Jarret and Aida were among a dozen pilgrims who converged from four states and a Canadian province to view the 2017 eclipse in Oregon ranch country.
When I experienced my first total solar eclipse seven years ago, it was so overwhelmingly awesome that I resolved to make it to the next one in North America, due on April 8, 2024. Its path across the U.S. will run from the sourthwest border of Texas to the eastern edge of Maine, so my plan was to start driving from the Pacific Northwest a week in advance, adjusting my course daily toward whatever region promised clear skies. I thought I might end up somewhere in Texas, but a high probability of cloudy skies ruled that out, along with most of the other states except perhaps northern New England (too far) and some stretches from southern Missouri to central Indiana (too unspecific). So I abandoned my quest. Why drive 2000 miles to watch a cloud get dark? I can do that at home.
I was relieved in a way. The idea of a demainding road trip right after the exhausting rigors of Holy Week did verge on madness. And I have thoroughly enjoyed catching up on sleep and reading this Easter Week. But come Monday, I’m sure I will be visited by the demons of regret and envy. I do hate missing out.
In the instant of the sun’s vanishing in 2017, my first thought was, “Why did it take me so many decades to see this breathtaking phenomenon?” A few minutes later, when the light began to return, I thought, “When’s the next one?” And even if I never see another eclipse, the two minutes of pure wonder in between those thoughts will live in me forever.
To all of you fortunate enought to be in the path under a cloudless sky on Monday. I wish you a totality of amazement. There is nothing else in Nature so uniquely sublime. After seeing the 2017 eclipse, I wrote a piece about its effect on the senses and the soul, with the help of Dante, John Donne, Henry Vaughan, and Michelangelo Antonioni. In a decade of blogging (yesterday marked the tenth anniversary of The Religious Imagineer), it has been my most popular post. You can read it at the following link:
In the Garden, an icon by the hand of the artist, Angelica Sotiriou, 2009.
I’m writing this on Maundy Thursday, the night of Jesus’ tender farewell supper with his friends—and the night he was handed over to malevolent powers. The beautiful icon from the hand of California sacred artist Angelica Soteriou [i] captures the wrenching moment between the solidarity of his loving community and the fatal desolation of his Passion. He is alone. Neither friends nor enemies share his existential space. He’s kneeling in prayer, arms stretched out, beseeching his Father for whatever is needed to make it through the night. But his hands remain open, receptive to a will not his own. Not my will, but thine. And though an annihilating blackness surrounds him, his body is held safely within the warm color of the mountain of God. Even when we feel alone, even abandoned, we are still enfolded within divine love and mercy. Our divine milieu is not an exemption from trouble, but an assurance against trouble’s finality.
On this holy Thursday, many churches, including mine, do the eucharist in the context of an actual shared meal. It is is our custom to eat in silence, which monastics know is a profound way to be together. Our silence is punctuated by a series of meditative readings from the Farewell Discourses, the words of encouragement, comfort and challenge which, in John’s gospel, Jesus speaks to his friends on the night before his execution. It’s not a reenactment of a past event. Those words are spoken directly to us, in our own fraught time.
Tonight, however, we added a word from one of Jesus’ more recent friends, the theologian Dietrich Bonhoeffer, who was facing his own Gethsemane in a German prison. At Christmastide, 1944, a few months before he would be executed by the Nazis, he wrote a poem which was smuggled out of prison in a letter to his mother. Its expression of confidence and hope in the midst of an evil time not only echoes the spirit of Jesus’ Farewell Discourses, but it speaks strongly to our own latter days, when so many things are in peril.
Here is the versified translation of Bonhoeffer’s poem by the British hymn writer Fred Pratt Green:
By gracious powers so wonderfully sheltered, and confidently waiting come what may, we know that God is with us night and morning, and never fails to greet us each new day.
Yet is this heart by its old foe tormented; still evil days bring burdens hard to bear; O give our frightened souls the sure salvation for which, O Lord, you taught us to prepare.
And when this cup you give is filled to brimming with bitter suffering, hard to understand, we take it thankfully and without trembling, out of so good and so beloved a hand.
Yet when again in this same world you give us the joy we had, the brightness of your Sun, we shall remember all the days we lived through, and our whole life shall then be yours alone.[ii]
Yes, we too are living through “evil days” which weigh down “our frightened souls” with “burdens hard to bear.” But our brother Dietrich, like our brother Jesus, reminds us that there is an alternative to fear and despair, if we can find the courage to live into God’s future, come what may, and the Paschal wisdom to walk the Way of the Cross “thankfully and without trembling,” because we know that death doesn’t get the last word.
Now, as we move into Good Friday, listen to what Rowan Williams, former Archbishop of Canterbury, says about the cross:
Jesus crucified is God crucified; so we believe. Jesus is the total and final embodiment in history of God’s loving mercy; and so this cross is a unique, terrible, extreme act of violence—a summary of all sin. It represents the human rejection of love. And not even that can destroy God; with the wounds of the cross still disfiguring his body, he returns out of hell to his disciples and wishes them peace. There is our hope—the infinite resource of God’s love, the relationship with God’s creatures that no sin can finally unmake. God cares what we do because God suffers what we do. God is forever wounded, but forever loving. The possibilities of our relationship to God are indeed ‘new every morning.’” [iii]
In other words, says Williams, “we have a future because of God’s grace.” Bonhoeffer said the same thing, and he said it from death row. That’s what the Paschal Mystery of dying and rising is trying to tell us—not only in the rituals and narratives of Holy Week, but in the kind of lives we live when we fully embody the archetypal pattern of surrender and transformation. The way down is the way up. Lose your life to find it. Let go and let God.
There’s always more to say about this, of course, but it’s almost midnight, and tomorrow is the rigorous journey to the foot of the cross. And beyond that, there’s the Easter Vigil, a night of wonders when heaven and earth are joined and liturgical curators are left exhausted yet exultant in its wake. If you want to read more about the cross, try What Will the Cross Make of Us?, written in 2022 by my less tired self. For more on the Easter Vigil, try Just a Dream?—Reflections on the Easter Vigil.
I’m going to bed now, but let me leave you with a 3-minute trailer for the Triduum, pushing the point that the Triduum is not a la carte, but a 3-part connected sequence that wants to be experienced in full. The three-day Paschal passage from Passion to Resurrection isn’t just bingeing on liturgy. It’s a profound way of knowing that delivers you to a different place. As we say at my church every Holy Week, “The journey is how we know.”
[iii] Rowan Williams, from a sermon excerpted in A Time to Turn: Anglican Readings for Lent and Easter Week (Harrisburg, PA: Morehouse Publishing, 2004), 99.
This is the fifth time in ten years of blogging that I have observed the feast day of poet-priest George Herbert—”the greatest devotional poet in the English language”[i]—with a reflection on his poetic “heart work and heaven work.”[ii] For me, in our spiritually impoverished secular age, he remains an indispensable guide for a life of prayer. As I wrote in a previous post,
“Herbert’s passionate engagement with the Transcendent––among us, within us, over-against us––was not theoretical or abstract, but intimate and experiential, employing the first-person form of lyric poetry to open a clearing where his inmost feelings could show themselves to both the speaker and his readers. In his striking play of words, images and sounds, a consort of meanings both public and private, we overhear Herbert’s prayers, and witness the argument of his soul. The brilliance of his poetic invention is never for its own sake. He seeks not to show off his skill, but to surrender his will.”
You can find more general information about Herbert’s life and works in the links at the end of this post. Today I want to look at two poems about the inescapable mortality of the human condition. In the first, “Time,” the poet meets up with the Grim Reaper, wielding his scythe used to harvest the ripe field of human souls. He is, of course, the personification of the temporal flow that sweeps us all toward death. Instead of cowering in fear, the poet initiates a playful bantering, as if Time were his equal. Courteously, Time calls the poet “Sir,” and lets him do most of the talking.
Meeting with Time, slack thing, said I, Thy sithe is dull; whet it for shame. No marvell Sir, he did replie, If it at length deserve some blame: But where one man would have me grinde it, Twentie for one too sharp do finde it.
Perhaps some such of old did passe, Who above all things lov’d this life: To whom thy sithe a hatchet was, Which now is but a pruning knife. Christs coming hath made man thy debter, Since by thy cutting he grows better.
And in his blessing thou art blest: For where thou onely wert before An executioner at best; Thou art a gard’ner now, and more, An usher to convey our souls Beyond the utmost starres and poles.
And this is that makes life so long, While it detains us from our God. Ev’n pleasures here increase the wrong, And length of dayes lengthen the rod. Who wants the place, where God doth dwell, Partakes already half of hell.
Of what strange length must that needs be, Which ev’n eternitie excludes! Thus farre Time heard me patiently: Then chafing said, This man deludes: What do I here before his doore? He doth not crave lesse time, but more.
From the first moment, the poet disses Time—none other than Mr. Death—calling him “slack” (meaning lazy and slow), and mocking his scythe as shamefully dull. Herbert’s health was poor when this was written (he would die at 40), and his jibe may have been the black humor of a dying man: With such a failing body, how come I’m still here? You need to sharpen your blade, Mr. Death!
But the poet’s surprisingly light tone here is a form not of denial, but of faith. For the believer, Time’s fatal blade brings not annihilation, but new growth: “By thy cutting he grows better.” We’re not sure what Time makes of this argument, but when the poet begins a more speculative discourse about time and eternity, wondering whether they intersect or remain totally separate, Time loses his patience. Why is he standing here listening to this mortal prattle on, wasting Time’s time?
What do I here before his doore? / He doth not crave lesse time, but more. Mr. Death thinks the poet is stalling, trying to gain a little more time with his philosophical filibuster. But knowing the poet’s faith, we may assume that Time is mistaken. What the poet craves is not more time, but eternity: freedom from temporality itself, in “the place where God doth dwell” beyond the binaries of here and there, then and now, presence and absence.
When the 20th-century poet and critic Paul Zweig was diagnosed with lymphoma in his forties, he wrote about his oncologist’s assurances that he might still have a “long time” left.
