Why We Can’t Just Give Peace a Chance

Storytime.

When I was a kid, I attended a no-nukes protest.

It’s true. My dad was a Protestant pastor, and also sort of hippie about some things. No drug use or sleeping around, but he liked to live “simply” (for example, keeping his old coffee percolator), and around the time I was a baby, he had become a convinced pacifist. That is, he had become convinced based upon the Sermon on the Mount (mostly) that for Christians nowadays, it is never permissible to resist violence with violence. And this went for nations too. For him, principled pacisfism was part of following Jesus.

So here it was, the mid 1980s, late in the Cold War (though we did not know it was late at the time). A no-nukes protest had been planned in a downtown plaza in our large Midwestern city. I believe it was organized by the city’s churches, because among other people, my dad had been asked to sit in a panel onstage.

I was probably 9 or 10 years old. I was excited to go along. It seemed like a good thing. It was pretty clear to me that us, or anybody else, getting killed by nukes was a bad thing, something that we would not want to have happen. I had heard gruesome stories about people’s eyeballs being turned into jelly when the bomb was dropped (by us!) on Hiroshima. This was in a book that we had at home called Peace Be With You.

As the family artist, I made the sign for our protest. I tried to draw the symbol from the cover of Peace Be With You, a dove holding a branch in its beak. I had never drawn a dove before, and I got the beak wrong, so it came out looking more like a parrot.

I don’t remember all the content of the rally, but two things stand out. There was a play about a couple who survive a nuclear holocaust and live in a tent city, only to get radiation sickness. And, I remember the final song.

With the panel of pastors still seated on the stage, a lady came up to give a moving musical number. The first verse was about the Statue of Liberty and how she represents to many people that they have arrived in a place that is free from oppression. The second verse was about the cross of Christ, and how, to the Christian, it means liberty from sin, death, and hell. The refrain was “the Cross is my Statue of Liberty.”

Horribly blasphemous, of course. It was trying to compliment the greater by comparing it to the lesser, which actually reverses the roles of greater and lesser, unintentionally offering a huge insult to Christ.

As soon as he realized where the song was going, my dad abruptly got up from his seat on the stage behind the singer, stalked off the stage in a huff, and marched me and my brother out of there before the rally ended. I’m still proud of him for this. As someone said (I can’t find the reference, but I think it was Spurgeon), “Even a dog barks when its master is attacked.” Referring to himself defending the honor of Christ, however inarticulately.

I think what the organizers were trying to convey with that song was, “We are Christians, and don’t worry, even though we are against nukes we still definitely love our country.” But it was ill chosen.

Although I now think the whole event was incredibly naive, I commend my dad for attending it and for bringing his kids. Kids need to have experiences where they go fight for the right alongside their parents, even if the cause later turns out to have been somewhat misguided. This sends the message, “We have certain values as a family, these are important enough to do something about, my parents are good people” and, above all, “I and my parents are on the same side.” Please, give your kids many experiences like this before they become teenagers!

So, why naive? Well, I can’t blame myself for not noticing this as a kid, but why in the world did we think we were the only people who objected to the idea of a nuclear holocaust? Surely that is something that everyone recognizes is bad? (Except, perhaps, the mullahs, I digress.)

And given that we were not uniquely intelligent or good such that we were the only ones who didn’t like the idea of people being annihilated by a nuclear bomb, it would make sense to connect the next pair of dots (#s 2 and 3) and ask ourselves, since 99% of people don’t like nukes, how is it that they still exist? Could it be that, once you have a nuclear standoff, getting rid of nukes is more complicated than just “getting rid of them”? Perhaps there are people who also don’t want an apocalypse, but whose options are limited?

By the same token, perhaps there are more obstacles standing between humanity and the cessation of wars in general than just a dearth of people saying, “We don’t like war.” After all, most people don’t like wars, including most people who fight them.

But we, the anti-war protestors of the Cold War era, honestly, naively, conceitedly thought we were the only people in our country who saw a moral problem with human suffering. And we thought it would somehow stop if only we were to stand up and heroically say, “We are against this.”

