we should respond to these two challenges by embracing the fullness of God’s meta-narrative. Webber passionately pleads for the restoration of God’s narrative – a restoration that will bring change to our churches, reinvigorate our worship, and refortify the pillars of Western civilization.
Who Gets to Narrate the World describes the rise of early Christianity in the context of pagan Rome, and how a biblical worldview formed the foundations of Western civilization. Webber then seeks to explain how the Christian story was lost through its accommodation to culture. Today, secular relativism and pluralism cannot uphold our postmodern, post-Christian, neo-pagan world. The foundations of Western civilization are crumbling under the threat of radical Islam. Webber’s urgent tone is buoyed by the strong hope that God story can revive the West and reinvigorate the life of the Church.
Webber’s book at times resembles the later thought of Francis Schaeffer (though Webber replaces “worldview” terminology with “narrative”). He argues that reason and science in the modern world have become the enemy of God’s narrative through the separation of the secular from the sacred. Turning to the historic understanding of the incarnation, Webber seeks to show that life cannot be separated into sacred/secular distinctions. He rightly claims that the Christian Story (worldview) stands against the other stories. It is “the Holy Spirit versus jihad” (88).
Also Schaefferian is Webber’s solidly pro-life stance (92), his approval of exclusive Christian truth claims, and his belief that the Western culture has moved into a cycle of decay. Webber makes the case for democracy as the most superior form of government devised by humanity. He even applauds Democratic efforts to restrain Radical Islam.
But Webber rightly refuses to equate democracy with the Christian story and forcefully argues against the dangers of civil religion. He compares September 11, 2001 to the Fall of Rome in A.D. 410, and writes:
“In a world that has no story, new contenders are emerging to narrate the world their way” (99).
In the past, Webber has been dismissive of the penal substitutionary understanding of the atonement in favor of the Christus Victor model. But in Who Gets to Narrate the World, Webber seems to have softened his stance towards penal substitution, allowing the substitutionary nature of Christ’s death to peek through in many places. He affirms that Christ gave himself as a propitiation for our sins and that he came to be damned for us all. “In Jesus, God comes in human skin to reverse the human condition and reconcile humanity to the Father” (32).
Webber’s description of God’s narrative emerging in a pagan Roman world is very insightful. Roman culture was one of moral decadence, philosophical relativism, and religious pluralism. By pointing back to the Christian faith in the Roman cultural setting, Weber finds the tools necessary to sustain Christianity in today’s world. The similarities between ancient Rome and contemporary Western society are striking.
Yet for all of its brilliant insights, Who Gets to Narrate the World does have a few problems. Webber tends to create false dichotomies. In an overreaction against rationalistic apologetics, he turns to “narrative truth” instead of propositional truth. And yet, he seems to miss the very propositional nature of the creeds he himself quotes and affirms (27-28).
Webber’s reduction of his vision into false distinctions undermines some of what is good in this book. At times, he seems to endorse a type of fideism. In his rush to throw out rationalistic apologetics, he does not properly take into account the complexities of the early church, especially the work of the early fathers to prove the Christan Story by using the philosophical tools of the time.
The idea that the comprehensive story of God stands on its own and does not need external support is helpful in one sense (we do not need science in order to believe) and harmful in another (after all, if Christianity is true, it is true in every sphere). Webber overlooks the fact that we should be able to find testimony to the Christian truth claims from both inside and outside God’s narrative.
At times Webber overestimates the importance of the church’s liturgy. He never fully proves his point that an emphasis on proper liturgy will help us hold onto a proper understanding of God’s narrative. He writes of the ancient church:
“The church building, the liturgy itself, with all of its attending signs and symbols and especially the words of the Eucharistic prayer, clearly portrayed who gets to narrate the world” (68).
Does proper worship necessarily guard against losing God’s narrative? The empty cathedrals of Europe seem to indicate otherwise. And how important is the Eucharistic prayer really?
In other places, Webber resorts to soundbites that are never fully explained. For example, he says that “God invites us to enter his narrative by faith and live out his vision of the world” (116). What does it mean to enter into God’s narrative? How does one do so? How does this description relate to the Kingdom? To conversion? Left in soundbite form, Webber’s terminology is undefined and rather vague.
But the overall thesis of Who Gets to Narrate the World is fundamentally sound. The Christian message is a single, universal narrative of everything. It is interesting to me that in the final weeks of his life, Webber sounded less and less like the Emerging Church advocate he had become in recent years and more and more like an apologist in the school Francis Schaeffer. It is often said that foreseeing one’s own death can be clarifying. Surely this is the case with Who Gets to Narrate the World.
Webber’s final work marks the end of an illustrious career, but more importantly, it issues a passionate call to the affirmation of the Christian Story in the face of its challengers.
written by Trevin Wax © 2008 Kingdom People blog
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