“Listening to my doctor was delicate. I took in every shrug, every rise and fall of his voice. I weighed his words on a fine scale, to detect hope or despair. Then I called up another doctor, to hear how the words sounded in his voice. I triangulated and compared all to find something that would shut off the terror for a while.” [iii]
Zweig’s “terror” feels searingly authentic. Can we say the same about Herbert’s tranquility? And what happens next, when Time finally loses its patience with us? Herbert does not say. Cannot say, in fact. No one can. Does the silence after the final line signify emptiness (nothing at all), or absolute wholeness (God all in all)? Your answer will shape your religious practice.
Our second poem, “Life,” surprises us when we discover it’s really about death. But isn’t that how life is?—surprising us by coming to an end. Whether it be bitter or sweet, our continued existence seems so convincing. Until it’s not.
The poem’s imagery is very simple. A small bundle of cut flowers, already starting to wither by midday, becomes, through the poet’s act of sustained attention, a metaphor for his own mortality. The materiality of the flowers—which the reader is enabled by the text to see, smell, and touch—is a striking example of Herbert’s “sacramental poetics.” The 16th-century Reformation debates about real Presence haunted the religious poetry of the 17th century. What is the relationship between matter and spirit? Can bread and wine be God, and still remain their material selves? Or as Herbert put it, “how shall I know / Whether in these gifts thou bee so …” [iv]
The inseparability of sign and signified, visible and invisible, matter and spirit was foundational for Herbert. The sacramental bread and wine are capable of “Leaping the wall that parts / Our souls and fleshly hearts.”[v] (The HC 1633) But the sacred elements never vanish into abstractions, mere ideas. They remain material objects we can taste and see with our own material bodies. As Kimberly Johnson explains in Made Flesh: Sacrament and Poetics in Post-Reformation England:
“Just as in the Incarnation the Word was made flesh, such that material and spiritual ontologies might be maintained simultaneously, Herbert’s poetics endorses a representational system wherein the material is not supplanted by spiritual significance but persists as a site of sensory participation … Poetry, as Herbert recognizes, is an embodied art. It activates the flesh as a perceptual instrument and preserves in its nonreferential features the incarnational properties of language, and it is because of these qualities that poetry serves, for Herbert, a sacramental function.” [vi]
In “Life,” the words that engage our senses are not disposable means for grasping abstractions; the flowers remain outward and visible objects in the world (heard, seen, smelled, felt) which are at the same time inseparable from the inward and spiritual meanings they signify. As you read the next poem, notice how the text takes hold of your senses.
I Made a posie, while the day ran by:
Here will I smell my remnant out, and tie
My life within this band.
But Time did becken to the flowers, and they
By noon most cunningly did steal away,
And wither'd in my hand.
My hand was next to them, and then my heart:
I took, without more thinking, in good part
Times gentle admonition:
Who did so sweetly deaths sad taste convey,
Making my minde to smell my fatall day;
Yet sugring the suspicion.
Farewell deare flowers, sweetly your time ye spent,
Fit, while ye liv'd, for smell or ornament,
And after death for cures.
I follow straight without complaints or grief,
Since if my sent be good, I care not if
It be as short as yours.
Following the structural pattern of the 17th-century “poetry of meditation,” whose sensuous imagery was strongly influenced by the Ignatian “application of the senses” to biblical visualizations, “Life” begins by declaring its topic. The speaker has made a “posie” (meaning both a posy of flowers and the “poesy” of Herbert’s verse, adroitly binding those flowers to the written text which offers them to our senses). Next comes a statement of the meditation’s purpose: by comparing his life to the flowers, the poet will “smell my remnant out.” Using the verb’s secondary meaning—to discern as if by smell (think of “sniff out”)—the poet proposes to reflect on the remainder of his life. The rest of the poem moves through a series of sensations and feelings to reach its conclusion of acceptance and resolution in the face of death.[vii]
Before the first stanza ends, the flowers have already withered, though the day is but half done. In the second stanza, the poet absorbs the flowers’ fate with his senses, his feelings, and his thought. He can’t help but “smell” his “fatall day.” This time, however, the sense of smell seems less metaphorical: even the reader cannot miss the whiff of decay.
And yet, Time’s admonition is “gentle.” The flowers are not mowed down by a sharpened scythe, but softly “beckened” to “steal away.” The idea of death is so “sweetly” conveyed by this natural process that it feels sugar-coated and easy to swallow. And like the flowers which have spent their allotted time pouring out their sweet fragrance, the poet resolves to follow their example “without complaints or grief.” As long as his “sent” (scent) is fragrant with goodness, then whatever the actual date on which he is sent to God, all is well. How long we live doesn’t matter nearly so much as how well we live.
In our own violent and dispirited age, we may wonder over the lack of anguish, or fear, or rage, or grief in these poems. Where is “the terror?” How gently—and confidently—do Herbert’s speakers go into death’s good night. Many will find such tranquil surrender to be false, naïve, archaic, unrealistic, incomprehensible, or simply impossible. Nevertheless, Herbert’s poetry remains to pose the vital question: Are we still capable of imagining “Such a Way, as gives us breath … Such a Life, as killeth death?” [viii]
Going gently: The Starry Mountain Singers perform Sam & Peter Amidon’s exquisite arrangement of “All Is Well.”
[i] Helen Wilcox, The English Poems of George Herbert (Cambridge, UK/NY: Cambridge University Press, 2007), xxi. This extensively footnoted collection is indispensable for navigating Herbert’s 17th-century idioms and discovering the wide variety of interpretive strategies applied to his deeply-layered texts over the years.
[ii] This term was applied to Herbert by his contemporary Richard Baxter, a Puritan divine. Herbert’s feast day is February 27.
[iii] Paul Zweig, Departures (New York: Penguin Books, 1988), q. in Death (Lapham’s Quarterly, Vol. VI, No. 4, Fall 2013, p. 210). Zweig wrote this c. 1981, and died in 1984.
[vi] Kimberly Johnson, Made Flesh: Sacrament and Poetics in Post-Reformation England (Philadelphia, PA: University of Pennsylvania Press, 2014), 60-61.
[vii] Louis L. Martz, The Poetry of Meditation (New Haven, CT: Yale University Press, 1962), 58-59. This classic study covers the poets who applied the spiritual exercises of the Counter-Reformation to their poetry and compositional practice: John Donne, George Herbert, Henry Vaughan, Richard Crashaw, Richard Baxter, and Robert Southwell.
[viii] George Herbert, “The Call.” This beautiful poem, set to a memorable tune by Ralph Vaughan Williams, is #487 in the Episcopal Hymnal 1982.
Fra Angelico, Transfiguration fresco on the wall of a monastic cell, San Marco, Florence (c. 1440).
O voi ch’ avete li ‘ntelletti sani, Marate la dottrina cha s’asconde Sotto ‘l velame de li versi strani.
O you whose minds are sound and full of sense, consider the deeper meaning hidden here behind the veil of these strange verses.
— Dante Alighieri, Inferno IX.61-63
Epiphany is a visual season. The mystery of God among us is shown to the world. And this showing culminates with the visionary experience of the Transfiguration: the veil covering Christ’s divinity is pulled aside, and three of his friends are dazzled by the radiance. The stark clarity of this revelation lasts only a moment. Epiphanies are brief by nature. When Jesus and the disciples descend from the mountaintop, the gospel narrative returns us to a more “normal” reality.
What did the disciples actually see in that moment on the mountain? Gregory of Palamas, a 14th-century theologian, believed that they glimpsed something actual and substantial, which he called the “uncreated light.”
“Christ is transfigured,” he said, “not by putting on some quality he did not possess previously, nor by changing into something he never was before, but by revealing to his disciples what he truly was, in opening their eyes and in giving sight to those who were blind. For while remaining identical to what he had been before, he appeared to the disciples in his splendor; he is indeed the true light, the radiance of glory.” [i]
Whatever we make of Gregory’s metaphysical claims, which were disputed by many of his contemporaries, the spiritual resonance of light is undeniable and universal. It ialways seems to be about something more than physics. It seems inevitably imbued with Spirit.
Where does such light come from? Is it something that happens to our eyes but is not really in the world? Or is it somehow there, within the heart of things, “born of the one light Eden saw play?” Is it not just a simulacrum of divinity, but a direct manifestation? Opinion is divided on this question, but I myself side with the visionaries who say there is more to reality than meets the eye. At the very least, this makes for a more interesting—and radiant—universe. Thoreau put the alternative as well as any when he said, “I perceive that we inhabitants of New England live this mean life that we do because our vision does not penetrate the surface of things.” [ii]
In the 17th century, when the science of optics was expanding to match developments in the telescope, the microscope, and the camera obscura, Jesuit thinkers took a keen interest in both the science and the theology of light. Observable facts and theological metaphors were for them compatible and complementary ways of knowing reality.
In Ars magna lucis et umbrae (“The great art of light and shadow”), published in 1646, Athanasius Kircher, S.J., described Christ as the Light of the World who contains divine glory and manifests it to the visible realm. “For Kircher, the infinite and eternal light is God the Father, thus the Son is the light from the light. The divine light first became visible as a result of his incarnation.” [iii] It became common for his fellow Jesuits to employ optical phenomena in their devotional literature. The light from above, the light from within, the light which pierces the dark, the light which creates the visible world, and the light which illumines the mind of the receptive perceiver—all have their source in the eternal energies of God.
Theodore Galle, “Speculum urens,” from Jan David, S.J., Duodecim specula (1610).
Last year I had the good fortune to see the exhibition of a lifetime: 28 paintings by Johannes Vermeer at Amsterdam’s Rijksmuseum. It was the largest number of his works ever assembled in one place, an historic event which may never be repeated. To be in the presence of those miracles of brush and pigment was an epiphany of the heart—three precious hours I will never forget.
