Tag: Lent

Roundup: “God’s Love” playlist, embracing the ephemeral, and more

Victoria Emily Jones2 Comments

LENT SERIES: “Let go of unlove this Lent: Let’s practice love together—a new and improved Lenten reflection series starting March 5th” by Tamara Hill Murphy: I’ve been nurtured for years by Murphy’s gentle spiritual writing and curated beauty and wisdom, and I especially appreciate her annual Advent and Lent Daybook series. This Lent, she’ll be exploring four postures of cruciform love given to us in 1 Corinthians 13, providing daily scripture readings, prayers, and art, along with weekly practices. You can gain access for just $16. (She uses the Substack platform.)

Erickson, Scott_Forgive Thy Other
Forgive Thy Other by Scott Erickson

I like how Murphy frames the season: “Lent is a significant time for us to seek a deeper understanding of God’s heart and recognize the gaps in our experiences of His love. Through its beautiful stories, prayers, and practices, Lent also invites us to reflect on our own expressions of love and unlove. The Book of Common Prayer encourages us to let go of our unloving ways so we can love what (and who) God loves. Let’s joyfully embrace this transformative season together, reflecting God’s love with compassion and understanding.”

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NEW PLAYLIST: God’s Love (Art & Theology): Related to Tamara Hill Murphy’s 2025 Lent Daybook theme: here’s a new playlist I put together of songs about the abounding, ever-present love of God the Father, Son, and Holy Spirit, a love that seeks, heals, and transforms.

The cover photo is of an early twentieth-century relief sculpture from the exterior of Holy Trinity Church in the town of St Andrews, Scotland, taken by Joy Marie Clarkson; it shows a pelican pecking her breast to feed her young with her own blood, a medieval symbol of Christ’s self-giving love.

There’s some overlap between this playlist and my dedicated Lent Playlist. I hope it uplifts you in the knowledge of the depths and riches of God’s love for you.

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SONGS:

>> “And Am I Born to Die?”: Lent opens with a call to “remember you are dust, and to dust you shall return.” A reflection on human mortality, this somber hymn was written by the great English Methodist hymnist Charles Wesley (1707–1788) and set to music—a shape-note tune—by Ananias Davisson (1780–1857), a Presbyterian elder from Virginia. In this video from January 2023, it’s performed by the Appalachian folk musician Nora Brown, with Stephanie Coleman on fiddle and James Shipp on harmonium.

And am I born to die?
To lay this body down?
And must my trembling spirit fly
Into a world unknown?

Awaked by trumpet sounds,
I from my grave shall rise,
And see the Judge, with glory crowned,
And see the flaming skies.

Soon as from earth I go,
What will become of me?
Eternal happiness or woe
Must then my portion be.

>> “Nunc tempus acceptabile” (Now Is the Accepted Time): Second Corinthians 5:20b–6:10 is traditionally read on Ash Wednesday, a passage that includes the adjuration, “Behold, now is the acceptable time; behold, now is the day of salvation!” (2 Cor. 6:2). There’s a beautiful tenth-century Latin hymn for Lent, from the Liber Hymnarius, that opens with this line. In 2013, the Chicago-based composer and conductor Paul M. French set it to music for SSA a cappella choir, its unison opening unfolding into an increasingly expressive three-part harmony. It’s performed here by the Notre Dame Magnificat Choir under the direction of Daniel Bayless.

Nunc tempus acceptabile 
Fulget datum divinitus,
Ut sanet orbem languidum
Medela parsimoniae.

Christi decoro lumine
Dies salutis emicat,
Dum corda culpis saucia
Reformat abstinentia.

Hanc mente nos et corpore,
Deus, tenere perfice,
Ut appetamus prospero
Perenne pascha transitu.

Te rerum universitas,
Clemens, adoret, Trinitas,
Et nos novi per veniam
Novum canamus canticum.

Amen.
Today is the accepted time.
Christ’s healing light, the gift divine,
shines forth to save the penitent,
to wake the world by means of Lent.

The light of Christ will show the way
that leads to God’s salvation day.
The rigor of this fasting mends
the hearts that hateful sinning rends.

Keep all our minds and bodies true
in sacrifice, O God, to you,
that we may join, when Lents have ceased,
the everlasting Paschal feast.

Let all creation join to raise,
most gracious Trinity, your praise.
And when your love has made us new,
may we sing new songs, Lord, to you.

Amen.

Translation © 2006 Kathleen Pluth

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LECTURE: “Embracing the Ephemeral: How Art Honors Creaturehood” by James K. A. Smith, Duke Divinity School, February 17, 2022: Mortality means something more than being a creature who will someday die, says philosopher James K. A. Smith; it is a way of being, not defined solely by its terminus. “To be created is to be ephemeral, fugitive, contingent. To be a creature is to be a mortal, subject to the vicissitudes of time.” Part of the Duke Initiatives in Theology and the Arts Distinguished Lecture Series, this talk about developing a Christian temporal awareness is based on chapter 4 of Smith’s then-forthcoming, award-winning book How to Inhabit Time (Brazos, 2022), titled “Embrace the Ephemeral: How to Love What You’ll Lose.”

Degas, Edgar_The Star
Edgar Degas (French, 1834–1917), The Star: Dancer on Pointe, ca. 1878–80. Gouache and pastel on paper, mounted on board, 22 1/4 × 29 3/4 in. (56.5 × 75.6 cm). Norton Simon Museum, Pasadena, California.
Randall, Herbert_Untitled (Lower East Side, NY)
Herbert Randall (American, 1936–), Untitled (Lower East Side, New York), 1960s. Gelatin silver print, 13 7/16 × 8 7/8 in. (34.2 × 22.5 cm). J. Paul Getty Museum, Los Angeles.

Some notes I took:

  • “We need not only memento mori, but also memento tempore—reminders of our temporality, not just our mortality.”
  • “Imagine embracing the ephemeral as a discipline of not only conceding our mortality as a condition but also receiving our mortality as a gift.”
  • “Our finitude is not a fruit of the fall, even if it is affected by the fall. Contingency is not a curse. . . . Aging is not a curse. Autumn is not a punishment. Not all that is fleeting should be counted as loss. The coming to be and passing away that characterize our mortal life are simply the rhythms of creaturehood.”
  • Resting in our mortality instead of resenting it
  • Theologian Peter Leithart says hebel means not “emptiness,” “vanity,” or “meaninglessness” but, literally, “mist” or “vapor.” The Teacher in Ecclesiastes uses that word repeatedly to describe human life: it’s vaporous, elusive, escapes our efforts to hold on to it, to manage it.
  • “The Fly” by William Oldys
  • Mono no aware, a Japanese aesthetic principle—what the thirteenth-century Japanese Buddhist nun Abutsu-ni referred to as “the ah-ness of things”
  • “It may be artists who help us best appreciate the fragile dynamism of creaturehood.”
  • Exhibition: Working Together: The Photographers of the Kamoinge Workshop. A collective of Black photographers founded in New York City in 1963. Their photographs don’t capture the ephemeral; they hallow it.
  • How to sift tragedy from good creaturely rhythms in which good things fade?
  • “To dwell faithfully mortally is to achieve a way of being in the world for which not all change is loss and not all loss is tragic, while at the same time naming and lamenting those losses that ought not to be. . . . To be faithfully mortal is a feat of receiving and letting go, celebrating and lamenting. Being mortal is the art of living with loss, knowing when to say thank you and knowing when to curse the darkness.”
  • “One Art” by Elizabeth Bishop: “The art of losing isn’t hard to master . . .”

