Hot Takes on the Classics

DescriptionIn this episode of Hot Takes on the Classics, Emily Maeda and Tim McIntosh close their season on love by turning to Simone Weil’s Waiting for God. Through a wide-ranging conversation, they explore Weil’s life as an “activist mystic,” her radical commitment to solidarity with the afflicted, and her understanding of attention as the heart of prayer, learning, and love of neighbor. The episode examines Weil’s reflections on affliction, consent to suffering, and the paradoxical joy that emerges when the self is emptied, situating her thought alongside figures such as Julian of Norwich, Plato, Dietrich Bonhoeffer, and George Herbert.Episode OutlineOpening quotation from Waiting for God and introduction to Simone WeilWeil’s historical context: a life spanning the two World WarsSimone Weil as “activist mystic”: solidarity, deprivation, and integrityWeil’s intellectual brilliance and philosophical formationEncounters with suffering: factory work, war, and social marginalizationWaiting for God as a book of letters and essaysLetters to Father Jean-Marie Perrin and Weil’s struggle with baptismAttention as the core of prayer, education, and loveAffliction (malheur) and consent to the voidJoy, suffering, and supernatural reversalWeil’s encounter with George Herbert’s “Love (III)”Closing reflections on mysticism, activism, and transformed loveKey Topics & TakeawaysAttention as Prayer: For Simone Weil, attention is not an act of willpower but a receptive openness. Taken to its highest degree, attention becomes prayer and prepares the soul to receive God.Affliction and the Void: Weil understands affliction as more than physical suffering—it annihilates the ego and creates an empty space in which God alone can enter.Consent Rather Than Escape: Spiritual transformation comes not from avoiding suffering but from consenting to it without illusion, allowing a mysterious reversal to occur.Education and Desire: True learning occurs through attention and is driven by desire and joy, echoing insights found in Plato and later educators like Charlotte Mason.Love of Neighbor as Creative Attention: Weil insists that genuine love recognizes the afflicted not as categories but as persons, offering presence and attention as acts of love.Questions & DiscussionWhat does Simone Weil mean by “waiting for God”?Consider how waiting differs from asking, striving, or controlling, and how this challenges modern ideas of prayer and productivity.How does Weil redefine attention in both education and spiritual life?Reflect on how her understanding of attention contrasts with the modern “attention economy.”What role does affliction play in spiritual transformation?Discuss whether Weil’s insistence on consent to suffering is compelling, troubling, or both.How does Weil’s thought compare to other mystics discussed this season, such as Julian of Norwich?Explore similarities and differences in how they understand suffering, joy, and divine love.What does it mean to love one’s neighbor through attention?Consider the practical implications of Weil’s claim that attention itself is an act of love.Suggested Reading & ResourcesWaiting for God by Simone WeilSimone Weil's The Iliad or the Poem of Force by Simone WeilRevelations of Divine Love by Julian of NorwichThe Republic by Plato translated by Allan Bloom The Cost of Discipleship by Dietrich BonhoefferThe Temple, “Love (III)” by George HerbertDevotchka

DescriptionIn this episode of Hot Takes on the Classics, Emily Maeda and Tim McIntosh explore Revelations of Divine Love by Julian of Norwich, the first known book written in English by a woman. They discuss Julian’s life as a fourteenth-century anchoress, her extraordinary visions during a near-fatal illness, and her enduring theological vision of divine love as all-encompassing, sustaining, and ultimately victorious over sin and suffering. Along the way, they reflect on the nature of mysticism, the symbolic imagination of medieval Christianity, and why Julian’s insistence that “all shall be well, and all shall be well, and all manner of thing shall be well” can only be understood in the shadow of the Cross.Episode OutlineOpening quotation from "Little Gidding" by T.S. Eliot and its connection to Julian of NorwichJulian of Norwich’s historical context: anchoress life, Middle English, and medieval spiritualityThe recovery, transmission, and modern rediscovery of Revelations of Divine LoveWhat it means to call Julian a “mystic” and how mysticism differs from systematic theologyJulian’s illness, visions, and the structure of the “shewings”The hazelnut vision and Julian’s understanding of creation as sustained by loveSin as “behovely” and the meaning of “all shall be well, and all shall be well, and all manner of thing shall be well”Julian’s Trinitarian vision of love and being “oynd” with GodChrist as mother: metaphor, symbolism, and theological daringThe lasting relevance of Julian’s mystical theology for modern readersKey Topics & TakeawaysMysticism and Direct Vision: Julian exemplifies the mystic as one who receives interior visions that convey theological truth through symbol, image, and contemplation rather than abstract doctrine.Love as the Structure of Reality: For Julian, divine love is not merely an attribute of God but the sustaining force of all that exists, holding creation together like a hazelnut in God’s hand.Sin as Privation, Not Power: Sin is real and painful, but it has no independent substance; it is contained within God’s larger work of love and redemption.The Cross as the Context of Hope: Julian’s famous assurance that “all shall be well and all manner of thing shall be well” emerges not from denial of suffering but from prolonged contemplation of Christ’s Passion.Expansive Christological Imagery: Julian’s portrayal of Christ as mother draws on medieval symbolism to express nourishment, sacrifice, and intimate care, expanding the reader’s theological imagination.Questions & DiscussionWhat distinguishes mysticism from formal theology in Julian’s writing?Consider how vision, symbol, and lived experience function differently from doctrinal explanation.How does the hazelnut vision reshape the way we think about creation and evil?Reflect on whether seeing the world as sustained entirely by love alters how we interpret suffering.What does Julian mean when she says that “Sin is behovely”?Discuss how this idea challenges modern assumptions about moral causality and blame.How does Julian of Norwich’s assurance “all shall be well and all manner of thing shall be well” resonate with Tolkien’s idea of eucatastrophe?Consider how both thinkers understand hope not as the denial of suffering, but as the surprising revelation of goodness emerging through loss, failure, or apparent defeat.How should modern readers approach Julian’s image of Christ as mother?Consider the role of metaphor and symbolism in theology and whether discomfort signals resistance or misunderstanding.Suggested Reading & ResourcesRevelations of Divine Love by Julian of NorwichThe Book of Margery Kempe by Margery KempeFour Quartets,"Little Gidding" by T.S. EliotThomas Aquinas: Selected Writings by Thomas Aquinas The Lord of the Rings by J.R.R. Tolkien Devotchka

DescriptionIn this episode of Hot Takes on the Classics, Tim McIntosh and Emily Maeda explore The Temple by George Herbert, one of the most profound devotional poetry collections in the English language. Through close readings of Herbert’s poems and reflections on his life, suffering, and vocation, the hosts examine how Herbert uses poetic form, architectural structure, and startling imagery to express the depths of divine love. Along the way, they reflect on the experience of reading poetry slowly and attentively, the relationship between affliction and grace, and why Herbert continues to shape poets, theologians, and readers centuries later.Episode OutlineOpening reading of George Herbert’s poem “Bitter-sweet”Emily’s personal encounter with Herbert through Christine Perrin’s lecture at The CiRCE National ConferencePoetry as an experiential art: reading collections versus isolated poemsComparing poetry collections to listening to a full albumDiscussion of poetry collections by Rainer Maria Rilke, T.S. Eliot, and R.S. ThomasGeorge Herbert’s life: education, illness, vocation, and pastoral ministryHerbert’s relationship to John Donne and the metaphysical poetsThe Country Parson as Herbert’s only work published during his lifetimeThe posthumous publication and reception of The TempleStructural “architecture” of The Temple: Church Porch, The Church, The Church MilitantClose readings and discussion of poems from The Temple, including “The Glance,” “The Agony,” “Virtue,” “The Wreath,” and “Love (III)”.Herbert’s use of poetic form (visual poems, repetition, symmetry)Reflections from T.S. Eliot, W.H. Auden, Elizabeth Bishop, and Simone WeilPoetry as the proper language for suffering and divine loveClosing reflections on poetry, attention, and formationKey Topics & TakeawaysPoetry as Formation: Herbert’s poetry resists abstraction and demands patient attention, shaping the reader through image, rhythm, and form rather than argument.Affliction and Divine Love: Herbert presents suffering not as a contradiction of God’s love but as one of its deepest avenues, especially in poems like “The Agony” and “Love (III).”Architectural Meaning: The Temple is structured like a sacred space—moving inward, upward, and through the stages of the Christian life.Form Serves Meaning: Herbert’s experimental poetic forms (wreaths, wings, typographic play) embody theological truth rather than merely decorate it.Enduring Influence: Herbert’s work continues to shape modern poets, theologians, and seekers across belief traditions.Questions & DiscussionWhy does reading poetry slowly matter?Consider how reading an entire poetry collection—rather than isolated poems—changes interpretation and emotional impact.How does Herbert connect suffering and love?Reflect on how poems like “The Agony” and “Love (III)” portray pain as a vehicle for grace rather than its opposite.What does Herbert gain by using poetic form visually?Discuss how poems like “The Wreath” or “Easter Wings” communicate meaning through structure, not just words.Can poetry communicate theological truth better than prose?Think about why figures like Erik Varden argue that poetry is uniquely suited to expressing spiritual realities.Why does “Love (III)” remain so powerful for readers today?Reflect on its depiction of divine hospitality, shame, and acceptance, and why it continues to resonate across centuries.Suggested ReadingThe Temple by George HerbertThe Poems of George Hebert by George HerbertThe Country Parson by George HerbertConfessions by St. Augustine translated by Sarah RudenHoly Sonnets by John DonneDuino Elegies by  Rainer Maria RilkeFour Quartets by T.S. EliotR.S. Thomas: Everyman Poetry by R.S. ThomasWaiting for God by Simone WeilHealing Wounds by Bishop Erik VardenChastity: The Reconciliation of Senses by Bishop Erik Varden

DescriptionIn this episode of Hot Takes on the Classics, Emily Maeda and Tim McIntosh explore how Western art and music have depicted the many faces of love—from divine ecstasy to tragic longing to the gentle affections of pastoral life. They move through Beethoven’s Pastoral Symphony, Purcell’s Dido and Aeneas, Bernini’s Ecstasy of St. Teresa, and Bruegel’s The Wedding Dance, examining how artists across eras have tried to portray the beauty, complexity, and vulnerability of human and divine love. Through music, sculpture, and painting, Emily and Tim reflect on what these works reveal about desire, the human soul, and our longing for harmony.Episode OutlineOpening reflections on how music and visual art express forms of love beyond wordsBeethoven’s Pastoral Symphony and the emotional world of shepherdsThe pastoral tradition and the association of shepherds with simplicity, joy, and musical beautyPieter Bruegel’s The Wedding Dance and the communal joys of embodied loveBernini’s The Ecstasy of St. Teresa as a depiction of divine, overwhelming unionThe ambiguity of mystical imagery—sensual, spiritual, or both?Shift to tragic eros in Purcell’s Dido and AeneasDido’s lament as one of the most powerful expressions of forsaken loveClassical echoes: Virgil’s Aeneid and Dido’s place in the InfernoClosing reflections on what art and music teach us about the varieties of loveKey Topics & TakeawaysMusic as a Language of Affection and Joy: Beethoven’s Pastoral Symphony evokes the emotional clarity, peace, and playfulness associated with shepherds—figures who embody a simpler, more integrated relationship to nature and love.The Pastoral Tradition and Innocent Desire: From classical poetry to Renaissance art, shepherds symbolize a state of harmony where affection and desire are uncorrupted by ambition or social pretense.Embodied Celebration in Bruegel’s The Wedding Dance: Bruegel captures the physicality, joy, and communal warmth of love—reminding us that affection is often expressed through bodies in motion.The Ecstatic Union in Bernini’s St. Teresa: Bernini dramatizes a moment of mystical encounter that blurs the line between spiritual and sensual love, inviting viewers to consider the intensity of divine desire.Dido’s Tragic Eros in Purcell and Virgil: Dido’s grief in Dido and Aeneas echoes the literary Dido of the Aeneid, revealing how erotic love can elevate and devastate. Her lament remains one of the most moving expressions of abandonment in Western music.Questions & DiscussionHow does pastoral imagery shape our understanding of innocent love?Consider how shepherds represent harmony, simplicity, and musical beauty. Does this imagery still resonate with modern listeners? What role do bodies play in the expression of love?Reflect on Bruegel’s Wedding Dance. How does embodied joy communicate forms of affection that words cannot? Is Bernini’s Ecstasy of St. Teresa primarily spiritual or sensual?Discuss whether the sculpture’s intensity reveals