According to art scholar Gregor J. M. Weber, Vermeer’s art was strongly influenced by the optical theology of the Jesuits. Light itself, simultaneously natural and transcendent, could be seen as the true subject of his pictures. Many of his images feature light pouring into an otherwise shadowy interior from a window on the left edge of the canvas. And even the defining lines of persons and objects, softened and blurred by subtle gradations of color and tone, seem on the verge of dematerializing into pure luminosity.
Johannes Vermeer, Woman with a Pearl Necklace (1662-1664).
A striking example of this is Woman with a Pearl Necklace (c. 1662-1664). Its explicit content employs a common visual trope for worldly vanity. A fashionably dressed woman, clutching a pearl necklace, admires herself in a mirror. Similar images can be found in the engravings of Jesuit devotional books. This illustration from a 1682 Jesuit publication contrasts vanity before a mirror with piety before a crucifix.
Frederick Bouttats, “Different Ways of Life,” from Adriaen Poirters, S.J., Den spieghel van Philagie (1682).
While the mirror and the pearls in Vermeer’s painting were certainly “customary symbols of transience and vanity,” art historian Arthur K. Wheelock, Jr., argues that the woman’s priestly posture and the chaste beauty of the visual elements represent self-knowledge and truth. Perhaps. But Weber, making his case for Jesuit influence, focuses on the empty wall behind the preoccupied figure. In his original composition, Vermeer had darkened much of that wall with a large map. But then he painted out the map, leaving that wondrously glowing surface. “One must therefore ask,” writes Weber, “if the strikingly empty but bright white wall in Vermeer’s painting does not refer to God, invisible to the woman, fixated on her vain reflection—a metaphor for someone entangled in worldly things only.” [iv]
God is there all the time, in the form of light, but the woman is oblivious! I find that an attractive reading of the painting, because it educates my own spiritual vision. “Find God in all things,” said Jesuit founder Ignatius Loyola—even in a glowing wall. While riding the ferry to Seattle the other day, I did just that when I became absorbed by light reflected from Puget Sound onto the ceiling of the passenger cabin.
LIght on a ferry ceiling, Puget Sound, Washington (Last weekend of Epiphany)
I knew factually that this light had traveled 93 million miles to be deflected upward by rippling water so it could dance upon the white ceiling above me. Still, it seemed charged with significance beyond the basic prose of solar optics: the miracle of light itself, without which nothing would be seen; the miracle of perception, enabling our own inwardness to connect with a reality beyond us; the inescapable sense of gift bestowed by luminosity and warmth; the ineffable poetics of glory, without which there would be neither beauty nor art nor religion.
I’m putting this badly, of course. I don’t have the right words. There may be no right words whatsoever. But as I sat transfixed by the bright pulsations, they felt like a semaphore from a transcendent source, delivering a message for which I simply lacked the code. Was it saying “I am with you always,” or “All shall be well”? For a moment as brief as the Transfiguration, the sense of something shown and something received was at the very least an inner truth, what faith calls the light of God shining in my heart. In a time of so much darkness, that’s no small thing.
Alleluias burned to ashes on the Last Sunday after the Epiphany.
Just three days after beholding the light of Transfiguration on the Last Sunday of Epiphany, we step through the gateway to Lent on Ash Wednesday. It’s quite a shift. For a brief moment, we see the divine light right in front of us—so close we can almost touch it. Then, just like that, we find ourselves back at the bottom of the mountain, where the only way to return to the light is the long and winding road through the desert of unknowing and unmaking.
That’s exactly how Dante’s Divine Comedy begins. Lost in a dark wood, alone and afraid, the pilgrim poet looks up. A steep hill rises before him, and behind its summit a tentative glow suggests an end to the dreadful night. The lively translation by Sandow Birk and Marcus Sanders conveys the hope awakened in the poet by this glimpse of dawning:
Just when / I was feeling completely lost and was ready to give up, / I looked up and saw a faint light in the distance. / I figured that meant there must be a way out up ahead / somewhere. When I saw that light, I felt better, and the / fear I’d been holding inside me that whole time started / to lift a little bit, because I figured I’d be outta there soon.[v]
So Dante starts to climb toward the saving Light. As Helen Luke put it in her Jungian study of the poem, “He wanted, as we all want, to go the shortest and the quickest way to his goal.” [vi] But his way was suddenly blocked by three fierce beasts—the leopard, the lion, and the wolf—representing all the malformed and misdirected energies and aggressions of the ego.
William Blake, Dante Running from the Three Beasts (1824-1827).
Realizing there could be no easy way out of his darkness, no direct path to the Light, Dante surrenders his ambition to conquer the luminous summit by his own strength. He stops climbing, turns around, and begins the initially downward course along the arduous road of purgation and rebirth. Helen Luke sees in this radical change of itinerary an archetype for every spiritual journey:
“So indeed do we learn, struggling out of the dark wood, that we cannot hope to find wholeness by repressing the shadow sides of ourselves, or by the most heroic efforts of the ego to climb up, to achieve goodness. The leopard, the lion, and the wolf will not allow it, we may thank God. It is when we admit our powerlessness that the guide appears.” [vii]
For Dante, the guide is Virgil, the long-dead poet who has been his greatest literary inspiration. In William Blake’s dramatic illustration, the beasts as well as Dante’s red garment signify turbulent emotion, while the soothing blue of Virgil’s gown suggests the transcendent imagination which nourishes hope and peace even in the abyss.
“I entreat you,” Dante tells his guide, “take me to the places I must go, that I may escape this evil and much worse.” [viii] And so they descend together, into the existential abyss of pain and woundedness, on a journey which will, by God’s grace, lead upward in the end, to the Light that cleaves every darkness.
In the Transfiguration story, the disciples are also looking for a shortcut to wholeness. If only they could stay on the summit, clinging to the vision of Love’s brilliance. But Jesus, their own wise guide, takes them down the slope to resume the Way of the Cross: the long but necessary path of negation and affirmation, losing and finding, dying and rising.
Perhaps we ourselves would rather skip Lent, or at least Holy Week, and go straight to the cheering New Fire of the Easter Vigil. But there are no shortcuts. Still, even in the desert time of trial, the vision on the mountain can be rekindled and sustained by the burning bushes along the way—if only we turn aside to see them!
Icon of Moses before the Burning Bush (early 13th century, Mt. Sinai).
[i] St. Gregory Palamas, The Triads, in Richard Harries, Art and the Beauty of God: A Christian Understanding (London: Mowbray, 1993), 85
Peering into the unknown in Jónsi’s FLÓÐ, a multi-sensory installation in Seattle’s Nordic Museum.
I have been writings this blog since 2014, and the turning of time at the New Year has always provoked an annual reflection on our temporal existence. If, as 2023 slips away, you’re in the mood for one of those essays, here are some links:
Hope has been my recurring theme at year’s end. On the eve of 2024, it’s a precious commodity. Two years ago, I wrote Tending Hope’s Flame on an Anxious New Year’s Eve. With the flag of hope tattered and torn by endless battles, I drew inspiration from Thoreau, who continued his quiet work of studying the natural world even as the Civil War ravaged the American consciousness. We must, he argued, refuse the hypnotic spell of the chaos which seeks to seduce our gaze. The refusal to take our eye from the transcendent goodness and beauty at the heart of things is “the only fatal weapon you can direct against evil.”
As midnight fast approaches, I don’t have much to add, except a few lines from W. H. Auden’s New Year Letter (January 1940). Written in search of a foundation for living amid amid the chaos of war and the collapse of the known order nearly a century ago, some of it speaks directly to our own present moment:
The situation of our time Surrounds us like a baffling crime …
We find ourselves in Purgatory, Back on the same old mountain side With only guessing for a guide …
The New Year brings an earth afraid …
But then Auden addresses a particular friend who has been for him a shelter from the storm:
We fall down in the dance, we make The old ridiculous mistake, But always there are such as you, Forgiving, helping what we do …
Tonight let’s raise a glass to the ones who forgive, and the ones who help. And that brings me to the photograph I took last summer while immersed in FLÓÐ (Flood), a multi-sensory simulation of oceanic depths by Icelandic artist Jónsi. The two figures gazing into the mist remind me of old illustrations of Dante and Virgil in the Inferno. No matter how unsettling the sights along the way, the companions of the Divine Comedy are usually seen side by side, slightly apart from the next horror, retaining enough detachment from the chaos and pain to analyze and learn from it, without getting sucked into it themselves. And whenever the pilgrim Dante misunderstands what he sees, or succumbs to fear, his guide is there to help.
Virgil leads Dante out of Hell (14c MS).
One of my favorite Divine Comedy illustrations is in a 14th-century manuscript of Dante’s poem. Having traversed the dark way to stand once more beneath the stars, Virgil reaches back to pull Dante out of the pit as well. It’s like that beautiful line in “Auld Lang Syne”:
And here’s a hand, my trusty friend, And gie’s a hand o’ thine.
As we make our own way through the peril and promise of the coming year, may the helpers be there when we need them. And God willing, may we all “take a cup o’ kindness yet.”
Happy New Year, dear Reader. May peace and wisdom abound in the days to come! Thank you for your thoughtful attention in 2023. I’ll see you again on the other side.
Sandro Botticelli, The Virgin adoring the sleeping Christ Child (c. 1485), Scotland National Gallery, Edinburgh.
What on earth happened last night—at that little stable on the edge of town? It was all so strange, so unbelievable. Some of us are still sleeping it off. Some of us didn’t get any sleep at all, or maybe we were asleep the whole time and it was all just a dream.
There was a really bright star, and then the sky started singing: Gloria in excelsis Deo! It was angels, someone said. I don’t know about that, but it was so beautiful, as if music were being invented for the very first time.
And suddenly, we all started running, don’t ask me why, until we came to this cave––it was a stable with a cow and a couple of donkeys––and in the back there was a woman lying down on some hay, and a man kneeling beside her. And between them there was a little baby, just a few hours old, I’d say. What a place to begin your life! They must have been pretty desperate to end up there. Maybe they were refugees. Or undocumented. I don’t know. But they didn’t look scared or out of place. They seemed to belong there. And you know, I had the feeling that I belonged there too. We all did.