A Q&A takes place from 39:00 onward. The first question, asked by theologian Jeremy Begbie, is the one I had, and it recurs with different phrasing at 58:17.

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POEM: “Ash Wednesday” by Anya Krugovoy Silver: I first encountered this poem in the excellent devotional Between Midnight and Dawn: A Literary Guide to Prayer for Lent, Holy Week, and Eastertide, and it has stuck with me ever since. (It was originally published in the equally excellent The Ninety-Third Name of God, Silver’s first poetry collection.)

Mortality is one of the main themes in Silver’s poetry, including the physicalities of being human, as reflected in “Ash Wednesday,” in which she, the speaker, muses on the shared Christian ritual of the imposition of ashes at the beginning of Lent. Silver, who died of breast cancer eight years after writing this poem, was used to practicing memento mori (“remember you must die”): her mastectomy scar and silicone breast prosthesis are constant reminders of the fact, she writes. She wants to touch the body of God, wants to wrap her fingers around some tangible promise of healing, but both remain elusive. Instead she resolves to embrace the finiteness of her present form, taking the burnt remains of those Hosanna palms from last year and wearing them with repentance and praise, knowing that what is sown in perishability will be raised in imperishability (1 Cor. 15:42).

I’m compelled by how Silver both laments her fragility and owns it. There’s a defiant quality to the tone, the ash-and-oil mixture that’s thumbed into her forehead in the shape of a cross evoking a football player applying eye black in front of a locker room mirror before the big game. Wearing the mark of Christ, she’s ready for the face-off between herself and death.

John Chrysostom on holistic fasting

Victoria Emily Jones2 Comments

Do you fast? Give me proof of it by your works.
If you see a person who is poor, take pity on them.
If you see an enemy, be reconciled to them.
If you see a friend being honored, do not envy them.
Let not only your mouth fast, but also your hands and feet and eyes and ears and all the members of your body.
Let the hands fast by being free of avarice.
Let the feet fast by ceasing to run after sin.
Let the eyes fast by not looking with lust.
Let the ears fast by not listening to malicious talk or false reports.
Let the mouth fast from hateful words and unjust rants.
For what good is it if we abstain from birds and fishes but bite and devour our brothers and sisters?

—John Chrysostom, from Homily 3 on the Statutes, secs. 11–12, written in Greek in 387 CE

* I adapted this excerpt from a public-domain translation by W. R. W. Stephens provided by Kevin Knight at New Advent.

Roundup: New choral setting of R. S. Thomas poems, “Christ Jesus Knew a Wilderness,” “St. Gabriel to Mary flies,” and more

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WORLD PREMIERE: “Yr Oedd Gardd / There Was a Garden” by Alex Mills, March 29, 2024, Saint Deiniol’s Cathedral, Bangor, Wales: On Good Friday this year, a new setting of seven unpublished R. S. Thomas poems, curated from the archives of the R. S. Thomas Research Centre, will be performed for the first time by Saint Deiniol’s Cathedral Choir under the direction of Joe Cooper, accompanied by devotional readings. The choral composition is by Alex Mills [previously], and it was commissioned by Saint Deiniol’s for Holy Week. The title comes from John 19:41–42: “Now there was a garden in the place where he was crucified, and in the garden there was a new tomb in which no one had ever been laid. And so, because it was the Jewish day of Preparation, and the tomb was nearby, they laid Jesus there.”

Thomas was a priest in the Church of Wales and one of the twentieth century’s greatest poets, his works exploring the cross, the presence and absence of God, forgiveness, and redemption.

This is the second commission Mills has fulfilled for the cathedral; last year he wrote “Saith Air y Groes / Seven Last Words from the Cross,” a choral setting of the seven short phrases uttered by Jesus from the cross, according to the Gospel writers, but in Welsh.

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CONTEMPORARY HYMNS/GOSPEL SONGS BY WOMEN:

I try to be intentional about featuring the work of women throughout the year, but as March is Women’s History Month, I wanted to call attention to these three sacred songs by Christian women from the generation or two before me.

>> “Christ Jesus Knew a Wilderness” by Jane Parker Huber (1986): Born in China to American Presbyterian missionaries, Jane Parker Huber (1926–2008) is best known as a hymn writer and an advocate for women in the church. This hymn—which can be found in A Singing Faith (1987), among other songbooks—is particularly suitable for Lent. Huber wrote the words, pairing them with an older tune by George J. Elvey. Lucas Gillan, a drummer, educator, church music director, composer, and occasional singer-songwriter from Chicago and founding member of the jazz quartet Many Blessings, arranged the hymn and performs it here with his wife, Anna Gillan, a project commissioned by Saint Matthew Lutheran Church in Walnut Creek, California. What a great violin part!

Christ Jesus knew a wilderness
Of noonday heat and nighttime cold
Of doubts and hungers new and old
Temptation waiting to take hold

Christ Jesus knew uncertainty
Would all forsake, deny, betray?
Would crowds that followed turn away?
Would pow’rs of evil hold their sway?

Christ Jesus knew an upper room
An olive grove, a judgment hall
A skull-like hill, a drink of gall
An airless tomb bereft of all

Christ Jesus in our wilderness
You are our bread, our drink, our light
Your death and rising set things right
Your presence puts our fears to flight

>> “For Those Tears I Died (Come to the Water)” by Marsha Stevens-Pino (1969): I grew up in an independent Baptist church in the southern US, and though the worship music consisted almost entirely of traditional hymns, I have a faint recollection of a woman singing this song as an offertory one Sunday. (Or maybe I heard it on a Gaithers’ television special at my grandma’s house?) It is an early CCM (contemporary Christian music) song that was popular with the emerging Jesus Movement. Marsha Stevens-Pino (née Carter) (born 1952) of Southern California wrote it in 1969 when she was sixteen and a brand-new Christian, and it was recorded by Children of the Day in 1971.

In the video below, excerpted from the DVD Stories and Songs, vol. 1, it is sung by Callie DeSoto and Maggie Beth Phelps with their father, David Phelps.

>> “The First One Ever” by Linda Wilberger Egan (1980): An alumna of the Union Theological Seminary School of Sacred Music with a background in voice and organ, Linda Wilberger Egan (born 1946) has served Lutheran, United Methodist, and Presbyterian congregations as music director throughout her career. Based on Luke 1:26–38, John 4:7–30, and Luke 24:1–11, her hymn “The First One Ever” honors the gospel witness of biblical women: Mother Mary, who said yes to God’s plan for her life, bearing the Messiah into the world; the unnamed woman of Samaria, who, after Jesus personally revealed his messianic identity to her, evangelized her whole village; and Mary Magdalene, Joanna, and Mary the mother of James, the first people to receive the news of Jesus’s resurrection and to preach it to the apostles.

