Emerging from the American frontier, specifically the northern region of Idaho, Marilynne Robinson is held in high regard amongst contemporary authors. Her initial foray into the literary world, Housekeeping (1980), was met with commendable reviews. However, it was with her Pulitzer-winning work, Gilead (2004), that she truly left her mark on literature. She deepened the narrative of this world in her subsequent novels – Home (2008), Lila (2014), and Jack (2020). These works, revolving around the same narrative from varying perceptions, have been likened to the Gospels.
In the span of 24 years between her first and second book, Robinson found herself engrossed in theological studies, outside of instructing at the Iowa Writers’ Workshop and penning non-fiction. Brought up in a devout Presbyterian family, she has shifted faiths to Congregationalism, a subset of Calvinism, which she discovered through Hermann Melville’s Moby Dick. Her strong belief is reflected in her novels, with Housekeeping filled with Biblical metaphors and Gilead being narrated by a conflicted Congregationalist pastor, John Ames.
In her latest work, Reading Genesis, Robinson delves into the root scripture, including a translation of Genesis from the King James version. She follows the Calvinist doctrine of sola scripture, maintaining the sovereign authority of scripture. She refers to the first book of the Bible as a self-presentation by God and supports the theory that there were likely multiple authors, unitedly inspired by the Holy Spirit. She contends that its interpretation as literature does not devalue its sacred nature.
At the heart of Robinson’s hypothesis lies the notion of Genesis portraying a kind-hearted God and the inherent goodness within creation. She opines that the world is designed for the pleasure of humans. She contests the portrayal of God from the Old Testament as vengeful, asserting that it is not substantiated by the actual scripture. The misconceptions are partly due to errors in translation, with ‘vengeance’ being a less precise translation of the Hebrew term for ‘judgment’. Robinson perceives God’s conduct in Genesis as restrained, as exhibited with Cain and Joseph’s siblings. She explicates that such limits on God’s power are necessary if we are to enjoy freedom, individuality, and meaningful lives as humans.
Righteousness, which possesses the strength to rescue a metropolis (Sodom) or the entire universe (Noah), holds an important place in Scripture, although it is often overlooked by linguists, she asserts. However, God’s requirement for righteousness does not eliminate his constant forgiveness. The account of Cain illustrates that “humankind is chronically mistaken, defiant, but also inalienably hallowed. God is ever mindful of our existence”.
In response to the eternal query of why a well-intended Deity would permit widespread misery, Calvin’s concept of providence implores us to adopt a Divine perspective – his ultimate plan is only revealed with the passage of time. Robinson’s viewpoint differs slightly from Calvin in the concept of preordained doom, portraying God’s absolution as more merciful than judgement premised on free will. Despite this, she interprets the Israelis’ 400-year bondage in Egypt as an act of providence. She espouses the perspective that God decided to let us exist on our own terms, allowing time to unfold as it may – within the spacious expanse offered by providence.
Robinson is a PhD holder in English literature; she composed Housekeeping as an antidote to the monotony of her dissertation on Shakespeare. Consequently, one can expect her reading of Genesis to offer a meticulous literary analysis parallel to its theological reading. Robinson posits a compelling argument for the Bible as a primordial kind of novel. In contrast to Babylonian and Assyrian mythologies, which predominantly focused on gods, “the Bible’s striking realism, the personas it encapsulates, and the character development it delivers, are borne out of an unparalleled fascination with humankind in ancient literature,” she propounds. Moreover, since we were made in God’s likeness, “our pivotal role in the genesis creation myth heralds an immeasurable uplifting of status since its inception.”
[Extolling timeless literature: Housekeeping by Marilynne Robinson (1980) ]
[Grim yet brave: Lila, by Marilynne Robinson]
Robinson’s inclination to dissect Biblical tales from a literary perspective often becomes subordinate to her theological mission – showcasing divine mercy. Beyond being a regular Bible class instructor and occasional preacher at her church, Robinson has penned nonfiction that includes a series of lectures delivered at Yale and four compilations of essays, which primarily focus on themes such as civics, feelings, faith, and science. She has admitted to Barack Obama during a conversation that her essays essentially serve as lectures. Similar zealotry is evident in Reading Genesis as well, which almost seems like a continuous monologue with no chapter-wise division or preface for guidance, making it akin to a lengthy sermon.
Reading Genesis certainly has its merits. Robinson’s examination of narrative strategies, origin of words, and the impact of translations on interpretations were particularly interesting. However, it is decidedly not a lightweight read intended for relaxed recreational reading. Her nonfiction work comes across as more densely packed and dogmatic when compared to her fictional works – the absence of John Ames’s tender introspection is keenly felt. Stripped off the consideration and sophistication of her novels, it feels as if one has been compelled to sit on an uncomfortable wooden bench, sporting an uncomfortable Sunday dress as a casual reader. Despite there being moments of brilliance, it made me rather restless.