Author: Victoria Emily Jones

Roundup: Free e-book on church art galleries, Hagar in art, Dramatic Encounters film series, and more

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SPOTIFY PLAYLIST: August 2025 (Art & Theology)

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FREE E-BOOK: Seeing the Unseen: Launching and Managing a Church Art Gallery by Sandra Bowden and Marianne Lettieri: I own a copy of the original 2015 edition of this book written by two wise, experienced friends of mine and published by the now-defunct Christians in the Visual Arts; this revised edition, published this year by Square Halo Books, includes all-new images and other updates. It’s an excellent resource for churches looking to start an art gallery, covering the logistics of defining the gallery program, designing the gallery space, funding the gallery, organizing exhibits and juried shows, handling art, engaging viewers, and more. The authors and publisher are generously making it available for free download!

Seeing the Unseen

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New this summer, the popular artist Laura James [previously], who frequently paints biblical subjects, now has a simple form on her website through which you can license digital image files of hers for use in publications, presentations, or websites: https://shop.laurajamesart.com/product/image-licensing/.

James, Laura_5000 Fed
Screenshot from laurajamesart.com: Laura James (American, 1971–), 5000 Fed, 1999

Also, folks often ask me where they can purchase affordable art: Check out James’s online store, as she sells giclée prints of many of her paintings.

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ESSAY: “Toward a Genuine Dialogue between the Bible and Art” by J. Cheryl Exum: J. Cheryl Exum (1946–2024) was a Hebrew Bible scholar renowned for her work on the Song of Songs, feminist biblical studies, and the reception of the Bible in culture and art history. In much of her writing and teaching she staged a dialogue between biblical texts and biblical art, the latter of which, she said, constitutes a form of exegesis. She argued “for adding visual criticism to other criticisms (historical, literary, form, rhetorical, etc.) in the exegete’s toolbox—for making visual criticism part of the exegetical process, so that, in biblical interpretation, we do not just look at the text and the commentaries on the text but also at art as commentary.” More than simply enhancing our appreciation of a biblical text, art “can point to problematic aspects of the text and help us ‘see’ things about the text we might have overlooked, or enable us to see things differently.”

In this paper from 2012, Exum examines two episodes from the life of Hagar: the Expulsion of Hagar and Ishamel (Gen. 21:8–14), and Sarah Presenting Hagar to Abraham (Gen. 16:3–4). I found the second section particularly illuminating in how it addresses a narrative gap in Genesis 16, which is Hagar’s being raped (made to have sex without her consent) by Abraham at Sarah’s behest. Customary in many ancient patriarchal societies, the use of slaves to bear children for one’s family line is what is dramatized in the popular novel-turned-TV series The Handmaid’s Tale. Exum looks at six seventeenth-century paintings of Sarah leading a reluctant and sometimes humiliated Hagar, who tries in vain to cover her nakedness, into Abraham’s bed. “These paintings,” Exum writes, “require us to consider what assumptions about women and slaves and their rights to their bodies lie behind the biblical narrator’s simple ‘he went in to her and she conceived’, assumptions commentators too readily ignore.”

Salomon de Bray_Hagar Brought to Abraham by Sarah
Salomon de Bray (Dutch, 1597–1664), Hagar Brought to Abraham by Sarah, 1650. Oil on panel, 31.2 × 23.5 cm. Agnes Etherington Art Centre, Queen’s University, Kingston, Ontario.

In the final section of the paper, Exum considers a disturbing verse in the Song of Songs that has stumped commentators but that the artist Gustave Moreau chose to visually interpret.

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POEM: “He Who Sees Hagar” by Michelle Chin: “She buys me for my birth canal / but beats me for the birth. / I despise her . . .” Published in Reformed Journal.

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VIDEO SERIES: Dramatic Encounters (proof of concept pilot), created by Martin J. Young: Martin J. Young, a UK-based speaker, writer, and mentor to church leaders and creatives, is developing a film series with writer-director Ethan Milner of Cedar Creative that explores people’s dramatic encounters with Jesus in John’s Gospel. Inspired in part by David Ford’s The Gospel of John: A Theological Commentary (Baker Academic, 2021), the series will adapt particular gospel stories to screen and, uniquely, will include a documentary component that highlights the creative process from start to finish.

Each episode will consist of four primary elements (expanded from the three showcased in the pilot):

  1. The Roundtable, a conversation with theologians, pastors, and artists about the given gospel story, examining its form, meaning, themes, and interpretations
  2. The Rehearsal, in which the actors, informed by the roundtable discussion, work out how to perform the story, choosing facial expressions, postures and movements, vocal tones and inflections
  3. Behind-the-Scenes, exploring the various cinematographic choices made by Milner and his filmmaking team (e.g., sets, lighting, framing, editing, scoring)
  4. The Film, a roughly ten-minute drama that brings the gospel story to life

The proof of concept pilot episode below is based on John 12:1–8, in which Mary of Bethany anoints Jesus with expensive perfume, much to Judas’s chagrin. The short starts at 24:13. I’m impressed by the quality! And the “voyage of discovery” approach of the overall episode—wrestling with scripture in preparation for inhabiting its characters, and translating it into a filmic narrative—pays off, as viewers are granted insight into the crafts of acting, filmmaking, and literary adaptation.