The hymn is sung in the following video by Lauren Gagnon at St. Mark’s Episcopal Church in Chenango Bridge, New York, accompanied by her husband, Jacob Gagnon, on guitar.

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SUBSTACK POST: “St. Gabriel to Mary flies / this is the end of snow & ice” by Kristin Haakenson: Kristin Haakenson, creator of Hearthstone Fables, is an artist, farmer, and mom from the Pacific Northwest who shares art and reflections inspired by the sacred and the seasonal, place and past. In this most recent post of hers, she discusses the yearly intersection of Lent and the Feast of the Annunciation. “In a time when the Annunciation isn’t celebrated as universally within the Church as it once was, it may feel somewhat disjointed to stumble upon this joyful feast – celebrating the conception of Jesus – during the penitential season of Lent,” she writes. “This timing, though, is part of a revelatory harmony within the Christian calendar. When we step back to see it in the context of the rest of the liturgical year – and also in the context of the natural, astronomical seasons – the theology embedded in this system of sacred time begins to absolutely bloom.”

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LITURGICAL POEM: “Annunciation 2022” by Kate Bluett: Kate Bluett from Indiana writes metrical verse around the liturgical calendar and is also one of the lyricists of the Porter’s Gate music collective. In this poem (which she said was inspired in part by the timing of this blog post!) she brings the Annunciation into conversation with the Song of Solomon in such resonant ways.

Annunciation (Gladzor Gospels)
Toros Taronatsi (Armenian, 1276–ca. 1346), The Annunciation to the Virgin Mary, 1323, from a Gospel-book made at Gladzor Monastery, Siunik, Armenia. MS 6289, fol. 143, Matenadaran Collection (Mesrop Mashtots Institute of Ancient Manuscripts), Yerevan.

On Holy Saturday I’m planning to feature a song that connects the Song of Solomon to the women at Jesus’s tomb! If you haven’t read that Old Testament book or it’s been a while, I’d encourage you to do so, as then you’ll be able to more easily identify the references in Bluett’s poem and the upcoming song I’ve scheduled for the Paschal Triduum.

The Southwell Litany

Victoria Emily Jones4 Comments

A litany is a prayer consisting of a series of invocations and supplications by a pastor or other leader with alternate responses (text in boldface) by the congregation. Originally published in 1905, the following twenty-one-pronged litany is by the Rt. Rev. George Ridding (1828–1904), who in 1884 became the first bishop of Southwell in Nottinghamshire.

Offo, Gbenga_Fervent Prayer
Gbenga Offo (Nigerian, 1957–), Fervent Prayer, 2015. Acrylic on canvas, 121 × 173 cm.

O Lord, open our minds to see ourselves as thou seest us, or even as others see us and we see others; and from all unwillingness to know our infirmities, save us and help us, we humbly beseech thee, O Lord.

From moral weakness of spirit, from timidity, from hesitation, from fear of others and dread of responsibility, strengthen us with the courage to speak the truth in love and self-control; and alike from the weakness of hasty violence and the weakness of moral cowardice, save us and help us, we humbly beseech thee, O Lord.

From weakness of judgment, from the indecision that can make no choice and the irresolution that carries no choice into act, and from losing opportunities to serve thee, save us and help us, we humbly beseech thee, O Lord.

From infirmity of purpose, from want of earnest care and interest, from the sluggishness of indolence and the slackness of indifference, and from all spiritual deadness of heart, save us and help us, we humbly beseech thee, O Lord.

From dullness of conscience, from a feeble sense of duty, from thoughtless disregard of consequences to others, from a low idea of the obligations of our Christian calling, and from all half-heartedness in our service for thee, save us and help us, we humbly beseech thee, O Lord.

From weariness in continuing struggles, from despondency in failure and disappointment, from an overburdened sense of unworthiness, from morbid fancies of imaginary backslidings, raise us to a lively hope and trust in thy presence and mercy, in the power of faith and prayer; and from all exaggerated fears and vexations, save us and help us, we humbly beseech thee, O Lord.

From self-conceit and vanity and boasting, from delight in supposed success and superiority, raise us to the modesty and humility of true sense and taste and reality; and from all the harms and hindrances of offensive manners and self-assertion, save us and help us, we humbly beseech thee, O Lord.

From affectation and untruth, conscious or unconscious, from pretense and acting a part, which is hypocrisy, from impulsive self-adaptation to the moment in unreality to please persons or make circumstances easy, strengthen us to simplicity; and from all false appearances, save us and help us, we humbly beseech thee, O Lord.

From love of flattery, from overready belief in praise, from dislike of criticism, from the comfort of self-deception in persuading ourselves that others think better than the truth of us, save us and help us, we humbly beseech thee, O Lord.

From all love of display and sacrifice to popularity, from thought of ourselves and forgetfulness of thee in our worship, hold our minds in spiritual reverence; and in all our words and works from all self-glorification, save us and help us, we humbly beseech thee, O Lord.

From pride and self-will, from the desire to have our own way in all things, from an overweening love of our own ideas and obliviousness to the value of others, enlarge the generosity of our hearts and enlighten the fairness of our judgments; and from all selfish arbitrariness of temper, save us and help us, we humbly beseech thee, O Lord.

From all jealousy, whether of equals or superiors, from grudging others’ success, from impatience of submission and eagerness for authority, give us the spirit of kinship to share loyally with fellow workers in all true proportions; and from all insubordination to law, order, and authority, save us and help us, we humbly beseech thee, O Lord.

From all hasty utterances of impatience, from the retort of irritation and the taunt of sarcasm, from all infirmity of temper in provoking or being provoked, from love of unkind gossip, and from all idle words that may do hurt, save us and help us, we humbly beseech thee, O Lord.

In all times of temptation to follow pleasure, to leave duty for amusement, to indulge in distraction and dissipation, in dishonesty and debt, to degrade our high calling and forget our Christian vows, and in all times of frailty in our flesh, save us and help us, we humbly beseech thee, O Lord.

In all times of ignorance and perplexity as to what is right and best to do, direct us, O Lord, with wisdom to judge aright; order our ways and overrule our circumstances as thou canst in thy good providence, and in our mistakes and misunderstandings, save us and help us, we humbly beseech thee, O Lord.

In times of doubts and questionings, when our belief is perplexed by new learning, new thought, when our faith is strained by creeds, by doctrines, by mysteries beyond our understanding, give us the faithfulness of learners and the courage of believers in thee; alike from stubborn rejection of new revelations and from hasty assurance that we are wiser than our forebears, save us and help us, we humbly beseech thee, O Lord.

From strife and partisanship and division among thy people, from magnifying our certainties to condemn all differences, from all arrogance in our dealings with others, save us and help us, we humbly beseech thee, O Lord.

