A Dietrich Bonhoeffer Hymn for New Year’s

The German theologian and Nazi resister Dietrich Bonhoeffer wrote the poem “Von guten Mächten” (By Gracious Powers), his last theological work, in December 1944 while he was imprisoned in a basement cell at the Reich Security Main Office on Prinz-Albrecht-Strasse in Berlin. He sent it in a letter to his fiancée, Maria von Wedemeyer, with the note “als ein Weihnachtsgruß für Dich und die Eltern und Geschwister” (“as a Christmas greeting for you and the parents and siblings”). Two months later, the building was destroyed by an air raid, and Bonhoeffer was moved to Büchenwald and from there to other places. He was executed April 9, 1945, at Flossenbürg concentration camp, just two weeks before it was liberated by the Allies.

Bonhoeffer poem
Letter from Dietrich Bonhoeffer to Maria von Wedemeyer, December 19, 1944. Collection of Houghton Library, Harvard University, MS Ger 161 (43).

The poem was published posthumously in The Cost of Discipleship under the title “New Year 1945.”

Von guten Mächten treu und still umgeben,
behütet und getröstet wunderbar,
so will ich diese Tage mit euch leben
und mit euch gehen in ein neues Jahr.

Noch will das alte unsre Herzen quälen,
noch drückt uns böser Tage schwere Last.
Ach Herr, gib unsern aufgeschreckten Seelen
das Heil, für das du uns geschaffen hast.

Und reichst du uns den schweren Kelch, den bittern
des Leids, gefüllt bis an den höchsten Rand,
so nehmen wir ihn dankbar ohne Zittern
aus deiner guten und geliebten Hand.

Doch willst du uns noch einmal Freude schenken
an dieser Welt und ihrer Sonne Glanz,
dann wolln wir des Vergangenen gedenken,
und dann gehört dir unser Leben ganz.

Laß warm und hell die Kerzen heute flammen,
die du in unsre Dunkelheit gebracht,
führ, wenn es sein kann, wieder uns zusammen.
Wir wissen es, dein Licht scheint in der Nacht.

Wenn sich die Stille nun tief um uns breitet,
so laß uns hören jenen vollen Klang
der Welt, die unsichtbar sich um uns weitet,
all deiner Kinder hohen Lobgesang.

Von guten Mächten wunderbar geborgen
erwarten wir getrost, was kommen mag.
Gott ist bei uns am Abend und am Morgen
und ganz gewiß an jedem neuen Tag.
With every power for good to stay and guide me,
comforted and inspired beyond all fear,
I’ll live these days with you in thought beside me,
and pass, with you, into the coming year.

The old year still torments our hearts, unhastening:
the long days of our sorrow still endure.
Father, grant to the soul thou hast been chastening
that thou hast promised—the healing and the cure.

Should it be ours to drain the cup of grieving
even to the dregs of pain, at thy command,
we will not falter, thankfully receiving
all that is given by thy loving hand.

But, should it be thy will once more to release us
to life’s enjoyment and its good sunshine,
that we’ve learned from sorrow shall increase us
and all our life be dedicate as thine.

Today, let candles shed their radiant greeting:
lo, on our darkness are they not thy light,
leading us haply to our longed-for meeting?
Thou canst illumine e’en our darkest night.

When now the silence deepens for our harkening,
grant we may hear thy children’s voices raise
from all the unseen world around us darkening,
their universal paean, in thy praise.

While all the powers of Good aid and attend us,
boldly we’ll face the future, be it what may.
At even, and at morn, God will befriend us,
and oh, most surely each new year’s day!

Trans. Geoffrey Winthrop Young

“In this hymn,” writes Joshua Miller for 1517, “Bonhoeffer leaves us a theological legacy that takes seriously the sorrows of life and the reign of death in a world still under the power of sin and the devil. But it’s a hymn that also confesses hope in a God who holds all things in his hands and demonstrates faithfulness to his promise to work all things together for his children’s ultimate good.”

The text has been set to music more than seventy times and appears in a number of hymnals. It is commonly sung by German congregations around New Year’s.