something essential about divine love—or whether it intentionally makes us uncomfortable.What makes Dido’s lament so emotionally powerful?Think about how Purcell uses musical repetition, silence, and harmonic descent to portray a soul collapsing under the weight of loss.How do these artworks together expand our understanding of love? Explore how divine love, tragic love, and communal love form a fuller picture than any single work could express.Suggested Reading & Related ResourcesThe Four Loves by C. S. LewisThe Aeneid by Virgil  The Holy Bible Symphony No. 6 (“Pastoral”) by Ludwig van BeethovenDido and Aeneas (“Dido’s Lament”) by Henry Purcell The Wedding Dance by Pieter Bruegel the Elder“The Ecstasy of Saint Teresa” by Gian Lorenzo Bernini Various sculptures, fountains, architectural works by Gian Lorenzo BerniniAs You Like It by William ShakespeareThe Winter’s Tale by William ShakespeareAll’s Well That Ends Well by William Shakespeare

DescriptionIn this episode of Hot Takes on the Classics, Emily Maeda and Tim McIntosh take a deep dive into Jonathan Edwards’s A Treatise Concerning Religious Affections, one of the most important theological works ever published in America. They explore Edwards’s historical moment in the midst of the First Great Awakening, the cultural divide between “old lights” and “new lights,” and Edwards’s effort to distinguish genuine spiritual transformation from mere emotional excitement. Along the way, they unpack Edwards’s definition of “affections,” discuss why Edwards remains so influential, and consider how his framework might apply to the renewed spiritual energy emerging in the U.S. today.Episode OutlineOpening quotation from A Treatise Concerning Religious AffectionsWho was Jonathan Edwards? Background, intellect, and role in American ChristianityEdwards’s historical moment: The First Great AwakeningOld Lights vs. New Lights — a cultural and theological divideWhy Edwards’s preaching feels “medieval” to modern earsEdwards on the nature of “religious affections”False signs of spiritual renewal — emotions vs. lasting changeTrue signs of grace — the centrality of long-term obedienceEdwards’s pastoral purpose in writing the TreatiseParallels between the Great Awakening and contemporary spiritual “vibe shifts”Closing reflections on agape and the love of GodKey Topics & TakeawaysEdwards’s World: Revival and Upheaval: Edwards writes in the heart of the First Great Awakening—a period of mass conversions, emotional preaching, and widespread debate about what counts as “true religion.”Affections vs. Emotions: For Edwards, affections are deep movements of the will—love, hatred, desire—not fleeting emotions. Genuine Christianity requires these affections to be transformed.False Signs of Spiritual Renewal: Intense emotions, tears, dramatic experiences, or even hearing Scripture in powerful ways do not necessarily indicate genuine spiritual change.True Signs of Grace: Edwards insists that lasting obedience, humility, love, and good works—not dramatic feelings—are the real evidence of transformed affections.Relevance for Today: Tim and Emily connect Edwards’s concerns to modern American spiritual trends, asking whether our current “renewals” will lead to sustained, virtuous lives.Questions & DiscussionWhat distinction does Edwards make between emotions and true spiritual affections?Consider why Edwards locates religious transformation in the will rather than in fleeting feelings. How might this help us evaluate contemporary spiritual experiences?How does Edwards challenge both the ‘old lights’ and the ‘new lights’?Reflect on Edwards’s attempt to affirm genuine emotion while warning against emotional excess. Where do you tend to locate yourself in this debate? Why does Edwards place so much emphasis on long-term obedience?Discuss whether you agree with Edwards that sustained virtue—not emotional intensity—is the clearest sign of genuine Christian faith.How does understanding the First Great Awakening illuminate Edwards’s Treatise?Think about how cultural, theological, and political pressures influenced Edwards’s writing and why his framework was so needed in a divided moment.What parallels do you see between Edwards’s time and current spiritual movements?Explore how Edwards’s insights might help us discern whether today’s “vibe shift” reflects genuine spiritual change.Suggested ReadingTreatise on Religious Affections by Jonathan Edwards Sinners in the Hands of an Angry God by Jonathan Edwards A Religious History of the American People by Sydney E. AhlstromJonathan Edwards by George M. Marsden Pew Research CenterMcIntosh, Timothy Andrew. My Name Is SØREN KIERKEGAARD. Directed by Frank Mihelich