Give us knowledge of ourselves, our powers and weaknesses, our spirit, our sympathy, our imagination, our knowledge, our truth; teach us by the standard of thy Word, by the judgments of others, by examinations of ourselves; give us the earnest desire to strengthen ourselves continually by study, by diligence, by prayer and meditation; and from all fancies, delusions, and prejudices of habit, temper, or society, save us and help us, we humbly beseech thee, O Lord.

Give us true knowledge of other people in their differences from us and in their likenesses to us, that we may deal with their real selves, measuring their feelings by our own but patiently considering their varied lives and thoughts and circumstances; and in all our relations to them, from false judgments of our own, from misplaced trust and distrust, from misplaced giving and refusing, from misplaced praise and rebuke, save us and help us, we humbly beseech thee, O Lord.

Chiefly, O Lord, we beseech thee, give us knowledge of thee, to see thee in all thy works, always to feel thy presence near, to hear and know thy call. May thy Spirit be our spirit, thy words our words, and thy will our will, and in all shortcomings and infirmities may we have sure faith in thee. Save us and help us, we humbly beseech thee, O Lord.

Finally, O Lord, we humbly beseech thee, blot out our past transgressions, heal the evils of our past negligences and ignorances, make us amend our past mistakes and misunderstandings; uplift our hearts to new love, new energy and devotion, that we may be unburdened from the grief and shame of past faithlessness to go forth in thy strength to persevere through success and failure, through good report and evil report, even to the end; and in all time of our tribulation, in all time of our prosperity, save us and help us, we humbly beseech thee, O Lord.

Source: George Ridding, A Litany of Remembrance, Compiled for Retreats and Quiet Days for His Clergy (London: Bemrose and Sons, 1905) [HT]

Roundup: Biber’s Mystery Sonatas, icons by Maxim Sheshukov, “Mercy at the Movies,” and more

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SPOTIFY PLAYLIST: March 2024 (Art & Theology): My new monthly playlist of thirty songs is up a day early and, as usual, includes both recent releases and older favorites. Let me also point you to the longer, thematically distinct playlists I made for Lent, Holy Week, and Eastertide.

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CONCERT: Phantasia performs Biber’s Mystery Sonatas, St Hubert’s Church, Corfe Mullen, England, February 17, March 23, and April 13, 2024: The Mysteries of the Rosary are a set of fifteen meditations on episodes in the lives of Jesus and his mother, Mary. They are divided into three groups: the Joyful Mysteries (the Annunciation, the Visitation, the Nativity, the Presentation of the Infant Jesus in the Temple, the Twelve-Year-Old Jesus), the Sorrowful Mysteries (Christ on the Mount of Olives, the Scourging at the Pillar, the Crown of Thorns, Jesus Carries the Cross, and the Crucifixion), and the Glorious Mysteries (the Resurrection, the Ascension, Pentecost, the Assumption of the Virgin, and the Beatification of the Virgin).

Around 1676, the Bohemian Austrian composer Heinrich Ignaz Franz von Biber (1644–1704) wrote fifteen short sonatas for violin and continuo based on these mysteries. In a free three-part event sponsored by Deus Ex Musica, the newly formed period-instrument ensemble Phantasia will be performing Biber’s Mystery Sonatas at St Hubert’s Church, Corfe Mullen, on the south coast of England, accompanied by commentary by musician and educator Dr. Delvyn Case, who will provide thoughts about the ways each sonata reflects its “mystery,” linking specific elements of the musical structure to themes or ideas in the biblical scene. The performance of the first cycle of the work has already passed, but the remaining two are still upcoming: the Sorrowful Mysteries on March 23 (the Saturday just before the start of Holy Week), and the Glorious Mysteries on April 13.

Case tells me that Deus Ex Musica hopes to eventually provide video excerpts from the performances on their YouTube channel. In the meantime, here’s a little teaser, a snippet from the “Presentation in the Temple” movement, performed by Phantasia musicians Emma-Marie Kabanova on Baroque violin and Chris Hirst on German theorbo (long-necked lute).

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ARTICLES:

>> “Mercy at the Movies: Ten Films That Flip the Script” by Meaghan Ritchey, Mockingbird: “Spanning almost a century of cinema, this list of films maps a world—real and imagined—devoid of the mercy for which we all have need, as well as a world animated by unexpected and unearned mercies, flipping the script and leaving the plot forever changed.” What a great list! Number 7 is one of my all-time favorite films.

>> “As If Through a Child’s Inner Eye: The Contemporary Icons of Maxim Sheshukov” by Fr. Silouan Justiniano, Orthodox Arts Journal: In this article from 2016, Fr. Silouan Justiniano, a monk at the Monastery of Saint Dionysios the Areopagite on Long Island, explores the work of contemporary iconographer Maxim Sheshukov (Максим Шешуков) of Pskov, Russia, finding it “exemplary of the diversity and flexibility possible within our ever-renewing and living Tradition.”

Sheshukov, Maxim_Zacchaeus
Maxim Sheshukov, Zacchaeus, 2015. Egg tempera on gessoed wood.
Sheshukov, Maxim_Judas
Maxim Sheshukov, Judas, 2020. Egg tempera on gessoed wood.

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NEW ALBUMS:

>> Volume 9 (Lent-Easter-Pentecost) of The Soil and The Seed Project: This is the latest release in an ongoing series of music for the church year by musicians of faith from the Shenandoah Valley. Some of my favorite tracks are “I Will Sing to the LORD” (a setting of Psalm 104:33) and “Hosanna, Loud Hosanna” (a newly retuned but old-timey-sounding hymn for Palm Sunday). I also really like “Gentle Shepherd,” a lullaby written for the children of Salford Mennonite Church to sing in worship in 2018 and performed in this music video by the sister folk duo Spectator Bird:

>> Life and Death and Life: Songs for Lent, Holy Week, and Easter by Steve Thorngate: Chicago-based church musician and songwriter Steve Thorngate has followed up his excellent album After the Longest Night: Songs for Advent, Christmas, and Epiphany with an album for the next two seasons of the church year, including the Day of Pentecost! In addition to twelve original songs, it includes two African American spirituals, a Charles Tindley hymn, and, perhaps my favorite, a cover of (new-to-me) Brett Larson’s poetic country song “Rolling Away,” about barriers to sight and wholeness being removed and a fresh new clarity, a freedom, a path opening up:

>> JOY JOY JOY JOY JOY by Paul Zach: The ever prolific Paul Zach of Virginia’s latest release is an effusively joyous ten-track album celebrating God’s love, salvation, and sustenance. He collaborated with other musicians on the project, including Jon Guerra, Tristen Stuart-Davenport, and IAMSON. Here’s a snippet of the opening song, “Nothing,” based on Romans 8 (listen to the full track here):

Roundup: Thurman’s “Meditations,” documentary on African Christian history, and more

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BOOK: Meditations of the Heart by Howard Thurman (1953): I’ve just finished reading this book, and I think it would make an excellent companion for Lent. Written by Rev. Dr. Howard Thurman, a minister, theologian, professor, and civil rights leader, it consists of 152 one- to two-page meditations that he originally wrote for use by the congregation of Fellowship Church in San Francisco, a racially integrated, interdenominational church he cofounded in 1944. Some of the entries are prayers, some anecdotes, some reflections on scripture or spiritual topics, some expressions of desire or intent. For me, the book really started picking up in the second half. In part 5, several of the meditations begin and/or end with a mantra-like saying, such as “I will keep my heart open to truth and light” or “Teach me to affirm life this day!”—something short and memorizable to keep in the pocket of your heart and turn over and over.

