Podcast
Culture
S&U interviews
5 min read

My conversation with... Marilynne Robinson

Re-Enchanting the human story. Belle Tindall reflects on the nature of her conversation with Pulitzer Prize winning author Marilynne Robinson for Seen and Unseen’s ‘Re-Enchanting’ podcast.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

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Professor Marilynne Robinson was a guest that I felt utterly underqualified to interview. And with Barack Obama among her list of previous interviewers, I don’t think such a feeling was unjustified. But, nevertheless, there I was - talking to a Pulitzer Prize winning force of nature - all the while, hoping she could neither sense my terror, nor hear my neighbours rowing through the thin walls of my tiny, terraced house.  

It was a surreal moment, to say the least.  

Marilynne Robinson, if you are not yet acquainted, is the author of best-selling novels such as Housekeeping, Gilead, Home, and Lila and Jack. Each one a masterpiece. She has also written plenty of non-fiction, continuing to be generous with her genius.  

Just before we began recording our episode over Zoom, my co-host, Justin, asked Marilynne whether she was able to somehow block the light streaming in from the windows behind her (needless to say he is the practical maestro behind Re-Enchanting), to which Marilynne simply replied: ‘many windows, no curtains.’ Oh gosh, I thought. This lady oozes philosophy.  

How would I ever keep up?  

I was always three steps behind Marilynne; partly because I imagine most people are, but mostly because it is a truly enchanting place to find oneself. 

Well, if I’m being honest, I didn’t. When the conversation turned to the quantum realm, I was indescribably glad that Justin was there. My mind was still pondering the possible analogous depths of curtain-less windows. But I have since decided that I’m not ashamed to admit that I was always three steps behind Marilynne; partly because I imagine most people are, but mostly because it is a truly enchanting place to find oneself.  

To trail behind someone so thoughtful means that while they may be onto their next thought or point of conversation, you are able to savour what has already been said, free to pick up and ponder the magnificent breadcrumbs that they have left in their wake. And when it comes to Marilynne Robinson, there are an awful lot of breadcrumbs. If you have ever read a line of a book that has struck you to the point of not being able to read on, even if only for a moment, then you are familiar with the sensation to which I am referring.  

When you come to listen to the episode of Re-Enchanting, I do hope that you’ll hit the pause button as often as you need to in order to truly soak Marilynne in. I only wish that my real-time conversation with her had that on offer. 

Nevertheless, here is what the view looks like from three steps behind Marilynne Robinson: it resembles a mysterious and wholistic fascination with, and (if I may be so romantic) a love for humanity. That is, both my own humanity and humanity in general. Mind, body, and soul (terms which, in themselves, are full of mystery and nuance) – the whole thing.  

Marilynne defines herself as a Christian Humanist. What may sound like somewhat of an oxymoron at first, begins to make profound sense when humanism is stripped of its (rather recent) atheist connotations. Afterall, the intrinsic value every person holds just because they are a person is a profoundly spiritual and biblical concept. As Tom Holland suggests, humanism, whether one likes it or not, is rooted in, and therefore utterly dependent upon, Christian perceptions of reality. When engaging with Marilynne, whether that be through conversation or through her work, it becomes clear that her Christianity enchants her view of humanity, which in turn, has re-enchanted my own.  

It is evident in the care and complexity with which she creates her characters, giving notable time and space to the intricate inner-workings of their consciousness, amplifying their inner-monologue, and focusing attention on their interior rejuvenations, how their sense of self responds to their shifting exterior contexts. It is just as obvious when you are privileged enough to observe her gently marvel over the beautiful capacities of the human mind, the innate mysteries of the human soul; the endless nuances of all that is seen and unseen when it comes to the human-being.  

Goodness seems to be Marilynne’s preferred start-line. Undergirding any humanism that she may adhere to is the notion that human beings were designed and created... 

It should be noted that such an admiration is not born out of an avoidance of the brokenness that human-beings are so prone to displaying. Indeed, this world does not offer any of us such a luxury. The evidence of the imperfection of humanity is easier to find than the evidence of any innate goodness. And yet, that goodness seems to be Marilynne’s preferred start-line. Undergirding any humanism that she may adhere to is the notion that human beings were designed and created, that there is an intimate creator / creation dynamic at play in the cosmos; one that is ultimately fuelled by the care of the creator for the created. There is, to borrow a phrase, a ‘givenness’ to all things.  

If we, like Marilynne, choose to use the givenness of things as a lens through which we perceive reality, there is utter delight to be found. 

