Faith, Technique, and the Temptation to Control

I recently finished The Power of Positive Thinking, a mid-20th century self-help work by Norman Vincent Peale that blends Christian language with early psychological techniques. In this book, Peale argues that disciplined belief, prayer, and positive thinking can shape outcomes in life. I approached the book not as a seeker, but as a secular observer of how we engineer mental states. While it is a pragmatically potent book, Peale was clearly not just writing theology. Instead, he was helping to invent a distinctly American genre: a gospel of efficacy.

The book presents itself as Christian, yet much of its practical force operates independently of any specific creed. In the eyes of the philosopher Paul Tillich, Peale can be read as an instance of the ascendancy of “technical reason,” that is, the transformation of the divine into a tool for achieving desired ends. It reads less like a sermon and more like an early manual of cognitive behavioral therapy, couched in the language of faith.

The Shift from Alignment to Control

Classically, prayer is not a technique for producing outcomes.1 It is an act of alignment – an orientation of the self toward something larger, opaque, and not fully knowable. It presumes a gap between human intention and divine will that is not something to be engineered away.

In Peale’s framework, that gap narrows. Prayer becomes repetitive, directed, and almost procedural. Belief is treated less as trust in the unknown and more as a spiritual algorithm. Prayer is something that, if executed correctly, is expected to yield specific results. Tillich would argue that this is a confusion of “preliminary concerns” (success, popularity, comfort) with “Ultimate Concern” (orientation with existence itself).2 When faith is used as a lever to move the world in our favor, it ceases to be an orientation toward the infinite and becomes just another tool for self-improvement.

The subtle but important shift is that divine agency recedes, and human cognition advances into its place.

God risks becoming less a sovereign presence and more an amplifier of human belief. The mystery of suffering, the asymmetry between effort and outcome, and the centrality of Christ as something other than a guarantor of personal flourishing all begin to thin out. This is not yet the full logic of the prosperity gospel, but the underlying mechanism is already in place.

What Remains Valuable: The Human Dimension

None of this critique negates the book’s practical value. Part of what makes The Power of Positive Thinking compelling is that it captures a psychological truth: the way we think meaningfully shapes how we act and how we interpret the world.

There are moments in the book that feel grounded and human. For example, a vignette about a young doctor overwhelmed by constant demands, contrasted with an older physician who is no longer sought after, touches on the tension between the universal desire to be needed and the weight of being called upon.

I found myself thinking about that recently in my own practice. I had a complex patient for whom I had initiated appropriate therapy and arranged subspecialty follow-up. After not hearing back from the subspecialist for a few days, I called the patient to ensure their condition had not worsened and to reinforce the importance of follow-up.

Later that day, I was surprised to receive a call from the patient on my personal cell phone. I reiterated the plan and answered a few clarifying questions, but the conversation began to expand, moving beyond immediate clinical needs into a broader discussion of their condition and their experience of care. After listening for some time, I redirected the conversation and brought it to a close, maintaining what felt like an appropriate professional boundary.

Technically, it was the correct decision. And yet, there was a lingering discomfort, not about the medical decision, but about the human one. Peale’s techniques help practitioners remain calm enough to maintain an effective boundary, but the logic of efficacy does not fully account for what remains afterward. There is a dimension of care that exceeds technical correctness: the patient’s sense of being held within a system that sees them and does not abruptly withdraw. Sometimes what is therapeutic is not an additional intervention, but the perception of being cared for—a reality that is often inefficient and resistant to “optimization.”

Cynicism, Despair, and the Courage to Be

If positive thinking is a tool for navigating difficult times, what happens when the map no longer matches the terrain? I recently attended an Easter sermon (less as a congregant than as a guest of the tradition) where the pastor framed a triad: faith, cynicism, and despair.

  • Cynicism presents itself as sophistication through a refusal to be naïve. But it is a fragile posture. In the face of true adversity, it offers little; it does not sustain action.
  • Despair is terminal. It relinquishes both meaning and agency.
  • Faith, however, occupies a more difficult position. Even for those outside the church, it remains a vital category.

Faith is what Tillich called “The Courage to Be”: the act of affirming one’s own existence even when confronted by the void of meaninglessness. This echoes the existentialists. Camus’s Sisyphus persists without resolution; he continues to roll his rock despite the lack of an ultimate “outcome.”  Faith is the refusal to let the absence of a guarantee lead to paralysis. While Sartre might speak of the “anguish” of our total freedom to choose, faith in this secular, existential sense is the stamina to choose constructively without a guarantor.

Importantly, optimism demands a happy ending; faith demands only a present reality. Faith does not convert belief into control. Instead, it permits action without certainty. It is the stamina to act when a “spiritual algorithm” fails.

