With the feast of Pentecost coming up this Sunday, celebrating the gift of the Holy Spirit and the mission of the church, here are a few items of interest from around the web.
VISUAL COMMENTARIES: “The Risen Christ Appearing to the Disciples” by Victoria Emily Jones: This spring my latest exhibition for the Visual Commentary on Scripture was published, on Luke 24:36–49 and John 20:19–23, where Jesus appears to his frightened disciples after his resurrection, giving them peace, assurance, renewed purpose, and power. (In John’s telling of this episode, sometimes referred to as the Johannine Pentecost, Jesus breathes his Spirit onto them!) I selected and wrote about paintings by a medieval German artist, an Italian Renaissance artist, and a contemporary Indian artist that triangulate these parallel passages.
>> “O for a Thousand Tongues to Sing,” arr. Christopher M. Smith, performed by the MNU Heritage Choir: Smith arranged two stanzas of this Wesleyan hymn for the student choir he directs at MidAmerica Nazarene University in Olathe, Kansas. They perform the song inside the Bell Cultural Events Center, which has lines from the hymn inscribed on the walls.
>> “Citizen” by Philippa Hanna and Israel Houghton, performed with Moses Bliss
>> “For Your Gift of God the Spirit” by Margaret Clarkson (words) and Darwin Jordan (music), performed by musicians at Philpott Church in Hamilton, Ontario
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ARTICLE: “Vivid Spectrums of Color Radiate from Chris Wood’s Intricate Installations of Dichroic Glass” by Grace Ebert, Colossal: When I saw photos of this artwork by the Cambridgeshire-based light artist Chris Wood, with its prismatic colors and outward expansion, I thought of Pentecost—of the radiant gospel of Jesus Christ, from the launchpad of his resurrection and subsequent giving of his Spirit, going out to the world via and to various people groups, setting it ablaze. The artist says she was inspired by the logarithmic spiral of the nautilus shell. “We find in this a representation of how radiance can be embodied within us, as projected to those around us,” she says.
Chris Wood (British, 1954–), 40 × 40, 2022. Dichroic glass, diameter 160 cm. Commissioned by Clé de Peau Beauté.
40 × 40 was commissioned in 2022 by the Japanese luxury skincare and makeup brandClé de Peau Beauté for its fortieth anniversary. The work comprises forty spirals, each made up of forty pieces of dichronic glass, each forty millimeters long.
“Dichroic is a material that is colorless, but it has an optical filter on it,” Wood explains. “So when light hits it, certain wavelengths, which are manifested as colors, reflect back, and the remaining wavelengths pass through, creating two colors. Those colors change depending on the angle and quality of the light and the viewpoint. It’s just the most eloquent description of the magic of light that I could find.”
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VIDEO: “The Lord’s Prayer: One Church, One Prayer”: ICF (International Christian Fellowship) Rotterdam-Noord, an intercultural church in the Netherlands, recently put together a video compilation of some of its members praying the Lord’s Prayer in their mother tongues; represented are English, Papiamentu, Dutch, Malayalam, Swahili, Arabic, Twi, Spanish, Tagalog, Chinese, and German.
Rotterdam is a diverse city, home to 170 different nationalities. In the neighborhoods ICF North serves, 70 percent of residents have a migrant background. Every Sunday the church, pastored by Fred Kappinga, offers an Arabic-Dutch service and an English-Dutch service, with translations into other languages when necessary and possible. They sing Christian worship songs from around the world and host guest preachers of various ethnicities.
Occurring forty days after Easter, Ascension Day is this Thursday, May 14, and will be celebrated by many churches on Sunday, honoring Jesus’s ascent to heaven. This historic event “represents both a conclusion and a commencement,” writes Ashley Tumlin Wallace: “Jesus finished his earthly work while setting into motion the gift of the Holy Spirit and the birth of the Church.” Below are a few items for the occasion.
QUOTE: “In the mystery of the Ascension we reflect on the way in which, in one sense, Christ ‘leaves’ us and is taken away into Heaven, but in another sense he is given to us and to the world in a new and more universal way. He is no longer located only in one physical space to the exclusion of all others. He is in the Heaven which is at the heart of all things now and is universally accessible to all who call upon Him. And since His humanity is taken into Heaven, our humanity belongs there too, and is in a sense already there with him. ‘For you have died,’ says St. Paul, ‘and your life is hidden with Christ in God.’ In the Ascension Christ’s glory is at once revealed and concealed, and so is ours.”—Malcolm Guite
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ARTICLE: “Ten Reasons to Celebrate Ascension Day” by John Witvliet, Reformed Worship: John Witvliet, senior scholar and professor of theology, worship, and the arts at Belmont University, answers the question “Why does Ascension Day matter?” He concludes with two book recommendations and some suggestions for corporate worship.
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ALBUM: Ascension Songs by Cardiphonia: This compilation album from 2012 features nineteen traditional hymns about Christ’s ascension, seventeen of which have been retuned by contemporary singer-songwriters and worship leaders. I featured one by Sarah Majorins back in 2019; here are two other favorites, the latter from the Sacred Harp tradition:
>> “Today Our Lord Went Up On High” | Words by Johann Zwick, 1542; trans. Catherine Winkworth, 1858 | Music by Rebekah Osborn, 2012
>> “Jesus, My All, to Heav’n Has Gone” | Words by John Cennick, 1743 | Music (NORTH PORT) by R. R. Osborne, 1850 | Arranged by Bruce Benedict, 2010
ORATORIO: Lobet Gott in seinen Reichen (Praise God in His Realms) by J. S. Bach: Known as the Ascension Oratorio, Bach’s BWV 11 was composed for the Feast of the Ascension almost three centuries ago. It is structured in eleven movements in two parts and runs about a half hour. Its libretto comprises some original texts (likely written by the German poet and Bach’s regular collaborator Picander) as well as quotations from the Bible and hymns by Johann Rist and Gottfried Wilhelm Sacer. It both mourns Christ’s bodily departure and extols his universal reign.
The oratorio’s closing chorale fantasia (starting at 25:48 in the video above) is often cited as one of many examples of Bach’s sophisticated expression of theology through music. The orchestra plays in D major while the chorus sings in B minor—“When shall it happen, / When will the dear time come, / That I shall see him / In his glory?”—conveying the human state of waiting and hoping for Christ’s return and the fulfillment of that hope. Both jaunty and full of longing, and harmonious between the two, movement 11 anticipates the day when we will be reunited with Christ in the flesh. Craig Smith writes,
The final chorale is an amazing tour de force. A verse set to the melody of the grave chorale “Von Gott will ich nicht lassen” is imbedded in the brilliant trumpet- and drum-dominated D Major texture of the orchestra. The B minor of the chorale never loses its identity but is simply swallowed up in the D Major. Bach understands the melancholy of being left behind, and profoundly includes it here in this ostensibly joyous festival.
The above performance from 2013 is by the Monteverdi Choir and English Baroque Soloists, conducted by John Eliot Gardiner. An English translation of the German lyrics is given as subtitles, but you can also follow along here.
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REFLECTION: “Let me go, because then the Spirit will come” by Jonathan Evens: Jonathan Evens, a vicar in the Church of England, shares the reflection he gave on Ascension Day at St Martin-in-the-Fields in London in 2020, which concludes with a verse-style meditation that I really like. Here’s the first stanza:
Touch me not. I am not yours to have and hold, in this shape in this form. Let go. Let me go. Let my Spirit come. Divine my Spirit, know me within.
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PAINTING: The Ascension, ca. 1340–50: Last fall while I was in Cologne, I visited the Wallraf-Richartz-Museum, which has an excellent collection of medieval German art. Here’s a lovely little Ascension painting I saw:
It’s from a small triptych made in the mid-fourteenth century in a Cologne workshop for a Poor Clares cloister in the city. The object would have been used by the nuns for private contemplation. Its central scene is the Crucifixion, and the wings portray, in addition to the Ascension: the Nativity, the Adoration of the Magi, and the Descent of the Holy Spirit.
