Category Archives: music

We Are More Than We Are

Although it often caused trouble and brought me grief during my primary and secondary education years, I have never tried very hard to hide my serious geekiness. PindarAccordingly, I start today’s blog post with the ancient Greek lyric poet Pindar. I need to be careful here, because I have four colleagues and friends on campus who are trained classicists—for all I know, one of them might have written their dissertation on Pindar. Many of Pindar’s surviving poems are “victory odes,” celebrations of triumphs gained by competitors in Panhellenic festivals such as the Olympian Games. Here’s an example:

One born to prowess / May be whetted and stirred / To win huge glory / If a god be his helper.

This tendency to attribute athletic prowess to divine help is still with us, as anyone who has watched a football player point to heaven after scoring a touchdown or heard a basketball star thank his Lord and Savior Jesus Christ for a game winning shot will tell you.pointing to heaven

It’s highly unlikely, of course, that God gives a crap about who wins or loses sporting events, but attribution of success to divine assistance is so common among athletes both professional and amateur that it can easily become annoying. I remember once a number of years ago hearing Jim Rome mention on his daily sports talk radio show what he would say if he was God when someone points to heaven after scoring a touchdown: Stop pointing at my crib when you score a touchdown or I’ll break that finger off and shove it up your ass! That’s the sort of God who inspires a muscular Christianity. But the very idea of God playing favorites in this way makes no sense.

Or does it? My “go to” news source, The Onion, published a shocking and revealing article on this very topic just last week. As it turns out, the Lord God Almighty, Creator of heaven and earth, has been caught red-handed playing favorites and giving gifts to certain college athletes in deliberate defiance of NCAA rules and regulations.The Onion

Reports indicated that over the past several decades, the Almighty has provided hundreds of players from high-profile Division I football and basketball programs with abundant natural speed, strength, and agility, and both the universities and the players themselves are now said to be facing heavy sanctions and punishments. “We take these allegations incredibly seriously and are doing everything in our power to determine the precise nature of God’s relationship with these college athletes,” said NCAA president Mark Emmert. “There is mounting evidence that the Lord—in blatant violation of NCAA rules and regulations—bestowed upon these players special and innate athletic abilities that other students never received.”

The article goes on to say that over 300 D-1 NCAA schools are implicated; Kris and BenI must say that when I watch my Providence Friars play, I fear that at least two of our players may have received such gifts—which makes me wonder whether our accumulating wins this season will ultimately be voided. One thing’s for sure—athletic directors across the country are not going to put up with God acting in this manner.

University of Oklahoma athletic director Joe Castiglione . . . denied any knowledge of Sooners players receiving illegitimate gifts, but assured reporters that going forward, the school will strictly forbid any communication between student-athletes and God during church services or private moments of prayer. God

The article concludes by reporting that “at press time, NCAA officials had announced an eternal ban on God that will prevent Him from having any association with collegiate sports until the end of time.” Good for them—the last thing we want is a deity inserting itself inequitably into human affairs.

NCAA investigates God for giving gifts to athlete

As shocked as I was by the revelations from The Onion, upon further thought I wasn’t that surprised. Jeanne has remarked regularly ever since I have known her about the various ways in which God plays favorites, granting miracles and making personal appearances to those who don’t deserve it while the most pious and committed among us get the divine cold shoulder and silence. One can hardly read a chapter of any book in the Jewish scriptures without encountering blatant divine favoritism on display. sun on the just and unjustBut in fairness, there are other ways to explain this apparent unfairness. We are told that the sun shines and the rain falls both on the just and the unjust; any number of sacred texts warn against assuming that God is being unfair simply because things don’t turn out the way we would prefer. In divine inscrutability, God does what God does, and it is up to us to find a way to work with what often looks for all the world like divine randomness. As James Stockdale once summarized the message of the Book of Job, God is telling Job that “this is my world. Deal with it. Either get with the program or get out.”