Here’s an example of one of the meditations:

I want to be more loving. Often there are good and sufficient reasons for exercising what seems a clean direct resentment. Again and again, I find it hard to hold in check the sharp retort, the biting comeback when it seems that someone has done violence to my self-respect and decent regard. How natural it seems to “give as good as I get,” to “take nothing lying down,” to announce to all and sundry in a thousand ways that “no one can run over me and get away with it!” All this is a part of the thicket in which my heart gets caught again and again. Deep within me, I want to be more loving—to glow with a warmth that will take the chill off the room which I share with those whose lives touch mine in the traffic of my goings and comings. I want to be more loving!

I want to be more loving in my heart! It is often easy to have the idea in mind, the plan to be more loving. To see it with my mind and give assent to the thought of being loving—this is crystal clear. But I want to be more loving in my heart! I must feel like loving; I must ease the tension in my heart that ejects the sharp barb, the stinging word. I want to be more loving in my heart that, with unconscious awareness and deliberate intent, I shall be a kind, a gracious human being. Thus, those who walk the way with me may find it easier to love, to be gracious because of the Love of God which is increasingly expressed in my living.

Included in the volume are prayers for a gracious spirit in dealing with injustice, for placing our “little lives” and “big problems” on God’s altar, for laying ourselves bare to God’s scrutiny, for “when life grows dingy,” for the kindling of God’s light within us, “to be more holy in my words,” to learn humility from the earth, and for an enlarged heart that makes room for Peace.

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DOCUMENTARY: Unspoken, dir. Christopher Lamark (2022): This feature-length film takes an in-depth look at early African Christianity and its enduring heritage in African diaspora communities in America, dispelling the notion that Christianity is exclusively a white man’s religion. Director Christopher Lamark and his team interview historians, religious scholars, and cultural influencers, including Dr. Vince Bantu, Rev. Dr. Esau McCaulley, Rev. Dr. Charlie Dates, Lecrae Moore, and Sho Baraka, who reveal that Africans accepted Christianity of their own agency long before colonization or the slave trade, not just in the North but in sub-Saharan Africa as well. Bantu even points out that the Reformation was well underway in Africa a hundred years before Martin Luther, as the Ethiopian Christian monk Estifanos led a movement to bring the church’s practices more in line with scripture and to challenge abuses.

The false narrative that the Black church was born from those who drank the Kool-Aid served to them by their white oppressors has done a lot of damage, imposing shame and deterring young Black people from the Christian faith. That’s why it’s so important to correct this misinformation, to let people know that colonialism and slavery didn’t bring Christianity; it mutated it. At a time when much of white America was corrupting the gospel, Blacks preserved it, their ancient religious heritage, for subsequent generations.

Unspoken was produced by Lisa Fields of the Jude 3 Project, and Don Carey. It is streaming for free on TUBI.

Unspoken movie poster

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SYMPOSIUM: Embodied Faith and the Art of Edward Knippers, September 20–21, 2024, Gordon-Conwell Theological Seminary, Charlotte, NC: Sponsored by the Leighton Ford Initiative in Theology, the Arts, and Gospel Witness, this year’s Gordon-Conwell theology and arts symposium will center on the paintings of Edward Knippers, from Arlington, Virginia. In addition to an exhibition of over two dozen of Knippers’ works, there will be talks by artists Steve Prince, Bruce Herman, and Rondall Reynoso and theologians Natalie Carnes, W. David O. Taylor, and Kelly Kapic, as well as a dance performance by Sarah Council and a drum circle led by Olaniyi Zainubu and David Drum.

Knippers, Edward_Resurrection
Edward Knippers (American, 1946–), The Resurrection of Our Lord, 2007. Oil on panel, 8 × 12 ft.

“‘Disembodiment is not an option for the Christian.’ This statement by visual artist Edward Knippers is a guiding principle in his work, which features the human body, often in connection with biblical scenes. Disembodiment is not an option for those who believe that human beings are created in God’s image with beautiful bodies, that everything from sin to salvation are embodied experiences, and that God’s redemption comes through the broken and risen body of Jesus. The paintings of Edward Knippers invite us to consider the goodness, brokenness, mystery, and glory of Christ’s body as well our own, urging us to grapple with the temptation to avoid, sexualize, downplay, or disparage bodies along with a fully embodied faith.”

I signed up! The early-bird discount is $20 off and ends March 1.

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SONGS:

>> “Give Me a Clean Heart” by Margaret Douroux, sung by Everett Harris and friends: Written in 1970 by Dr. Margaret Pleasant Douroux, this song of penitence based on Psalm 51:10 is a gospel classic. In the 2020 video below, it’s sung a cappella by a six-person virtual choir, using an arrangement by Adoration ’N Prayze. To hear it sung in a Black church context, led by Rev. Dr. E. Dewey Smith Jr., click here.

>> “Psalm 50” (Psalm 51) in Aramaic by Seraphim Bit-Kharibi: Father Seraphim Bit-Kharibi is an Assyrian Orthodox monk who is the archimandrite (head) of the Monastery of the Thirteen Holy Assyrian Fathers in Dzwell Kanda, Georgia. He is Assyrian by ethnicity, and his native language is Aramaic, the language of Jesus. Here he chants Psalm 51 (Psalm 50 in the Greek numbering system) in Aramaic with his church choir, which appears on his 2018 album Chanting in the Language of Christ. In the following video, the singing starts fifty-one seconds in.

There is also a video recording of him chanting this psalm with a young unidentified girl during the visit of Pope Francis to Georgia on September 30, 2016.

In a 2014 interview, Father Seraphim said:

My people, Assyrians, . . . still pay with their lives for their worship of Christ. In Eastern countries such as Iraq, Iran, Syria, and other warzones, Assyrians get attacked in their churches and beheaded if they refuse to convert to Islam. They are being destroyed en masse.

As for Assyrians in Georgia, there are about 4,000 of them. The Assyrian language is basically Neo-Aramaic, which is about 2,500 years old. The wonderful thing is that this language allows us insight into what people living centuries ago sounded like. Out of 4,000 Assyrians living in Georgia, 2,000 of them live in my village of Kanda and comprise 95 percent of its population. Almost 90 percent of these people speak Neo-Aramaic.