Triptych with Depiction of the Outworking of God’s Plan for Salvation, Cologne, ca. 1340–50. Tempera on oak. Wallraf-Richartz-Museum, Cologne, Inv. 1. Photo: Victoria Emily Jones.
As is common in medieval paintings of the Ascension, that panel shows Jesus from the waist down, rising out of frame, leaving behind a set of footprints on the Mount of Olives. To me, that physical impression is a reminder of how Jesus, the God-man, has a body—he walked the earth in it, feeling dirt between his toes, and went to heaven with it, prefiguring the day when those who are in Christ will also, soul and body, join the Father in glory. That little mark on the mound, a negative space where Jesus’s weight once pressed, speaks both presence and absence. Ten days later, he’d send down his Spirit on the same gazing group, and many more besides, and their beautiful feet would carry the good news of his risen life far and wide.
PODCAST SERIES: Dissident Cinema Marathon, Filmspotting: Over the next two months, Filmspotting, my favorite film podcast, is running a marathon on the theme of politically dissident cinema, exploring six films that confront authoritarian power and state abuse. They come from the US, Italy, Japan, Greece, France, and Iran:
The Great Dictator (Chaplin, 1940) – Kanopy, HBO, Amazon Prime, Criterion Channel, etc.
Rome, Open City (Rossellini, 1945) – HBO
No Regrets for Our Youth (Kurosawa, 1946) – Criterion Channel
Z(Gavras, 1969) – HBO
The Sorrow and the Pity (Ophuls, 1969) – Kanopy, Kino Film Collection (free trial)
The first episode of the marathon aired May 4 (see below). It reviews Charlie Chaplin’s first true sound film, The Great Dictator, a political satire denouncing Hitler and Nazism. Chaplin stars as Adenoid Hynkel, the delusional, power-hungry, self-obsessed “phooey” (parody of Führer) of Tomainia. Chaplin started writing the script in fall 1938 and began filming it in September 1939; the movie was released in the US in October 1940. At a time when European nations were making concessions to Hitler and many Germans, swayed in part by his charisma and promises, were supporting his ultranationalist ideology, and others were simply conveniently ignoring him (Chaplin’s own adopted country was trying to maintain neutrality), Chaplin had the guts to call a spade a spade and openly mock the world leader and, in the character of a Jewish barber who’s mistaken for Hynkel, deliver a sincere and rousing speech against his fascist rule.
Chaplin realized, says cohost Josh Larsen [previously], that “it’s a crucial thing . . . calling out a dictator, whether it’s Hitler or someone we’re living with. You call him out as an idiot, because as a comedian, this is what Chaplin is going to be able to do: lampoon the inherent silliness . . . the puffery, the pageantry, the needing of arches and ballrooms and your face on every frickin’ thing everyone looks at. . . . It takes a comedian to spoof all of this self-important buffoonery that, to my mind, is really just an attempt to mask a lack of moral authority.” The movie contains one of cinema’s most memorable and prescient scenes: the demented globe dance, where Hynkel gracefully tosses, kicks, and balances a balloon globe, imagining a “pure Aryan world” with himself as a god.
To participate in the marathon, watch the films on your own (above, I shared the streaming services they’re on, but you might also see if DVDs are available at your local library), and listen to the podcast discussions that will be released one by one in the coming weeks on YouTube and your favorite podcast platform.
What do you remember most about the movie—what stands out for you?
What was a highlight for you, and what was a challenge?
What questions does the film raise for your own life or for the world as you see it?
And he suggests several more questions to consider as and after you watch.
This excerpt is published on the Substack Soul Telegram, which Norris and Higgins also jointly author. The second half comprises Norris’s reflections on Life Itself, a 2014 documentary about the famous film critic Roger Ebert.
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PODCAST EPISODE: “Songs for Public Faith, with Jon Guerra,”Conversing, February 10, 2026: “Singer-songwriter Jon Guerra [previously] joins Mark Labberton to explore devotional songwriting, public faith, and the tension between the kingdom of Jesus and American cultural power. Through music and reflection, Guerra considers how art can hold grief, courage, and hope together in turbulent times.” Guerra says he wants his music to help orient people to higher and longer and deeper things. He discusses his songs “American Gospel,” “Love Your Enemies,” “The Kingdom of Jesus,” and “Citizens” (last two embedded below).
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DOCUMENTARY: Listers: A Glimpse into Extreme Birdwatching (2025), dir. Owen Reiser: In 2024, twenty-something brothers Quentin and Owen Reiser, the latter a wildlife photographer, embarked on what birders call a “big year,” traveling the contiguous United States attempting to witness and identify as many bird species as possible, trying to beat the record of 751 birds. They undertook this challenge on a meager $16,000 budget (in contrast to most big year competitors, who spend hundreds of thousands of dollars), driving and sleeping in a Kia Sedona and eating mostly beans and canned tuna. Listers—a term describing birdwatchers who keep detailed records of the birds they encounter—is a documentary about the Reisers’ whimsical excursion, learning the ins and outs of birding by poring over field guides, calling rare bird hotlines, interviewing members of the birding community, and simply doing. The film alternates between high-resolution footage of the birds they observe and handheld camcorder footage of their other experiences on the road and in the wild. They delve into relevant controversies and debates, such as the playback of recorded bird calls to attract birds into view and the increasing gamification of birding through the citizen science app eBird.
But the film also encourages an appreciation of the beauty and variety of North American birds. It closes with an intertitle quote by the naturalist Kenn Kaufman, from his book Kingbird Highway: “As trivial as our listing pursuit may be, it gets us out there in the real world, paying attention, hopeful and awake. Any day could be a special day, and probably will be, if we just go out to look.”
The Reisers received distribution offers from Netflix, HBO, and Amazon but turned them all down, as they want Listers to be freely accessible to everyone. Watch the film here; trailer below. They also self-published their own field guide as a supplement.
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ARTICLE: “Lessons from the Hidden Vault of Thomas Kinkade” by Michael Wright: After Thomas Kinkade, the best-selling evangelical Christian “painter of light,” died of an overdose in 2012, his estranged family found a vault in his home containing hundreds of off-brand paintings he had made. Dark, moody, experimental—they are a far cry from the idyllic cottages that made him rich and famous. These previously unseen paintings are featured in the recent documentary Art for Everybody, directed by Miranda Yousef. (See trailer below.) Michael Wright shares some thoughts after seeing the film, which he says cultivated sympathy in him for Kinkade and the pressures he faced to be a “Good Christian Leader” and softened his harsh opinions of the artist into more complicated questions, such as “Why does an artist hide vital parts of himself for the sake of success? What happens when we curate branded versions of ourselves? Why do we continue to see this cycle of Christian leaders wrecking their lives? How can we imagine new social landscapes?” How can the market make room for an artist’s whole self?
Most of us grew up celebrating Easter Sunday like it was the finish line, the big, joyful mic drop: “He is risen!” But the church, historically, has never treated Easter as a single day. It’s a whole season—Eastertide, stretching fifty days from resurrection to Pentecost. Fifty days of practicing resurrection. Of sitting in the reality that new life doesn’t just burst forth . . . it unfolds.
And yet, many evangelical spaces move on by the next Sunday. Back to regular programming. Back to “what’s next.”
What if we didn’t rush past resurrection? What if we let joy linger? What if we made space for wonder, for doubt, for the slow work of becoming people shaped by an empty tomb?
Eastertide invites us to stay. To notice. To live like resurrection is still happening. Maybe that’s something worth recovering.
BLOG POSTS: “Rejoice Now!” by Sarah J. Biggs and “Exultet rolls: Celebrating the return of light” by Eleanor Jackson: These two posts from the British Library’s Medieval Manuscripts Blog contain overlapping content; the first (from 2013) is better for images, the second for text. “The medieval churches of Southern Italy maintained a very special Easter tradition,” writes curator Ellie Jackson. “They celebrated the Easter Vigil of Holy Saturday from a scroll made to be used once a year for this specific ritual. Known as Exultet rolls, these manuscripts combine words, music and pictures to create an enthralling multimedia experience centred on the joyful theme of light returning to the world.” Their name comes from the first word of the ancient proclamation sung by a deacon or priest during the blessing of the Paschal candle in the Roman Rite: “Exultet iam angelica turba caelum . . .” (Rejoice now, all you heavenly choirs of angels . . .) “Exsultent,” with an s, is a variant spelling.
