Acts of Grace: Faith, God's Will, and Time. an Interview with Craig Wright
Davis, Deryl, Sojourners Magazine
Religious themes are scattered throughout Craig Wright's work, but if you ask the award-winning dramatist and TV writer if that's intentional, the answer will be a resounding no. A graduate of United Theological Seminary in Minnesota and a former United Methodist pastoral intern, Wright primarily earns his living as a writer for the acclaimed HBO series Six Feet Under. While the label "Christian writer in Hollywood" doesn't comfortably fit Wright, you wouldn't dismiss him as non-Christian either. Like many writers in the secular domain, he is compelled to ask religious questions without having them define him or his work.
"With each play, I approach whatever is most interesting," the 39-year-old Wright says. "Quite often, the language of religion is a quick way to cut to the chase, to the most important things."
Wright's work has been nominated for the Pulitzer Prize and an Emmy award. His latest play, Grace, looks at questions of faith, God's will, and time through the lives of an evangelical Christian couple transplanted from Wright's native Minnesota to the Florida gold coast. Wright says he looked again at John Calvin's classic Institutes of the Christian Religion as he thought about the theological arguments of the play. One of the main characters, Steve, believes he knows God's will but is destroyed when things don't turn out as he planned.
"When you make God into something that only serves your best interests, when you're no longer able to see God in the things that don't serve your interests, then you run into trouble," Wright says. "Things that serve our best interests are often destructive in the lives of others."
In the play, Steve's business deal (to create a chain of gospel-themed motels) and his marriage both fall apart. The apparent cause is Steve's inflexible belief that he knows exactly what God is up to. But equally disturbing is the fact that his lonely wife finds love and spiritual connection with their agnostic neighbor, Sam. In the play's most moving scene, Sara even teaches Sam to pray. Is this, one trembles to ask, a kind of grace?
"What is 'grace'?" Wright responds. "If the best thing that ever happened to one person is also the worst thing that happened to another, is that 'grace'?"
One quickly recognizes that, from Wright's point of view, grace is not a single act or event, but a series of unfoldings that reveals God's purposes over time. What might be called a theology of time is, in fact, a major preoccupation for Wright. He experiments with it in Grace, for instance, where the ending comes before the beginning, and only after that do events move in normal chronological order toward a conclusion we already know. In an earlier draft of the play, Wright had one of the characters remark that grace is "the order in which things happen, the history of what God has allowed."
"For me, that's one of the big questions of life," Wright says. "Why we have this linear, irreversible conception of time. It's one of the things that makes Christianity uniqu--a necessary forward motion built around the moment when history changes, pre-Christ and post-Christ. But what does it mean that we're all--Muslims, Buddhists, Christians--moving forward, and it doesn't stop?"
SEMINARY HELPED Wright wrestle with that question, as well as find a language and point of view from which to work. Initially following his theological interests, and concerned about whether he could really make a living as a dramatist, Wright found that seminary training made him a better writer and artist.
"What I didn't know before going to seminary was how much the life of the church supplies us with a way to think about time and a way to understand the transformations of culture over time," Wright says. "Understanding history as in some sense salvation history, as a story unfolding over time, gives you a firm place to stand on the train as the landscape rushes by. …