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ART COMMENTARIES: Lent Stations: Vices and Virtues: To promote art-driven contemplation around Lenten themes, this Lent the Visual Commentary on Scripture is spotlighting fourteen artworks from its archives based on the seven deadly sins and seven virtues. So far they’ve featured a pair of medieval statues personifying the Synagogue and the Church, a diamond-encrusted skull by Damien Hirst, a Rubens painting of Cain murdering Abel, and an Egyptian textile roundel depicting scenes from the life of Joseph.

Hirst, Damien_For the Love of God
Damien Hirst (British, 1965–), For the Love of God, 2007. Platinum, diamonds, and human teeth, 17.1 × 12.7 × 19 cm.

“Improv on 1 Corinthians 13 for Ash Wednesday on Valentine’s Day” by Rev. Maren Tirabassi

Victoria Emily Jones3 Comments 
If I speak in tongues of justice or spirituality,
but do not have ashes,
I am a self-congratulating vigil,
a Sunday service inspired by itself.

If I have social media outreach,
a labyrinth in the church garden,
Bible study in the brewpub,
and if I have a capital campaign
to remove pews, put in church chairs,
and even add a coffee shop,
but do not have ashes, I am nothing. 

If I give to church-wide offerings,
and go on mission trips so that I may boast,
but do not have ashes, I gain nothing.

Ashes are awkward; ashes are dirty;
ashes, like love,
are not envious, boastful, arrogant, or rude.
Ashes do not insist on a perfect Lent;
they do not even need to be in church
or be a gimmick getting folks to church;
they do not inventory wrongdoing,
especially the wrongdoing of others,
but rejoice in the precious now,
the very fragility of life.

Ashes bear love, believe in love,
hope in the possibility
of forgiveness for everyone,
endure even times of lovelessness.
Forgiveness never ends.

As for spiritual practices,
they will come to an end;
as for precious old hymns
and passionate praise songs,
they will grow quiet;
as for theology and faith formation,
believe me, it will shift and change again.

For churches are always reaching
for a part of things,
while those who flee church
reach for another part,
but when the full forgiveness comes,
it will look more like Valentine’s Day.

When I was a child, I said, “I love you,”
I cut out pink and red hearts,
I sent them to everyone, even the bullies,
but when I became an adult,
I decided to make it more complicated.

Now in our churches and lives
we have become too fond of mirrors,
but someday we will see each other
face to smudged face.
Now I love only in part;
then I will love fully,
even as I have been fully loved.

Today ashes, dust,
and a child’s pink paper art abide, these three;
but the greatest of these is the heart.

Source: https://www.facebook.com/maren.tirabassi/posts/7212956592101295 [HT]

Roundup: Jazz Vespers with Ruth Naomi Floyd, Psalm 90 set to Celtic tune, and more

Victoria Emily Jones2 Comments

ARTWORK:

Dyer, Cheryl_Rattlesnake Master
Cheryl Dyer, Rattlesnake Master, 2021. Collage / mixed media, 34 × 18 in.

In this piece, lettering artist and calligrapher Cheryl Dyer of Omaha takes Psalm 90 (traditionally read on Ash Wednesday) as her subject, embellishing excerpts with watercolor and other media. Rattlesnake master is a perennial herb of the parsley family native to the tallgrass prairies of central and eastern North America.

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ARTICLE: “The Vindication and Blessing of Lent” by Rev. Dr. Michael Farley, Modern Reformation: I also sometimes receive pushback from others in my Reformed Christian circles for my observance of Lent. I appreciate Farley’s response to such concerns, explaining why he finds Lent—and the liturgical calendar as a whole—biblically, theologically, and practically compelling.

Note: If you’d like a new devotional booklet to work through this Lent that is broadly Reformed and that combines scripture readings, prayers, songs, art, and other elements, I recommend the Daily Prayer Project’s Living Prayer Periodical, which, full disclosure, I had a hand in producing. New for this year’s Lent edition, we’ve added a special page spread for each day of the Triduum: Maundy Thursday, Good Friday, and Holy Saturday. The cover image is of a thirteenth-century Armenian khachkar from the Monastery of Gosh and is one of eight featured artworks inside (three accompanied by written reflections, three by visio divina prompts). If you want to receive a copy by the start of Lent on Wednesday, order the digital version; otherwise, expect a few business days for shipping.

Lent LPP

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SERMON: “Seasons of the Heart: Preparing for Lent” by James K. A. Smith: Last February, Jamie Smith preached on Ecclesiastes 3:1–8 and John 16:12–15 at his home church, Sherman Street Christian Reformed Church in Grand Rapids, Michigan. He talks about seasonality—how we creatures experience time in seasons, both personally and collectively—and encourages us to ask, “When am I?” Along the way he references Gustavo Gutiérrez, Rita Felski, and Bruce Springsteen. Below is a transcription of 23:42 onward, which I find so resonant. To receive the full force of this conclusion, listen to the whole sermon.

God has more to say to us in his word that we haven’t yet got. There is something in us, for us, in the word that we hear over and over and over again, and the way that we will get to the place of receiving it is precisely by giving ourselves over to the seasons in our lives and letting God do the work in us so that we get new ears, because we have new hearts. This is one of the reasons why . . . repetition is at the heart of the spiritual life. It’s exactly why we keep repeating the liturgical seasons over and over again. Why? Because every single one of us is a different person every time Advent arrives. Every single one of us has undergone something every single time Lent rolls around again.

And so as we’re preparing for Lent—this season of repentance, this season of encountering our mortality—again, I want to encourage us to ask: When am I? When are we? What am I going through? What season am I in? And then from that place, come to Lent with expectation. What does God want to say to me in the now that I find myself? What are you newly ready for because of what you’ve come through? What can Jesus say to you this year that he couldn’t tell you last year?

So many of you are mourning. And the journey of Lent is really a journey of yearning for resurrection. But it passes through the valley of the shadow of death. Unapologetically. And the psalmists’ cries that you’re going to hear in Lent, maybe this year they’re going to give voice to a cry of your own that you didn’t have before. The experience of being bereft on Holy Saturday is going to hit some of you in a way it never has before this year. But maybe that also means that Easter dawns for you in a way it never has before.

Friends, maybe some of you feel, to go back to Ecclesiastes, that it’s a time to build and plant. Because you’ve come through the season of tearing down and uprooting. Maybe this Lent you feel like you’re finally in a place where you can be vulnerable to a God that you finally learned is compassionate, who loves you all the way down. This is a season to build, to plant.

Friends, maybe some of you feel like it’s the time of giving up and throwing away. There is a time for everything, the Teacher tells us. There’s a time to give up, there’s a time to throw away. But maybe it’s precisely what you need to let go of that has been blocking your ability to experience God’s incessant, steadfast, always love.

Whenever you are, whatever season you find yourself in, God has good news to share with you. That’s what we can rely on. No matter what season you’re in, the God who is eternal—the same yesterday, today, and forever—has always a word of good news, because he is always the God with us. He is always Emmanuel. And so this Lent and Eastertide, maybe this is the year you finally get God’s song. You finally hear the song of new life. And friends, I hope you hear that God is singing to you.