A deacon reading the Exultet roll in church, from the Monte Cassino Exultet Roll, made at the Benedictine abbey of Monte Cassino in southern Italy, ca. 1075–80. London, British Library, Add MS 30337, membrane 11.
The British Library has one Exultet roll in its collection (Add MS 30337); learn more about it from either of these blog posts. Unfortunately, the full digitized manuscript file was among the thousand-plus lost in a massive cyberattack in October 2023, and it has not yet been rescanned, but select images can be viewed in low resolution in the posts. These images include a personification of Mother Earth and her abundance, a comparison of the Crossing of the Red Sea (the quintessential saving act in Israel’s history) to the Harrowing of Hell, bees gathering nectar (which accompanies words of gratitude to the bees that produced the wax of the Paschal candle), and more.
>> “Surrexit Christus” by Jacques Berthier: Kester Limner and Andy Myers perform a 1984 song from Taizé, an ecumenical monastic community in Burgundy, France. Its Latin refrain, “Surrexit Christus . . . Cantate Domino,” translates to “Christ is risen . . . Sing to the Lord!”
>> “Sing, Little Bird” by Dan Damon: In 2024, the California-based hymnist Dan Damon penned new lyrics to a traditional Ukrainian folk tune that I’m sure you’ll recognize. He writes,
The Ukrainian folk song SHCHEDRYK (lit. “bountiful evening”) is a shchedrivka, or New Year’s song, known in English as “The Little Swallow.” It tells of a swallow bringing good news for the coming year. Ukrainian composer Mykola Leontovych (1877–1921) arranged the folk song in 1916. Twenty years later, American composer Peter J. Wilhousky published his own lyrics for the song. His choral arrangement, “Carol of the Bells,” has become a standard in the Christmas repertoire. As I was working on a solo piano arrangement of this song, I got an idea for an Easter text that could be sung by a congregation. The swallow in the original folk song made me think of a little bird singing the good news of the resurrection.
“Sing, Little Bird” is the title song of his latest hymn collection that is forthcoming from Hope Publishing Company in July 2026. Another new Easter hymn that will be included is “Last night did Christ the Sun rise from the dark,” a setting of a ninth-century text by Sedulius Scottus that I featured last year; follow the link to listen to Damon’s demo.
>> “Gone” by Eldridge Fox: Teddy Huffam and the Gems, with pianist Anthony Burger, perform a classic Southern gospel song written by Eldrige Fox in 1972.
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VIRTUAL TOUR: Calvary Chapel, Biola University, La Mirada, California: Constructed in 1975, Biola University’s Calvary Chapel [previously] was completely renovated in summer 2018 to enhance the sense of the sacred in that space. Biola commissioned leading Danish artists Peter Brandes and Maja Lisa Engelhardt, a husband-wife team, to conceive and carry out a creative vision that would involve updated lighting, colors, flooring, and seating and the making of new art. The renovated chapel features thirty-two handcrafted stained glass windows by Brandes (integrating innovative LED illumination technology) and two large gilded sculptures by Engelhardt, all created around the central theme of the Resurrection. The focal point is a thirty-one-foot-long gold relief sculpture that depicts the resurrected Christ emerging from the tomb, radiant with glory.
Biola’s website offers a self-guided tour comprising six videos—one for each of the four wings, plus an intro and a conclusion—and photographs and descriptions of the art. I highly encourage you to explore this resource! Here’s the video for the “western wing” (the liturgical east end):
Maja Lisa Engelhardt (Danish, 1956–), Resurrection, 2018. Gilded plaster relief wall, 31 × 18 ft. Calvary Chapel, Biola University, La Mirada, California.Peter Brandes (Danish, 1944–2025), The Crucifixion of Christ, Supper at Emmaus, and The Resurrected Christ Encounters Mary Magdalene, 2018. Stained glass, Calvary Chapel, Biola University, La Mirada, California.
I really like the allusiveness of the altarpiece and the semiabstract style of the biblical scenes in the windows, which include the Sacrifice of Isaac, Elijah Raising the Widow’s Son, David Playing the Harp for King Saul, Cain Killing Abel, the Baptism of Christ, Nicodemus Visiting Christ, Christ in Gethsemane,the Crucifixion, the Eucharist, the Supper at Emmaus, Christ as the Sowing Farmer, and the Return of the Prodigal Son.
Holy Week starts this Sunday. Per usual, I’ll be publishing daily art and music pairings during that period (so, too, during the Easter Octave), but here is some additional art and music, and a theological reflection, for the occasion. You might also consider spending time with the Holy Week Playlist I curated on Spotify.
TENEBRAE SERVICE: Good Friday, April 2, 2021, Good Shepherd New York: Not all churches host a service on Good Friday, but for me, it is one of the most meaningful services of the year and helps make Easter all the more potent and celebratory. It wasn’t until 2011 that I attended my first Good Friday service—of the Tenebrae variety, Latin for “darkness,” meaning we started with multiple lit candles, and they were gradually extinguished throughout the evening, symbolizing the Light of the World dying out. If you’re curious about what such a service might look like, here’s a great example from 2021, from Good Shepherd New York. Filmed during the pandemic, it was a digital-only offering. As is typical, it combines song and scripture readings to tell the story of Christ’s death. Some Tenebrae services include a brief homily, but this one does not. I’ve included a list of time stamps to the songs below.
1:15: “When I Survey the Wondrous Cross” by Isaac Watts and Lowell Mason
6:26: “I Need Thee Every Hour” by Annie Hawks and Robert Lowry
24:28: “How Deep the Father’s Love for Us” by Stuart Townend
31:08: “Remember Me” by Paul Zach
35:50: “Were You There?,” African American spiritual (with a watercolor by Soyoung L Kim, inscribed with Isaiah 53:11a: “Out of the anguish of his soul he shall see and be satisfied”)
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INSTRUMENTAL MUSIC FOR GOOD FRIDAY: The one Facebook group I belong to is Liturgy Fellowship; I joined when I was a worship planner and stick around because of the many great resources, especially musical ones and ideas for marking holy days as a congregation, that are shared by Christians across denominations. One post I made note of is from Andrew Kerhoulas, the associate pastor at Grace Mills River in Mills River, North Carolina. As a prelude for their 2023 Good Friday service, he said, Grace Mills River musicians played an excerpt from the fifth movement of Olivier Messiaen’s Quartet for the End of Time. Here’s the full movement, performed by cellist Bingxia Lu and pianist Jackie Tu:
“The piece is avant-garde and not a little abrasive to those with pop music sensibilities,” Kerhoulas wrote to the group. “But once you know that it was written in 1941 by a French prisoner of war while in a German prison and first performed for fellow prisoners, it takes on depths of meaning. So too the cross: It is grotesque and horrific, but it becomes meaningful and even beautiful when you know the occasion—the deeper story—in which Jesus gave up his life.”
The church concluded its Good Friday service with a string quintet postlude, “On the Nature of Daylight” by Max Richter, played to the dimming of lights. Again, the following performance is not from Grace Mills River, but rather by Louisa Fuller, Natalia Bonner, John Metcalfe, Chris Worsey, and Ian Burdge for the fifteenth anniversary edition of The Blue Notebooks album.
Some people think that music used in Christian worship as a focal piece (i.e., not in the background) needs to have words to be worshipful and productive. I strongly disagree. Instrumental music conveys beauty and sets a mood and, yes, even communicates—often that which is difficult to express verbally. I love Grace’s thoughtful inclusion of these two modern and contemporary pieces from the classical tradition in their community’s observance of Good Friday.
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ART COMPILATION: “Crucifixion: Armenian Illuminated Manuscripts” by Levon Ounanian: This compilation brings together thirty-one Armenian miniatures of Christ’s passion. (Miniatures are painted illustrations in a manuscript, so called not because they’re small, though they usually are, but because artists often sketched them using a red lead pigment called minium.) According to the author, of the 31,000 Armenian manuscripts currently listed around the world, about 6,000 of them contain miniatures, not to mention the many more that contain non-narrative decoration.
