Meet Anna Gary

To my family and friends, I want to take a moment to introduce you to Anna Gary.

Anna

Anna, a fellow Texan, has been and continues to be a tremendous blessing to me in that she makes my writing come alive with her artwork, allows me to pick her brain at any time of the day or night and doesn’t scream when I toss her head first into new or difficult situations.  

Before Barn Town, Anna was an abstract painter with a big heart, a great talent and a love for all of God’s majestic creation.  She has brought all of that drive, all of that enormous love and creativity to the residents of Barn Town.

God brought us together through a lovely lady and fellow author, Ann Jones, and I am extremely grateful.  My hope and prayer is that Anna and I have a long and prosperous career ahead of us and that you will learn to love Anna as I do.

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Imagine if you will, a roasted eagle on your Thanksgiving table.

https://www.smithsonianmag.com/arts-culture/american-myths-benjamin-franklins-turkey-and-the-presidential-seal-6623414/

American Myths: Benjamin Franklin’s Turkey and the Presidential Seal

How the New Yorker and the West Wing botched the history of the icon

turkey presidential seal

Artist Anatole Kovarsky’s image from the cover from the November 24, 1962 issue of The New Yorker (Anatole Kovarsky via New Yorker cover archive)
Read more: https://www.smithsonianmag.com/arts-culture/american-myths-benjamin-franklins-turkey-and-the-presidential-seal-6623414/#e9UemHKM0xyue7Ut.99
smithsonian.com

 

While researching our recent article about the Seal of the President of the United States, I came across a few myths about the National Emblem that required a little more investigation.

First up, the idea that Benjamin Franklin, in his infinite wisdom and wit, wanted the National Bird to be the turkey. According to the United States Diplomacy Center, this myth is completely false (though I’ll dive into the murkier parts of that myth in a moment). The center points to the fact that Franklin’s proposal for the Great Seal was devoid of birds completely and suggest that the idea was propagated, in part, by a 1962 illustration for the cover of the New Yorker by artist Anatole Kovarsky, who imagined what the Great Seal of the United States might look like if the turkey did become our national emblem (above image). However, while it’s hard to imagine that overstuffed, flightless bird on our currency and on the President’s lectern instead of on our dinner table, there is actually a bit of truth to this rumor.

The Franklin Institute, addressing what I’m sure is their favorite question about one of the most complex and interesting men to ever live in this country, excerpts a letter from Franklin to his daughter, in which he does in fact question the choice of the eagle, commenting that the selected design looks more like a turkey. Franklin then expounds on the respectability and morality of each bird, which really seems like such a Ben Franklin thing to do:

“For my own part I wish the Bald Eagle had not been chosen the Representative of our Country. He is a Bird of bad moral Character. He does not get his Living honestly. You may have seen him perched on some dead Tree near the River, where, too lazy to fish for himself, he watches the Labour of the Fishing Hawk; and when that diligent Bird has at length taken a Fish, and is bearing it to his Nest for the Support of his Mate and young Ones, the Bald Eagle pursues him and takes it from him.

With all this injustice, he is never in good case but like those among men who live by sharping & robbing he is generally poor and often very lousy. Besides he is a rank coward: The little King Bird not bigger than a Sparrow attacks him boldly and drives him out of the district. He is therefore by no means a proper emblem for the brave and honest Cincinnati of America who have driven all the King birds from our country…

“I am on this account not displeased that the Figure is not known as a Bald Eagle, but looks more like a Turkey. For the Truth the Turkey is in Comparison a much more respectable Bird, and withal a true original Native of America… He is besides, though a little vain & silly, a Bird of Courage, and would not hesitate to attack a Grenadier of the British Guards who should presume to invade his Farm Yard with a red Coat on.”

The second myth I wanted to address is tied to the alterations President Truman made to the Presidential Seal. It’s sometimes said that the eagle on the Presidential Seal changes during times of war to face the arrows instead of the olive branch. This one is unquestionably false, although somewhat understandable. From 1916 to 1945 the eagle did indeed face the arrows –a version that can still be seen on the Resolute Desk– but this was changed when President Truman issued Executive Order 9646, modifying the seal so that the eagle faced the olive branch – a gesture symbolic of the post-war nation’s dedication to peace. While the changes to the seal, which always occurred around times of war, may explain the origin of the myth, its propagation is owed largely to popular culture. According to snopes.com, in both an episode of “The West Wing” and the Dan Brown novel Deception Point, the myth is incorrectly stated as fact. But perhaps the final word should come from Winston Churchill, a Franklinesque wit himself. When Truman showed him the changes that were made to seal, Churchill suggested that the eagle’s head should just be on a swivel.

