A Bible Fit for the Restoration: The Epic Struggle that Brought Us the King James Version

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I have also found that what I write is read by an audience which puts little stock in either grace or the devil. Of course, the fiction-writer-as-prophet does not name such realities in a whimsical or idiosyncratic way. Rather, if we take the prophetic analogy seriously, a Christian fiction writer engages in a creative yet derivative naming, naming particular spiritual realities as God would name them. For the fiction writer as well as anyone else, Christian discipleship participates mimetically in such world-naming.

In at least one place in her non-fiction, she reflects on this difference implicitly: Unfortunately, where you find Catholics reading the Bible, you find that it is usually a pursuit of the educated.

Academics, taking a cue from Protestant practice, generally experience the Bible visually, as a printed text to be engaged through the eyes rather than the ears. Roman Catholicism, in continuity with the practices of ancient and medieval Christianity, perpetuates this older mode of linguistic experience in its location of the Mass as the proper context for the encounter with Scripture.

Protestantism, born with the printing press on the threshold of modernity, adopted a more textually-oriented engagement with the Word made possible by modern technology. This simple observation on the relationship between sociology and technology helps explain why, to this day, Protestants are far more likely than Catholics to carry Bibles, and be expected to carry them, to church.

This observation arises from what Walter Ong has described as the great divide between premodern and modern cultures: A cascade of subsequent distinctions follows on the heels of this basic one. Oral cultures experience language aurally rather than visually. Because the spoken word passes away, oral cultures place a high value on the arts of memory in connection with reading, while textualized language invites exegetical analysis.

In oral cultures, the talented reader is the one who can make it come alive, who can turn text back into speech; in literate cultures, the talented reader is one who can discern subtleties of meaning. Consequently, oral cultures tend to be more comfortable with polysemeity think of medieval fourfold allegory , whereas literate cultures prefer fixed, determinate meaning think of the modern quest for authorial intent. The King James is, of course, well known to readers of this volume.

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The Douay-Rheims, however, may not be. It is the translation of the Scriptures authorized by the Vatican for the use in the English-speaking Roman Catholic Church in the mid-twentieth century. The Douay- Rheims began with the New Testament, first published in , and was later followed by the Old Testament in two volumes in This translation was significantly revised by Challoner in , and this process brought the Douay-Rheims closer to the King James in style, diction, and phrasing.

The following comparison of a for the most part randomly selected passage in both translations illustrates this point well: Arise, and go to Nineveh, that great city, and cry against it; Ninive the great city, and preach in it: Aside from trivial differences in spelling and punctuation, only three small differences in translation separate the two: However, when we consider this text as a visual rather than an auditory object, another difference comes into view: The use of small caps to designate the word which translates or, strictly speaking, substitutes for the divine name revealed to Moses at the burning bush has profound theological significance.

The King James, on the other hand, must have been primarily a visual experience for her, a book she engaged with her eyes rather than her ears. If so, the visual qualities of the KJV, including its typographical conventions, would have played a role in her reception of its meaning and its patterns of signifying. In fact, the convention of setting of the divine name in small caps seems to have provided her with a way to indicate polyvocal and polysemous speech in The Violent Bear It Away.

His great-uncle, Mason Tarwater hereafter Mason , raises him on a remote Tennessee farm known as Powderhead and provides him with an education that is both agrarian and fundamentalist. Mason understands himself to be a prophet in the tradition of Elijah or John the Baptist in that his primary mission is to baptize Tarwater and prepare him to be a prophet; in order to do so, Mason effectively kidnaps him from the custody of his nephew, George Rayber hereafter Rayber , who lives a modern urban life dedicated to denying the familial heritage of fundamentalism by living a rational, stoic existence.

Rayber is the guardian of Bishop, the mentally handicapped child of his sister who had died in a car accident some years before. Mason understands himself to be called to baptize this child, as well, though he does not succeed in doing so. For each of these statements we will consider briefly what the statement means in context and then ask what additional meaning the small caps may be signaling.

How can we know their source and, therefore, their validity? Significantly, other vocational imperatives attributed to God but spoken by Mason in the novel do not appear in small caps. This prophecy, we discover at the end of the novel, is partly true and partly false; at the same time, it lacks typographical distinction.

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Could these two characteristics be connected? Perhaps this statement does not appear in small caps in order to indicate a lack of divine authorization of this statement. In the one case, it seems that Mason alone is speaking; in the other, the divine voice is speaking in and to him, and the overlay of this additional voice is indicated through the use of the small caps.

If so, then Mason is indeed a prophet, but he is not a prophet after the mold of Elijah as he maintains The second small caps statement also involves Mason, but this time Mason is the author of the statement rather than its audience.

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