It didn’t work. And not because not enough people were against it. It turns out, just saying that doesn’t do anything.

I’m sure my dad’s generation would say that these antiwar protests were ineffective because “our leaders didn’t listen.” “Listening,” in this context, would mean disarming our nukes and other WMDs, and perhaps completely disbanding our military. After all, if every country did this, peace would flow into the empty space where the weapons used to be. And someone has to go first! So it might as well be us! Someone has to give peace a chance.

This made sense to me at 10, especially when it was coming from respected authority figures. Once we grow up, however, we have a responsibility to ask ourselves what could possibly go wrong with this scenario. And the answer is: a lot. Everything.

War is, unfortunately, the default state of human beings. When we are not at war, it is because a lot of people are working very hard to maintain a precarious balance where things don’t tip into war. Fortunate are we who live in a country or empire large enough, or strong enough, that all that work has paid off and we get to go about our daily lives, assuming that peace is the natural state of things. But it isn’t. It is not the case that wars don’t happen unless some “war monger” goes out and “starts one.” That would be nice, but it’s not what we have here.

There are multiple reasons for this. Until recently, I thought it was sufficiently explained by human beings being sinful, and full of fears, lusts, and cravings. All of that is certainly a huge factor. We usually see wars explained as being caused by “fighting over scarce resources,” but I think that materialistic explanation is far from sufficient. Wars have not become less common as the worldwide standard of living has increased. I have also seen wars attributed to “religion.” There are a number of logical problems with this as well. To test this theory, you’d need a control group of humans who had either no religion, or no war. Since both war and religion are things that humans universally do, such a control group does not exist. To say that because both are universal, means one causes the other, is the post hoc fallacy.

So in general, I think the stubborn persistence of war is adequately explained by the Seven Deadly Sins: Envy, Greed, Lust, Sloth, Gluttony, Anger, and Pride. Especially Pride and Envy.

Say somebody hates you and wants to go to war with you because they are prideful and think their way of life is better, but also, at the same time, they envy some things about, tacitly acknowledging that in those respects, you are better than they are. Is such a person going to put down their weapons because you fold your hands and say, “Look. None of us like war. Let’s all mind our own business and disarm”? No, unfortunately, your enemy may not like war, but they hate you a lot more than they hate war. If they even recognize that you are taking the moral high ground, that is only going to exacerbate the wounded-pride-and-envy problem.

This is why fifty years of “anti-war” protests have done nothing but make the protestors look silly.

But it recently came to my attention that there may be an additional cause besides human sin that keeps stirring up wars in the world.

We need to expand our understanding of spiritual warfare to include the larger social and political structures of our world. Why does war bring ruin to the world? Why do we feel constantly on the verge of a new world war? … Why is peace, specifically the peace the permeates through the spread of the gospel, such a threat to world powers? The answer to these questions falls under the larger context of the unseen battle, a battle that has in mind the final unification of the nations of the world under the banner of Christ.

–Joel Muddamalle, The Unseen Battle, p. 120

Muddamalle is suggesting that the gods of the nations, who would prefer to go on ruling them, feel threatened by the spread of the Gospel and use geopolitical instability as one of their tools to slow this spread. (For more about these entities, see my review of Michael Heiser’s book.)

The idea is that human beings, while plenty fight-y on our own, would sometimes like to rest. But these spiritual entities will not let their people rest. They are hard at work, with demonic delight, stirring up, prolonging, and accelerating generations-long conflicts, to keep the Gospel of Christ out and also perhaps, as a side benefit, because they enjoy human suffering.

This certainly matches the picture of “the gods” that we get in, say, Greek mythology. People are bad enough on their own, but even when you have a majority of people who want to do the right thing, you will see that Fate, or the gods, or whatever, intervene so that exactly the wrong thing happens at exactly the wrong moment. The result: ten years of war.

Peace, it turns out, is not a passive, waterlike thing that flows in wherever a space is opened for it. It has to be established, like a fortress. It is the result of someone coming in, taking names, and routing the false gods. That someone is the Lord Jesus.

