A scholar of American Christianity presents a seventy-five-year history of evangelicalism that identifies the forces that have turned Donald Trump into a hero of the Religious Right.
Jesus and John Wayne is a sweeping account of the last seventy-five years of white evangelicalism, showing how American evangelicals have worked for decades to replace the Jesus of the Gospels with an idol of rugged masculinity and Christian nationalism. As Du Mez explains, the key to understanding this transformation is to recognize the role of culture in modern American evangelicalism. Many of today’s evangelicals may not be theologically astute, but they know their VeggieTales, they’ve read John Eldredge’s Wild at Heart, and they learned about purity before they learned about sex and they have a silver ring to prove it. Evangelical books, films, music, clothing, and merchandise shape the beliefs of millions. And evangelical popular culture is teeming with muscular heroes mythical warriors and rugged soldiers, men like Oliver North, Ronald Reagan, Mel Gibson, and the Duck Dynasty clan, who assert white masculine power in defense of “Christian America.” Chief among these evangelical legends is John Wayne, an icon of a lost time when men were uncowed by political correctness, unafraid to tell it like it was, and did what needed to be done.
Trump, in other words, is hardly the first flashy celebrity to capture evangelicals’ hearts and minds, nor is he the first strongman to promise evangelicals protection and power. Indeed, the values and viewpoints at the heart of white evangelicalism today patriarchy, authoritarian rule, aggressive foreign policy, fear of Islam, ambivalence toward #MeToo, and opposition to Black Lives Matter and the LGBTQ community are likely to persist long after Trump leaves office.
A much-needed reexamination, Jesus and John Wayne explains why evangelicals have rallied behind the least-Christian president in American history and how they have transformed their faith in the process, with enduring consequences for all of us.
|Auther: Kristin Kobes Du Mez