Young is seeking funding to produce and distribute a season of eight to ten episodes. (None have been made yet.) If you’re interested in helping out financially, visit https://www.cedarcreative.net/encounters, and click “Donate Today.” Explore more at https://this-is-that.com/.

“Miriam” by Alison Leonard (poem)

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Zwerger, Lisbeth_Miriam relinquishes Moses
Watercolor illustration by Lisbeth Zwerger, from Stories from the Bible (NorthSouth Books, 2016)
Hush my mother’s infant lusty
hush my fear-born brother nigh
rock you still in paper’s cradle
cry you not, or you will die

Rushes taller than your manhood
hide you now from club and sword
neighbours’ howls forget, and slumber
on the swaying water-sward

Rose a king who knew not Joseph
feared our numbers, feared our poise
feared our strength within his nation
spoke the killing of our boys

Cunning she who bore you quietly
cunning midwife I must be
cunning now to rock you, rock you
on the river tenderly

Hush, and hear not my heart beating
for the story that’s to come
mist-enfolded seeps toward me
in a howl that must be dumb

Silent children, silent women
silent men and silent bones
silent shoes in piles unnumbered
silent dust among the stones –

Here’s the woman with her women
with her barren sorrow bowed
jewels, gold and slaves unnumbered 
cannot soothe her field unploughed

Cunning I, my mother’s daughter
cannot hush you, but can save
but can lift you from the water
king’s son make from son of slave

Running now to fetch my mother
running now to lose the sight
of the silent dust unslumbered
mist-encroaching through my flight

Mother, Mother, run and feed him –
of his origins be dumb –
close your ears against the howling
of the mothers still to come

This poem, inspired by Exodus 1–2, is published in The Poetic Bible, ed. Colin Duriez (Hendrickson, 2001).

Alison Leonard (born 1944) is a writer from the UK whose works include children’s and adult fiction, stage and (BBC) radio plays, poetry, and spiritual nonfiction. She is a Quaker and is deeply committed to interfaith dialogue and learning.

(Related posts: “Bithiah’s defiance: Kelley Nikondeha and poet Eleanor Wilner imagine Pharaoh’s daughter”; “Miriam,” a poem by Rachel Barenblat)

Roundup: New online community for poetry lovers and learners; Christians in the movies; etc.

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ONLINE COURSE: The Good, the True, the Beautiful: Reading Literature to Restore the Soul with Karen Swallow Prior, October 29–December 17, 2025: Offered through the Free to Be Faithful initiative of the Institute of Christian Studies in Toronto, this eight-week online course taught by literature scholar Karen Swallow Prior (author of On Reading Well and other books) “invites students into the sacred act of reading—exploring how classic and contemporary works of fiction and poetry can reawaken moral imagination, deepen empathy, and cultivate spiritual resilience. Together we will reflect on the formative power of beauty and goodness through the written word, guided by voices both timeless and timely.”

The class will meet Wednesdays from 6:30 to 8:30 p.m. ET and will include lectures and discussion. The cost for first-time ICS students, not for credit, is $289 USD. (To take it for credit costs about $1,110 USD.) Read the ICS’s course introduction on Substack, and view additional course offerings at https://f2bf.icscanada.edu/#courses.

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ONLINE POETRY COMMUNITY: Versed~, founded and led by Dr. Adam Walker: A recently minted Harvard PhD grad and award-winning educator, Adam Walker is a scholar of English and American literature specializing in Romantic poetry. I’ve really been enjoying his “Close Reading Poetry” YouTube channel, where he has posted such videos as “6 Poets Tolkien Fans Should Read,” “The Theological Aesthetics of Gerard Manley Hopkins,” “Mary Sidney Herbert, the Mother of English Devotional Poetry,” “Reading John’s Gospel as Visionary Literature,” and many, many more. He seeks to make great poetry accessible to everyone. I love the combination of erudition and warmth that he exudes.

This March, Walker launched Versed~, “a space where the serious love and study of poetry is available beyond the paywalls of the universities—a place where readers can talk about books, make friends, compare notes, and share their writings with other readers.” He continues:

Our meetings blend the rigor of the classroom with the warmth of a living room. . . . Versed offers a wide range of learning opportunities, including live classes, a library of past courses, exclusive access to unpublished courses, and resources designed for everyone from beginners to advanced readers. At Versed, students can sharpen their literary skills, master various techniques in the art of close reading, and encounter works of great literature with other readers. Here, you’ll find all the insight of a university course, without the pressure, just good books and better company.