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VESPERS SERVICES AT CALVIN UNIVERSITY:

I’ve just returned from another inspiring Calvin Symposium on Worship, so grateful for all the gifts and wisdom that were shared. There’s much I could say, but one thing I discovered was how much I loved participating in Vespers, a short evening worship service consisting of scripture readings, prayers, and song (vesper in Latin simply means “evening”). It’s not something that’s regularly offered in my (Presbyterian) tradition, at least not near me. Here are three of the Vespers services that took place this week at Calvin, the latter two at which I was present:

>> Celtic Vespers: “Psalms of Healing and Hope for a Troubled World,” led by Kiran Young Wimberly and The McGraths: This service of psalms set to Celtic melodies was led by Kiran Young Wimberly and The McGraths (a Northern Ireland–based group that performs and records together), Mary Beth Mardis-LeCroy (violin), and Brian Hehn (piano). Since Ash Wednesday is this coming week, I’ll draw your attention especially to “From Dust We Came (Psalm 90)” (see timestamp 15:28), which uses the eighteenth-century Irish tune CASADH AN T’SÚGÁIN. Plus, another highlight for me: “Love and Mercy (Psalm 85),” set to the eighteenth-century Scottish tune LOVELY MOLLY (39:55)—I’ve added this to my Advent Playlist! For more info about the musicians and their work, see https://www.celticpsalms.com/.

>> Jazz Vespers: “Lament as Worship,” led by Ruth Naomi Floyd and her jazz quartet: Ruth Naomi Floyd is a phenomenal jazz vocalist, composer, and fine-art photographer. This liturgy that she crafted and presented is so moving. In her thoughtful selection of readings, Floyd brings a James Baldwin poem into conversation with Psalm 42:7–11 and even includes an amusing proverb from Chinua Achebe’s novel Arrow of God. She also adds a visual element: black-and-white photographic portraits she shot, which were displayed on slides during each segment (not all of them are featured in the video recording).

The musical performance, I hardly have words for. All I can say is, it was utterly engrossing. The expressiveness of Floyd’s voice is unmatched, carrying such pathos. I couldn’t pick a favorite song, but the opening spiritual, “Trouble So Hard” (11:37), hit me forcefully. The first verse talks about a mountaintop experience of spiritual ecstasy (“getting happy” refers to being filled with the Spirit), and that’s contrasted in the second verse with a descent into the valley of deep suffering and grief. The refrain asserts to God, seeking divine consolation, “Oh Lord, trouble so hard,” and then testifies that only God truly knows our troubles. Also take note of the concluding song, “Press On” (34:31), an original Floyd composition whose text is taken from the writings of Frederick Douglass, part of a larger body of work that has been recorded and will most likely be released by the end of this year, Floyd told me; see https://frederickdouglassjazzworks.com/.

The amazing instrumentalists are James Weidman (piano), Keith Loftis (saxophone), Matthew Parrish (bass), and Mark Prince (drums).

>> Choral Vespers: “Christ, Holy Vine, Christ, Living Tree,” led by David M. Cherwien and The Choral Scholars: Led by the West Michigan chamber ensemble The Choral Scholars and organist/pianist David Cherwien, this service centers on botanical imagery of Christ and his people—such a generative idea! I enjoyed singing Gerald Cartford’s responsorial setting of Psalm 141:1–4a and 8 (see timestamp 12:48); the refrain is “Let my prayer rise before you as incense; and the lifting of my hands as the evening sacrifice” (the plant connection is that incense is derived from fragrant gum resins, i.e., tree sap). Also, this was my first time hearing Elizabeth Poston’s “Jesus Christ, the Apple Tree” performed live (20:48), and the first time its words truly registered with me.

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PRAYER-POEM: “Marked by Ashes” by Walter Brueggemann: “. . . On this Wednesday, we submit our ashen way to you—you Easter parade of newness. Before the sun sets, take our Wednesday and Easter us, Easter us to joy and energy and courage and freedom . . .” This prayer by the Old Testament scholar and theologian Walter Brueggemann, from his book Prayers for a Privileged People (2008), is ostensibly for any ol’ Wednesday in the church year, but it could be used, with one small elision, for Ash Wednesday itself. I love how it reads Easter backward into Lent, recognizing that the fruits of Christ’s resurrection are borne all year round.

P.S. This year, Ash Wednesday falls on February 14, Valentine’s Day. It did too in 2018; read the poem by Luci Shaw that I published for that occasion.

Roundup: New Lent album, Porter’s Gate Kickstarter, “Bare and Bones,” and more

Victoria Emily Jones1 Comment

NEW ALBUM: Lent Hymns by Paul Zach: Released this month, Lent Hymns by Paul Zach comprises twelve songs, a mix of originals and classics, with contributions by IAMSON, Jessica Fox, Sara Groves, Jon Guerra, and Kate Bluett. The LP is available wherever music is streamed or sold. Here’s an Instagram video that excerpts “Draw Me In”:

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KICKSTARTER: New Porter’s Gate album: This summer The Porter’s Gate, an interdenominational Christian music collective, is gathering songwriters to write and record musical settings of passages from The Message, a translation of the Bible by the late Eugene Peterson [previously] that uses contemporary idioms and phrases. The project is in partnership with the Eugene Peterson Center for Christian Imagination at Western Theological Seminary in Holland, Michigan. I’m so looking forward to this!

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SONGS:

>> “Вечірня молитва” (Vechirnya molytva) (Evening Prayer): A choral setting of a text from the Divine Service of the Eastern Orthodox Church, by contemporary Ukrainian composer Iryna Aleksiychuk. Performed in 2012 by the Female Choir of Kiev Glier Institute of Music, conducted by G. Gorbatenko. [HT: Global Christian Worship]

English translation:

Heavenly King, Comforter, Spirit of Truth,
Who art everywhere present and fillest all things,
Treasury of good things, and Giver of life:
Come and abide in us, and cleanse us from every sin,
And save our souls, O Good One!
Holy God, holy Mighty, holy Immortal,
Have mercy on us.

>> “Bare and Bones” by Candace Coker: Trinidad-born, Vancouver-based singer-songwriter Candace Coker sings the title track from her new album, Bare and Bones, with her boyfriend, Josiah Charleau. The video is shot at Bamboo Cathedral, a thousand-foot stretch of roadway in Tucker Valley in Chaguaramas, Trinidad and Tobago, where bamboo stalks bend toward each other across the road, creating a canopy.

>> “HigherHoly” by IAMSON: IAMSON is the artist name of singer-songwriter and music producer Orlando Palmer, based in Richmond, Virginia. He released this song as a single in 2020. The rap is performed by guest artist Marv (Marvin Hudgins II) of Chattanooga, Tennessee, and the animation in the video is by Kenya Foster.