No Friend to This House is A Great Title

Like anybody who has ever encountered it, I have “issues” with the story of Jason and Medea.

In case you missed it, he sails off on the Argo to get the Golden Fleece. She is a witch, daughter of the king of Colchis, descendent of Helios, the sun god. Struck by Eros with an inordinate crush on Jason, she helps him accomplish all the tasks necessary to get the fleece and escape alive. He takes her with him on the Argo, and they crash around Greece, leaving a trail of bodies in their wake. Eventually, he throws her over for a younger model, a native Greek gal who is daughter of the king of Corinth. Medea takes a bloody and spectacular revenge, which I won’t spoil (look it up).

I first heard all this from my ninth-grade Lit teacher. She presented it in a very feminist way, but to be fair, this particular story sort of begs for that. I remember, in university, arguing rather incoherently with a male classmate about who was the real villain in this story. Later, when I was home schooling and read a simplified version of the legend to my kids, we decided we didn’t like the story, and we didn’t like Jason or Medea either, and they were both horrible people and they deserved each other.

So, hopefully, this book will be the nadir of my year of reading Greco-fiction: facing the story of Jason and Medea square on, by reading an entire novel about them.

The reason I liked the title of this novel is that it sounded like a phrase taken directly from the Greek — and so it was. The author, Natalie Haynes, has really done her homework.

Euripides’ Medea was the first Greek tragedy I saw performed, and it was the first or second play I read in Greek. … I wrote my dissertation on the heroics of infanticide in Euripides (I don’t have children, before you think about composing your sternly worded letter). … I’ve been reading and thinking about this play for the best part of thirty years, and I have probably seen it performed twenty-five times … I decided that the thing I needed to do [before writing the novel] was translate the Euripides, longhand. This is–in case you are wondering–weapons-grade procrastination. It took me a few weeks …

Haynes, in the Afterword, pp. 359 – 360

Haynes’ treatment of this story has been called feminist. And O.K. … sort of? But it’s not “feminist” in the sense of someone who understands the literature poorly who then reacts against the ancient heroic-age value system and sets out to undermine it. It is, rather, the work of someone who has marinated themselves in the ancient heroic-age mileu, which inherently presented a very broken relationship between men and women (especially husbands and wives). This story, and also the story of Agamemnon and Clytemnestra, bring a lot of tension with them and almost demand that you take what might be called a “feminist” perspective, at least in part, unless you want to take a very simplified view of the whole thing and not really analyze it much at all.

It’s not just me saying this. Apparently, everyone has been arguing about Medea for … well, ever since she came to their attention.

Diodorious Siculus says that the reason we have so many contradictory versions of her story is because tragic poets are drawn to talking about marvels. It’s also worth mentioning that any character who prompts different versions of their story is one who was popular in antiquity. If you want to read more about Medea, I spent many happy hours with “Medea,” a collection of essays edited by James J. Clauss …

ibid, pp. 365 – 366

Apparently, my and my children’s feeling that the whole story is regrettable is echoed by the Nurse of Jason and Medea’s two sons. Here is her opening monologue to the play (translated by Haynes):

If only the Argos had sunk to the bottom of the sea rather than winging its way towards the land of Colchis … For then my mistress Medea would not have sailed to the towers of Iolcus, stricken with love for Jason … and she wouldn’t live here, in Corinth, with her husband and children, pleasing the citizens to whose land she came in flight, helping Jason in everything. That is the greatest help: whenever a wife doesn’t disagree with her husband. But now, everything is hostile .. For Jason–betraying his own children and my mistress–is sharing his bed with royalty … Medea is wretched, dishonored like this. She cries out about the oaths he swore to her .. I’m afraid she is planning something. She’s a strange woman. No one starts a fight with her and takes an easy victory.

ibid, pp. 272 – 273

Successive phrases from this speech are used as chapter headings for the first 3/4 of the book.