You can join for just $20/month.

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PODCAST EPISODES:

These are both available for listening wherever you get your podcasts.

>> “How to Read a Poem” with Ben Myers, The Artistic Vision, July 15, 2025: Dr. Benjamin Myers [previously], the 2015/16 poet laureate of Oklahoma and author of four books of poetry, kicks off a new “how to” lecture-style series for The Artistic Vision, providing tips on how to read (and listen to) poetry. “The purpose of poetry is the cultivation of attention,” he says. He urges readers to resist the temptation to try to “solve” the poem, and emphasizes the role of beauty and sound in enhancing the poetic experience. For consideration, he highlights the poems “The Red Wheelbarrow” by William Carlos William, “The Song of Wandering Aengus” by William Butler Yeats, “Birches” by Robert Frost, and “The Lake Isle of Innisfree” by William Butler Yeats. For those who want to learn more, he heartily recommends How to Read a Poem by Tania Runyan.

>> “On the Artistic Vision of Flannery O’Connor” with Jessica Hooten Wilson, The Artistic Vision, December 11, 2024: Dr. Jessica Hooten Wilson—author of The Scandal of Holiness: Renewing Your Imagination in the Company of Literary Saints and the forthcoming Reading for the Love of God: How to Read as a Spiritual Practice, among other titles—discusses the sacramental vision of the Southern fiction writer Flannery O’Connor (1925–1964). She touches on the role of the dark and grotesque in O’Connor’s work; symbolism, allegory, and the accumulation of meaning; her favorite O’Connor short story, “Greenleaf”; Mystery and Manners, a collection of O’Connor’s essays and other prose; being called upon by O’Connor’s estate to present O’Connor’s unfinished third novel, Why Do the Heathen Rage?, to the public for the first time, and artist Steve Prince’s indispensable contribution to the project; and “The Woodcarver,” a parable of craft by the ancient Taoist philosopher Chuang Tzu (Zhuangzi).

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MEDLEY: “You’re Nearer / Nearer, My God, to Thee” by Nnenna Freelon: Cued up in the video below, from a 2016 Jazz Vespers service at Duke University Chapel, is a medley by the American jazz singer Nnenna Freelon, which combines a 1940 Broadway musical number by Rodgers and Hart with a nineteenth-century hymn. What a compelling mash-up! It appears on Freelon’s 2000 album Soulcall.

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ARTICLE: “Christians in the Movies: The Good, the Bad, and the Ugly” by Mike Frost: “Hollywood movies are full of religious nuts. . . . But it’s not all bad news. Mainstream cinema has presented us with some powerful, complex, and authentic depictions of devout Christians,” writes Mike Frost, a minister from Australia. He gives ten examples.

Roundup: Traditional Balinese painting, Fijian hymn, and more

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BROADCAST NEWS SEGMENT: “Ketut Lasia: The Last Generation of Ubud Traditional Painters,” UTV Televisi Indonesia, January 7, 2025: This three-minute video was filmed in the home studio of Ketut Lasia (born 1945), one of the last traditional Balinese painters, who studied under I Wayan Turun (1935–1986) and is still active at age eighty. As an adult, Lasia converted from Hinduism to Christianity, and he paints primarily biblical scenes. The video shows his visual interpretations of Jesus calming the storm, Jesus’s entry into Jerusalem, the miraculous catch of fish, the Crucifixion, Jesus in the house of Mary and Martha, and the Ascension.

Lasia, Ketut_Gethsemane
Ketut Lasia (Indonesian, 1945–), Gethsemane, n.d. Acrylic on canvas, 61 × 43 cm.

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ESSAY: “Christian Art in Indonesia” by Volker Küster, Karel Steenbrink, and Rai Sudhiarsa: This chapter is from the thousand-page, open-access book A History of Christianity in Indonesia, edited by Karel A. Steenbrink and Jan S. Aritonang (Brill, 2008). The authors discuss the development of an indigenized Indonesian Christian art, starting with the West Javanese sculptor Iko, a Muslim who worked in both wood and stone and fulfilled commissions for the (Catholic) Sacred Heart Chapel on the premises of the Joseph Schmutzer sugar estate in Ganjuran in the 1920s. They then cover a handful of artists who came in the wake of the Second Vatican Council in the 1960s and amid the global trend toward contextual theology promoted by international Protestantism—focusing especially on the most famous two, Bagong Kussudiardja (1929–2004) [previously] and Nyoman Darsane (1939–2024), both Christian converts.