Jimmy Stamp is a writer/researcher and recovering architect who writes for Smithsonian.com as a contributing writer for design.

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Book Review: Bride of the MacHugh by Author Jan Cox Speas

 

Book Review: Bride of the MacHugh by Author Jan Cox Speas

I first bought and read this book more than 40 years ago. I loved it then and I loved it yesterday when I took the book off my book shelves to read again. My hubby says I have read this book at least four times that he is aware of and probably more. It’s that good, I tell him and you!

https://www-pandorasboxjt-com.filesusr.com/html/cdbf73_f2466166ec67deea05e2a8d1af1ffdf6.html

The story is set in the Scottish Highlands in 1614. It tells the story of Elspeth Lamond, born in Scotland and raised in England. A favorite at Queen Anne’s court, she promises her dying mother she will journey to Scotland to visit her mother’s clan. During her travel, she is abducted by the MacHughs and taken to the castle where she was born. She meets her father Robert Lamond for the first time and his ally, Sir Alexander MacHugh, Chief of Clan MacHugh.

The plot and subplots will draw you into this exciting tale. There is love. There is war. And there is the overall desire for freedom not only from Elspeth but also from the clans in their battle of independence against the Campbells and King James’s control of Scotland.

About the Author

 

Jan Cox Speas (1925–1971) is a short story writer and novelist born in Raleigh, North Carolina in 1925. She studied creative writing with Hiram Haydn at Woman’s College (now the University of North Carolina at Greensboro, or UNCG), from which she graduated in 1945. From 1954 to 1960 she published Bride of the MacHugh, My Lord Monleigh, and My Love, My Enemy. She also published many short stories in magazines, from pulp to slick. She returned to UNC-G and secured her master’s degree in Fine Arts in 1964, submitting her fourth novel The Growing Season as her thesis. Her mentor and advisor was noted poet Randall Jarrell. After graduation, she began teaching English and Creative Writing at Guilford College, also in Greensboro. Speas was well known for her historical romances during the 1950s and 1960s.

Following her death from a heart attack in 1971, Avon Publications brought out paperback editions of her romances. By 1978 there were more than a million copies of her books in print. The author was married to John Speas; they lived in Greensboro and had two children, Cynthia and Gregory.

For more information, visit this website.

About the Reviewer

 

My hubby and I were missionaries in the 70’s and 80’s raising money for Bibles, New Testaments, Book of John, paper, ink and helped set up a couple of print shops in churches. We traveled with our 2 small boys with our base here in Texas.

With our family grown and grand-children galore, we live in west-central Texas with a barn full of critters enjoying the country life.

Connect with Eve on her websiteblog, or on Twitter.

You can read Eve’s column on the 2nd Monday each month here at Pandora’s Box Gazette.

“Why do you write Biblical Fantasy?” by Author Brennan McPherson

https://us13.campaign-archive.com/?u=d0a75f004b4c445e846f52b80&id=b258b9dc3c&e=3374e754ff

 

Biblical Fantasy

My books are not very easy to categorize, because I technically write in a “non-existent” genre dubbed “biblical fantasy.” There’s other writers who write in this genre, it’s just not been widely recognized yet.

Because of that, tons of readers ask why I write biblical fiction as fantasy rather than as historical fiction.

“Isn’t that blasphemy?”

“Why hasn’t God struck you with lightning yet? I think I’ll keep my distance until it happens.”

Here’s the deal. All fiction is fantasy.

The point of fiction is not to re-create reality, but to use the imagination to consider reality.

That can mean that the point of a novel would be to experience emotional truths (such as to feel another person’s pain and be gifted with empathy for them as a result). It doesn’t matter whether that person is real. Fictional characters are symbols representing real people, and so fiction can help us build empathy for real people.

As silly as that sounds, studies have outright proven that people who read fiction are statistically more empathetic.

As much as I admit that “historical fiction” is a legitimate category, the phrase is technically an oxymoron. History is fiction’s opposite. So, all historical fiction is, in fact, fantasy.

Regency Romance is a romanticized version of a former reality. It’s not actual reality.

But that’s not the reason why I write biblical fantasy fiction instead of biblical historical fiction.

And no, I’m not one of those “progressive” people who believe that the Bible is just a set of stories. I believe that the Bible is the inerrant word of God. That Genesis is a historical account. That the Bible is real and infallible.