I can’t really explain it, but I got this feeling that everything in my life before that had just been waiting around for this moment, as if after a long and pointless journey I had finally come home.
And I know it sounds weird, but I swear that little baby looked right at me, as if he knew who I was––or who I was going to be, because when I left that stable I knew––I knew!––that my life was never going to be the same. Pretty crazy, right? I kind of hope it was just a dream, because if it’s not—where is all this going to take me?
That’s how I imagine the morning after speech of a Bethlehem shepherd. Intoxicated by wonder, struggling to make sense of it, and feeling both curious and anxious about what happens now, after this wondrous birth. What happens to me, to you, to the whole wide world? A change is gonna come, yes it will. Yes it will, because what happens in Bethlehem doesn’t stay in Bethlehem. It goes home with us, it gets in our blood, it becomes part of our story. Nothing in the world will ever be the same again. Nothing in our lives will ever be the same again.
And that is why, on the morning after, we listen to St. John’s grand prologue to the Fourth Gospel. Its cosmic perspective on the birth of Christ reminds us how vast and consequential was that humble birth in a lowly stable.
In the beginning was the Word, and the Word was with God, and the Word was God. He was in the beginning with God. All things came into being through him, and without him not one thing came into being. . . And this divine Word became flesh and lived among us. (John 1:1-14)
In other words, God was not content to remain purely within the essence of the divine self. God desired to go beyond the inner life of the divine, to enter the confines and contingencies of time and space and history, to become incarnate as the mortal subject of a human life and experience the human condition from the inside. The Word was made flesh and dwelt among us.
What a fantastic thought: God wants to be with us—not just love us at a distance but to be intimate with us, in communion with us, participating in our humanity while enabling us to participate in divinity, because Incarnation means that divinity and humanity are now and forever inextricably joined. Joy to the world, the Lord is come … let every heart prepare him room.
But perhaps we have some doubts about our capacity to receive such a guest. A 17th-century poet named Matthew Hale worried about this in a poem called “Christmas Day” (1659):
I have a room ‘Tis poor, but ‘tis my best, if thou wilt come Within so small a cell, where I would fain [willingly] Mine and the world’s Redeemer entertain;
[He’s speaking about his heart here as the place he might entertain the world’s Redeemer; Then he describes sweeping up the dust and cleaning up the mess, just as we would if we expected a houseguest. The poet will even try to wash this “room”—with his own penitent tears:]
And when ‘tis swept and washed, I then will go, And with Thy leave, I’ll fetch some flowers that grow In Thine own garden, [these flowers being faith and love]; With those I’ll dress it up …
yet when my best Is done, the room’s [still] not fit for such a Guest.
[Well, if we can’t make our lives and our souls fit dwellings to house the divine, who can? God. God can make us fit, the poet says:]
Thy presence, Lord, alone Will make [an oxen] stall a court, a cratch [manger] a throne.
These days, it’s not very easy to believe that humanity is a fit habitation for the God of love and the Prince of Peace. It’s a sign of our sad times that Christmas got cancelled in Bethlehem this year. The war, you know. No liturgies in the Church of the Nativity, no pilgrims crowding Manger Square. They say Bethlehem is like a ghost town now.
Posted on the Internet during the 2023 Gaza invasion (source unknown).
Sixty years ago, the Catholic contemplative Thomas Merton, who was not blind to the atrocities committed in his own time, could still say that we “exist solely for this, to be the place God has chosen for the divine Presence. The real value of our own self is the sign of God in our being, the signature of God upon our being.” [i] The Word indelibly inscribed on our own hearts and souls!
Some—theologians, poets, mystics—go even further, insisting that the Word becoming flesh means that the whole world is “charged with the grandeur of God.” [ii] Maximus the Confessor, perhaps the greatest Byzantine theologian, put it this way in the 7th century:
“For having hidden Himself for us in the inner principles of existent things, [God] is correspondingly spelled out by each visible thing as if by letters. [The Divine] is wholly present in all together in the fullest possible way and completely in each individually, whole and undiminished.” [iii]
Contemporary songwriter Peter Mayer makes this point more simply:
When I was a boy in Sunday school, we would learn about the time that Moses split the sea in two, And Jesus made the water wine. And I remember feeling sad miracles don’t happen still. But now I keep track ‘cause everything’s a miracle: Everything, everything, everything’s a miracle.…
This morning outside I stood and saw a little red-winged bird Shining like a burning bush, singing like a scripture verse: It made me want to bow my head … ‘cause everything is holy now. Everything, everything, everything is holy now. [iv]
In other words, what happens in Bethlehem doesn’t stay in Bethlehem. It wants to happen everywhere.
We might call this the Bethlehem effect—discovering the Word made “flesh” in the concrete stuff of our world, our stories, our very lives. The great Christian poet of the 4th century, Ephrem the Syrian, describes the Bethlehem effect in one of his poems. He begins by proclaiming his Christmas joy:
Blessed be the Child Who today delights Bethlehem. Blessed be the Newborn Who today made humanity young again.
[Then he describes the effect this holy birth wants to have on us:]
On this day of the Humble One let us be neither proud nor haughty. On this day of forgiveness let us not avenge offenses. On this day of rejoicing let us not share sorrows. On this sweet day let us not be vehement. On this calm day let us not be quick-tempered. On this day on which God came into the presence of sinners, let not the righteous look down on any sinner. On this day on which the Lord of all came among servants, let the powerful bow down to the powerless. On this day when the Rich One was made poor for our sake, let the rich share their table with the poor. [v]
On that holy night in Bethlehem, our human nature was lifted up when God chose to be one of us, to live and die as one of us. And we in turn may now share in the divine life. We are still works in progress no doubt, but we are bound for glory. St. Paul put this so beautifully: “All of us,” he said, “all of us, with our unveiled faces like mirrors reflecting the glory of the Lord, are being transformed into the image that we reflect in brighter and brighter glory” (II Cor. 3:18).
Another ancient theologian said it this way: “As they who behold the light are within the light and partake of its brightness, so they who behold God are within God, partaking of God’s brightness.” [vi]
They who behold the light are within the light and partake of its brightness. That’s the Christmas miracle! Our pale mirrors are made to contain the most impossible brilliance. And even when we turn away from the Light, the Light comes looking for us. No matter how shadowy the paths we have taken, the Light will find us, and fill us with divine radiance. That is our destiny, says the Child in the manger. To walk around “shining like the sun.” [vii]
However … Before we get too carried away with our glorious destiny, listen to a line from the Victorian poet Mary Elizabeth Coleridge. When she imagines coming to the stable, and seeing the babe in the manger, she says:
The safety of the world was lying there. And the world’s danger. [viii]
The babe in the manger is the world’s danger? What does she mean? I think she is saying that giving our lives to the Holy One will change everything. It will change who we are, what we care about, and how we live. In other words, participation in the divine life (which is the only way to become fully human) is not just a matter of “walking around shining like the sun.”
It also means letting go of certain cherished things and taking up our cross. The story of the Incarnation is more than the beautiful new-born child away in the manger. The child will become a man, and he is going to ask some difficult things of us someday.
Leonardo da Vinci, Adoration of the Magi (1481-2).
I don’t want to go very far down that road on Christmas Day. The twelve days of Christmas are a time for celebration and feasting, carols and good cheer, light hearts and extravagant hopes, joy and wonder, and lots of love. But I do want to share a poem by Luci Shaw, a Christian writer now in her 90s. She reminds us that the lovely babe of Bethlehem is going to grow up, and that we’re going to have to grow up with him.
One time of the year the new-born child is everywhere, planted in madonnas’ arms hay mows, stables in palaces or farms, or quaintly, under snowed gables, gothic angular or baroque plump, naked or elaborately swathed, encircled by Della Robia wreaths, garnished with whimsical partridges and pears, drummers and drums, lit by oversize stars, partnered with lambs, peace doves, sugar plums, bells, plastic camels in sets of three as if these were what we need for eternity.
But Jesus the Man is not to be seen. We are too wary, these days, of beards and sandalled feet.
Yet if we celebrate, let it be that He has invaded our lives with purpose, striding over our picturesque traditions, our shallow sentiment, overturning our cash registers, wielding His peace like a sword, rescuing us into reality demanding much more than the milk and the softness and the mother’s warmth of the baby in the storefront creche, (only the [grown] Man would ask all, of each of us) reaching out always, urgently, with strong effective love (only the [grown] Man would give his life and live again for love of us).
Okay, I can’t leave you there, not on Christmas Day. So let me end on a note of wonder, with a poem by G. K. Chesterton. It was sung at this year’s Christmas Eve Lessons and Carols at Kings College, Cambridge. [x]
The Christ-child lay on Mary’s lap, His hair was like a light. (O weary, weary were the world, But here is all aright.)
The Christ-child lay on Mary’s breast, His hair was like a star. (O stern and cunning are the kings, But here the true hearts are.)
The Christ-child lay on Mary’s heart, His hair was like a fire. (O weary, weary is the world, But here the world’s desire.)
The Christ-child stood at Mary’s knee, His hair was like a crown. And all the flowers looked up at Him, And all the stars looked down.
Church of St. Mary the Virgin on Holy Island, Northumbria.
This sermon was preached at St. Barnabas Episcopal Church on Bainbridge Island, Washington, on Christmas Day, 2023.
[i] Thomas Merton, “A Letter on the Contemplative Life” (August 1967), in Lawrence S. Cunningham, ed., Thomas Merton: Spiritual Master—The Essential Writings (Mahwah, NJ: Paulist Press, 1992), 425.
[iii] Maximus the Confessor (c. 580-662). Quoted in Nikolaos Loudovikos, A Eucharistic Ontology: Maximus the Confessor’s Eschatological Ontology of Being as a Dialogical Reciprocity (Brookline, MA: Holy Cross Press, 2010), 125.