A Necessary Separation

Especially in this era of hyper-optimization in every aspect of life, it seems increasingly important to disentangle these categories.3 I have no doubt there is genuine value in disciplined thought and emotional regulation. These are psychological tools, and they work.

But when these psychological tools are fused too tightly with theology or philosophy, the direction of dependence reverses. The task, then, is to separate them more cleanly: retain the psychological insights as such, while preserving the possibility of faith as an engagement with a meaningful “Ultimate Concern.” Once belief becomes a tool for control, it loses its capacity to engage what cannot be controlled. And it is precisely in those moments—when technique fails, when the patient is still suffering despite our best efforts, and when the rock rolls back down the hill—that the difference between mere optimism and the “courage to be” becomes clearest.

  1. e.g. in the Augustinian, Thomistic, or Reformation traditions ↩︎
  2. More precisely, Tillich defined an “ultimate concern” as a concern that: 1) organizes one’s entire personality in cognition, volition, and emotion 2) functions as an absolute value above all others 3) gives meaning to existence as a whole. To Tillich, God is “the ground of being” and thus the object Ultimate Concern. Therefore, Peale’s focus on success is a form of idolatry, in which one’s ultimate concern becomes the Moloch of money. ↩︎
  3. For an excellent discussion on the cult of self-exploitation and hyper-optimization, see the opening chapters of Jenny Odell’s Saving Time. ↩︎

What do CODA and Bachianas Brasileiras have in common?

Short Answer: Both are related to musicians with the surname of Villalobos. Bernardo Villalobos (Eugenio Derbez) is a music teacher in the Best Picture nominee CODA and Heitor Villa-Lobos composed the Bachianas Brasileiras.

Sorry for the long hiatus, I’ve matched at Wills Eye Hospital, eaten lots of fantastic BBQ in Texas, and taken up rock climbing in the interim.

I heard a segment on The Intelligence a few days ago about Brazilian modernism that was highly related to my most recent blog post about Tarsilo do Amaral, Antropofagia, and modernism in Brazilian art. In brief, the podcast/article traces the course of Brazilian modernism in the century since the Modern Art Week (an arts festival to Brazilians “as important as the…Armory Show”) – discussing the Antropofagia movement, the architecture of Oscar Niemeyer, and the evolution of bossa nova. Of greatest interest to this post, it notes that Heitor Villa-Lobos presented some of his works at the Modern Art Week as well.

As a young man, Heitor Villa-Lobos (1887-1959) rebelled against his mother’s desire for him to become a doctor. He instead become a “musical vagabond” that played guitar and cello to support himself while traveling around Brazil. During this period, he absorbed Brazilian folk music, especially the Afro-Brazilian music of the country’s north. After his travels, he enrolled in the National Institute of Music in Rio de Janeiro where he seriously studied classical stalwarts such as Bach, Wagner, and Puccini. Among an extraordinarily prolific output (with ~2,000 credited works), his Bachianas Brasileiras (1930-1945) are probably some of the best known. These works uniquely blended Western classical music with Brazilian folk and popular music.

I’ve heard Bachianas Brasileiras No. 5 live twice in my life – once with Nicole Cabell and the Boston Symphony Orchestra in 2014- and the other time at a concert with a Stanford professor that refused to extend my funding for a research project. In any case, it’s quite sublime. For a recording helmed by Villa-Lobos himself:

CODA (child of deaf adults) is a coming-of-age comedy-drama directed by Sian Heder that is a remake of the 2014 French film La Famille Belier. Ruby (Emilia Jones), the only hearing member of her family, struggles to balance her passion for singing with her responsibilities to her family’s fishing business. The cast is rounded out by her inspirational music teacher Mr. Villalobos (Eugenio Derbez) and family (Troy Kotusr, Daniel Durant, and Marlee Matlin). It’s up for three Oscars (including Best Picture) in 2022. I would definitely recommend streaming on Apple TV or seeing it in theaters (for free!). You’ll never hear Judy Collins’ “Both Sides Now” the same after watching…

From CODA. Ruby’s audition for Berklee (actually filmed in Rockport, not Berklee).

Not totally related, but I also watched Soderbergh’s Kimi the other day in which Billie Eilish’s ‘Oxytocin’ was featured multiple times. Since then, another song from Happier Than Ever, Billie Bossa Nova has been totally stuck in my head. For some real bossa nova, I had a radio show from a few years ago also attempting to explore the evolution of Brazilian music here:

Track listings for the show can also be found on the website of WMBR 88.1.

References

  1. https://www.economist.com/the-americas/2022/02/12/how-the-cannibal-manifesto-changed-brazil
  2. https://library.brown.edu/create/fivecenturiesofchange/chapters/chapter-5/modern-art-week-and-the-rise-of-brazilian-modernism/
  3. https://www.britannica.com/biography/Heitor-Villa-Lobos