So, to make sense of why I write stories based on the Bible and label it “fantasy,” I have to explain a few concepts, starting with the deep-seated belief I’ve held since I was a little kid that the imagination is an extremely important gift that God’s given to us for good reason.

I’ve always loved fantasy fiction. I grew up on story-based video games like The Legend of Zelda and Final Fantasy. On movies like The Lord of the Rings. On books like The Chronicles of Narnia. I was captivated by how totally made up worlds could drive home emotional truths in powerful ways, and even impact me more deeply than some sermons could.

I’ve tried to explain that to fellow Christians, but normally get little more than a quizzical stare or a head-shake in return.

Now that I’m older and have had time to think about it, I have an easier time explaining what I mean: that God gave us our imaginations and said that we must become like little children to enter the kingdom of Heaven because without our imaginations, we cannot please God. Because without the human imagination, worship is impossible.

The entire reason why we exist as human beings is to worship God. That’s it. That’s our primary reason for being here. To do that in a way that pleases God, we have to engage him with our whole person (body, soul, spirit). That includes the human imagination.

Faith is belief in what we cannot see or prove. To have faith is to apply the human imagination to God’s promises. The imagination is what allows us to make that leap–and it’s a gift from God.

Furthermore, I believe that God gave us an indwelling desire to create things with our imagination so that we would mirror him more directly. Because we ourselves began in God’s imagination. We were created as God’s art (little mirrors of his glory). When we create art, it is, in a way, a mirror of ourselves and the world around us, just as we are God’s mirrors.

Creating is a good thing that God intended for us to do, so long as that process of creating takes us closer to him.

The reason why I write biblical fantasy is firstly because God planted the desire to do so in my heart, and because he has used it to bring me closer to him. 

Secondly, God has used biblical fantasy as a way of helping me do away with my errant preconceptions about his Word, to get down to the heart issues at the core of many Bible passages. When you strip away many of the details that have become mundane about a passage and really look at the spiritual core, or when you approach a passage from a new perspective, you see that many of the stories we’ve become familiar with are not at all about what we think they’re about.

For example, the story of Cain and Abel always seemed like a moral story about the hideousness of murder. But the actual core of the story is that Christ is shown as present in that ancient story when God shows mercy to Cain.

The book of Hebrews has an entire chapter devoted to showing how all of the ancient Old Testament patriarchs were forgiven and considered righteous because of Christ’s sacrifice thousands of years later. That means that the only reason why God was able to forgive Cain was because Christ bore Cain’s sin on the cross, too, just as he bore ours–because we’re all like Cain at our core. That, I believe, was the reason why I felt pushed to write CAIN: The Story of the First Murder and the Birth of an Unstoppable Evil. And it took writing it from a completely different perspective to really get that truth at such a deep level.

But lastly, when I write biblical fiction as fantasy, it does away with people’s desire to make fiction supersede reality. This one will take a bit more explanation, so bear with me.

There was a book that came out years ago called This Present Darkness, by Frank Peretti, and it was a runaway best-seller. I read the book and loved it. My whole family did. We listened to the audiobook on long road trips together and we all felt that we learned something about God and the spiritual world (because, after all, the entire book is a fictional take on spiritual warfare).

But something strange happened in the wake of that book’s massive success. Many of the fictional ideas that Peretti invented that seemed perfectly plausible suddenly became “canon” to people. There have been waves and waves of people who have formed more beliefs about spiritual warfare from reading This Present Darkness than from reading the Bible. That’s extremely dangerous, and Peretti would agree.

The last thing I wanted was to write a fiction book based on a Bible story and have people think, “This is how it happened.”

All fiction is made up. We have to keep that extremely clear in our minds and never take too seriously our belief on what isn’t explicitly stated in the Scriptures. But there’s extreme ambiguities in many of the Bible stories, and especially in the ancient Genesis stories. To draw any of them in any sort of detail requires a whole lot of speculation. To speculate that much and yet call it anything but fantasy strikes me as errant, if not arrogant. Yet we have to label it something, and according to Barnes and Noble, my work is “Historical,” though I don’t think of it like that.

And so I say that I write biblical fantasy to come to see the core purpose and designs of Scripture, to entertain readers, to offer new perspectives on timeless stories, and to help us worship God by engaging him and his mysteries with our imaginations.

It’s not always going to be a comfortable ride. Nothing in the Christian life is. I don’t think honest art should be any different. But it will always be with the intention of wrestling with God’s truths.

Thank you for joining me on this email list. I hope you enjoy reading, and that you’ll stay for some time so that we can meet someday. Blessings,

-Brennan McP