[v] Ephrem the Syrian (c. 306-379), Hymns on the Nativity (trans. Kathleen E. McVey, Paulist Press, 1989), adapted from a citation in Wendy M. Wright, The Vigil: Keeping Watch in the Season of Christ’s Coming, Nashville, TN: Upper Room Books, 1992), 95-96.
[vi] Irenaeus (c. 130-202), Against Heresies, IV.20.
[vii] The phrase is from Thomas Merton’s famous revelatory experience at the corner of Fourth & Walnut in Louisville in March 1958. “And if only everybody else could realize this! [the dignity of humanity conferred by the Incarnation]. But it cannot be explained. There is no way of telling people that they are all walking around shining like the sun.”
[viii] Mary Elizabeth Coleridge (1861-1907), “Salus Mundi.” She was the great-grandniece of Samuel Taylor Coleridge.
[ix] Luci Shaw, “It is as if infancy were the whole of incarnation,” quoted in Sarah Arthur, ed., Light Upon Light: A Literary Guide to Prayer for Advent, Christmas, and Epiphany (Brewster, MA: Paraclete Press, 2014), 125-126.
[x] G. K. Chesterton, “A Christmas Carol,” was sung in a lovely setting by John Rutter on the 2023 Lessons and Carols from Kings College, Cambridge, during the annual live BBC broadcast with which I begin every Christmas Eve at 7 a.m. Pacific Time.
Stir up your power, O Lord, and with great might come among us; and, because we are sorely hindered by our sins, let your bountiful grace and mercy speedily help and deliver us …
The Collect-Prayer for the 3rd Sunday of Advent is one of the most exciting petitions in the Episcopal Book of Common Prayer. I mean that literally, because the Latin term translated as “stir up” is excita—from which we get our English word excite.
The Latin verb ciere means to cause something or someone to move. This was then given the prefix ex-, which means “out of.” The resulting verb, excitare, means to call or summon something out of its existing dormant state into more energetic mode of being, or to provoke or agitate someone to do something which might otherwise not happen—in other words, to rouse or stir them to action.
In English, the most common sense of excite is to arouse interest or strong emotion—to “stir up.” This can be a good thing, as when we are excited by a stimulating idea, a dramatic movie, or even a stirring sermon; or it can be a bad thing, as when an angry mob—or a weak heart—gets overexcited.
“Excite” has additional, more specific meanings. In biology and medicine, living matter can be excited to produce an increase of activity, as when a defibrillator shocks the heart back into action. In electrical engineering, an “exciter” produces an energizing current to start up a generator or motor. In physics, electrons can be excited into a higher energy state, and in the late Middle English of the 14th and 15th centuries, excite could mean to rouse from sleep or even awaken the dead.
All these different shades of meaning resonate with Advent’s urgent cry to “wake up!” Wake up to the reality of a broken, troubled and violent world. Wake up to our own participation and complicity in a human history that is radically out of sync with divine intention. Wake up to our inability to fix things without God’s help.
But also, wake up to the dawn of salvation. Wake up to the voice that cries in the wilderness, “Prepare the way of the Lord who is coming.” Wake up to God’s gift of new possibility.
In the old Latin mass, on 4 of the 5 Sundays before Christmas, the Collect began with the same word: Excita! Stir up.
On the Last Sunday after Pentecost, just before Advent, the people prayed: Excita!—Stir up, we beg you, the wills of your faithful people, that they more readily seek the fruit of divine work …
On the First Sunday of Advent, the people prayed: Excita!Stir up your power, Lord, we implore you, and come, that by your protection we may be rescued from the threatening perils of our sins, and by your deliverance be saved …
On the Second Sunday of Advent, the people prayed: Excita!Stir up our hearts, Lord, to make ready the way of your only-begotten Son, that we may be worthy to serve you with purified minds …
On the Third Sunday of Advent, there was a different opening: Aurem tuam, quaesumus, Domine (Incline your ear to our prayers, O Lord).
But on the Fourth and final Sunday of Advent, it was back to Excita!: Stir up your power, we implore you, Lord, and come. With great power assist us, that by the help of your grace, whatever has been impeded by our sins may be sped forward by your merciful kindness.
In the revision process which produced the Anglican Book of Common Prayer, the Fourth Sunday collect migrated to the Third Sunday, and non-Excita collects were adapted or composed for the other Sundays of Advent. The American Episcopal Prayer Book of 1979 did some further tinkering.
I do love our Episcopal Advent collects, which I have been praying for a very long time. But I also find something very compelling about the old sequence of the Excita collects. I love their sense of urgency and their imploring passion. They beg God for what we so desperately need.
There are a couple of things to notice about these collects. Most of the collects of the Christian year are addressed to God, or God the “Father,” but two of the four Excita collects are addressed to Christ, the God who comes. Veni, they say to Christ. Come, Lord. Come now, as you did back then. Come here, as you did at Bethlehem. Come into our world. Come into your Church. Come into our hearts. Maranatha! Lord come! Veni, veni, veni!
Another thing to notice is that Advent is not a spectator sport. We ourselves are participants in the coming of God’s future. Two of the Excita collects pray that God’s power and might be stirred into action. But the other two pray that our wills and our hearts be stirred as well, excited into a higher energy state. It’s spiritual physics, isn’t it? The energies of God trigger an excited state within us and among us. Would that it be so!
There’s a story about a fancy Episcopal church in New York City where a visitor sitting in one of the front pews started crying out “Praise the Lord!” at various points in the liturgy. This made the regular congregation a little nervous, and before long one of the ushers made his way discreetly up the aisle to slip into her pew. The next time she repeated her acclamation, “Praise the Lord!,” the usher whispered, “Not in the Episcopal Church, madam.”
Not everyone wants to be excited to a higher energy state. Not everyone wants to wake up. A dormant state seems a lot easier, at least until a repressed reality comes calling with a vengeance.
Look how scared some people get about the word “woke.” Sleepers, don’t wake! That’s what the broken world tries to tell us. Keep things the way they are. Don’t risk anything so new and challenging as the Kingdom of God.
But Advent people are not sleepers. Advent people want to be stirred up by a God who is eternally woke. It’s a risky business, of course.
Who shall abide the day of God’s coming? And who shall remain standing when God appears? (Malachi 3:2)
We all have some stake in the status quo. We are all mired in the inertia of history. We all have things to answer for. We are all apprehensive about what we might lose.
But like Mary before the angel of Annunciation, we are the people who say Yes! to God’s coming. Come what may.
Of course, as Annie Dillard warns us, “When we go to church we should be issued crash helmets, and be lashed to our pews, for the sleeping God may wake.” Neil Young said the same thing in his own vivid way. He was speaking to an earthly lover, but he could just as well have been talking to the God who always stirs up:
You are like a hurricane: there’s calm in your eye And I’m getting blown away … I want to love you, but I’m getting blown away.
Do we find this a little scary? God’s hurricane? Sure we do!. But that’s what makes it fun. At least that’s what the saints and mystics tell us. Risking life in God is, in the end, a rapturous destiny.
Yet saints their watch are keeping, their cry goes up, “How long?” and soon the night of weeping shall be the morn of song.
–– Samuel John Stone
Of all the seasons, Advent is the one I love the best. Its flavors are so richly complex: prophetic shouts and angelic whispers, deepest dark and magical light, wintry cold and warming hearts, the end of the world and the birth of the new. And its symphonic progression, from the eschatological thunder of its opening movement to the midnight hush in the shepherds’ field, sounds the profoundest depths of the cosmos and the soul.
I fell in love with Advent as a child, when I knew no distinction between sacred and profane. The glow of colored lights on almost every house, our family prayers around the Advent wreath, the search for the perfect tree, the interminable wait for presents to be opened, the smell of baking cookies shaped like stars and Santas, the glorious texts of Isaiah and Luke on Sunday mornings, and hearty renditions of “O come, O come, Emmanuel” and “Come, thou long-expected Jesus”––they were all about the same thing: the wonder of a world where magic is afoot and Love’s gifts are never exhausted.
Over the years, as I have grown more acquainted with the sorrow, pain and injustice of mortal life and human history, the meanings of Advent have only deepened. And in today’s evil times, the practice of hope is more necessary than ever.
I have written more posts about Advent than any other season, and I gather all the links together here. Wander through them as you will. Try the practices. Share whatever you like. And may your own Advent bring you blessing, joy, and the nearness of holy Presence.