The older I get, the more inclined I am to look for intimations of the divine in places both unusual and mundane. Sometimes favor seems to drop into the day as light as a feather and as ephemeral as a wisp of smoke, while at other times transcendence invades the everyday in ways that only the most deliberately blind could miss. Jeanne and I call such eventsbig bird “Big Bird moments” and have come to expect them as a normal part of our lives. Then there are other reminders that we are not alone and that this is not all there is which, instead of dropping in from outside, arise from within our deepest selves. Marilynne Robinson refers to these as moments when we discover that “we are more than we are,” moments she describes as follows:

By this I mean to suggest the feeling all of us have who try something difficult and find that, for a moment or two perhaps, we succeed beyond our aspirations. The character on the page speaks in her own voice, goes her own way. The paintbrush takes life in the painter’s hand, the violin plays itself. There is no answer to the inevitable questions: Where did that idea come from? How did you get that effect? Again, particulars are lacking. We have no language to describe the sense of a second order of reality that comes with these assertions of higher insights and will override even very settled intentions, when we are fortunate.where did that come from

In my own life, these moments occur regularly in the classroom; I have also experienced such moments on the organ or piano bench. When I walk out of a classroom thinking “Whoa! Where did that come from?” I am realizing that I am more than I am and I had nothing to do with it. When I am able to improvise a bridge between the penultimate and final verse of a hymn on the fly that is far better than I could have come up with if I had thought about it, I have the “sense of a second order of reality” that Robinson is talking about. Sure, it could be luck, chance, a confluence of unknown events, or Scrooge’s blob of undigested cheese. But I choose to consider such moments as “thin places” where the membrane between the here and now and what is greater than us becomes so porous as to almost disappear.thin places

Such moments cannot be planned, nor can they be manufactured. But they can be witnessed rather than ignored. Recognizing them requires a shift in attitude and focus that needs to be cultivated—it’s something I’ve been working on, with mixed success, for the past several years. We are surrounded by moments of pure grace, moments when, as Anne Lamott writes, “suddenly you’re in a different universe from the one where you were stuck, and there was absolutely no way for you get there on your own.” We are surrounded by such moments, if we only have the eyes to see them.

the other

I Was a Stranger

A few days ago in a Facebook discussion thread that I should have avoided participating in, a person developed an extended analogy in which she likened the presence of undocumented immigrants in our country to an infestation of raccoons in one’s basement. To solve the problem one should hire the most effective exterminator one can find–the exterminator’s moral fiber, methods, or personal qualities are irrelevant. If the raccoons are undocumented immigrants, it is not difficult to imagine what lessons we are to draw from the exterminator.

This made me think about an essay about strangers I wrote a bit over a year ago . . .

Buried in the middle of Ovid’s Metamorphoses is the story of one of the strangest love triangles imaginable. Acis and GalateaTwo points of the triangle make sense—Galatea, a sea-nymph and Acis, the son of a sea-nymph—but the third point makes things interesting. The story of Polyphemus the Cyclops is well-known from Homer’s Odyssey, but Ovid’s story involves Polyphemus in earlier days—solitary, huge, hairy,  one-eyed, and hopelessly in love with Galatea. Galatea, who tells the story, isn’t having any of it: “I could not say whether love for Acis or hatred of the Cyclops was stronger in me.” But Polyphemus is not deterred. He combs his hair with a rake, trims his beard with a scythe, suspends his habit of destroying passing ships and eating the sailors, playing musicand settles down on top of a hill with a homemade instrument made of “a hundred bound reeds” to try his hand at musical composition and performance.

The Cyclops’ hilarious love song reveals his inexperience at wooing sea nymphs, as his descriptions of Galatea range from “more radiant than crystal, smoother than shells polished by the tide” to “meaner than a pregnant bear . . . more vicious than a snake that’s been stepped on and kicked.” Toward the middle of his ode, Polyphemus gets down to business: “If you really knew me, Galatea, you’d be sorry you ran.” Understanding that a hairy giant with one eye in the middle of his forehead is not your typical match for a sea nymph, the Cyclops emphasizes what he brings to the relationship table—polyphemussurprisingacisandgalatealots of sheep and goats, a nice cozy cave, all the fresh fruit one could want from his orchard, as well as excellent family connections through his father Neptune, the god of the sea. What’s not to like? “Tell me why, when you turn your back on Cyclops, you love Acis, and why do you prefer his embrace to mine?” Polyphemus’ frustration rises to the boiling point when he catches sight of Galatea and Acis making love in the forest; he tears the top off a mountain and drops it on top of Acis while Galatea dives into the ocean in terror. throwing a rockAcis’ blood seeping from under the pile of rocks turns into a river as Acis is turned into a river-god, yet another metamorphosis in Ovid’s strange collection of stories.