In 2020, the seventy-fifth anniversary of Bonhoeffer’s death, Berlin-based musical artist Sarah Kaiser released the song as a single, using the 1977 melody by Siegfried Fietz. COVID disrupted her plans to shoot a music video with her whole band, so she pivoted, singing a stripped-down, a cappella version with a minimal crew at the Kunstanstalt in Berlin-Köpenick, a former prison. (Bonhoeffer was not kept here, but the space is evocative of the other Berlin prison, no longer extant, where he was.) Filmed by Lukas Augustin, the video is hauntingly beautiful, with Kaiser’s bare vocals echoing through the dark, dank cell, testifying to God’s goodness amid the bleakest of circumstances.

Turn on the closed captioning (CC) on the YouTube video player for English subtitles.

Also, here’s a metrical translation by Fred Pratt Green (©1974 Hope Publishing Company) of five of Bonhoeffer’s original seven stanzas, which appears in several English-language hymnals:

By gracious powers so wonderfully sheltered,
and confidently waiting, come what may,
we know that God is with us night and morning,
and never fails to greet us each new day.

Yet is this heart by its old foe tormented,
still evil days bring burdens hard to bear;
oh, give our frightened souls the sure salvation
for which, O Lord, you taught us to prepare.

And when this cup you give is filled to brimming
with bitter suffering, hard to understand,
we take it thankfully and without trembling,
out of so good and so beloved a hand.

Yet when again in this same world you give us
the joy we had, the brightness of your sun,
we shall remember all the days we lived through,
and our whole life shall then be yours alone.

By gracious powers so faithfully protected,
so quietly, so wonderfully near,
I’ll live each day in hope, with you beside me,
and go with you through every coming year.

Thank you to Dr. Paul Neeley at the Global Christian Worship blog for introducing me to this hymn and this moving performance.

Roundup: Hymns for Lent; the insistence of spring; female Christian poets; prison art; summer courses

HYMNS FOR LENT: A list of fifty-plus hymns for Lent, including free sheet music downloads, compiled by Dean B. McIntyre, director of music resources at the Center for Worship Resourcing at the United Methodist Church’s Discipleship Ministries in Nashville. Most of these hymns—either their tune, their words, or both—are contemporary, and I believe they were all either written or arranged by members of the UMC. I love that so many of them are minor-key! (There’s such a dearth of minor-key hymns in my evangelical tradition.) “The Desolate Messiah Dies” is a real standout for me—WOW. Here are the others that I really like. The first three would work particularly well for a Good Friday service:

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SONG: “You Can Never Hold Back Spring” by Tom Waits, covered by Lowana Wallace: I’ve had this song on repeat for the past several weeks—Lowana Wallace’s rendition is simply gorgeous. “This cover is a tribute to Canadians in March. Winter will end, you guys,” Wallace writes. “And maybe Tom didn’t mean for this song to point Christians to the beauty of Lent leading to Easter, but it did for me.”

Lowana Wallace is a singer-songwriter from Caronport, Saskatchewan. If you’ve listened to the Porter’s Gate Worship Project’s acclaimed album Work Songs, you will have encountered her work: she cowrote the song “Day by Day.” Check out more of her music videos, a mix of covers and originals, on her YouTube channel—they’re all great! To help her make more of these, consider becoming a Patreon supporter. You can also download four of the nine tracks from her Christmas jazz album, Hymns and Carols (2009), on NoiseTrade.

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POETRY: “5 Female Poets of Faith”: March is Women’s History Month, and Jody Lee Collins has compiled a list of five women poets you should know, whose Christian faith infuses their work: Abigail Carroll, Barbara Crooker, Jeanne Murray Walker, Laurie Klein, and Marjorie Maddox. I heartily second these recommendations! For each poet, Collins has selected a representative poem, giving you a taste of their style, and has provided links to the poets’ published volumes.

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2 FILMS + ART EXHIBITION: Incarceration is the theme of two HBO movies that premiered on television last month (following a positive reception at 2018’s Tribeca Film Festival) and the tie-in pop-up art exhibition, sponsored by HBO, that ran from February 20 to 25 at Studio 525 in Chelsea, Manhattan.