Mesrop of Khizan (Armenian, active in Persia, ca. 1560–ca. 1652), The Nailing on the Cross, from an Armenian Gospel book, 1609. Oxford, Bodleian Library, MS. Arm. d.13, fol. 13v. Click to view the fully digitized manuscript.
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SONG: “Saare Paap” (सारे पाप) (All Sins), performed by James Bovas: In this video, James Bovas [previously] performs a Hindi version of a Malayam song about the Crucifixion. The Hindi lyrics and English translation were supplied to me by the Indian gospel media production company Sarah Creation.
सारे पाप और दाग ममटाकर, मुक्क्त देने के मलए मुक्क्त दाता ने बहाया, खून अपना क्रूस से खून के प्यासे भेडियों ने, आके घेरा यीशु को मारे कोिे टोकी कीले, धारे ननकली ज़ख्मों से मेरे मन तू याद कर ले, क्यों सहे दुुःख यीशु ने तेरा खानतर जान देकर, दी ररहाई यीशु ने श्राप सारे लेके मेरे, दे दी मुझको आमशषे यीशु के पावन लहू से, भाग्य मेरे खुल गए
To remove all the stains and sin, and to give salvation The Redeemer shed his blood on the cross Bloodthirsty wolves surrounded Jesus He was scourged, nailed, and a stream of blood issued forth from his wounds O my soul, never forget why Jesus suffered! He gave his life to set you free He took all my curses and gave me all the blessings By the holy blood of Jesus, my destiny changed forever
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ESSAY: “The Path from Death to Life” by Kurt Koch, Plough, March 30, 2024: A Catholic cardinal reflects on the dark side and the bright side of Holy Saturday. “As the day Jesus rested in the grave, Holy Saturday is the day of God’s concealment and silence in history,” Koch writes. “And yet, Holy Saturday also has a hopeful and joyful aspect. . . . [On this day] Jesus traveled to [Hades,] the place of greatest loneliness – a place completely bereft of any human relationships – and stirred the souls and limbs trapped by rigor mortis with the warming love of God. He transformed their grave into a place of new life.” This essay is anthologized in the revised and expanded edition of Bread and Wine: Readings for Lent and Easter (Plough, 2026).
There are hundreds of creative works I could feature on the topic of Christ’s wounds. Here are just a few of note.
ARTICLE: “‘Your body is full of wounds’: references, social contexts and uses of the wounds of Christ in Late Medieval Europe” by Johanna Pollick, Emily Poore, Sophie Sexon, and Sara Stradal: In this three-part collaborative essay, I was most intrigued, in part because of its newness to me, by the first section, “The flowering wound: Christ’s heart in Princeton University, MS Taylor 17,” in which Dr. Johanna Pollick explores a small English illuminated devotional book, dating from around 1500, that portrays Christ’s wounds as wells. For help in interpreting these images, she turns to medieval literary traditions as well as to the Carthusian Miscellany.
Wounded Heart of Christ as the Well of Lyfe, England, ca. 1500. Princeton University Library, MS Taylor 17, fol. 10v.
Dr. Grace Hamman writes about MS Taylor 17’s extraordinary “well of lyfe” page in Jesus through Medieval Eyes (and for InterVarsity’s The Well), which is what brought me to this essay. The hand-colored image shows flowers—labeled “pyte” (pity), “loue” (love), and “charyte” (charity)—springing forth from the wounded heart of Jesus. The verse prayer at the top reads, “Well of lyfe that ever shall laste / My herte in thee make it stedfast.”
The same theme shows up in another late fifteenth-century English lyric in MS Arundel 286 at the British Library, which appears in modern compilations under the title “The Wounds, as Wells of Life” or “The Wells of Jesus’ Wounds”:
Ihesus woundes so wide Ben welles of lif to the goode, Namely the stronde of his syde That ran ful breme on the rode. Yif thee list to drinke To fle fro the fendes of helle, Bowe thu doun to the brinke And mekely taste of the welle.
Jesus’s wounds so wide Are wells of life to the good, Namely the stream from his side That ran fiercely on the rood. If thou list to drink, To flee from the fiends of hell, Bow thou down to the brink And meekly taste of the well.
Trans. Victoria Emily Jones
And in a late fifteenth-century gold ring, also from England, engraved with a Man of Sorrows image and hieroglyphs of Christ’s five wounds, labeled “The well of pitty, the well of merci, the well of confort, the well of gracy, the well of everlastingh lyffe”:
SONG: “Deep Were His Wounds” by William Johnson, 1953: This midcentury hymn is composed of three simple stanzas: The first half of each meditates on Jesus’s cruel death on the cross, whereas each second half (“But . . .”) celebrates the healing, freedom, and eternal life that death wrought.
>> Music by Leland B. Sateren, 1958: I like this tune, called MARLEE, but it’s difficult to sing congregationally. Here’s a soloist, Sarah Gulseth, singing it for her church’s 2011 Good Friday service, accompanied on organ by Luther Gulseth:
>> Music by Vito Aiuto, 2008: I was first introduced to “Deep Were His Wounds” through the Welcome Wagon’s debut album, Welcome to the Welcome Wagon, “a ramshackle singalong enterprise of a Presbyterian pastor (the Rev. Vito Aiuto) and his wife (Monique) wrestling out the influences of folk music, religion, popular culture, and church tradition.” Mood-wise, Aiuto’s tune wouldn’t work as well for Good Friday—even given the paradox of that day, it’s too bright, in my opinion, for that somber observance. But it’s great for throughout the year, especially for churches that favor a contemporary/folksy style of music.
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CANTATA CYCLE:“Membra Jesu Nostri” (The Limbs of Our Suffering Jesus) by Dieterich Buxtehude: Dieterich Buxtehude (ca. 1637–1707) was a Danish German organist and composer of the mid-Baroque period. For Good Friday 1680, he composed a cycle of seven concerto-aria cantatas. The texts of the aria sections are taken from the medieval Latin hymn “Salve mundi salutare” (Hail, the World’s Salvation) by the Cistercian abbot Arnulf of Leuven (ca. 1200–1250), whereas the concerto section texts are Old Testament quotations. The following video is a 2004 performance from Payerne, Switzerland; see the YouTube video description for further credits. The video includes English subtitles, but you can also read the lyrics (with translation) here.
The cycle begins by paying homage to Christ’s wounded feet (“Ad Pedes” = “To the Feet”), and then progresses upward to his knees, hands, side, breast, heart, and finally, face/head. Traditionally, Christ’s wounds are enumerated as five: a hole in each foot, a hole in each hand, and a hole through his side/heart (from the centurion’s spear). But Arnulf meditates on seven distinct body parts of Christ’s that were injured on Good Friday.
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ARTWORKS:
>> The Five Wounds of Christ by Fernand Léger | Commentary by Albert Hengelaar: This visual meditation is about the architecture and interior decoration of the Sacré-Coeur in Audincourt, France, a product of the Art Sacré movement, a Catholic art renaissance spearheaded by the French Dominican Order from 1919 to the 1950s. The centerpiece of the church, sited above the high altar, is a stained glass window depicting the five wounds of Christ shining like suns—one of seventeen windows the artist Fernand Léger designed to encircle the space in a strip.
Fernand Léger (French, 1881–1955), The Five Wounds of Christ, 1950–52. Stained glass window, Église du Sacré-Cœur (Church of the Sacred Heart), Audincourt, France.
>> The Great Wound, aka Go On, Wounded Healer by Jack Baumgartner | Commentary by Sam Kee: In this Substack post, Sam Kee unpacks a drawing by his friend Jack Baumgartner [previously], which shows that “there is life in His [Christ’s] wounds, and He pours His life into our wounds.” The drawing started with the roman numeral V, which stands for the five wounds of Christ. The circumference is one large wound that encompasses five smaller wounds, eye-like, each one weeping blood. Other symbols that Kee analyzes in the drawing are wheat, grapes, fig leaves, seashell, fire, heart, and womb. “Go on” is a refrain that Baumgartner uses often in his work, a mantra for persevering in the faith, for continuing on the path.