Practices
Ten Ways to Keep a Holy Advent –– This has been my most popular Advent post, with simple practices to deepen our experience of the season. “In a month that is already far too busy and rushed, these are not offered as one more to-do list to work through, but as ways to slow down, take a breath, pay attention, and make room in our lives for the birth of the Holy.” The 10 ways are: Interrupting, Silencing, Waiting, Listening, Watching, Praying, Reflecting, Loving, Giving, Receiving. (Dec. 6, 2014)
Praying the O Antiphons –– These sublime antiphons (best known in the hymn, “O come, O come, Emmanuel”) are a beautiful way to pray during Advent. This post includes my contemporary variations on the ancient texts. On each of the seven days before Christmas, put the appropriate antiphon on your mirror or refrigerator, and pray without ceasing. (Dec. 17, 2014)
The O Antiphons: Drenched in the Speech of God –– Further reflections on what the antiphons have to tell us. “God is not a hypothesis to be tested or a puzzle to be solved by detached observers, but an experience to be encountered by receptive participants, those who know how to say ‘O!’” (Dec. 17, 2015)
Dancing with Time: An Advent Prelude –– A meditation on time, a major preoccupation of the season. As W. H. Auden said, “Time is our choice of How to love and Why.” (Dec. 1, 2017)
The World’s End (An Advent Manifesto) –– Worlds end all the time. Neither personal worlds nor public worlds last forever. That may bring sadness, but it is also the foundation of hope’s possiblities. “Yes, all the inadequate, incomplete versions of world will come to an end (some of them kicking and screaming!), but creation as it was intended will be restored, not discarded. Like a poet who creates a new language out of old words, Love will remake the ruins and recover the lost. And the Holy One who is the mystery of the world will be its light and its life forever.” (Nov. 25, 2016)
Blinded by the Light: An Advent Meditation — The mystery we call God is always beyond us. Beyond our grasp, beyond our language, beyond our sight. The mystics and great spiritual teachers sometime use the word darkness to convey their experience in close encounters with the divine. But what they call the darkness of God is not so much a matter of cognitive deprivation, where divinity simply hides its incommunicable essence from finite minds and hearts unprepared to receive it. No, they say, the darkness of God is not deprivation, but saturation. It is not an absence of light, but an excess of glory, that makes our eyes become so dim to divine presence. (Dec. 2, 2019)
“Hopes that pointed to the clouds”: A Sermon for Advent 1 — How do we sustain hope in apocalyptic times, when the “signs of ending” are all around us and we are discouraged by failed expectations? Jesus and the poets—William Wordsworth, W. H. Auden, and Anne Sexton—help us to take heart in challenging times. (Nov. 28, 2020)
“God Isn’t Fixing This” –– For an Advent liturgy, I constructed an enormous wall, made of newspapers with distressing headlines, and set it as a veil between the congregation and the beauty of the sanctuary. In the course of the liturgy, the wall was torn down, symbolizing God’s grace breaking into our troubled history. As I wrote in this post (after yet another American gun massacre): “What if an unexpected future is breaking through the walls of our self-made prison? The Advent message is to embrace this hope, as we take off the garments of sorrow and affliction to welcome the God of joy into our midst.” (Dec. 15, 2015)
“God is alive, surprising us everywhere” –– “God is alive, surprising us everywhere. The message of a dream, intimating something more real than language. But what? Not an idea in my mind. A feeling in my body. I tried briefly to give it words. Nearness. Urgency. Strength. Presence. Then I let the words go, and rested in whatever it was. In times so dark and dangerous, it felt––consoling. Heaven and earth may pass away, but this Presence will not. We are not alone. Perhaps, even loved.” In the deep gloom after the presidential election, I was given the grace of three small revelations. One came during a concert, one in a dream, and one from the mouth of a homeless woman. (Dec. 13, 2016)
I Say Rejoice: A Homily for Advent 3 (Year C) —People of faith abide in a different story, a story where death does not have the last word, a story where Love wins. To say that God will save us is to belong to that story, and to live accordingly. And what are the fruits of faith’s life-shaping story?––trust, confidence, hope, and the kind of invincible joy which St. Paul proclaims with such passion. “Rejoice! Again I say, rejoice!” (Dec. 15, 2018)
Gaudete! — The Advent Dance of Honesty and Hope — The 3rd Sunday of Advent sounds a note of rejoicing to dispute the wintry gloom. It doesn’t deny the darkness, but it also refuses to accept the black hole of unredeemed history as an inescapable fate. “Stir up your power,” we pray, “and with great might come among us.” God’s power will never compel us to rejoice, or to hope, or to love, but it will always seek to persuade us, until the end of time. (Dec. 10, 2022)
Say Yes: A Homily for Advent 4 (Year C) — When Mary said “Yes” to the angel of the Annunciation, it was neither the first nor the last time she would do so. Her whole life up to that point had been a series of consents that would prepare her to receive the Holy One into herself. And in the years that followed, she never renounced her acceptance of the story that would one day take her weeping to the foot of the cross. It is no light thing to say Yes to such a story. (Dec. 18, 2021)
Worship
Advent Adventures in Worship (Part 1: The Electric Eschaton) –– “As the liturgical season when the old is judged and found wanting and the new is never quite what anyone expects, Advent seems particularly suited to a disruption of routine and the intrusion of novelty into the worship experience.” In the apocalyptic year of 1968, I curated a multi-media Advent mash-up of sounds and images from films, rock and roll, poetry, political documentaries and other diverse sources to evoke two Advent themes: “Break on through to the other side” and “Please don’t be long.” This post includes an unusual 20-minute audio collage which, 49 years later, remains a unique artifact in the history of preaching. Wear headphones and turn it up! (Dec. 13, 2014)
Advent Adventures in Worship (Part 2: Homecoming) –– In a pioneering example of a worship “installation,” people journeyed in small groups through a series of multi-sensory experiences. “The journey was a dying (baptismal figure, narrowing of space, sounds and images of a yearning world, an unknown way, darkness) and a rising (emergence into an open, “transcendent” space, and being gathered into the community of the eucharist). It was a losing (leaving the original assembly and the main space) and a finding (rediscovering the community and the original space).” (Dec. 20, 2014)
Unsilent Night: An Advent Revelation –– In an annual December art experience by musician Phil Kline in cities across America, participants collectively create a river of sound moving through the streets––a striking instance of Advent surprise and wonder. “If God is more of a situation than an object, then the community, relationality, mystery, beauty, wonder, delight, and communion produced by the event seemed apt expressions of divinity taking ‘place,’ or ‘being here now.’ You didn’t have to name it to live it.” (Dec. 21, 2015)
Timothy H. O’Sullivan, Harvest of Death (Gettysburg, July 1863: the bloodiest battle of the American Civil War).
“War is cruelty, and you cannot refine it; and those who brought war into our Country deserve all the curses and maledictions a people can pour out.”
— William Tecumseh Sherman, 1864
“I confess, without shame, that I am sick and tired of fighting—its glory is all moonshine; even success the most brilliant is over dead and mangled bodies, with the anguish and lamentations of distant families, appealing to me … for sons, husbands, and fathers … it is only those who never heard a shot, never heard the shriek and groans of wounded and lacerated … that cry aloud for more blood, more vengeance, more desolation.”
— William Tecumseh Sherman, 1865
When General Sherman’s troops pillaged and burned their way across Georgia in the American Civil War, they ignored the conventions of traditional warfare. It wasn’t enough to defeat their counterparts in battle. The enemy’s support system had to be destroyed as well. Infrastructure, manufacturing, and food supply were all fair game. Regrettably, many civilians would have to pay the price of such “total war,” but breaking the popular will through suffering was seen as a critical means for hastening surrender. According to this heartless logic, the crueler the war, the sooner the peace.
Sherman wrote “war is cruelty” in a letter to the Mayor and Councilmen of Atlanta, insisting that the city be evacuated in advance of its wholesale destruction by federal troops. “You might as well appeal against the thunder-storm as against these terrible hardships of war,” he told them. “They are inevitable, and the only way the people of Atlanta can hope once more to live in peace and quiet at home, is to stop the war, which can only be done by admitting that it began in error and is perpetuated in pride.” [i]
Sherman’s cruelties helped end the Civil War. But a few months after the Confederate surrender, he seemed to be haunted by the memory of all those “dead and mangled bodies” strewn across the American landscape. Though the guns of war had been silenced, “the shriek and groans” of the fallen still echoed in his head.
The current war in Gaza is rooted in its own particular history of grievance, wounding, hate, and revenge, and it’s happening in a time and a culture very different from Sherman’s America. Nevertheless, when novelist Stephen Crane described Civil War battles as an impersonal force, a mechanism operating independently of human will, he could have been describing Gaza. War is like “the grinding of an immense and terrible machine,” he wrote in 1895. “Its complexities and powers, its grim processes” have one end: to “produce corpses.”
The Gaza war, in its first 40 days, has produced over 13,000 corpses, most of which were civilian non-combatants, including thousands of women and children. The ratio of Palestinian deaths to Israeli deaths is 10 to 1. Ten eyes for an eye. How many deaths will it take till we know that too many people have died?[ii]
For the extremists on both sides, military victory is not enough. Their opponents need to be “disappeared” from history. Instead of seeking peace by implementing just relations between the contending parties, they would rather remove the “other” from the equation altogether. End of story.
Time’s up for war criminal Franz Kindler (Orson Welles) in The Stranger (1946).
The terrible finality of such a goal calls to mind a scene in The Stranger, a 1946 film noir directed by Orson Welles, who plays Franz Kindler, a Nazi war criminal fleeing his past by posing as Professor Charles Rankin at a New England college after the war. During a dinner party with his new bride Mary (Loretta Young), Wilson (Edward G. Robinson, playing a government agent with suspicions about Rankin’s true identity), and several academic colleagues discuss Germany’s postwar future,
“Charles” argues that “the German” is incapable of peace. “He still follows his warrior gods, marching to Wagnerian strains, his eye still fixed on the fiery sword of Siegfried … The world is waiting for the Messiah, but for the German, the Messiah is not the Prince of Peace.” His words are a pretense—he himself is German—but as the conversation continues, his mask slips just enough to give a brief glimpse of his genocidal worldview.
“But my dear Charles,” says one of his colleagues, “if we concede your argument, there is no solution.
Kindler/Rankin: Well, sir, once again I differ.
Wilson: Well, what is it, then?
Kindler/Rankin: Annihilation—down to the last babe in arms.
Mary: Oh Charles, I can’t imagine you’re advocating a Carthaginian peace.
Kindler/Rankin: Well, as an historian, I must remind you that the world hasn’t had much trouble from Carthage in the past two thousand years. [iii]
Annihilation of the other is not only supremely evil, it is strategically stupid. The more you kill, the more enemies you create. Violence, whether by terrorists or armies, will never bring lasting peace for Israelis and Palestinians. It can only perpetuate the futile Punch and Judy show of hit and hit back. Time for a new story. Can we get a rewrite?
Bartolo di Fredi,The House of Job Falls on his Children (Duomo, San Gimignano, 14th century). The collapsing building calls to mind the bombing of Gaza.