Javanese King Jesus
Iko, Christ the King with Angels, 1924–27. Jati wood. Missiemuseum Steyl, Limburg Province, Netherlands. Photo: Fred de Soet, 2019.
Kussadiardja, Bagong_Crucifixion
Crucifixion batik by Bagong Kussudiardja, Yogyakarta, Indonesia. Private collection, Geneva. Jesus is rendered in the style of a Javanese shadow puppet. Source: On a Friday Noon by Hans-Ruedi Weber (Eerdmans / World Council of Churches, 1979)
Darsane, Nyoman_Creation of Sun and Moon
Nyoman Darsane, Creation of Sun and Moon, 1979

(This essay is not to be confused with the one I shared in 2022, where Volker Küster profiles five Christian artists from Yogyakarta, including one overlap with this present essay.)

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VIDEO PROMO: “OMSC Artist in Residence Program”: “Each year, the director of the Overseas Ministries Study Center at Princeton Theological Seminary (OMSC@PTS) invites one Artist in Residence to the Princeton campus to stay with us for a full academic year (September to May). Since its inauguration in 2001, the OMSC Artist in Residence program has hosted outstanding artists from the global South. Today, OMSC’s art collection is comprised of over one hundred fifty pieces, many of which are now on display throughout the campus of Princeton Theological Seminary. They represent some of the finest work being done by contemporary artists who are Christian.” Artists include Sawai Chinnawong (Thailand), Nalini Jayasuriya (Sri Lanka), Wisnu Sasongko (Indonesia), and Emmanuel Garibay (Philippines), among others.

The current OMSC artist in residence is KimyiBo, a Korean American artist based in Berlin. Explore more at http://www.omsc.org/.

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EXHIBITION CATALOG: Global Images of Christ: Challenging Perceptions: This free digital catalog documents an art exhibition that ran from September 25 to October 30, 2021, at Chester Cathedral in the UK. Artists include Lorna May Wadsworth, Max Kandhola, Silvia Dimitrova, John Muafangejo, Solomon Raj, Jyoti Sahi, and more.

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FIJIAN HYMN: “Oqo Na Noqu Masu” (This Is My Prayer): This Christian hymn is sung regularly in Fiji in churches and at rugby training camps and matches. The lyrics translate roughly to: “Lord, this is my prayer. I need your help in my time of need. I will always praise your name, and I ask that you grant me the desires of my heart. I sing and cry to you, Lord—to you and you alone. Hallelujah.” Here are some examples:

>> From the Rugby League World Cup, Fiji v. USA, 2017:

(Watch a similar video with subtitles.)

>> Again, the Fiji Bati rugby team singing before a match, this time against Papua New Guinea in 2022:

>> And here’s the hymn in a church context—sung by the Nawaka Methodist Village Choir in Nadi, Fiji:

Awareness of the deep-rooted Fijian tradition of four-part Christian hymn singing increased last summer when videos of the country’s Olympic team went viral. In the Christianity Today article “Yes, Fiji Olympians Are Singing Hymns,” Kelsey Kramer McGinnis writes,

Although Fijian hymnody grew out of Methodist songs brought by 19th-century missionaries, it has become a deeply rooted tradition that makes space for indigenous practices across the diverse country. Christianity’s connection to the legacy of colonialism in Fiji (which was a British colony from 1847 to 1970) is undeniable, but Fijian vocal music stands as an example of the ways Fijians have been contextualizing Christian worship and integrating it into their communities for nearly two centuries.

Here’s a 2024 video from a Sunday worship service at the Team Fiji camp in the Olympic Games Village in Paris, showing the team singing a different hymn, whose title and words I don’t know:

“The Fury of Sunrises” by Anne Sexton (poem)

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Tack, Augustus Vincent_Dawn
Augustus Vincent Tack (American, 1870–1949), Dawn, 1934–36. Oil on canvas mounted on hardboard, 23 3/4 × 24 3/4 in. (60.3 × 62.9 cm). Phillips Collection, Washington, DC.
Darkness
as black as your eyelid,
poketricks of stars,
the yellow mouth,
the smell of a stranger,
dawn coming up,
dark blue,
no stars,
the smell of a lover,
warmer now
as authentic as soap,
wave after wave
of lightness
and the birds in their chains
going mad with throat noises,
the birds in their tracks
yelling into their cheeks like clowns,
lighter, lighter,
the stars gone,
the trees appearing in their green hoods,
the house appearing across the way,
the road and its sad macadam,
the rock walls losing their cotton,
lighter, lighter,
letting the dog out and seeing
fog lift by her legs,
a gauze dance,
lighter, lighter,
yellow, blue at the tops of trees,
more God, more God everywhere,
lighter, lighter,
more world everywhere,
sheets bent back for people,
the strange heads of love
and breakfast,
that sacrament,
lighter, yellower,
like the yolk of eggs,
the flies gathering at the windowpane,
the dog inside whining for food
and the day commencing,
not to die, not to die,
as in the last day breaking,
a final day digesting itself,
lighter, lighter,
the endless colors,
the same old trees stepping toward me,
the rock unpacking its crevices,
breakfast like a dream,
and the whole day to live through,
steadfast, deep, interior.
After the death,
after the black of black,
this lightness—
not to die, not to die—
that God begot.