It is an admittedly cosmic-sized enchantment, but the implications of it trickle all the way down to the detail of the every-day, the ordinary, the (so-called) mundane. If we, like Marilynne, choose to use the givenness of things as a lens through which we perceive reality, there is utter delight to be found in our streams of thought, in our capacity to collaborate with what is beyond our control. There is a deep enchantment to be found in our very existence, our presence in both space and time.  

As a disclaimer, I feel that I must admit to merely scratching the surface of the conversation that we had with Marilynne Robinson here, to read this piece and not listen to her episode (or read her work, for that matter) is to settle for a minute fraction of her thoughts. Trust me when I say - you want the whole thing.  

Here I am, three days on and still admittedly three steps behind Marilynne as I mentally re-trace the trajectory of our conversation. But that is quite alright with me, I’m still enjoying picking up each of the breadcrumbs that she left along the way.

Review
Culture
Film & TV
Hospitality
Romance
4 min read

From wheatfield to vineyard, can an ancient love story survive a replanting?

Ruth & Boaz finds new soil in rural Tennessee but struggles to grow

Giles Gough is a writer and creative who hosts the God in Film podcast.

A couple hold each others hands as they face each other.
Tyler Lepley and Serayah.

Ruth & Boaz is a contemporary version of the most memorable love story in the Bible. The film tells the story of Ruth, a young woman who escapes the Atlanta music scene to care for an elderly widowed woman. Not only does Ruth gain the mother she never had, she also finds the love of her life in the process. 

The story of Ruth and Boaz is a straight up love story, and it serves as a much-needed respite from the biblical levels of violence in the books that precede and follow it in the Bible. So a modern update of the Ruth and Boaz story serves as good material for a heartfelt, sincere romance.

As part of Atlanta pop duo 404, Ruth Moabley (Serayah) is a talented singer who, after the death of her boyfriend and his father, is desperate to escape her menacing manager.  Ruth makes the impulsive decision to join her late boyfriend's mother Naomi, (Phylicia Rashad) as they both leave Atlanta for a small town in Tennessee to start over from scratch. The only job she can find involves labouring at a local vineyard, leading her to owner Bo "Boaz" Azra, (Tyler Lepley) who falls for Ruth the moment he lays eyes on her. Ruth holds tight to her faith and slowly begins to accept love, but her past is soon to catch up with her.

One of the joys of adapting a Bible story is often the characterisation. Phylicia Rashad’s Naomi is a complex, contradictory figure whose manifestations of grief are not always that sympathetic, pushing away all but the most insistent of helpers like Ruth. As the titular character, we spend a lot of time with Serayah’s Ruth. Making her a singer helps to flesh out the character to an extent, but the scenes where her individuality gets to shine are notable by their infrequency.  

Tyler Lepley’s turn as Bo Azra is perfectly serviceable. He’s essentially an idealised, handsome and muscled 40-year-old. Bo has a wealth of backstory; we’re told he served two tours in Afghanistan, then worked on Wall Street, and finally returned to his family business of the Azra Vineyard & Winery. Despite this, none of it really shows up in his characterisation. He spends his time being a generous boss, and an all-round basic good guy. All of which is great in real-life but can be a little staid in fiction. There’s very little about him to intrigue us, although questions have to be asked about how, if he’s so dedicated to making his business succeed, he managed to find the time to work on a truly magnificent set of abs. 

In a departure from the original Bible story, Ruth begins as a casual worker on Boaz’s vineyard. This is a reasonable change, as the practice of leaving grain after the harvest for widows and orphans to collect just doesn’t fit in a modern context. But in a post #MeToo world, this does create a power imbalance. They attempt to address this power imbalance of employer and employee when Ruth refuses to let Boaz buy her a drink. However, Ruth’s resistance quickly recedes when Boaz introduces her to Rn’B legend, Babyface. In this world, if you want to date one of your employees, all you have to do is introduce her to a Grammy-winning super producer to break down her inhibitions.

All of these shortcomings suggest that the script needed a few more passes, and the saccharine voiceover feels like it’s trying to make up for that. Credibility at times takes a back seat to the gloss of the high production value as almost every other shot looks like it’s promoting a tourist destination. There are moments where it feels like the story is contorting itself in order to be a vehicle for Serayah’s singing talents; which, to be fair, are considerable. Nonetheless, a lot of the tension in the plot hinges on characters not telling each other incredibly important details because of convoluted reasons. It’s a trope that feels a little bit tired. On top of that, the pacing drags until it remembers it has to have a dramatic resolution, which it awkwardly rushes, making the ending feel somewhat unfulfilling.

Ultimately, Ruth & Boaz feels like a romance film made by committee, a Hallmark film with added Bible references and RnB cameos. One could argue that it shines a spotlight on African-American communities in rural America, but the brisk run-time prevents it from revealing anything new, and the light touch characterisation means we don’t really get anything original.

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