The tale of Galatea and Polyphemus was one of many I discussed in seminar with twelve Honors freshmen last Friday. When asked what the point of this particularly odd story might be, various suggestions ranged from a comparison of civilized with barbarian people to a morality tale about the dangers of unrequited love. “But why doesn’t Galatea take Polyphemus’ advances seriously?” I asked tongue-in-cheek. “The Cyclops has a lot to offer—a nice place to live, a comfortable lifestyle, property, great family connections—he’s even captured a couple of bear cubs so Galatea can have unusual and interesting pets! What’s not to like (other than his being a hairy giant with one eye, that is)?” Why does Galatea prefer Acis, who is a nonentity with nothing to offer other than being good-looking? In the middle of a number of very amusing comments from my students, one young lady thoughtfully hit the nail on the head: “Polyphemus is just too different, too unusual, too scary for Galatea to take him seriously.” the otherUndoubtedly true, which raises an important larger problem: The Problem of the Other.

Human beings are hard-wired to form the strongest connections with those who are most like themselves, dividing naturally into groups of “Us” versus “Them” according to dividing lines both natural and imaginary. The Problem of the Other covers all manner of challenges and fears, from those who look different through those who think differently to those who do not share our values. The Other is often the person or persons who I choose to ignore or pretend does not exist, those who I choose to treat as invisible. But just as Polyphemus could not be ignored, neither can the Other. Furthermore, yesterday’s gospel makes it clear that for those who claim to be followers of Jesus, those who we would just as soon ignore are the very persons who are to be the primary focus of our concern. 6a00e54ecc070b88330177444f3010970d-320wiAnd our spiritual survival depends on it.

In Matthew 25 can be found the familiar apocalyptic vision of the Last Judgment, with those judged being separated into the sheep and the goats (sort of like Polyphemus’ charges) and sent to eternal bliss or darkness. More interesting than the possibility of reward or damnation are the criteria used to make the judgment. Explaining to the sheep on their way to the heavenly kingdom why this is their destination, Jesus says “I was hungry and you gave me food, I was thirsty and you gave me something to drink, I was a stranger and you welcomed me.” And we don’t need to wait for Jesus to show up to act this way: “just as you did it to one of the least of these who are members of my family, you did it to me.” obamaThe greatest challenge of the life of faith is to recognize the divine in the most unlikely places—and in those people who are the most invisible.

In his prime time speech on immigration reform not long ago, President Obama closed with a rewording of a passage from Exodus 22: “You must not mistreat or oppress the stranger in any way. Remember, you yourselves were once strangers . . .” I fully understand that public policy should not be shaped according to religious principles, but there is a psychological truth in these passages that transcends the various choices concerning religion that one might make. The moral health of an individual or a group is revealed by how they choose to treat those most unlike themselves. small victoriesThe outsider, the stranger, the disenfranchised, the poor—all of the various manifestations of the Other. For at heart we are all strangers seeking a home. As Anne Lamott writes, “All I ever wanted since I arrived here on earth were the same things I needed as a baby, to go from cold to warm, lonely to held, the vessel to the giver, empty to full.” To refuse a home to the stranger, to reject those who are unlike us, to imagine that different means less important, is to imagine fellow human beings as Polyphemus—too strange, too different, too scary to be included, appreciated or loved. But just as Polyphemus, all of us need the same things. And we are called to be those things for each other.sheep and goats

Give Us Barabbas

easter cantataAn annual musical fixture of my Baptist upbringing was the Easter Cantata. Each year on Easter evening our small choir would perform a contemporary setting of the Passion and Easter story from Last Supper through the Resurrection. My aunt Gloria was the choir director, several of my relatives sang in the choir from my pre-teen years on, and from about age twelve through high school I was the piano accompanist for this annual event. We weren’t that good and the quality of the music we performed was even worse, cranked out in some evangelical music factory on a regular basis in a sad mockery of the superhuman weekly bachcantata-composing efforts of my musical hero, Johann Sebastian Bach, in 18th century Leipzig.

The cantata score each year as well as our performance was completely forgettable, but I was reminded the other day of a striking feature of each cantata. During the portion portraying Jesus’ trial before Pilate, one male would sing the part of Pilate (my cousin Greg one year), another would be Jesus (my cousin Greg a different year), and the rest of the choir was the crowd singing “Release unto us Barabbas!” “Away with this man!” “We have no king but Caesar!” and “Crucify him!” I remember clearly the strange dissonance of these lyrics sung vigorously in a building dedicated to the worship of the man being condemned to death; even though the temptation was to consider the crowd as evil sinners, give us barabbasI also remember wondering if there might have been more than a few well-meaning folks in the group calling for Jesus’ crucifixion who actually thought they were doing the right thing. Sometimes “Give us Barabbas!” seems to make sense.

