Imagination, Education, and Faith

Corpus Hypercubus, Salvador Dali, 1954

Imagine a square on a piece of paper.  Now, imagine stretching that square upward from the surface of the paper.  You would have a cube, right?  Try, if you can, to imagine expanding that cube into four spatial dimensions.  You can't really do it, because we our brains only think in three spatial dimensions (length, width, height), but if you could, you would be imagining a tesseract or a hypercube.  Dali painted one of his crucifixion works showing Christ on a hypercube.  Pretty imaginative, huh?

The Wonder of Imagination

In an age in which I can pull from my pocket a device that allows me both to see and hear a friend halfway around the world as we converse in real time, we may be losing our sense of amazement at imagination itself.  What was, not too many years ago, the province of science fiction is now mundane science.  We can certainly imagine amazing things, and we do on a regular basis, both in the design of products and in our entertainment, but then again, it is not that hard to do so.  We have split the atom and walked on the moon.  We have taken images of far-flung space and helped a 3,000 -year-old mummy speak.  Should it be surprising that we have imagined the Marvel universe onto the silver screen?  To see how amazing human imagination truly is, consider some of what we imagined when we didn't have technological marvels on every corner.

In Book IV of his Metamorphoses, the Roman poet Ovid told the story of Venus and Mars.  It was an adulterous affair between the goddess of love and the god of war, and to get revenge, Vulcan, the husband of Venus and blacksmith of the gods, crafted a net of bronze in which to trap them.  Ovid wrote that the strands of the net lumina fallere possent.  They could deceive the human eye.  The net was so finely woven that it would move with the slightest touch and was unlike anything that a weaver or even a spider could spin.  Ovid, writing at the beginning of the first century A.D., imagined this adulterer's trap at a time when it could not have been produced in reality.  There were many excellent craftsman of that day, to be sure, but none that could have crafted what Ovid conceived in his mind.

Or take Lucian of Samosata, the second century A.D. satirist who wrote what some consider the first science fiction novel, A True Story, with its wild plot describing travel to the moon and interstellar war.  Lucian died sometime around 180 A.D., which is a long time before Neil Armstrong or Star Wars.  Such a tale from a time when there was no electricity or telescopes is, well, quite imaginative, and knowing the circumstances in which it was written, we likely experience a little wonder, if not jaw-dropping amazement, at the very act of Lucian's imagination.

The Necessity of Imagination

Imagination is a critical and foundational component of literacy, something I was discussing recently with a former student now at a major university preparing to become an English teacher.  As our Zoom conversation wound its way through many ideas, I recalled the story of one my of homeroom students years ago as he took our statewide assessment.  One part of the test asked the students to write to a prompt that said something like, "You and your class went on trip to a dairy farm.  Write about what happened on that trip."  This young man raised his hand, and when I went to his desk, quietly said, "I didn't go on that trip."  I replied that this was pretend, that he should imagine what it would have been like and to write about that.  He accepted the advice, and as I walked away, I noticed the ankle bracelet that this sophomore was required to wear while on house arrest.

Since he was in my homeroom, which only met once a week, I did not know him well, and I never learned all of his circumstances, but I was shaken deeply that day, and the ripples of that interaction are with me still.  I did not know what had warranted his house arrest, but I did know that he lacked a skill necessary for learning, imagination.  Whether that had anything to do with his legal trouble, I could not say, but it was heartbreaking to think that a high school sophomore did not recognize an imaginative assignment for what it was or, worse still, lacked the capacity to fulfill it.

The Treachery of Images, René Magritte, 1929

Imagination is at the heart of metaphor, and it is possible to see all language as metaphoric.  When I look at an object sitting on my desk and tell a friend, "That is my stapler," I have made a comparison, a reference.  I have uttered the two syllable word "stapler," perhaps even written its five consonants and two vowels on a piece of paper, and have asked my friend to connect those sounds and letters with the object on my desk and think of them as the same.  It is, when you think about it, an extraordinary act of imagination to think that seven distinct shapes on a piece of paper are the same as a metal and plastic, rectangular device capable of puncturing an object with a slender bit of metal and then bending that metal so that what has been punctured by it cannot readily escape from it.  It takes even greater imagination to suppose that an act of exhalation and vocal cord-vibration is equivalent to that metal and plastic, rectangular device.  If such imagination is required for the identification of a simple office item, how much do we need to understand math or physics or poetry?