“The Fury of Sunrises” is the last of fifteen poems from Anne Sexton’s “The Furies” cycle, published in The Death Notebooks (Houghton Mifflin, 1974). Copyright is held by the Estate of Anne Sexton, represented by Sterling Lord Literistic.

Anne Sexton (1928–1974) was a Pulitzer Prize–winning confessional poet from New England who wrote in starkly personal terms about her psychiatric struggles (she suffered from bipolar disorder and died by suicide), sexuality, and other taboo subjects. Much of her poetry expresses a yearning for the ecstatic and sublime and explores religious questions, referencing God and faith—even though she characterized herself, in a 1968 BBC interview, as an atheist, albeit one who was “rather attracted to Catholicism.”

Roundup: Social music with Dan Zanes, the Green Man, and more

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Lancaster Digital Collections has published twelve webpages of “iconography-inspired sacred art,” with downloadable images made available by permission of the artists. I especially like the paintings of Janet McKenzie [previously] and Khrystyna Kvyk [previously].

McKenzie, Janet_The Divine Journey
Janet McKenzie, The Divine Journey: Companions of Love and Hope, 2017. Oil on canvas, 48 × 36 in. Memorial Church, Harvard University, Cambridge, Massachusetts.
Kvyk, Khrystyna_The Descent into Hell
Khrystyna Kvyk (Ukrainian, 1994–), The Descent into Hell, 2023. Acrylic on gessoed wood, 40 × 40 cm. Private collection.

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FREE ZOOM CONVERSATION: Social music with Dan Zanes, July 16, 2025, 8 p.m. ET: I met the Baltimore-based folk musicians Dan and Claudia Zanes [previously] two years ago at a local family concert they put on. Joyous, bighearted, faith-filled, community-focused, committed to social justice—I love who they are and what they’re about and all the rich music they share.

In a social media post on June 11, Dan posed the question, “Is there anyone out there who wants to become a music maker and help uplift their community?” Followed by a generous offer: “I can teach you how to play guitar and sing songs (and write songs if you want). No cost, this is a different approach. It will be through a series of Zoom lessons (unless you live down the street). Whether you’re a beginner or someone who’s been dabbling and wants to take it out of the house, I can get you to a confident place so you can play for and with people.” The caveat? You just have to promise to put in the practice and to share your music freely in your community! And to teach someone else what you’ve learned.

“There are so many ways to make positive social change,” Dan says, “and creating music in our communities is certainly one of them.” I believe he has already selected a set of students to take on, but having received so many messages of interest, he has also decided to host a Zoom conversation on social music this coming Wednesday evening. On July 9, he wrote on social media:

Social music in chaotic times, people! Let’s talk about it. I’ve been hearing from many folks who want to be more useful in their communities and see music as the way.

Yes! Music can be healing, galvanizing, uplifting, energizing, and calming. Imagine if every community had many more music makers to play for the young folks, the elders, to lead singalongs and dance parties, to offer songs during times of loss and celebration. Of course it’s happening now, and still I believe there’s so much more that is possible.

If you’re interested in joining the meeting, send Dan an Instagram message @danzanes or a Facebook message @danandclaudiazanes and he’ll send you the link.

To give you a sense of Dan and Claudia’s vibes, here’s one of their original songs, which they debuted on their YouTube channel in 2020:

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ONLINE RETREAT: “Read for Your Life: Creating a Story-Formed Home” with Sarah Clarkson, August 5, 2025: Join author Sarah Clarkson [previously] for a daylong online retreat exploring children’s literature, childhood reading, and the development of imagination. “My goal,” she writes, “is to provide a vision for the beauty of the reading life, some good research, and a generous stack of practical booklists to help you begin to outfit and build a home library for the children in your life.” The cost is $35. The event begins at 9:30 a.m. UK time, but all live sessions will be recorded and offered on-demand afterward to registrants.

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PODCAST EPISODE: “The Green Man,” Gone Medieval, June 23, 2025: In this episode, Dr. Eleanor Janega talks with Imogen Corrigan, author of The Green Man: Myth and Reality (Amberley, 2025), about the enigmatic “green man” figure, or foliate head, which can be found in almost every pre-Reformation English cathedral and in many churches, decorating arches, corbels, roof bosses, choir stalls, and chancel screens. Corrigan claims that “the image has to be one of the most misunderstood, misinterpreted and misrepresented in the history of church carvings,” having nothing to do with pagan fertility rites. She suggests, rather, that the Green Man gestures toward the resurrection of, and resurrection in, Christ—to spiritual rebirth and eternal life.

Green Man misericord
Misericord from King’s Lynn Minster, England, ca. 1370s, depicting a Green Man disgorging oak leaves. Photo: Lucy Miller. (Click on image for great compilation!)

The two medievalists speak on location at St Mary’s at Minster-in-Thanet and St Nicholas-at-Wade in Kent. The conversation really starts to pick up at 19:47.