Jack Baumgartner (American, 1976–), The Great Wound, 2024. Drawing from the series The Diary of a Tree Standing on Its Head.
Kee concludes with an original ekphrastic poem.
You can purchase an archival reproduction of The Great Wound from Baumgartner’s online shop. I encourage you to explore his website as well. I admire how his work is somehow both mystical and earthy, rooted.
In honor of Women’s History Month, here are a few creative works by and/or (in the case of Kinloch’s “Some Women” poems) about women.
ARTICLE: “A New Documentary Traces How a Faith Ringgold Mural at Rikers Island Helped Women Break Free,”Colossal: Directed by Catherine Gund, the documentary Paint Me a Road Out of Here (2025) tells the story of Faith Ringgold’s For the Women’s House (1971), a mural commissioned by the New York State Council on the Arts for the Correctional Institution for Women on Rikers Island. When Ringgold asked the incarcerated women what they wanted her to paint, they said, “I want to see a road leading out of here.”
Faith Ringgold (American, 1930–2024), For the Women’s House, 1971. Oil on canvas, 96 × 96 in. Commissioned by the New York State Council on the Arts for the Correctional Institution for Women on Rikers Island; on loan to Brooklyn Museum.
Organized into eight triangular sections, the painting portrays women of various races (Black, white, Latina, Asian) in professional roles “that have not traditionally been theirs,” Ringgold says: doctor, bus driver, US president, basketball player, police officer, construction worker, drummer, priest. At the bottom, a white mother reads to her multiracial daughter words by Rosa Parks and Coretta Scott King, and in another scene, a bride is given away by her mother.
When Rikers Island transitioned to housing men in 1988, the women were moved to the Rose M. Singer Center, and the prison staff painted over Ringgold’s mural. Gund’s documentary chronicles the fight—by Ringgold and other artists, activists, politicians, and correctional officers—to have the mural restored, relocated, and preserved, but more deeply, the film is a “parable for a world without mass incarceration.”
Paint Me a Road Out of Here is not currently available on VOD, but here’s a list of public screenings: https://paintmearoadfilm.com/watch.
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LECTURE: “Re-Valuing Women Hymn Writers” by Dr. Lyn Loewi, St. John’s Church, Lafayette Square, Washington, DC, June 11, 2023: “Women have always been making sacred music, but they are underrepresented in our hymnals. Their contribution lies in the stories they tell from the margins, away from the narratives of dominant power. In this talk, Lyn Loewi will look at the poetry women have brought to our understanding of the Sacred. From the 9th-century Greek Orthodox nun Kassia to newly written hymns, women have expanded our language for God, remembered the stories of biblical women, and spoken for other discounted voices in society.”
Loewi, who has a doctorate in musical arts, has been an organist and church choir director for over forty years. She is currently the director of music ministries at Christ Church Capitol Hill, as well as the president of the Women’s Sacred Music Project. In this talk she discusses:
The Hymn of Kassiani
“The first one ever, oh, ever to know” by Linda Wilberger Egan
“Healing River of the Spirit” by Ruth Duck (text)
“Down by the Riverside” by Sister Rosetta Tharpe (arrangement)
“Balulalow” by Elizabeth Poston (music)
“Beyond the hopes and dreams of all creation” by Fr. Robert Easton (text) and Ghislaine Reece-Trapp (music)
The last few minutes of the recording, starting at 38:33, comprise audience Q&A; don’t miss the last question (41:29), where a woman expresses exasperation with all the “he/him” pronouns used for God in hymns—Loewi’s response is helpful.
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HYMNS:
When I was responsible for choosing songs for my church’s worship services, I made sure that every week I was on, at least one of the five songs we sang was written by a woman. Here are just three female-authored hymns that were part of my rotation—one (likely) from the tenth century, one from the eighteenth century, and one from the twenty-first century.
>> “Bí Thusa Mo Shúile” (Be Thou My Vision), Anon., trans. Mary Elizabeth Byrne, vers. Eleanor Hull: I can’t believe I’ve never featured this hymn on the blog before; it’s one of my all-time favorites. Its precise origins are not known. Most scholars date the original Early Middle Irish text, a lorica (prayer recited for protection), to the late tenth or eleventh century. It was translated into English in 1905 by Mary Elizabeth Byrne and then versified in 1912 by Eleanor Hull—meaning she adapted Byrne’s translation to fit a meter so that the words could be more easily sung. The music is a traditional Irish folk tune.
In this video, the hymn is sung in modern Irish by Madelyn Monaghan, a New York City–based soprano specializing in Irish traditional (Sean-nós) singing. It was for her friend’s wedding Mass. And wow, is her voice gorgeous!
>> “Dear Refuge of My Weary Soul” by Anne Steele (text) and Kevin Twit (music): Anne Steele was a Baptist hymn writer, poet, and essayist from Georgian England who published under the pen name Theodosia. Coming from a well-off family, she was educated and chose to remain single (she rejected several marriage proposals) so that she could focus on her writing, which she considered a calling. Rev. Kevin Twit, a Reformed University Fellowship pastor in Nashville and the founder of Indelible Grace, says Steele was the first significant female Christian hymn writer and the first, of either sex, to write lament hymns; over half her oeuvre, he says, deals with suffering and doubt.
Twit has set several of Steele’s hymns to music, most famously “Dear Refuge of My Weary Soul,” which Steele wrote in 1760. The solo performance above is from the January 24, 2021, worship service at Second Presbyterian Church in Memphis, Tennessee. The names of the singer and accompanist are not given. You can also listen to the song on Indelible Grace’s 2008 album.
>> “We Will Feast in the House of Zion” by Sandra McCracken and Joshua Moore:Sandra McCracken is one of today’s leading Christian singer-songwriters, and this hymn, which she wrote with Josh Moore, is the most popular of her congregational songs. From her 2015 album Psalms, it paints a vision of the eschaton, of the new heavens and the new earth, marked by restoration, shalom, and celebration. One thing I noticed as a church music leader is how many hymns and other worship songs use first-person singular pronouns (I/me/my) and emphasize one’s personal relationship with God; those are fine and even necessary, as the book of Psalms models, but I always made sure, when making a song list, to balance them with songs that use first-personal plural (us/we/our) and that convey a more communal picture of the Christian life and of the gospel, which is at least but also much more than what Jesus did for me. This is perhaps my favorite hymn about heaven, a place of safety and rest, yes, but also where all of creation is redeemed, made new; where everyone and everything flourishes in harmony under the benevolent reign of Christ.
“We Will Feast” works well during Communion (a ritual that anticipates the marriage supper of the Lamb) or as a closer, as it sends worshippers out with a benediction, a good word—a promise of the restorative beauty to come.
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VIDEO: “Poetry Unbound: A Conversation with David Kinloch and Pádraig Ó Tuama,” Washington National Cathedral, April 26, 2021: The On Being Project in partnership with Washington National Cathedral presents Pádraig Ó Tuama in conversation with the Scottish poet David Kinloch, part of a series of interviews with contemporary poets whose work demonstrates an artistic and literary engagement with biblical narratives and characters. They primarily discuss Kinloch’s extensive “Some Women” sequence of poems from his collection In Search of Dustie-Fute (Carcanet, 2017), voiced by women of the Bible (or, in the case of the first, Jewish folklore): Lilith, Cain’s wife, Adah and Zillah, Sarah, Lot’s wife, Rebekah, Zipporah, Deborah, Rahab, the Levite’s concubine, Ruth, Bathsheba, the daughters of Job, King David’s concubines, Hannah, Martha, the Virgin Mary, Mary Magdalene, and the Jewish women followers of Jesus responding to the apostle Paul’s teachings.
(The conversation starts at 7:55.)
Kinloch reads three poems from “Some Women”: “First Letter of the Hebrew Women to St Paul” (15:36), “Ruth” (23:49), and “Cain’s Wife” (29:58). He also reads two additional poems from the same volume, from the sequence “Joseph’s Dreams”: “St Joseph’s Dream” (40:44) and “Another Dream” (1:08:53).