I think we find ourselves in one of those times. Regular readers of this blog know that I have been wondering about how Christians who are also Republicans fit all of that together and, most recently, why so many evangelical Christians support Donald Trump. Then this past Sunday, Donald Trump gave the convocation address at Liberty University, the self-proclaimed largest evangelical Christian university in the world.

Donald Trump at Liberty Universitytrump at liberty

Interviews with students afterwards revealed strong support for Trump because of his perceived honesty, directness, outside-Washington status, business experience, and the perception that he had the best chance among the Republican candidates to defeat Hillary Clinton. Trump’s inability to identify the location of his favorite Bible verse or to even quote it accurately, his apparent lack of any commitment to traditional Christian values beyond lip service, and the fact that a conservative Christian leader described Trump recently as “the most immoral and ungodly man to ever run for President of the United States” seemed to matter little, if at all. One student said “I know a lot of people speak of his ego and how that’s not a Christian value — but I honestly think his ego is what gets things done. I’m okay with an egotistical president. He wants to be the best, and I think for that reason, he gets things done.” When faced with the opportunity to judge a candidate according to the values he and his chosen university profess, this student chose to punt. “Give us Barabbas.”givenness

At the gym later in the day I read an essay from Marilynne Robinson’s recent collection The Givenness of Things that shone some new light on these matters. In “Awakening,” Robinson reflects on a contemporary phenomenon that runs rampant through our current public and political discourse—a professed “Christianity” that looks and sounds like anything but Christianity.

No doubt as a consequence of a recent vogue for feeling culturally embattled, the word “Christian” now is seen less as identifying an ethic, and more as identifying a demographic. On one hand I do not wish to overstate the degree to which these two uses of the word “Christian” are mutually exclusive, and on the other hand I think it would be a very difficult thing to overstate how deeply incompatible they can be.

For many people, in other words, “Christianity” has become a tribal label, a marker of “us” vs. “them,” the very sort of tribalism that currently infects and threatens to permanently damage our political and social structures. Robinson notes that when the hallmarks of being a Christian are reduced to “are you in or out?” very un-Christian consequences are inevitable.saved and unsaved

The simple, central, urgent pressure to step over the line that separates the saved from the unsaved, and after this the right, even the obligation, to turn and judge that great sinful world the redeemed have left behind—this is what I see as the essential nature of the emerging Christianity. Those who have crossed this line can be outrageously forgiving of one another and themselves, and very cruel in their denunciations of anyone else.

How is it, I have been wondering recently, that professed Christians can support candidates and policies that are, by any stretch of the imagination, anything but embodiments of traditional Christian values? If Marilynne Robinson is right, it is because contemporary Christianity often is not a way of life or a commitment to the principles of a historic and beautiful religion—it is rather a way to facilitate what are often the worst tendencies in human nature and behavior.

People of good faith get caught up in these things in all times and all places. In the excitement of the moment who really knows he or she might not also shout, “Give us Barabbas!”

muslims are terroristsAll of this sounds rather harsh and judgmental—also not congruent with Christian values. So be it. I grow weary of hearing the name of my faith used in the service of un-Christian and inhumane policies and actions, in much the same way that sincere and serious Muslims must tire of hearing their ancient religion’s name used as a placeholder and justification for terrorism and murder. The truth of the matter is that Christianity as a lived faith runs contrary to much of our deepest, natural human wiring. The first will be last; to him who asks give; turn the other cheek; judge not. Tribal Christianity, on the other hand, appeals to the worst in our nature. As Robinson points out,

It is worse than ordinary tribalism because it assumes a more than virtuous us on one side, and on the other a them who are very doubtful indeed, who are, in fact, a threat to all we hold dear . . . If the claims to Christian identity we hear now are rooted in an instinctive tribalism, they are entirely inappropriate, certainly uninformed, because in its nature the religion they claim has no boundaries, no shibboleths, no genealogies or hereditary claimants.