In the fifth century B.C.E., the community of Israelites returned to Judah from a century of exile in Babylon. They set out to rebuild the ruined temple in Jerusalem and renew their identity as God’s people, dwelling in their promised homeland. The biblical books of Ezra and Nehemiah record this challenging process. As Robert Alter notes in his celebrated translation of the Hebrew Scriptures,
“The community of returned exiles found itself in sharp conflict with other groups in the country, and the ideology promoted by both Ezra and Nehemiah was stringently separatist. Those who had remained in the land and claimed to be part of the people of Israel—in particular, the Samaritans—were regarded as inauthentic claimants to membership in the nation and were to have no role in the project of rebuilding.” [iv]
In a first-person account, Ezra reports his shock at finding that some Israelites, instead of keeping separate from the locals, had taken “foreign” wives for themselves and their children. “When I heard this thing,” he says, “I rent my garment and my cloak and I tore out hair from my head and my beard and I sat desolate” (Ezra 9:3) Why is he so upset? It’s because, as he put it, “the holy seed has mingled with the peoples of the lands.” As Alter explains,
“The traditional reason for avoiding intermarrying was to keep apart from pagan practices. Although Ezra has this rationale in mind, here he adds what amounts to a racist view: the people of Israel are a ‘holy seed’ and hence should avoid contamination by alien genetic stock.” [v]
The desire to preserve identity in the face of diversity has been around as long as humans have lived in communities, but separatist ideologies that devalue or demonize the “other” have terrible consequences. Sooner or later, they “produce corpses.”
It’s not just a problem for the Middle East. Just last week, in a chilling echo of Mein Kampf, the leading American fascist said that immigrants are “poisoning the blood of our country.” And, he added, they—along with anyone who dares oppose him—are “vermin.” Such dehumanization, as history has repeatedly shown, opens the door to the Carthaginian solution: annihilation.
Not everyone in ancient Israel bought into the separatism of Ezra and Nehemiah. Another biblical book, written in the same post-exilic period, proposes an alternative way of being. It is the story of Ruth, a Moabite “foreigner.” Moab was a perennial enemy of Israel. Any interaction with Moabites was forbidden in the Torah. Despite this, an Israelite who happens to live in Moab takes Ruth as his wife. When he dies, her mother-in-law Naomi decides to return to her hometown of Bethlehem. Although she expects Ruth to remain with her own people, Ruth has other ideas. She is unwilling to break the bonds of devotion between herself and Naomi:
Wherever you go, I will go with you. And wherever you lodge, I will lodge. Your people is my people, and your god is my god (Ruth 1:16).
Once in Bethlehem, she meets Boaz, her future husband. Like her first spouse, he’s an Israelite. In this story, intermarriage is not a problem. Not only is Ruth given one of the few happy endings in the Bible, that Moabite woman becomes the honored ancestor of King David. Cultural difference turns out to be a gift! This charming story challenges the dominant separatist ideology by picturing a much better world. As Alter explains,
“Unlike the narratives from Genesis to Kings, where even pastoral settings are riven with tensions and often punctuated by violence, the world of Ruth is a placid, bucolic world, where landowners and workers greet each other decorously with blessings in the name of the Lord … In the earlier biblical narratives, character is repeatedly seen to be fraught with inner conflict and moral ambiguity. Even such presumably exemplary figures in the national history such as Jacob, Joseph, David and Solomon exhibit serious weaknesses, sometimes behaving in the most morally questionable ways. In Ruth, by contrast, there are no bad people.” [vi]
Jean-François Millet, Harvesters Resting (Ruth and Boaz) (1850-53).
Is the Book of Ruth only a fairy tale? Or is the promise of a diverse humanity living in peace a dream worth inhabiting? In a region where political success is so rare that people can’t even imagine progress; where mutual trust is on life support and intransigence rules; where existing leadership is part of the problem; where everyone is too busy killing, dying or grieving to think clearly about a viable future, such a dream may seem absurd. Nevertheless, considering the present alternative, perhaps a dream is required to supply the faith to advance, step by step, toward the world God intends for us.
It will be a long and arduous journey—risky, too, but not as risky as remaining stuck in Deathville. It’s best to start soon—and to travel light. Let go of things that won’t be needed in the better story that lies ahead: mistrust, fear, and vengeance; discouragement, despair, and hopelessness; terror, settlements, and apartheid; despots, crooks, and liars. Along the way, plant seeds of peace, justice, patience, gentleness, kindness, humility, generosity, forgiveness, love and mercy wherever you can.
It’s been said that sin is the “refusal to be touched by the pain of others.” [vii] And the antidote, says Cynthia Bourgeault, is kenosis: the self-emptying whose name is Love:
“When surrounded by fear, contradiction, betrayal; when the ‘fight or flight’ alarm bells are going off in your head and everything inside you wants to brace and defend itself, the infallible way to extricate yourself and reclaim your home in that sheltering kingdom is simply to release whatever you are holding onto—including, if it comes to this, life itself.” [viii]
[i] Letter from W.T. Sherman to James M. Calhoun, E.E. Rawson, and S.C. Wells, September 12, 1864.
[ii] The line is borrowed from Bob Dylan. In Israel and Gaza, the answer is still blowin’ in the wind.
[iii] The screenplay for RKO’s The Stranger was written by Anthony Veiller, with uncredited contributions from John Huston and Orson Welles. The term “Carthaginian Peace” comes from Rome’s brutal subjugation of Carthage after years of warfare. In 146 B.C.E., the Romans burned Carthage to the ground and slaughtered most of its inhabitants.
[iv] Robert Alter, The Hebrew Bible, Vol. 3: The Writings (New York: W.W. Norton, 2019), 804.
Palestinian Christian girl in Ramallah (May 1989). I photographed her on Easter Monday 34 years ago. Does she have children? Are they safe? If we could see every face as an icon of God, peace would come.
“[A] contemplative politics will be one that is capable (as seems so unthinkable in public life at the moment) of recognizing and naming our own failure, the hurt done as well as received, and the perpetual slippage toward violence.”
“It is not easy / To believe in unknowable justice / Or pray in the name of a love / Whose name one’s forgotten: / … spare / Us in the youngest day when all are / Shaken awake, facts are facts, / (And I shall know exactly what happened / Today between noon and three) …”
After the unspeakable savagery of October 7, how can anyone think? The violence is too visceral, the wound too deep. Dispassionate discourse on causes and solutions risks sounding cold and inhuman amid our “tears of rage, tears of grief.” Susan Sontag tried it after 9/11: “Let’s by all means grieve together,” she wrote in The New Yorker. “But let’s not be stupid together. A few shreds of historical awareness might help us understand what’s happened.” [iii] Sontag’s cool detachment was widely criticized for being tone deaf to the moment. I will try not to be; forgive me if I fail. I have wept and prayed over this violence, but here I want to reach toward lucidity. And hope.
I’m admittedly no expert on the complex region and its conflicts. I was in the “Holy Land” for 40 days and 40 nights in 1989 and for 3 weeks in 1991, primarily on pilgrimage. But I spent some memorable time with Palestinians, and had an illuminating day with human rights advocates in Gaza—it looked like a war zone even then, with overturned trucks and ruined buildings. The Anglican Al Ahli Arab Hospital had performed 79 surgeries in a single day that month. But the day I visited the number was only 4: two for gunshots, two for beatings. I still can’t imagine the effect of living with so much death and violence year after year.
My only personal intifada moment came when I was videotaping a burning tire in an empty square in Ramallah. Two armed soldiers appeared out of nowhere, demanding to see what I’d shot, in case I’d caught the protesters on tape. Fortunately, my footage only showed the tire. I did not want to be the cause of anyone’s arrest.
President Biden called Hamas’ sadistic violence “an act of sheer evil.” Only the heartless could disagree. The question now is: What do we—Israel, the United States, the Arab states, the whole human race—do about it? South Carolina Senator Lindsey Graham said, “Level the place” (meaning Gaza). He might as well have said, “Let’s be stupid together.” There are two million inhabitants in Gaza (half of them are children), and the indiscriminate mass slaughter of innocent and guilty alike would not eliminate terror, but only metastasize it. For terrorists, the blood of the “martyrs” is the seed of future violence.
Sabir was 12 years old when I photographed him in 1989 at the Anglican Al-Ahli Arab Hospital in Gaza. He had a plastic bullet in his chest, but his spirit was strong, perhaps defiant. He would be 46 now. Was he destined to become a warrior, or did he find another path?
Many of us think of terrorism as an interruption of a normally peaceful world. Terrorists see conflict as a perpetual condition, and insist that their violence, whatever its methods and goals, is in response to something they didn’t start. For a very long time, the Middle East has suffered a seemingly endless cycle of violence and vengeance. To call the attack of October 7 “unprovoked” or “out of the blue” is a case of willful ignorance. It is in fact a particularly monstrous continuation of the cycle. Recognizing historical context in no way justifies the sickening barbarism of specific cruelties, but if we want to find a way forward we need to do better than just point fingers. As the Bible warns, “If we say we have no sin we deceive ourselves” (I John 1:8).
The human rights consensus is that Netanyahu’s years-long blockade of Gaza has been a form of apartheid, an attempt to confine Hamas, whose declared aim is the destruction of Israel, within the Gaza Strip’s narrow boundaries. Tareq Baconi, president of the board of a Palestinian think-tank, believes that October 7 has undermined any illusions about the sustainability of that approach:
“The scale of the offensive and its success, from Hamas’s perspective, mean that we’re actually in a new paradigm, in which Hamas’s attacks are not restricted to renegotiating a new reality in the Gaza Strip, but, rather, are capable of fundamentally undermining Israel’s belief that it can maintain a regime of apartheid against Palestinians, interminably, with no cost to its population.” [iv]
Ruth Ben-Ghiat, an expert on authoritarianism, sees the malign ineptness of Netanyahu’s “strongman” regime as playing its own part in the crisis by oppressing Palestinians and weakening Israeli consensus. Many Israelis wish him gone. The Prime Minister, she writes,
“did not seem to care that empowering his far-right extremist partners (his Minister of National Security, Itamar Ben-Givr, has been convicted of supporting terrorism) to try and realize their fantasies of a Jewish ethno-state and West Bank annexation could have dangerous consequences for the nation.