This conversation impelled to check out In Search of Dustie-Fute from the library. I like the “Some Women” sequence overall—Kinloch’s creative engagement with the stories of these women, some very little known (e.g., I had to look up “Adah” and “Zillah”!) or little thought about (like the unnamed victims of sexual abuse)—though I will warn you that it contains some profanity and crude sexual language. In the Q&A that starts at 49:09, one of the questions is about the role of shock and humor in his poetry. (Kinloch says if his poems offend, they fail.) Other questions are about the biblical literacy that he does or does not presuppose, his editing process, a character from the Bible that he wants to write about but hasn’t yet, and why he, a man, feels justified in writing from the perspective of women.
Kinloch is an agnostic, so his relationship with biblical texts is different from that of one who is devout. But the Bible is not the exclusive domain of believers; Kinloch can just as well help us inhabit these stories and can derive questions or insights from them. I really appreciated hearing from him. Here’s what he had to say on the vernacular of everyday human experience:
It seems to me that there’s such distance—in terms of time, in terms of culture—between us in the twenty-first century and the people of those [ancient Near Eastern] communities. You need to find common ground so that some kind of dialogue can open up, so that you can shrink that distance. And therefore, the emphasis in all of these poems, really, is on the humanity of the people. I’m not writing sermons, I’m not writing homilies; I’m writing little dramatic monologues, mostly, and trying to make these people as believable, as real, as possible in the present moment of reading about them. My hope, I suppose, is that if people have enjoyed the poems, then maybe they might go back to those stories in the Bible. And it’s at that point that there will be an encounter with the divine, with the extraordinary. I don’t really feel that I have access to those moments of extraordinariness. All the extraordinariness is in the Bible, and I can only offer an avenue of approach to that.
BOOK: The Art of Holy Week and Easter: Meditations on the Passion and Resurrection of Jesus by Sister Wendy Beckett (2021): Sister Wendy Beckett, a British Catholic nun and art enthusiast who died in 2018, is the one who first got me interested in art history. We watched clips from her BBC series Sister Wendy’s Story of Painting in my studio art class in high school, and I was so drawn to the way she looked at art and talked about it. Enthusiastic, warm, inquisitive, spiritually sensitive and theologically astute, and interested not just in the technical qualities of a work but also in its content—though I know I lack the same flair, my own voice and approach when it comes to art are indebted to hers.
So I was delighted to see that SPCK (and IVP in North America) has published two church calendar–based art devotionals by Sister Wendy: one for Lent, and one for Holy Week and Easter. I was disappointed with The Art of Lent: It has an admirable diversity of art selections, but Sister Wendy’s reflections are short and basic, and most don’t shine in the way I’ve come to expect from her; there were only two standouts for me. I also found it thematically confusing (for example, a section on “Confidence”?), unfocused, and redundant (especially in the “Silence” and “Contemplation” sections). I will grant that Lent is a more difficult season to structure for a project like this than Advent is, as I found the one year I published a daily Lent series; it can mean many things to many people.
Sister Wendy’s The Art of Holy Week and Easter, on the other hand, I did enjoy and recommend, even though I wish it had the same variety as the Lent book. (There’s only one modern/contemporary painting.) I care for only about half the featured artworks—two favorites are below—but even for the ones I was disinclined toward, her commentary helped me appreciate them.
Cristoforo de Predis (Italian, 1440–1486), “Saint Peter realizing he has thrice betrayed Jesus,” from the Leggendario Sforza-Savoia, 1476. Codice Varia 124, Biblioteca Reale (Royal Library), Turin, Italy.
About a medieval manuscript illumination of Peter weeping by Cristoforo de Predis, Sister Wendy writes:
This magical little picture presents an unforgettable image of grief. It is that most painful kind of grief, lamenting of our own folly. Here we see Peter with his shamed face covered, stumbling blindly forward from one closed door to the next. There are ways out behind him, but Peter is too lost in misery to look for them. This claustrophobic despair, this helpless anguish, this incapacitating sense of shame: these are the result of a sudden overturn of our own self-image.
Peter had honestly seen himself as one who loved and followed Jesus, priding himself, moreover, on how true his loyalty was in comparison with that of others. ‘Even if all should betray you, I will never betray you’ – it was a boast, but he had meant it. Now he sees, piercingly, that he is fraudulent. He has been unmasked to himself, he has lost his self-worth.
The crucial question is: What next? Will he hide his face forever, destroyed by self-pity? Will he lose all heart, perhaps even kill himself, as Judas did? But while Judas felt only remorse, Peter feels contrition, a healing sorrow that will lead to repentance and a change of heart. Now that he knows his true weakness, he will cling to Jesus as never before. He will cling in desperate need and not in false strength, and will in the end become truly Peter, the ‘rock’, on which the Church, likewise dependent on Christ, will be built. (26)
El Greco (Greek Spanish, 1541–1614), Christ Crucified with Toledo in the Background, 1604–14. Oil on canvas, 111 × 69 cm. Fundación Banco Santander, Madrid.
About El Greco’s Christ Crucified, she mentions how “Jesus . . . dies looking upwards, his determination set upon his Father’s will and its consummation. . . . His body spirals upwards like a white flame, radiating out as he spreads his arms to share the light with the defeated shadows” (38).
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HYMNS:
>> “O Love, How Deep, How Broad, How High”: I’ve enjoyed learning a few new-to-me hymns from the YouTube channel of Josh Bales. Attributed to the fifteenth-century German Dutch Catholic mystic Thomas à Kempis, this hymn text was translated from Latin into English by Benjamin Webb in 1871. It appears in the Episcopal hymnal with the tune EISENACH by Bartholomäus Gesius, as adapted by Johann Hermann Schein in 1628, which is what Bales sings. It’s rare among hymns for emphasizing that our salvation was won not just by Christ’s death but also by his life—his faithful obedience to the Father.
>> “I Stand Amazed (How Marvelous)”: A favorite from my childhood, this 1905 gospel hymn by Charles H. Gabriel is performed here by the Imani Milele Choir, made up of orphaned and/or vulnerable children and youth from Uganda.
>> “Come Let Me Love”: I recently learned of this shape-note hymn from a book I’m reading by J. R. Watson. Written by the late great Isaac Watts, the text was first published in the 1706 edition of Watts’s Horæ lyricæ with the title “Christ’s Amazing Love and My Amazing Coldness.” I especially love verses 4 and 5, reproduced below. The tune in the following video, LAVY, is actually a new one (from 1993) that sounds old, by John Bayer Jr.
Infinite grace! Almighty charms! Stand in amaze, ye rolling skies! Jesus, the God with naked arms, Hangs on a cross of love and dies.
Did pity ever stoop so low, Dress’d in divinity and blood? Was ever rebel courted so, In groans of an expiring God?
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VIDEO:“Christ by Eric Smith”: This is the first video in the (Catholic) Archdiocese of Brisbane’s four-part Art Aficionados series from 2022. In it, Archbishop Emeritus Mark Coleridge, theology professor Maeve Heaney, and Rev. Dr. Tom Elich of Liturgy Brisbane discuss the semiabstract Ecce homo painting Christ by the modern Australian artist Eric Smith—its pathos, calm, and double irony. This Christ is crushed yet composed, Coleridge says. Smith won the prestigious Blake Prize for Religious Art six times, including, in 1956, for a painting similar to this one (see second image in slideshow below). I’d love to see more dioceses releasing videos like this!—close looking at art.
Eric Smith (Australian, 1919–2017), Christ, 1956. Oil on Masonite, 138 × 95 cm. Collection of Holy Spirit Seminary (Queensland Provincial Seminary), Banyo, Brisbane, Australia. Photo courtesy of Tom Elich.
Eric Smith (Australian, 1919–2017), The Scourged Christ, 1956. Oil on Masonite, 116 × 85 cm. Penrith Regional Gallery, Emu Plains, Australia.
Eric Smith (Australian, 1919–2017), Head of Christ, 1954. Oil on wood, 47 × 39.4 cm. Collection of Newman College, University of Melbourne, Australia.