Imagination's Raw Materials

Much goes into the making of imagination, both in terms of the material by which imagination works and the working of that material into what we call imagination.  In a similar way, a painting is the product both of physical elements such as paint, brushes, and canvas, along with the training and practice and work of the painter.  What, then, are the materials and the working that go into the formation of imagination?  The answers, of course, far exceed what can be explored here, but there are some basics that can be considered.

Experience, along with the realization that things can be other than they are, is one of the key elements of imagination.  When once I have experienced a coffee cup and have come to understand that its shaped may be varied, I can imagine a cup that will ride without spilling in my car, and so is born the travel mug.  One of the best ways for me to expand rapidly my experience of the world is through reading.  My grandmother used to say that she could go anywhere in a book, and she was right.  Faster than in a Star Trek transporter, I can be whisked by a book to any place in the universe and at any point in history, and this is one of the reasons why reading is crucial, especially in early childhood.  Maryanne Wolf, whose background is in neuroscience and psycholinguistics, has written much about this, and the point is quite simple.  Children need to be read to when they are young and need as much experience with reading as they can get once they are able to read for themselves.  I will never forget when one of my students asked if I had read Seamus Heaney's then new translation of Beowulf.  When I said that I had not, he offered to bring it to me when his dad had finished reading it.  As excited as I was to see the new Beowulf, I was more struck by the comment about his father's reading habits.  Reading was clearly a part of this family's life, not only engaged in with and for the children, but by the adults as well, thus modeling the look of literacy for the younger members.

If reading is a source of experience, one of the necessary ingredients for imagination, how is that experience kneaded and worked into imagination itself?  In no small part this happens through imaginative play among children.  When my son was little, we ran around the backyard in endless re-enactments of the Trojan War.  He was always the victorious Achilles, and I the doomed Hector, and there can be no doubt that the imaginative play of his youth, which included adventures with toy knights and kingdoms built of Legos, shaped the imagination that he now uses as an industrial design major.  Whether it is retelling a story through a classroom play complete with cardboard props and costumes cobbled together from the rummage sale to drawing pictures of a favorite story in a notebook, this sort of creative and recreative work is essential for developing the skill of imagining.

Imagining God

St. Anselm (1033-1109) is famous for putting forth his ontological proof for the existence of God.  In Proslogion 2 he says that God is aliquid quo maius nihil cogitari potest, that than which no greater can be imagined.  He is the very limit of our imagination because He is the source of our imagination, and it certainly takes imagination on our part even to attempt to get our minds around how John described the Incarnation in his gospel when he wrote that the Word was God and the Word became flesh and lived among us.  Our word "imagination" is derived from the Latin word imago, which we find in Colossians 1:15 where Jesus is described as the imago Dei, the image of God.  Just a few lines later in verse 19 we read that all the fullness of God dwelled in Him.  Once again, Jesus, Who is God, is the very limit of our imagination.  He is the fullness of God.  He is that than which no greater can be imagined.

Imagination is necessary not only for attempting to grasp theological concepts, but for the living out of our faith as well.  We live in the world of already-but-not-yet.  Christ is already victorious over all things, and yet we await His return and the renewal of all things.  This is why His description in Revelation 4:8 as the One Who was, Who is, and Who is to come, while seemingly illogical, makes sense, but it does take a stretching of our imagination to get there.  What does it mean, then, to live in such a reality?  We are everyday imagining new ways of doing just that.

Why We Read

Much more can be and has been written about imagination, but I want to close by revisiting the idea of reading.  Not only do books quickly broaden our experiences, the raw material of our imagination, but they allow us to see how others imagine.  For most of human history, people have learned skills through apprenticing, by seeing how others have done something, and this applies well to developing our imagination.  When we see how master authors, both of fiction and nonfiction, have imagined the tale they have to tell, we see yet another way for us to imagine our own tale, a way that we can follow or that will inspire us to imagine something new yet again.