“With a two-state solution off the table for Netanyahu, repression of Palestinian human and political rights has been the default solution, along with giving Palestinians some limited economic benefits. That this was not tenable did not interest him. That typical authoritarian rigidity and hubris is why former Shin Bet head Ami Ayalon told Le Figaro that Netanyahu’s government bears ‘a large part of the responsibility’ for creating a climate that Hamas judged propitious for an attack.” [v]
Rob Rogers, “Innocent Civilians” (TinyView.com, Oct. 12, 2023)
Israel, of course, is not alone in its need to reassess the policies and paradigms of power for the sake of justice and lasting peace. As former Archbishop of Canterbury Rowan Williams says, we all need to come to terms with“our own failure, the hurt done as well as received, and the perpetual slippage toward violence.” Or as Auden put it, we need to be “shaken awake” and forced to face facts. It is simply not possible to unremember “what happened between noon and three” (the Crucifixion) and what will happen again and again until we choose a better way.
During last week’s terror, the latest issue of the New York Review of Books arrived in my mailbox. The first article I saw, Suzy Hansen’s discussion of writer Phil Klay, opened with a paragraph that seemed made for the moment:
“The act of killing people was once taken so seriously, Phil Klay writes in Uncertain Ground: Citizenship in an Age of Endless, Invisible War, that after the Battle of Hastings in 1066, a Penitential Ordinance was imposed on Norman knights: ‘Anyone who knows that he killed a man in the great battle must do penance for one year for each man that he killed.’ Klay, a forty-year-old veteran of the war in Iraq, considers such rituals beneficial not only for the psychological health of soldiers but also for their communities, because after a war the traumatized perpetrators ‘must reconstruct a view of faith, society, and ethics that will not merely collapse into the emptiness of the evil they have faced.’ A nation left flailing in the emptiness of evil becomes one in which that evil never ends.”
Whether we are Israelis, Palestinians, Ukrainians, Russians, or citizens of the American empire, we are implicated, directly or by proxy, in perpetual global conflict, where the only true winner is the technology of violence—along with the few who profit by it. In Hansen’s words, the rest of us are “prisoners of that global technological warship that is always on the move.”
How do we say no? How do we jump that warship? As Hansen reminds us,
“The war on terror devastated entire countries, caused the deaths of millions of people, and turned tens of millions into refugees; countless more people were imprisoned, maimed, tortured, or impoverished.”
We might add to that distressing number the 30,177 American soldiers and veterans of the war on terror who have committed suicide over the last 20 years. A soldier quoted in Klay’s Uncertain Ground suggests a cause for such despair when he wonders, “Have I done an evil thing?” [vi]
Are the policy-makers and war-makers similarly troubled? Do they ever have PTSD after the harm they do? Auden’s “Epitaph on a Tyrant” is doubtful on this point. The poem’s last line exemplifies the fatal disconnect between the performative emotions of the powerful and the suffering they either cause or ignore. Whether or not the tyrant weeps, the children go on dying.
Perfection, of a kind, was what he was after, And the poetry he invented was easy to understand; He knew human folly like the back of his hand, And was greatly interested in armies and fleets; When he laughed, respectable senators burst with laughter, And when he cried the little children died in the streets. [vii]
Matteo di Giovanni, The Slaughter of the Innocents (Siena Cathedral floor,1481)
In recent days, thousands of bombs have been dropped on Gaza, which is under a state of siege. The severing of access to food, water and electricity is in itself a death sentence for many, especially those in hospitals. Al Ahli Arab Hospital, where I photographed 12-year-old Sabir in 1989, was struck by a bomb as I was writing this. It has been sheltering people displaced by the war, and the number of dead is thought to be around 500.
Israeli forces are preparing for a bloody invasion of Gaza, but there is a glimmer of hope in recent diplomatic moves to secure humanitarian aid and evacuation of civilians, and to win release for hostages. Even so, many more innocents are going to die, along with countless combatants. This war will win nothing but more rage and more tears.
Pete Seeger once said, “We must learn to forget revenge.” In a New York Times op-ed last Sunday, “What Does Destroying Gaza Solve?”, Nicholas Kristof told of meeting “a woman named Sumud Abu-Ajwa, whose home had been damaged by bombing in 2014 and whose husband had been injured and whose children were hungry.
“Do you want Israeli mothers to suffer like you?” I asked.
“Of course not,” she answered. “I hope God won’t let anyone taste our suffering.” [viii]
Jacopo Pontormo, The Deposition from the Cross (Santa Felicita, Florence, 1528). “The Christian’s response to the pain of another is as instinctive and non-negotiable as the mother’s involvement in the child’s suffering. And in this light, sin becomes a refusal to be touched by the pain of others.” — Rowan Williams
Nothing but evil can come from feasting on revenge. Any further slaughter of the innocents will only produce more rage, more retaliation. So what to do? In the short term, work to free the hostages and aid the desperate. For the long term, practice justice, renounce oppression, and work for peace. Make space for one another. Trade tribalism for human solidarity. See God in every face.
As we approach All Hallows (November 1), the creative folly of saints comes to mind. Keeping their eyes on the prize, they refused the well-worn schemes of a death-haunted world in favor of practices shaped by divine love: self-forgetting and self-offering. Take St. Francis, for example, who went to Palestine during the Crusades. Making his way to the war zone, he crossed the battle line, unarmed, to seek out the Muslim leader, Malek el-Kamil. The sultan received him courteously, they had a friendly conversation about God and, it is said, Francis took time to say prayers in a mosque. “God is everywhere,” he told the sultan.
I wish I could say that the example of St. Francis so moved the hearts of the adversaries that they laid down their swords and shields to live happily ever after. Alas, not so. But we still treasure that story for the day when the world might actually be ready for such holy wisdom.
During World War II, when the Christian intellectual and activist Simone Weil was working in the London office of the French Resistance, she proposed a plan to parachute hundreds of white-uniformed nurses onto battlefields, not only to tend to the wounded but also to provide an image of self-sacrificial goodness in the midst of cruelty and violence. She herself wanted to be in the first wave of this non-violent invasion. In submitting her plan to the Free French authorities, she made a visionary argument:
“There could be no better symbol of our inspiration than the corps of women suggested here. The mere persistence of a few humane services in the very center of the battle, the climax of inhumanity, would be a signal defiance of the inhumanity which the enemy has chosen for himself and which he compels us also to practice … A small group of women exerting day after day a courage of this kind would be a spectacle so new, so significant, and charged with such obvious meaning, that it would strike the imagination more than any of Hitler’s conceptions have done.” [ix]
Charles de Gaulle thought her quite mad, and her plan of course went nowhere. What would happen if we tried such a thing in Gaza? God only knows.
Yes, I can imagine what you’re thinking. But if I haven’t lost you by now, let me offer one final example of holy folly.
In the 1990s, a community of eight French Catholic monks lived in the mountains of Algeria in a time of civil war and terrorist violence. Their monastery was at the edge of a poor Muslim village, where they lived in harmony with their neighbors, providing the only accessible health care. As the surrounding political violence escalated, the monks were warned by the government to leave the country. But they felt called to remain among the people they served, despite the high probability of martyrdom. Despite their own fears.
Their abbot, Dom Christian, wrote a letter to his family in Advent, 1993, two years before he and his brother monks were beheaded by terrorists. Anticipating his own martyrdom, he insists to his loved ones that he is not exceptional, since so many others in that land were also at risk.
“My life,” he wrote, “is not worth more than any other — not less, not more. Nor am I an innocent child. I have lived long enough to know that I, too, am an accomplice of the evil that seems to prevail in the world around, even that which might lash out blindly at me. If the moment comes, I would hope to have the presence of mind, and the time, to ask for God’s pardon … and, at the same time, to pardon in all sincerity him who would attack me…”
What an extraordinary thing to say: Here is a good and humble and holy man confessing his own complicity in the evils of the world. And what does he hope for? He hopes for the presence of mind, in the very moment of being murdered, to ask forgiveness. Forgiveness not only for himself, but for his killer as well.
The end of his letter is addressed not to his family, his loved ones, but to the stranger who will one day kill him, the stranger whom he calls “my friend of the last moment.”
“And to you, too, my friend of the last moment, who will not know what you are doing. Yes, for you, too, I wish this thank-you, this “A-Dieu,” whose image is in you also, that we may meet in heaven, like happy thieves, if it pleases God, our common Father.” [x]
Dear reader, imagine that!
Palestinian Christian girl, Ramallah (May 1989). “The Lord is my light and my salvation; whom then shall I fear?” (Psalm 27:1)
[i] Rowan Williams, Looking East in Winter: Contemporary Thought and the Eastern Christian Tradition (London: Bloomsbury Publishing, 2021), 194. Williams, former Archbishop of Canterbury, goes on to say that “we can perhaps begin to understand why Evagrios can say that apatheia, our liberation from defensive and aggressive instinct, is the gateway to love—as well as to a justice that has some claim to be a little more transparent to the just vision that God has for the creation.”
[ii] From “Compline,” the penultimate poem of Auden’s Horae Canonicae (the Canonical Hours, which take us through successive portions of one particular day: Good Friday).
[iii] Susan Sontag, The New Yorker, September 24, 2001.
[iv] Bariq’s organization is Al-Shabaka, the Palestinian Policy Network. He was interviewed for The New Yorker by Isaac Chotiner: “Where the Palestinian Political Project Goes from Here” (Oct. 11, 2023):
[vi] Suzy Hansen, “Twenty Years of Outsourced War,” New York Review of Books (October 19, 2023), 26-28.
[vii] Auden’s “Epitaph on a Tyrant” is rendered in a plaintively sung version by Tom Rapp under the title “Footnote” (Pearls Before Swine, These Things Too). That’s where I first discovered it 50 years ago, and that last line still haunts me.
[viii] Nicholas Kristof, “What Does Destroying Gaza Solve?”, New York Times (Oct. 15, 2023)
[x] The full story and its texts may be found in Bernard Olivera, How Far to Follow? The Martyrs of Atlas (Petersham, MA: St. Bede’s Publications, 1997). The story is also beautifully and movingly told in the film, Of Gods and Men (2010), directed by Xavier Beauvois.
The religious imagineer 