As Robinson writes, fear and the desire for identity and a place to belong can cause people of good will and intentions to choose and accept things that are in truth the very opposite of what they claim to believe in, even with the real thing right in front of them. But fear need not rule the day.voting

We should take very seriously what the dreadful past can tell us about our blindnesses and predilections. The haunting fact is that we are morally free. If everyone around us is calling for Barabbas, it is only probable—but never necessary—that some of us join in.

Goliath was a Wimp: Random Observations for the New Year

The first measurable winter precipitation of the season rolled through town last Monday night, on the heels of sixty-five degree temperatures on Christmas Eve and Christmas Day.goliath I found out on Weather.com that this mediocre, unimpressive two-inches-of-icy-crap-producing storm was given the name Winter Storm Goliath. I really hate that every winter system that produces a snowflake gets its own special name, but if we’re going Biblical with storm names this winter, I have some suggestions. Nebuchadnezzar. Zerubbabel. Mephibosheth. Habakkuk. Melchizedek. Ahasuerus. Or we could go short with something like Eli or Ham. If we have a winter like last year and run out of names, I’ve got some good New Testament ones as well.

If at this time in 2017 Donald Trump, Ted Cruz, or Ben Carson is President of the United States, Jeanne and I will be wishing everyone Happy New Year from Canada.carsontrumpcruz

 

 

 

 

At an after-Christmas, multiple birthday party at Jeanne’s brother’s house on Long Island this week, there were three generations of her family present (hard to believe that we are part of the oldest generation). This included six kids representing the newest generation—I don’t recall my cousins, brother, and me being that cute and precocious when we were in single digits of age. Or at least our parents didn’t act as if we were.

DeadInflatables1-560x234What’s with the inflatable snowmen, reindeer, and Santa Clauses that seem to populate more and more yards every holiday season? I don’t like them. At least eighty percent of the time they are not inflated and look like a bunch of large and colorful used condoms. Really—think about it.

While writing one of the days before Christmas I put Handel’s Messiah on Spotify for my listening pleasure. I had a classic WTF? moment shortly afterwards until I realized that I had forgotten to turn “shuffle” off. “The Trumpet Shall Sound” followed by “There Were Shepherds Abiding in the Field” and the “Hallelujah Chorus” was as disorienting as scrambling the verses of the Twenty-Third Psalm would be. Didn’t quite work.

trumpet

Good news on the broken ankle front–it has healed well and I don’t need to see the orthopedist again. I asked him if there was anything I should still avoid doing; his advice sounded like a Henny Youngman joke. “If you do something and your ankle hurts, stop doing it.”

From the Un-Fucking-Believable file: I read on Facebook this week that certain conservative elements are interpreting House Speaker Paul Ryan’s new beard as a sign that he is soft on Islam and perhaps moving toward conversion himself. I’m not making this up.

Did Paul Ryan GROW A BEARD to show SYMPATHY with the MUSLIMS?!?!

Beards are important, though—just ask fans of the 2013 World Series Champion Boston Red Sox. I noticed the other day that one sharp dividing line between my side of the philosophy department wars and the other, dfear the beardark side is that the males on my side all have beards and the guys on the other side are, with one exception, beardless. By the way, there’s only one woman out of twenty-one philosophers in the department—certainly a huge part of our problems. I never thought I would have a moment of solidarity with Paul Ryan, but as my sister-in-law from Brooklyn likes to say, “what are you gonna do?”

A friend of ours who is going through major life changes is trying to get Jeanne and me to give his dachshund a home. We have two dachshunds and a Boston Terrier already who all compete vigorously for Jeanne’s attention—adding a fourth Jeanne-loving canine into the mix does not make sense. But something tells me we’re going to do it (Lily likes me too, so maybe I can co-opt her). Stay tuned.100_0720

Here’s hoping that 2016 delivers a President that rational people from all sides can live with, a country that acts more like Canada, another Super Bowl for the Patriots, a deep NCAA tournament run for Friars basketball, a repeat national championship for the Friars hockey team, a publisher for my new book, my book rocketing to the top of the NY Times non-fiction list, the miracle of sanity and collegiality for my philosophy department, no snow storms stronger than Goliath, a Red Sox return to the top, and the keys to a new car under everyone’s seat. Is that too much? I don’t care—Happy New Year to all!latest-happy-new-year-2016-photos

Peace Be To You

Many of my best Christmas memories are related to music. Charles Harlan Clarke was the organist and choirmaster at St. Matthew’s Episcopal Cathedral in Laramie, Wyoming during the 1980s where during my late twenties I was earning my Master’s degree at the University of Wyoming. I was new to the Episcopal church and loved everything about it, saint matthewsparticularly the liturgy and the cathedral’s music ministry which was of higher quality than one might expect in the middle of a 7500-foot-high desert. Charles was glad to welcome me into his circle of musicians; soon I was playing the grand piano in the corner of the sanctuary on Sunday mornings as Charles played the beautiful organ that, when it was constructed in the early 20th century, was the largest organ west of the Mississippi.