>> “I Could Sing of Your Love Forever” (cover) by Mary Yang and Ger Vang: Mary Yang and Ger Vang are Hmong Christian musicians living in Milwaukee, Wisconsin. (The Hmong are an Indigenous people group from East and Southeast Asia.) Here they perform their bossa nova arrangement of this modern worship classic by Martin Smith of the English band Delirious?. Yang and Vang are part of the Fishermen’s Project, a band that releases mainly classic hymns translated into the Hmong language. [HT: Global Christian Worship]

Roundup: Les Mis, blood collages, Esau McCaulley on Lent, and more

Victoria Emily Jones3 Comments

I’ve received a few requests from followers to resume my monthly thirty-song playlists. I had previously thought I’d stick to publishing these during Ordinary Time, since I have longer, thematic playlists for the seasons of Advent, Christmas, Lent (our current place in the calendar), and Easter—which you can find on my Spotify profile. But I’m happy to oblige! Here’s a new playlist for March:

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ESSAY: “Victor Hugo’s Masterpiece of Impossibility” by Caitrin Keiper, Plough: A wonderful essay on how competing vows in the novel and musical Les Misérables reveal the paradox of grace. I’ve been captivated by this story of mercy, forgiveness, and transformation set in revolutionary France ever since I saw the 1998 film adaptation starring Liam Neeson in middle school. The faith-inspired actions of Bishop Myriel at the beginning set the life of the protagonist Jean Valjean, an escaped convict, on a trajectory that is beautiful to watch unfold, and the downfall of the law-obsessed Inspector Javert, who cannot bring himself to accept the grace offered him, is most tragic.

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PODCAST EPISODES:

>> Season 2, episode 2, of Gather Round, on the DPP’s Lent 2023 Living Prayer Periodical: On the in-house podcast of Grace Mosaic in Washington, DC, three of my four Daily Prayer Project colleagues and I walk listeners through the latest edition of our prayer periodical, which covers the six weeks of Lent. The conversation starts at 3:46. Rev. Joel Littlepage, curator of the liturgies and songs, highlights a litany to the Servant-Christ from Andhra Theological College in Hyderabad, India, and a song by Pastor Antonio Rivera González of Mexico (see below). Ashley Williams, who commissions or secures reproduction rights for the practice-based essays and curates the photographs throughout, shares some teasers for “Calling Out to God in Lament” by Nina Barnes and “Intractable Sin, Preemptory Prayer” by Alicia Akins.

Daily Prayer Project, Lent 2023
The Daily Prayer Project’s Lent 2023 booklet, featuring scripture, prayers, practical essays, art, and music from diverse contributors, is available in print and digital formats.

As curator of the art on the cover and in the Gallery section, I discuss the marble sculpture Condemned to Death by Chang Dong Ho (장동호) (see more by the artist), the mixed-media piece Gathering Fragments 1 by C. F. John, the photograph Untitled #10, Flushing, NY from the Stranger Fruit series by Jon Henry, and the painted woodcarving Qwi:qwelstom (Halkomelem, a Coast Salish language, for “Balance and Harmony”) by Don Froese.

At 32:44–35:06, our theological editor, Rev. Russ Whitfield, discusses a theological method that has informed our work at the DPP called triperspectivalism (or multiperspectivalism), which says that we can enrich our perspective, limited on its own, by looking at things from different angles, especially those revealed to us by other people and cultures. For a snippet of the Herman Bavinck quote, see here. What Russ says is SO GOOD! I believe our prayerbooks stand out from other similar projects in that they are deliberately cross-cultural—not because it’s trendy, but because there is so much beauty and wisdom we are missing by not availing ourselves of the many resources of the global church. Our content is also cross-historical.

There are subscription options for individuals (you receive a print edition and a digital download link) and groups (digital access, with bulk-printing options). You can also buy a single copy, but it’s cheaper to purchase a monthly subscription and then cancel after you receive your edition if you don’t wish to continue. We publish six editions a year, each following the same format but filled with new content for the given season.

>> “Lent: Season of Repentance, Renewal . . . and Rebellion” with Esau McCaulley, For the Life of the World: Here Rev. Dr. Esau McCaulley—associate professor of New Testament at Wheaton College, contributing opinion writer for the New York Times, and award-winning author of Reading While Black—talks about the Christian practice of Lent as a collective wisdom passed down through generations of Jesus followers, as well as a spiritual rebellion against mainstream American culture, which has its own established rhythms that shape how we spend our money, when we feast, and what we celebrate.

McCaulley spent the first twenty-one years of his life in the Black Baptist church and the past twenty in a high-liturgical tradition, both of which have been formative for him. One thing he appreciates about liturgy (both the yearly calendar and the elements within a worship service), he says, is how it helps him more fully inhabit the story of Christ. He construes Lent as a season of repentance and grace; he points out the justice practices of Lent; he walks through a Christian understanding of death, and the beautiful practice of stripping the altars on Maundy Thursday; and he’s emphatic about how Lent is a guided season of pursuing the grace to find, or perhaps return to, yourself as God has called you to be. These ideas are expanded upon in his new book, Lent: The Season of Repentance and Renewal, from IVP’s Fullness of Time series.

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SONGS:

>> “Divino compañero del camino” (O Lord, Divine Companion): Written in 1964 by Antonio Rivera of Mexico, this popular Spanish-language song is performed here by Karina Moreno and Joseph Espinoza. It’s based on Luke 24:28–32, from the postresurrection story of the walk to and supper at Emmaus, but its pilgrimage aspect—the idea of Jesus as a companion on our life journey—makes it appropriate for Lent. [HT: The Daily Prayer Project]

>> “Yeshu Ji Mere Paap Kshama Kar Do” (Lord Jesus, Forgive My Sins): A Hindi song of confession with words by the late Shri Jalal Masih and music by his granddaughter, Mercy Sharon Masih. Mercy sings it here with her father, Hanook Masih. For an English translation, click the “CC” button. [HT: Global Christian Worship]

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ARTICLE: “The Blood Collages of John Bingley Garland (ca. 1850–60),” Public Domain Review: Peruse the so-called Victorian Blood Book, an eccentricity made by the British politician and fishmonger John Bingley Garland as a wedding gift for his daughter Amy in 1854. It consists of forty-one collages whose sources are engravings by William Blake and various other religious artists, botanical and zoological illustrations, photographs of medieval tombs, and other images from nineteenth-century books, but with one distinguishing decorative addition by Garland’s hand: drops of blood in red India ink, presumably signifying the blood of Christ. The pages also bear extensive handwritten religious commentary.

Garland, John Bingley_Blood Book
Detail from a page of John Bingley Garland’s “Blood Book” (ca. 1850–60), featuring a cut-out from a reproduction of William Blake’s engraving The Soul exploring the recesses of the Grave.

The Blood Book transferred from the collection of novelist Evelyn Waugh to the Harry Ransom Center at the University of Texas at Austin upon Waugh’s death, and they identify it as “the single most curious object in the entire library.” Though modern eyes may see the collages as surreal or even grotesque, Garland’s descendants regarded them as nothing other than “a precious reminder of the love of family and Our Lord,” as they have written. The Harry Ransom Center has digitized the full book.