I give this book 3 out of 4 stars. (Or 4 out of 5, take your pick.) The research, storytelling and psychology are spectacular. It gets tenser and more tragic towards the end. It is, of course, very hard to read, because this is a tragedy. The hardest parts to read, for me, were the parts where the Nurse speaks to the children. Even though it’s set in the ancient world, this is fundamentally a story about a home that gets broken when the children are very small. That’s hard to bear.

The one missing star? I needed more description.

This book consists almost entirely in monologues by the different characters (except for Jason), punctuated occasionally by dialogue. I guess that makes sense for a novel that is a re-telling of a play. But if I’m going to read a book set in the ancient Mediterranean, which includes a tour of the cities of Iolcus, Colchis, Aeaea (Circe’s island), and Corinth, not to mention the Aegean, Adriatic, and Black Seas, I want more than little hints and scraps about what these places look, sound, and smell like. I want to see the terrain, the buildings, and the clothes people wear. Haynes gives us almost none of that. We only get a little bit of description when it is directly relevant to a plot point, like the Symplegades (giant clashing rocks), or the golden dress that Medea gifts to Glauke. This is where Haynes falls short of Renault, who describes buildings, clothing, and artifacts in detail.

Also, there is almost zero description of how the people look. That’s important to me.

As for Jason, we are only told that he is “good-looking” until he meets Medea, when we find out that he has dark, curly hair and golden skin. This means that we have to go through the Argo’s entire outbound journey making up our own mental image of Jason, and then modify it when we find out what is canon in the novel. In the case of Jason, that may be intentional. Part of his characterization is that he is a chameleon, able to be the figure that people want in order to get what he wants; or, as Haynes puts it, “a blank space where a man ought to be.”

But there are plenty of other characters that Haynes could describe when we first meet them, and she doesn’t. What do the Colchians look like? They are “not Greek.” Do they look Asian? Or is Medea made of gold, like the children of Helios in the novel Circe? What do the different Argonauts look like? The Tutor? The Nurse? Haynes does a better job describing the various goddesses, women, nymphs, and the golden ram whose lives are also busted up by this story … but still, I could use more.

Gentle reader, you have survived the harrowing journey of the Argo with me. What horrible ancient Greek story should we read about next?

I’m Finally Going to Run My Mouth About AI

Within the last week, I consumed two thoughtful pieces of commentary about AI, both by thinkers I trust for different reasons.

The recently independent Jeremy Boreing on the topic of AI. Him I trust because of the actual thought process displayed in the video.

https://dougwils.com/books-and-culture/s7-engaging-the-culture/ai-and-the-cream-rising.html

Doug Wilson’s blog post about AI. Wilson I trust because of the volumes of material that he’s written and I’ve read.

I won’t add much to what they have to say. It’s going to be a busy week, for reasons that will be revealed tomorrow. However, I know that most of you won’t listen to the podcast, and only a small number will read the article, so I will summarize the salient parts of each in a sentence or two.

Boreing makes the point that every new technology comes with the fears and negative effects front-loaded, and the benefits arrive in the medium to long term, as we figure out where it fits in human society and how to limit its harms. He further points out that no new technology has ever delivered on any promises made on its behalf to create “less work.” New tech always creates more work: new industries, but also lots of new things that can be done by people who see the potential.

Wilson, too, points out that lazy folks will try to use AI as a way to avoid work, whereas the diligent and the geniuses will see vast new fields of work open up to them. He adds the obvious (but often overlooked) point that a “workless” utopia would actually be a dystopia.

In short, both men sensibly point out that AI is not going to change human nature. Humans do human things no matter how much tech they have. And we were designed to work.

This is, on the whole, a great relief to me. It is good to hear that the scary new thing is not going to change human nature. Granted, human nature isn’t great, but we already knew that, and all attempts to completely remake it always seem to get rid of the only parts worth saving.

Still, I’m not a total AI-o-phile, unlike, say, our friend Ben Shapiro. That’s because I’m a writer and a visual artist. My thinking is still developing on this, but as of spring 2026 here’s where I’m at.