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This past month has seen the death of two rock ’n’ roll legends whose music, which played regularly on Oldies 100.7 WTRG, formed part of the soundtrack of my 1990s childhood: Brian Wilson (of the Beach Boys) and Sly Stone (of Sly and the Family Stone).

Much has been written about both trailblazers. I just want to mention two things:

1. Love and Mercy, the 2014 film directed by Bill Pohlad about Brian Wilson (played by Paul Dano and John Cusack), is excellent. Elliot Roberts makes the case that it’s the best music biopic ever made, and I’m inclined to agree; New York Times film critic Alissa Wilkinson also cites it as her favorite, at least within the rock genre. The story alternates between Wilson’s production of the Pet Sounds album in the mid-sixties and his psychological treatment under his abusive therapist and conservator Eugene Landy in the late 1980s, which coincided with his meeting Melinda Ledbetter, who would become his wife. The title is taken from one of Wilson’s solo songs from 1988. Here’s the film trailer:

2. Active from 1966 to 1983, Sly and the Family Stone was one of the very few multiracial, mixed-gender bands of the time, modeling integration when the notion was still fairly new in America. Perhaps you’ve heard their most famous hit, “Everyday People,” a call for unity across lines of difference (“There is a blue one who can’t accept the green one / For living with a fat one, tryna be a skinny one . . .”). Sly Stone was the front man—singer, songwriter, multi-instrumentalist, and producer. As is common among so many African American musicians, he got his musical start in church; from infancy, he was immersed in gospel music as a member of the Church of God in Christ, and his musical talent was nurtured there. I learned that in the fifties, he and three of his four siblings even formed a gospel group called the Stewart Four, locally releasing a single in August 1956. Here’s the B-side, “Walking in Jesus’ Name,” with a thirteen-year-old Sly singing lead:

“‘The Sun to Rule by Day’” by Gerhard Tersteegen (poem)

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Le Pho_Composition
Lê Phổ (Vietnamese, 1907–2001), Composition, 1969. Oil on canvas, 23 3/4 × 29 in. (60.3 × 73.7 cm).
Phil. 2:13

Thou sayest, “Fit me, fashion me for Thee.”
Stretch forth thine empty hands, and be thou still;
O restless soul, thou dost but hinder Me
By valiant purpose and by steadfast will.

Behold the summer flowers beneath the sun:
In stillness his great glory they behold;
And sweetly thus his mighty work is done,
And resting in his gladness they unfold.

So are the sweetness and the joy divine
Thine, O beloved, and the work is Mine.

Translated from the German by Frances Bevan, 1894

In this poem God speaks to his beloved, urging her to cease her anxious striving to please him and to simply be present, soft, and open—to receive his love and its attendant sweetness and joy. The epigraph cites the apostle Paul’s encouragement to the church at Philippi that “it is God which worketh in you both to will and to do of his good pleasure,” but the title is taken from Psalm 136:8: “O give thanks unto the LORD . . . to him that made . . . the sun to rule by day: for his mercy endureth for ever.”

The second stanza is also a biblical allusion, pointing to Matthew 6:27–29, in which Jesus asks rhetorically, “Which of you by taking thought can add one cubit unto his stature? And why take ye thought for raiment? Consider the lilies of the field, how they grow; they toil not, neither do they spin: and yet I say unto you, that even Solomon in all his glory was not arrayed like one of these.”

As we rest in God, he shines his face on us and gladly grows us, beauties all.

(Related post: “The Avowal” by Denise Levertov)

Gerhard Tersteegen (1697–1769) was a German Pietist preacher, writer, humanitarian, and hymnist. Self-taught in religious studies, as a young man he gave up a successful career as a merchant to live a simple life of personal devotion and public ministry. Known as “the physician of the poor and forsaken,” he opened his home in Mülhern—it became known as Pilgrim’s Hut—to all manner of needy folks, leading prayer services and dispensing food, medicine, and spiritual counsel. He also traveled the region preaching the gospel. His writings include the hymn collection Das geistliche Blumengärtlein (The Spiritual Flower Garden) (1729), a volume of Gebete (prayers) and another of Briefe (letters), and translations of the French mystics and Julian of Norwich. He is sometimes classified as a mystic himself because of his emphasis on intimacy with God.

New albums: “Confessions” by the Anachronists, “Though It Be a Cross” by Weston Skaggs, and more

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Here’s my new Spotify playlist for July:

Every month I curate a mix of old and new Christian (or Christian-resonant) song releases. For this coming month, some of the new songs come from the following five albums that were released this spring or early summer, which I’ve really been enjoying. I list them here chronologically and encourage you to listen to them each in full!