One of the choir’s “go to” pieces was Paul Manz’s “E’en So Lord Jesus, Quickly Come,” a favorite because it was a capella (meaning that I could leave the piano and join the choir) and it fit the mix of voices in our collection of singers perfectly. It was particularly a favorite piece because of the story behind its composition. Charles was friends with Paul Manz, a renowned composer and organist, and loved to tell us the tale as Manz had told it to him. Manz and his wife Ruth often were a composing team for choral music, with Ruth writing the lyrics and Paul the music. At Christmas time in 1953, their three-year-old son was gravely ill; the manzesPaul and Ruth kept vigil at his hospital bedside as his doctors and nurses gently prepared them for their son’s inevitable death. Late one evening Ruth remembered some verses from the Book of Revelation that suddenly took on new meaning as their son lay dying. She worked with the text a bit and showed it to her husband.

Peace be to you and grace from him / Who freed us from our sins, / Who loved us all and shed his blood / That we might saved be.

Sing holy, holy to our Lord, / The Lord, Almighty God, / Who was and is and is to come; / Sing holy, holy, Lord!

Rejoice in heaven, all ye that dwell therein, / Rejoice on earth, ye saints below, / For Christ is coming, is coming soon!

E’en so, Lord Jesus, quickly come, / And night shall be no more; / they need no light nor lamp nor sun, / For Christ will be their all.e-en-so-lord-jesus-quickly-come-12

In an interview fifty years later, Ruth Manz told an NPR interviewer that “I think we’d reached the point where we felt that time was certainly running out so we committed it to the Lord and said, ‘Lord Jesus quickly come.’”

As Charles told the story, the medical staff finally convinced Ruth and Paul to go home to get a bit of sleep, promising that they would be called immediately if there was any change in their son’s condition. In the middle of the night the phone rang—it was the hospital. “Your son has woken up—his fever has broken. The doctor on staff has checked him out carefully and he appears to be fine. You can come and take him home.”

Every time the choir sang this piece someone in the choir was appointed to tell the story of how it came to be written before we sang it. As far as I can remember, no one ever made it through the story without crying—we finally had the story printed up and placed in the program each time we performed it. It is Paul Manz’s best known work—over one million copies have been sold. We live in a world that sorely needs light to shine into the darkness and hope to replace despair—miracles do happen. We will celebrate one tomorrow. Peace be to you—Merry Christmas!peace

Loose Him, and Let Him Go

Last Sunday coincided with All Saint’s Day–a day we paid no attention to in the religious tradition of my youth. I’m still not sure what to make of the idea of saints, but the day’s gospel is worth paying attention to. It’s Jesus’ signature miracle but is only mentioned in one of the gospels. My favorite treatment of the story comes from Hollywood . . .

During my childhood, we did not go to movies—that was something, along with a bunch of other things, that good Baptists didn’t do. But we did watch television—MV5BMTkyODYyNzE0NV5BMl5BanBnXkFtZTcwOTc1OTM2MQ@@._V1_SX214_[1]except on Sundays. So my brother and I occasionally saw movies on television, after careful censoring by my parents. We always looked forward to the weeks leading up to Easter with great anticipation—not because it was Lent followed by Holy Week (I never even heard of Lent until I was an adult), but because that was when the networks might be showing Hollywood epic treatments of stories either from or related to the Bible: “The Ten Commandments,” “Ben Hur,” “Quo Vadis,” “The Robe,” and others. Particularly favored was king-of-kings-movie-poster-1961-1020206924[1]“King of Kings,” a full-blown life-of-Jesus movie. These movies, despite their questionable accuracy by King James Version standards, were guaranteed to be approved by the parental censors. My mother, brother, and I popped popcorn and watched the Bible come to life in living black-and-white.