Everyone senses that stories and art (including music) are the sort of things that ought to be made by people and nothing else. Unfortunately, it’s possible that AI will get good enough at “making” these things, that it will be impossible to detect it. You want a gritty, soulful story with human flaws? It will give you a gritty, soulful story with human flaws. It will get rid of the overly vivid colors and unrealistic smoothness in its paintings. It has already produced a country song by a hard-livin’ male voice about overcoming working-class obstacles.

When this happens, it’s like debasing the currency, but with stories and music and art. These things are much more valuable than currency. That’s bad.

From the creators’ side, everyone’s work will become suspect. This is already starting to happen.

From the consumer side, I am possibly even more upset. I DO NOT like it when I look closely at what appears to be a model wearing colorful European folk clothing, and realize that it’s an AI approximation of same. But at least, I can still realize it. I REALLY won’t like it when I have no way of knowing whether the “human” culture I’m imbibing is actually human culture.

That’s all I got today.

Misanthropic Quote about “Creative” Scholarship

But how many serious blunders does a scholar have to make before his reputation is tarnished? If a scientist or even a historian made as many fanciful suggestions in his field that were as devoid of support as some of the theologians we have noticed, or if he begged as many crucial questions, his reputation would surely suffer. But sometimes in theology, it appears, the reverse often holds. I am not sure that this speaks well for theology and biblical studies as intellectual disciplines.

–Ronald H. Nash, Christianity & the Hellenistic World, p. 265

Misanthropic Quote: Most Cliches in One Paragraph

Gardy was essentially convicted the day he was arrested, and his trial is only a formality. The dumb and desperate cops trumped up the charges and fabricated the evidence. The prosecutor knows this but has no spine and is up for reelection next year. The judge is asleep. The jurors are basically nice, simple people, wide-eyed at the process and ever so anxious to believe the lies their proud authorities are producing on the witness stand.

-from Rogue Lawyer, 2016, by a very lazy version of John Grisham

I’m thinking of having a little contest. Who can find a paragraph crammed with the greatest number of offensive, lazy cliches? This is my submission. This is only the second half of the paragraph, but even if I had included the first two sentences, I still think you’d be hard-pressed to find another piece of writing where not a single word is wasted on any original thought.

Oh, Rats!

You can read the incident that this is a reference to, in I Samuel chapters 4 – 6.

The Philistines were a culturally Aegean/Mycenaean people who had settled along the coast of Canaan. Though culturally Greek, they spoke a Semitic language. Their god, Dagon, was a man/fish god who had antecedents going all the way back to Sumeria.

The genre of these particular chapters of Scripture might be described as dark comedy. It’s a unique story, because it presents the reaction of an Aegean people when confronted with the God of Israel. The story is told in a Hebrew historical record, but the amount of detail means that the Hebrew chronicler must have had spies or eyewitness accounts.

The Philistines, though, or perhaps because, they are pagans, are pretty canny. They start out thinking they have won a victory over the Israelites by capturing their god, but it doesn’t take them too long to figure out that this God is trouble, and to ascertain, by process of elimination, what He wants.

Or you could say that God is very adept at communicating with the Philistines.

Amusingly Misanthropic Quote on Etruscan Pottery

The most renowned of Etruria’s products is its pottery. Every museum abounds in it, setting the weary navigator of ceramic halls to wonder what unseen perfection exonerates these stores. Etruscan vases, when they are not clearly copies of Greek forms, are mediocre in design, crude in execution, barbarous in ornament. No other art has produced so many distortions of the human frame, so many hideous masks, uncouth animals, monstrous demons, and terrifying gods. … All in all, the robbers were justified who, when they rifled Etruscan tombs, left so much of the pottery.

–Caesar and Christ, by Will Durant, p. 9

Cue Scary Music

Looking at the situation with twenty-twenty hindsight, one sees that there was something out of the ordinary going on along the New England coast beginning in 1968. The Cape Cod and Long Island area had been hit by unusual spotted fever rickettsia cases that couldn’t be detected by conventional tests … In short, there were multiple, virulent, uncommon diseases in a small area, all transmitted by ticks.

Bitten, by Kris Newby, p. 193