Hot Takes on the Classics

Description
In 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 Outline
Opening quotation from Waiting for God and introduction to Simone Weil
Weil’s historical context: a life spanning the two World Wars
Simone Weil as “activist mystic”: solidarity, deprivation, and integrity
Weil’s intellectual brilliance and philosophical formation
Encounters with suffering: factory work, war, and social marginalization
Waiting for God as a book of letters and essays
Letters to Father Jean-Marie Perrin and Weil’s struggle with baptism
Attention as the core of prayer, education, and love
Affliction (malheur) and consent to the void
Joy, suffering, and supernatural reversal
Weil’s encounter with George Herbert’s “Love (III)”
Closing reflections on mysticism, activism, and transformed love
Key Topics & Takeaways
Attention 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 & Discussion
What 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 & Resources
Waiting for God by Simone Weil
Simone Weil's The Iliad or the Poem of Force by Simone Weil
Revelations of Divine Love by Julian of Norwich
The Republic by Plato translated by Allan Bloom 
The Cost of Discipleship by Dietrich Bonhoeffer
The Temple, “Love (III)” by George Herbert
Devotchka

Description
In 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 Outline
Opening quotation from "Little Gidding" by T.S. Eliot and its connection to Julian of Norwich
Julian of Norwich’s historical context: anchoress life, Middle English, and medieval spirituality
The recovery, transmission, and modern rediscovery of Revelations of Divine Love
What it means to call Julian a “mystic” and how mysticism differs from systematic theology
Julian’s illness, visions, and the structure of the “shewings”
The hazelnut vision and Julian’s understanding of creation as sustained by love
Sin 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 God
Christ as mother: metaphor, symbolism, and theological daring
The lasting relevance of Julian’s mystical theology for modern readers
Key Topics & Takeaways
Mysticism 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 & Discussion
What 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 & Resources
Revelations of Divine Love by Julian of Norwich
The Book of Margery Kempe by Margery Kempe
Four Quartets,"Little Gidding" by T.S. Eliot
Thomas Aquinas: Selected Writings by Thomas Aquinas 
The Lord of the Rings by J.R.R. Tolkien 
Devotchka

Description
In 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 Outline
Opening reading of George Herbert’s poem “Bitter-sweet”
Emily’s personal encounter with Herbert through Christine Perrin’s lecture at The CiRCE National Conference
Poetry as an experiential art: reading collections versus isolated poems
Comparing poetry collections to listening to a full album
Discussion of poetry collections by Rainer Maria Rilke, T.S. Eliot, and R.S. Thomas
George Herbert’s life: education, illness, vocation, and pastoral ministry
Herbert’s relationship to John Donne and the metaphysical poets
The Country Parson as Herbert’s only work published during his lifetime
The posthumous publication and reception of The Temple
Structural “architecture” of The Temple: Church Porch, The Church, The Church Militant
Close 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 Weil
Poetry as the proper language for suffering and divine love
Closing reflections on poetry, attention, and formation
Key Topics & Takeaways
Poetry 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 & Discussion
Why 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 Reading
The Temple by George Herbert
The Poems of George Hebert by George Herbert
The Country Parson by George Herbert
Confessions by St. Augustine translated by Sarah Ruden
Holy Sonnets by John Donne
Duino Elegies by  Rainer Maria Rilke
Four Quartets by T.S. Eliot
R.S. Thomas: Everyman Poetry by R.S. Thomas
Waiting for God by Simone Weil
Healing Wounds by Bishop Erik Varden
Chastity: The Reconciliation of Senses by Bishop Erik Varden

Description
In 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 Outline
Opening reflections on how music and visual art express forms of love beyond words
Beethoven’s Pastoral Symphony and the emotional world of shepherds
The pastoral tradition and the association of shepherds with simplicity, joy, and musical beauty
Pieter Bruegel’s The Wedding Dance and the communal joys of embodied love
Bernini’s The Ecstasy of St. Teresa as a depiction of divine, overwhelming union
The ambiguity of mystical imagery—sensual, spiritual, or both?
Shift to tragic eros in Purcell’s Dido and Aeneas
Dido’s lament as one of the most powerful expressions of forsaken love
Classical echoes: Virgil’s Aeneid and Dido’s place in the Inferno
Closing reflections on what art and music teach us about the varieties of love
Key Topics & Takeaways
Music 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 & Discussion
How 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 Resources
The Four Loves by C. S. Lewis
The Aeneid by Virgil  
The Holy Bible 
Symphony No. 6 (“Pastoral”) by Ludwig van Beethoven
Dido 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 Bernini
As You Like It by William Shakespeare
The Winter’s Tale by William Shakespeare
All’s Well That Ends Well by William Shakespeare

Description
In 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 Outline
Opening quotation from A Treatise Concerning Religious Affections
Who was Jonathan Edwards? Background, intellect, and role in American Christianity
Edwards’s historical moment: The First Great Awakening
Old Lights vs. New Lights — a cultural and theological divide
Why Edwards’s preaching feels “medieval” to modern ears
Edwards on the nature of “religious affections”
False signs of spiritual renewal — emotions vs. lasting change
True signs of grace — the centrality of long-term obedience
Edwards’s pastoral purpose in writing the Treatise
Parallels between the Great Awakening and contemporary spiritual “vibe shifts”
Closing reflections on agape and the love of God
Key Topics & Takeaways
Edwards’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 & Discussion
What 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 Reading
Treatise 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. Ahlstrom
Jonathan Edwards by George M. Marsden 
Pew Research Center
McIntosh, Timothy Andrew. My Name Is SØREN KIERKEGAARD. Directed by Frank Mihelich