New albums 2025

1. Jesus by Jon Guerra, released April 4, 2025: An album of original songs in conversation with the words of Christ. Guerra says that a few years ago, to reacquaint himself with Jesus, he began reading cyclically through the Gospels, and as he did, “little song fragments started coming. I was trying to really hear the words, to feel the stories again, and so I’d write little tunes around certain phrases—‘do not lay up for yourselves treasures on earth,’ ‘if anyone would come after me,’ ‘give to everyone who asks of you,’ ‘take this cup from me,’” etc. He then developed those into the twelve fully fledged songs that made it onto the album.

Favorite tracks: “Reckoner (An Axe Laid to the Root),” “Where Your Treasure Is” (above), “Love Your Enemies”

2. Sermon on the Mount: Bible Memory Collection by The Soil and The Seed Project, released May 16, 2025: The Soil and The Seed Project is a ministry that provides intergenerational resources for people as they follow Jesus, read scripture, and talk about their faith together. One of those resources is new music, written and recorded by an expanding collective of folks. All twenty-five songs on this new double album of theirs are based on the Sermon on the Mount in Matthew 5–7, which contains the Beatitudes, the Lord’s Prayer, warnings against hypocrisy, the call to be salt and light, the command to love one’s enemies, the parable of the wise and foolish builders, assurances of God’s care, and the promise that those who seek will find. For the first disc, the Project set 48 of the 111 sermon verses to music, and for the second, they invited a handful of singer-songwriters to write songs in response to what they encountered as they dwelt in the text.

The album is accompanied by a “Little Liturgies” booklet of litanies, reflection prompts, and line drawings covering eleven weeks. Both the music and the booklet (digital or physical, while supplies last) are FREE from their website!

Favorite tracks: “Come and Eat” (above), “Mountains of Treasure,” “God of Mercy, God of Peace,” “Take What You’ve Given”

3. Though It Be a Cross by Weston Skaggs, released June 20, 2025: An EP of six hymns, freshly arranged and performed by Weston Skaggs of Ohio. The album title comes from a line from “Nearer, My God, to Thee” (video below). “Sarah Fuller Flower Adams wrote the lyrics from the perspective of Jacob and his received revelation of God’s nearness. A nearness that only occurred when he felt most hopeless and alone,” Skaggs explains. “In meditating on that narrative, she determined to be like Saint Peter: who became the most like Christ his master when he was raised on his own cross.” This song and others feature backing vocals by Katy Martin.

The most stylistically daring is “For the Beauty of the Earth,” whose verses Skaggs transposed to a minor key—to allude to the beauty and brokenness of creation and relationships, Skaggs said, “invit[ing] listeners to hold both gratitude and longing in the same breath.”

Favorite tracks: “No, Not One,” “Nearer, My God, to Thee” (above)

4. Confessions by the Anachronists, released June 26, 2025: The Anachronists are Andrés Pérez González, Corey Janz, and Jonathan Lipps, three musician friends who met while studying theology at Regent College in Vancouver and who have formed a group to give renewed voice, through modern indie music, to theologians and mystics from ages past. Confessions is their debut EP, with six songs rooted in Augustine’s spiritual autobiography from the late fourth century. The songs address grief over the death of a dear friend, and God’s merciful pursuit of those who wander; a preconversion sense of dissatisfaction but as yet unwillingness to make any changes; God as the One who is fully at rest in his own self, and how we might share in that rest; struggles with distraction and pride in the spiritual life; and the promise of renewal both personal and universal.

The still life colored-pencil drawing commissioned for the album cover is by the Finnish artist Minni Havas; it portrays Easter lilies growing out of a compost heap. It was especially inspired by the concluding song, “All of Our Decayed Parts,” which is itself based on an excerpt from Book IV.16 of the Confessions:

Do not be vain, my soul. Do not deafen your heart’s ear with the tumult of your vanity. Even you have to listen. The Word himself cries to you to return. There is the place of undisturbed quietness where love is not deserted if it does not itself depart. See how these things pass away to give place to others, and how the universe in this lower order is constituted out of all its parts. “Surely I shall never go anywhere else,” says the word of God. Fix your dwelling there. Put in trust there whatever you have from him, my soul, at least now that you are wearied of deceptions. Entrust to the truth whatever has come to you from the truth. You will lose nothing. The decayed parts of you will receive a new flowering, and all your sicknesses will be healed. All that is ebbing away from you will be given fresh form and renewed. (trans. Henry Chadwick)

This album comprises just six of the thirty-some Confessions-based songs the trio has written; they are testing the waters with it to see if there is more interest and funding to record more, and then to apply this approach to other ancient and medieval theological and spiritual writings by such luminaries as Athanasius and Julian of Norwich. Some laypeople feel daunted to read centuries-old works, or assume that they’re mostly irrelevant. But the Anachronists seek to mine the riches of historical Christian thought and provide an easy access point through music, hopefully encouraging folks to seek out the sources. I’m excited to see what they do next! Follow them on Instagram @anachronists.music.