Eric Smith (Australian, 1919–2017), Head of Christ, 1954. Oil on Masonite, 40.5 × 32.6 cm. Art Gallery of South Australia, Adelaide.
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ART SERIES: Via Crucis: La pasión de Cristo (Way of the Cross: The Passion of Christ) by Fernando Botero: Executed in 2010–11, Via Crucis is a series of twenty-seven oil paintings and thirty-four mixed-media drawings by Colombia’s most famous artist, Fernando Botero (1932–2023) [previously]. Botero said he turned to the subject of Christ’s passion not because he’s religious, but out of admiration for the great works of art on the subject; he approached it with “a spirit of great respect,” aiming to portray God as a tortured man. The artist donated the series to the Museo de Antioquia in Medellín for his eightieth birthday. I can’t find a compilation of the whole series (the museum has digital records of the Boteros in its collection, but not all the images are showing up for me)—but you can view fourteen of the paintings in this article, and here’s a quick little Facebook reel.
Marlborough Gallery in New York offers a catalog of the series for $75, and Artika offers a much more expensive one (a gorgeous product, but $9,500!):
Here’s a news segment, in English, about the series’ exhibition at Lisbon’s Palacio de Ajuda in November 2012 (unfortunately, the video quality is low):
Fernando Botero (Colombian, 1932–2023), Crucifixión (Crucifixion), 2011, and Jesús y la multitud (Jesus and the Crowd), 2010. Oil on canvas. Museo de Antioquia, Medellín, Colombia.
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I have thematic playlists on Spotify for Lent and Holy Week—for the latter, don’t miss “From the Garden to the Tomb” by The Soil and The Seed Project, one of several recent additions.
But, by popular request, I also have a brand-new March 2026 playlist, a somewhat random assortment of songs I’ve been enjoying—some new releases, some not.
NEW BOOK: Bread and Wine: Readings for Lent and Easter, Second Edition: Plough is the publishing house of the Bruderhof, an international Anabaptist communal movement. This year they released a revised and expanded edition of their popular Lent and Easter devotional, increasing the original seventy-two entries to ninety-six to cover the full fifty days of Easter—although the last section is themed around Pentecost. The selections are all from previously published material, but what a treasure-house has been curated here from across denominations, countries, and eras, from early church fathers to medieval mystics to modern saints. Clement of Rome, Julian of Norwich, Kahlil Gibran, Watchman Nee, Gonzalo Báez Camargo, Thomas Merton, Simone Veil, Howard Thurman, Toyohiko Kagawa, Barbara Brown Taylor, Jürgen Moltmann, Tish Harrison Warren—these are some of the many voices included here that reflect on and expound the beautiful truths of the Lent and Easter seasons. Each reading is just a few pages long, so it’s easy to pick up with your morning coffee or just before bed.
Besides the expansion, other changes I’ve noticed in this edition are:
Thinner pages, which, despite the additional content, reduce the overall thickness of the book
The epigraph at the beginning of each reading was removed, as these were not the authors’.
Thirteen of the original readings were replaced, possibly due to permissions costs, but maybe also just to get in some fresh voices or content, and in one case, to remove an accused sex abuser.
A misattribution in the original to Mother Teresa was corrected to Joseph Langford, who founded the Missionaries of Charity Fathers with her.
There is a slight reordering of readings so that pertinent meditations appear during Holy Week.
I’ve provided a link to the Plough book page above, but you can also purchase through Amazon or your retailer of choice.
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SONGS:
I grew up in an independent Baptist church, ignorant of most of the historic prayers of the church at large. The first time I ever heard the phrase “Kyrie eleison” [previously] was on track 5 of the Christian recording artist Mark Schultz’s 2001 album Song Cinema, which is a cover of an eighties rock song by Mr. Mister. I was in middle school, and I had to look up what it meant. Derived from a prayer found in multiple places in the Psalms and the Gospels, “Kyrie eleison” (pronounced KEER-ee-ay eh-LAY-ee-sohn) is Greek for “Lord, have mercy,” and it’s traditionally followed by “Christe eleison”—Christ, have mercy. An inheritance from early Eastern Christian liturgies, it has been part of the Ordinary of the Catholic Mass since the fifth century, which means it’s recited or sung in every eucharistic service regardless of the liturgical season, and it’s used in many other Christian traditions as well. I’ve never been part of a church that sings the Kyrie, but I occasionally sing it in my personal devotions. It’s been set to music by hundreds of composers, for choirs, contemporary bands, and more. Here are two settings that I’ve recently come across and enjoy, followed by a song that entreats (God’s?) mercy on father, brother, church, country, and every living thing.
>> “Kyrie (Lord, Have Mercy)” by Robert Alan Rife: This song was written by Robert Alan Rife [previously], a minister with the Evangelical Covenant Church, serving in Edinburgh. It’s performed here by worship musicians at Great Road Church (formerly Highrock Covenant Church) in Acton, Massachusetts. The lead vocalist is Caelyn Jarrett Poetz; she’s accompanied on guitar by her dad, Travis Jarrett, the church’s music pastor, and Hannah Moulton provides backing vocals. Rife tells me you can purchase the sheet music here, and that other songs of his can be streamed on Spotify, Apple Music, etc.; he has not yet recorded this one, but it’s in the works.
>> “Kyrie” by Paul Smith: This peaceful, resonant setting of the Kyrie was composed by Paul Smith, cofounder of the Grammy-nominated British vocal ensemble VOCES8, who perform it here. The song appears on Smith’s 2025 album Revelations.
>> “Mercy Now” by Mary Gauthier: In this video from the 2010 Americana Music Festival in Nashville, folk singer-songwriter Mary Gauthier (last name pronounced go-SHAY) performs her most famous song, “Mercy Now,” originally released on her 2005 album of the same title. It doesn’t directly invoke God, but it feels like a prayer, asking for mercy (forgiveness, relief, compassion, lovingkindness) first for two family members—her father on his deathbed, and her drug-addicted brother—and then for the institutions of church and state, both in need of repair, and then for everyone: “We all could use a little mercy now / I know we don’t deserve it / But we need it anyhow,” and “only the hand of grace” can give it, can intervene to save us from our self-destructive ways. In response to the song’s being listed as “one of the saddest 40 country songs of all time” by Rolling Stone in 2014, Gauthier said, “It is not a sad song. It is about hope.”
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EXHIBITION: Sanctuary by Nicholas Mynheer, February 18–April 12, 2026, Portsmouth Cathedral, UK: One of my favorite artists, Nicholas Mynheer, has a show that opened on Ash Wednesday at Portsmouth Cathedral, aka the Cathedral of the Sea, and that will continue for the duration of Lent plus some. “The exhibition features paintings and sculptures that explore the experiences of refugees, both ancient and contemporary. The story of Jesus, Mary and Joseph fleeing to Egypt sits alongside the realities faced by people crossing the English Channel today. Mynheer’s work doesn’t offer easy answers – instead, it asks questions. What would we do if our home were no longer safe? How do we respond to those seeking refuge? What does it mean to hope for a better life when the risks are so great?”
Nicholas Mynheer (British, 1958–), The Holy Family Cross the English Channel, 2025. Oil on canvas, 30 × 30 cm.
As an artist, one of the themes that I’ve been drawn to repeatedly is that of the Holy Family on the Flight to Egypt. The fact that even Jesus, Mary and Joseph became refugees to escape the wrath of Herod reminds us that it could happen to any one of us.
Over the past years we have become increasingly aware of the plight of refugees; from Syria, Afghanistan, Ukraine, Somalia, along with daily reports of refugees attempting to cross the English Channel. Whether they flee from war, persecution, famine, political instability or for economic reasons, the risks are the same; all driven by hope, the hope of a better life.
I often wonder what I would do if I lived in a country ravaged by war? What would I do if I was persecuted for my faith, my colour or my culture? What would I do if scrolling on my phone, others’ lives seemed easier, happier, and all I had to do was get there?