Written by Stephen Belber and directed by Madeleine Sackler, O.G. is an introspective drama that follows Louis (Jeffrey Wright), who, after spending twenty-four years in prison for murder, is about to be released. Groundbreakingly, it was filmed almost entirely inside an active prison—Pendleton Correctional Facility in Indiana—with a cast made up largely of inmates and correctional officers, who also consulted on the script. Read an interview with Wright, a professional actor best known for Westworld, and one with supporting actor Theothus Carter, who is serving a sixty-five-year sentence at Pendleton. When he was offered the role of Beecher, Carter said, “I was so happy, it was like being jolted alive back from the dead. I know I’ve never been dead before, but being dead has to feel like being in prison, because here it feels like you don’t matter anymore. This made me feel like I mattered again.”

It’s a Hard Truth, Ain’t It is a companion film to O.G. that is directed by Madeleine Sackler and thirteen incarcerated men at Pendleton, who reflect on their lives and the consequences of their crimes in front of and behind the camera. When Sackler received permission from the prison to lead a filmmaking workshop for inmates, she hadn’t intended to make a documentary, but she was so moved by the depth and intimacy of the conversations that were arising in that workshop, as participants shared their personal stories, and they all decided these stories and perspectives needed to be captured on film, crafted together, and shared more widely. An animator was brought on to bring the men’s memories to life.

Coinciding with the HBO premiere of these two films was a six-day exhibition in New York City called The OG Experience, curated by Jesse Krimes and Daveen Trentman. Like the Hard Truth film, this exhibition offered an insider narrative about the US prison system, as the art was all by formerly incarcerated individuals. The pieces on display included an installation of reclaimed cafeteria trays, a re-creation of a prison cell that invited viewers to sketch on the wall with a screwdriver, a video of the artist boxing with a projection of himself, a self-portrait in pastels over legal documents, and a mural of newsprint images transferred onto prison-issued bedsheets using hair gel (a method developed, and a work begun, by Krimes while in solitary confinement).

On seeing his work on display, Krimes said, “It was really emotional because so much of that experience and what our prison system is designed to do is pretty much destroy you. It’s designed to take away your identity, it’s designed to take away your humanity, and I think in creating that work and investing myself in something meaningful, and coming home and getting to see the final thing . . . it was something that made me feel like I came out of this situation intact, like I’m still a whole human being, and that this thing did not destroy me and it did not take away who I am at my core or change me in a way that it was designed to do.” Since his release from prison, Krimes cofounded the Right of Return Fellowship to directly support formerly incarcerated artists.

I particularly like the works by Russell Craig (also), a self-taught artist from Philadelphia. In his seven-piece set of unstretched canvases, E-Val, pairs of eyes peer out hauntingly from within Rorschach blots made of ox blood; “Craig, who was given Rorschach tests as part of his psychological evaluations during his time in the foster care system, wanted to represent the trauma felt in black communities,” the exhibition text says. Another work, a self-portrait he drew over his prison documents, “symbolizes the stigma of being a criminal,” Craig explained. “No matter how much you change your life around, you’re still viewed as a criminal.”

E-Val by Russell Craig
Russell Craig (American), E-Val, 2017. Blood stains, canvas, acrylic, dimensions vary. Photo: Kisha Bari, courtesy Jesse Krimes.

Self-Portrait by Russell Craig
Russell Craig (American), Self-Portrait, 2016. Pastel over legal documents, 96 × 96 in. Photo: Jasmine Weber/Hyperallergic.

For more photos from the exhibition, see the Hyperalleric review, “Formerly Incarcerated Artists Visualize Healing.”

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SUMMER COURSES: Regent College, a graduate school of Christian studies in Vancouver, is offering six arts courses this summer—week-long intensives. The topics are prehistoric art and meaning making; George Herbert; John Bunyan’s Pilgrim’s Progress; grace and forgiveness in contemporary theater (with key scenes played out in class by guest actors from Pacific Theatre); love and longing in poetry and theology, taught by Malcolm Guite (the reading list includes Dante, Herbert, Tennyson, Eliot, Augustine, Aquinas, and Lewis); and “Moral Imagination: Peacebuilding Using the Arts.” There are no prerequisites, and you don’t even have to be enrolled as a seminary student to participate. The cost to audit is CAD$350 (about US$261), with for-credit options costing more. For more information or to register, visit the links.