Favorite tracks: “God of the Runaways,” “All of Our Decayed Parts” (above)

5. All Shall Be Well by the Good Shepherd Collective, released June 27, 2025: This album consists mainly of gospel and hymn covers. The artists in this collective, whom I’ve mentioned many times before, are top-notch, and I’m always excited to see what they put out.

Favorite tracks: “Lift Every Voice” (James Weldon Johnson and J. Rosamond Johnson), “Ancient of Days” (Ron Kenoly) (this appears to be a re-release from the collective’s Gospel Songs, vol. 1; above), “My Jesus Is All” (the Staples Singers), “I Saw the Light” (Hank Williams)

“Dialogue at Midnight: Elizabeth to John” by Sister Maura Eichner, SSND (poem)

Victoria Emily Jones1 Comment
Degas, Edgar_Pregnant Woman
Edgar Degas (French, 1834–1917), Pregnant Woman, modeled ca. 1896–1910, cast 1920. Bronze, 16 3/4 × 5 3/4 × 5 5/8 in. (42.5 × 14.6 × 14.3 cm). Metropolitan Museum of Art, New York.
My son, from the chalk
hills of this old flesh
how you have sailed
beyond the waters of
your father’s doubt.

I feel the small skiff
of your body. Yesterday
you leaped (rapids or
waterfall) when young
Mary walked into my arms.

What we women know.
And how much we keep
within the heart, secret
as the honeycomb that is
your skull growing in me.

My son John, trust this
first solitude. Here in the
ancient cave of my body,
sail inland water
safe from followers,

kings and dancing girls.

This poem appears in After Silence: Selected Poems of Sister Maura Eichner, SSND (Notre Dame of Maryland University, 2011), copyright © the Atlantic-Midwest Province of the School Sisters of Notre Dame. 

In anticipation of the Feast of the Nativity of John the Baptist on June 24, I offer this tender poem by Sister Maura Eichner in which the elderly Elizabeth speaks to her son, John, while he’s still in utero. She senses his life will end early and wishes to keep him safe forever, away from the burdens and perils of a prophetic vocation, away from Herod’s order of imprisonment, away from the lethal spite of Herodias and her daughter-pawn, Salome, whose dancing trophy of choice is John’s head on a platter.

Elizabeth is faithful to God and God’s will—just yesterday, in the company of her also-pregnant cousin Mary, she praised God for the coming Messiah whom even the fetal John recognized, leaping. But as great an honor as it is that her son has been chosen to herald the Messiah, her maternal instinct is to shield and protect him. In the dark of midnight, while her husband, Zechariah, is asleep, she whispers her fears rolled up in a charge, instructing John to savor the shelter of her womb while he still can, as soon he will enter the world’s wilderness and eventually preach himself to a martyr’s death.

For scripture texts that inform Sister Maura’s “Dialogue at Midnight,” see Luke 1 and Matthew 14:1–12.

Sister Maura Eichner, SSND (1915–2009), was a Catholic nun, poet, and professor of literature and creative writing. Born Catherine Alice Eichner in Brooklyn, New York, she took vows with the School Sisters of Notre Dame in 1933 at age eighteen. In 1943 she was assigned to teach in the English Department at the College of Notre Dame of Maryland (now Notre Dame of Maryland University) in Baltimore, where she continued until 1992, serving also as department chair. She published ten books of poetry during her lifetime, including The Word Is Love (1958) and Hope Is a Blind Bard (1989), and maintained correspondence with such writers as Flannery O’Connor, Richard Wilbur, Katherine Anne Porter, and Eudora Welty. She experimented with a diversity of poetic forms and subject matter and disliked religious poetry that is redolent of “thin piety” and “decoratively sweet nosegays,” she told The New York Times in a 1959 interview.

Affirmation of Faith from the Iona Community

Victoria Emily Jones3 Comments
Hobbs, Paul_Three In One
Paul Hobbs (British, 1964–), Three in One, 2000. Acrylic on paper, 55 × 177 cm.

We believe in God above us,
Maker and Sustainer of all life,
of sun and moon,
of water and earth,
of male and female.

We believe in God beside us,
Jesus Christ, the Word made flesh,
born of a woman, servant of the poor,
tortured and nailed to a tree.
A man of compassion, he died forsaken;
he descended into the earth
to the place of death.
On the third day he rose from the tomb;
he ascended into heaven
to be everywhere present;
and his kingdom will come on earth.

We believe in God within us,
the Holy Spirit of Pentecostal fire,
life-giving breath of the church,
spirit of healing and forgiveness,
source of resurrection and eternal life.

Amen.

The Iona Community is an international, ecumenical Christian movement working for justice and peace, the rebuilding of community, and the renewal of worship. This Affirmation of Faith, one of several they use in their liturgies, is found in the Sunday Morning Communion Service A in the Iona Abbey Worship Book (Wild Goose Publications, 2017), pp. 27–28.