It is my hope that these meditations in paint and stone might draw us in to question how we might respond if we, like Jesus, Mary and Joseph, were forced to seek refuge; to be refugees . . . to search for Sanctuary.
Starting February 25, Portsmouth Cathedral is offering a free four-week Lent course (classes are in person on Wednesday evenings) inspired by the exhibition. The first class will be a talk by Mynheer himself, and the other three will be led by clergy, exploring biblical themes of journey, rescue, and redemption through the art on display.
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CALL FOR ART: The Valley of Dry Bones, Museum of the Bible, Washington, DC: “The Valley of Dry Bones art invitational seeks to inspire the creation of new artwork based on Ezekiel 37:1–14, the biblical vision in which God brings life, renewal, and restoration to a valley of dry bones. Museum of the Bible invites Christian and Jewish artists residing in the continental United States to create original pieces in a variety of media that show their personal and spiritual reflections on this powerful theme. The goal is to show how the Bible can shape modern art and give visitors a meaningful way to connect with biblical themes through creativity. Museum of the Bible will choose 15 artists through a national call and design a professional exhibition to showcase their art from May 7–November 7, 2027. The museum will also help promote the artists and their work through talks, social media, and special events. Each artist chosen will be paid a stipend of $3,000 to cover the costs of creation, travel, and shipping.” Entry deadline: April 24, 2026.
Margaret Adams Parker (American, 1948–), Ezekiel 37, from The Vigil Etchings, 2013–14. Etching with roulette and aquatint on Somerset velvet white paper, each 8 1/2 × 5 1/2 in. Edition of 15.
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SHORT FILM:Forevergreen(2025), dir. Nathan Engelhardt and Jeremy Spears: With the announcement of the 2025 Academy Award nominations last month, I learned that Forevergreen is one of five nominees for Best Animated Short Film! Written and directed by two Christians in the animation industry (employed by Disney but working independently here) and executed by a team of over a hundred, Forevergreen is a thirteen-minute gospel-oriented film in which “an orphaned bear cub finds a home with a fatherly evergreen tree, until his hunger for trash leads him to danger.” I found out about it last November through the music artists who wrote the soundtrack, Josh Garrels and Isaac Wardell, and am delighted to see it recognized in such a huge way. I really dig its unique animation style, which uses whittled wood figures. The movie is currently streaming for free on YouTube (see embed below), but if you want to see it on a big screen, check your local theater listings.
Lent starts next Wednesday, February 18, so I want to remind you about my Lent Playlist on Spotify. There are plenty of songs for contemplative listening throughout the season. I periodically add new entries to the bottom. Recent additions include a song by Amanda Held Opelt about being in the belly of a whale; “Living Water” by Sr. Miriam Therese Winter of the Medical Mission Sisters; Paul Zach’s cover of Johnny Cash’s “The Beast in Me”; and a setting of Matthew 4:17 by Seth Thomas Crissman of The Soil and The Seed Project, whose parallel verse, Mark 1:15, is commonly recited with the imposition of ashes on Ash Wednesday.
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VIDEO ART: Quarta-Feira de Cinzas / Epilogue(Ash Wednesday / Epilogue) by Rivane Neuenschwander with Cao Guimarães: When visiting the Museum of Modern Art in New York last month, I encountered a video work from Brazil that I found mesmerizing. The Perez Art Museum Miami describes it this way:
In Rivane Neuenschwander’s video Quarta-Feira de Cinzas / Epilogue (Ash Wednesday / Epilogue), made in collaboration with artist Cao Guimarães, ants become the protagonists of a captivating journey. Shot on Ash Wednesday, after the end of Brazilian Carnival, the video follows a colony of leafcutter ants as they traverse the rough terrain of a forest floor, transporting pieces of colored confetti to their underground nest. The video is set to a digitally composed soundtrack that blends ambient natural sounds with the sound of matchsticks dropping onto the floor. At the video’s end, we watch the ants descend into the darkness of their nest, intent, perhaps, on furnishing a celebration of their own.
Rivane Neuenschwander (Brazilian, 1967–) with Cao Guimarães (Brazilian, 1965–), Quarta-Feira de Cinzas / Epilogue (Ash Wednesday / Epilogue), 2006. High-definition video (color, sound), 5:44 min. Photo courtesy of Tanya Bonakdar Gallery, New York.
Originating in the Middle Ages, Carnival—from the Latin carve vale, meaning “flesh, farewell!” (flesh = meat)—is a period of merrymaking before the solemn restraints of Lent. It’s primarily a secular folk custom, celebrated by many with hedonistic parties involving excessive drinking. But Carnival need not be debauched, and some Christians celebrate it with social gatherings, games, parades, and/or food traditions. A Polish Catholic coworker of mine would always bring pączki (jelly donuts) to the office on Fat Tuesday (Mardi Gras in French), the day before Ash Wednesday. Some churches host a pancake supper on that evening, using up eggs, milk, and sugar, ingredients that were historically forbidden during Lent, along with bacon and sausage. At The Liturgical Home, Ashley Tumlin Wallace describes Fat Tuesday as a transition day moving God’s people out of Epiphanytide.
Neuenschwander and Guimarães’s Ash Wednesday / Epilogue is, first and foremost, fun and playful. We don’t tend to think of insects having parties! I wonder what the ants are doing with those vibrant little metallized discs. But the video also, for me, captures something of the tone of the first day of Lent—a quiet sweeping up after the previous day’s festivities, the humans of this place having left their revelries to go to church, where they enter a time of penitence.
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BLOG POST: “Ash Wednesday” by Libby John: I really appreciated these four guided journal prompts that Libby John, founder of the Vivid Artistry creative collective, gave last Lent:
What is something in my life I am seeking for God to renew and restore?
What rhythms in my life need to be interrupted and reoriented to God’s heart for me?
What are some ways I can surrender my schedule to help attune my senses to more of God’s presence?
Am I bringing my whole self to God or do I divide and keep parts of my life from him?
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ARTICLE: “Anya Gallaccio’s Organic Mementos Mori” by Eliza Goodpasture, Hyperallergic: Rotting apples threaded with hanging twine, shriveling red daisies pressed between plexiglass, burning candles creating waxen landscapes on aluminum foil, a hundred-plus-year-old ash tree stricken with ash dieback disease—these were among the memento mori (reminders of death) installed at artist Anya Gallaccio’s exhibition preserve at Turner Contemporary in Margate, England, in fall 2024. “The potency of the transient works is so magnetic,” writes reviewer Eliza Goodpasture. “The Christian motif of dust to dust undergirds it all. . . . The artist reminds us that decay is full of energy—not just an ending, but part of an endless circle of life.”
Anya Gallaccio (Scottish, 1963–), Falling from grace, 2000. 2,700 Gala apples, hop twine. Installation view at Turner Contemporary, Margate, 2024. Photo: Jo Underhill, courtesy of the artist.
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SONGS:
>> “Turning” by Deanna Witkowski:Deanna Witkowski is a jazz composer and pianist living in Chicago. She wrote this choral piece for Lent, a season in which the liturgies call us to turn away from sin and toward God. That’s what repentance means: changing direction. The first verse is taken from Psalm 119:36–40. “Turn our hearts, O Lord, from selfish gain to your commandments . . .”
>> “Miraculous Salvation” by Tenielle Neda: This song by the Australian singer-songwriter Tenielle Neda praises God for the grace he lavishes on us and for his great love. Backing vocals are provided by Chris Cho.
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CAROL TEXT: “Revert, revert” by James Ryman, ca. 1492: Medievalist Eleanor Parker shares this Lenten carol text by the fifteenth-century Franciscan friar James Ryman, from Cambridge University Library MS Ee 1.12. The burden (repeated stanza) is “Revert, revert, revert, revert; / O sinful man, give me thine heart”—an echo of Isaiah 44:22, “Return to me, for I have redeemed you.” Written in Christ’s voice, it calls us to remember how he took on our flesh, was baptized, and was flogged and crucified for our sakes. I think the shield in stanza 3 refers to the cross; the Via Dolorosa was a battlefield on which Christ fought the devil, and paradoxically, the instrument of his execution was the means of victory.
Art & Theology 