CMW Response

           I focused on volume 2, number 8 of the Center for Mennonite Writing. This issue contained four essays, two stories, and several poems all by the Indianapolis Writers Group, which is a group of Mennonite writers who meet and discuss every Saturday. The topic of this issue focused on Mennonite identity, and themes ranged from reflecting on so-called “cradle” Mennonites to those who were unfamiliar with the faith until adulthood. It was interesting to see how some of the writers portrayed what it meant to be Mennonite through Mennonite culture (or lack thereof), while others reflected on gaining their Mennonite identity through practicing Anabaptism and pacifism.  I thought that this issue had a very good variety in style of literature, and it was interesting to see how each author had his or her own perspective on a similar issue.

For example, J. Daniel Hess tells in “My Mennonite Identity” of his life in the Mennonite church and the many experiences with different degrees of the religion, from super-conservative to more liberal. On the other hand, in “Bogart and Being Mennonite”, Ryan Ahlgrim speaks of what it was like for him to grow up outside of the church, then become a member, occasionally turning his back on the traditions of his own family. While Rodney Deaton writes on how he defines the term “aggressive Mennonite” and how he has struggles with taking on that identity, Shari Miller Wagner gives perspective through poetry on perhaps more typically traditional tales of the experiences of a Mennonite farm wife.

While I found these poems, essays, and stories to be of varying degrees of interest and quality, I thought all showed good depth and talent. It was interesting to hear through other’s essays how their Mennonite identity has been shaped, and the stories contained a good mix of insight and humor that lightened the journal. The poetry by Shari Miller Wagner, however, was by far my favorite. Although it expressed a more traditional or old-fashioned view of Mennonite identity, I thought that they captured much emotion as well as history in a form that expressed what it means to be a Mennonite artist.

One thing that caught my attention was that while both genders were represented in this issue, all of the writers were Caucasian. While I’m sure that this was not intentional, it would’ve been interesting to read work on Mennonite identity from a minority’s perspective. I thought the articles contained a good amount of diversity in what it means to be Mennonite, but perhaps including some different perspectives would give a more rounded view on the subject.

I think the idea of Mennonite writing represented uses different styles and means to reflect upon what makes a Mennonite a Mennonite, and how that can often depends on the person. Overall, I really enjoyed reading through this issue. Growing up as a “cradle Mennonite”, it was interesting for me to read about experiences that were similar to mine and very different from mine. Many of the articles caused me to think about how my upbringing and beliefs as a Mennonite affect my identity. 

Pearl Diver

           This film portrays Mennonites as a people separate from the rest of the world, but not removed from the world. It shows Mennonites engaged in the world’s issues, but attempting to resolve those issues in was that they see are truer to the Bible.  The conservative Mennonites in the film live simply, and emphasize community, gentleness, and faith. Dialogue and set are both used to show a simple, strong community. The Mennonites in the film use limited technology, and the film itself is not very high tech at all. This could be because of a lack of budget, but could also reflect the simplicity of the Mennonites. For example, no one is messing with their Blackberry or iPod on the film, and one of the sisters, Hannah, even chooses to use a typewriter over a computer for her work. These choices reflect some of the simplicity. On the other hand, many of the shots are not as edited or are of simple scenes, such as lush sunsets and tranquil farmland. These scenes may also reflect the choice of the filmmaker in how to gives feel to the movie.  

            The plot of Pearl Diver tells Mennonite stories of immigration, family, tragedy, and coping, as well as stories of cultivating land and community. The land seems to play are particularly important role in the film. King shows us how significant the countryside is to the people in the film through scenes mentioned above as well as through plot. Hannah, one of the sisters, spends quite a few scenes meandering around the corn fields with Isaac, a mentor figure to her. When Marian and John are selling the farm, it is seen as a tragedy. For this family, the land holds comfort (memories of their mother and family), work, and tradition. The land even ends up holding what saves them -- an extraordinarily expensive necklace that Isaac buried, but digs up, saving Marian and John from the move.
        King's film can show a secular audience how how important land is to the Mennonites, and can show a Mennonite audience some of their roots. Even Hannah, who had moved away from the farm and is considerable more modern than the rest of her family, finds solace and connection in the waving cornfields, soft grasses, still ponds, and rich earth.

1st

Hello! My name is Kate. This is my first blog, for a Goshen College class called Mennonite Literature. Many of the postings will be assignments, but there might be some other ramblings every now and then. I enjoy things like alliteration and lame puns, as well as being outside, reading, cooking, and music. Enjoy!