Then in 1966, when I was 10 years old, United Artists released imagesCAEO0LCK“The Greatest Story Ever Told,” one of the last of the great Hollywood biblical epics, directed by George Stevens. The cast was full of current as well as up-and-coming stars, included Max Von Sydow, in his first English-speaking role, as Jesus; Biblical epic superstar and future president of the NRA Charlton Heston as John the Baptist; Claude Rains, iTelly-Savalas-as-Pontius--003[1]n his final movie appearance, as Herod the Great; Martin Landau, the master of disguise in the “Mission: Impossible” of my youth, as Caiaphas; Telly Savalas of “Kojak” fame as Pontius Pilate,  imagesCA6OFXJKDavid McCallum (formerly one of the stars of “The Man from U.N.C.L.E” of my youth, currently starring as Ducky in “NCIS”) as Judas Iscariot; and my favorite: John Wayne as the Centurion at the foot of the cross, who delivers his one line—“Truly this man was the son of God!”—with all the sensitivity of a cowboy.

imagesCAVTYVXRStevens’ directorial choice is to hinge the whole three-hour-plus spectacle on the raising of Lazarus, which takes place just over half way through the movie. It is a remarkable piece of cinematography—instead of focusing on Jesus and Lazarus, the camera focuses on the reactions of those present. Shocked faces, stunned silence, a woman drops to her knees, a man bursts into tears. the_greatest_story_ever_told_movie_trailer[1]One witness runs down the road, grabbing random people and sharing the news—“Jesus of Nazareth . . . I saw it, I saw it with my own eyes! Lazarus was dead, and now he’s alive!” “The Messiah has come! A man was dead, and now he lives!” And indeed this is a blockbuster miracle, worthy of a predictable Hollywood musical effect, the rapturous singing of the final measures of the “Hallelujah” chorus from Handel’s Messiah in the background. As the witness nears the walls of Jerusalem, he is joined by two men healed by Jesus earlier in the movie: “I was crippled, and now I walk!” “I was blind, and now I see!” “Who has done this?” shouts a Roman centurion from the walls of the city. “The Man Called Jesus!” Remarkable. Astounding.

But the gospel text is very puzzling, raising more questions than it answers. If this is, indeed, Jesus’ signature, career-defining miracle, why is it only reported in one of the four canonical gospels? Why do Matthew, Mark, and Luke not consider the story important enough to include in their accounts? Why does Jesus deliberately delay travelling to Bethany upon hearing that his friend is deathly ill, dawdling along the way in order to ensure that Lazarus is dead by the time Jesus arrives? imagesCANUX8Y0What exactly is the depth and nature of the Jesus and Lazarus friendship? We know a lot about Jesus with Lazarus’s sisters Mary and Martha, but this is the first time we’ve heard about Lazarus. Is he the domineering older brother of Mary and Martha, or the spoiled younger brother on whom they dote? Why does Jesus weep? And why is Lazarus still wrapped in his grave-clothes when he emerges from the tomb?

The gospel author mentions Lazarus only one other time, in the next chapter just before Jesus’ triumphal entry into Jerusalem. The crowds around Jesus have increased exponentially, as much to gawk at Lazarus as to see Jesus. The chief priests, plotting behind the scenes as always, plan to see both Jesus and Lazarus dead—this time there won’t be any resurrection. And Lazarus dissolves into our imaginations. What happened to him? How did he live out the rest of his life?

These are questions worthy of discussion, as are the questions raised by the account of the miracle itself. But Lazarus is not a museum piece to be dusted off and talked about once in a while. The story of Lazarus is our story, the story of all us who seek, in our individual and unique ways, to be friends with Jesus.

ValleyofDryBones-620x3101[1]In the liturgical year, the story of Lazarus often shows up late in Lent, just before Holy Week (although this year it is the gospel reading for All Saint’s Day; the Old Testament reading accompanying it is often Ezekiel’s valley of dry bones. We all, I suspect, have spiritually experienced a valley of dry bones season. Dry bones are the remaining evidence of something that was once alive, but hasn’t been for a long time. Lazarus in the tomb is well on his way to becoming a pile of bones—“Lord, already there is a stench because he has been dead four days.” Here’s how this sort of experience, a season of dry bones. goes for me, as I suspect it does for many of you.

I claim to be a follower of Jesus, but the internal flame has slowly decreased to an ember that is threatening to die out. I haven’t seen or talked with Jesus, really spent time with him, for a while. So I send out a call for help to the last place I saw Jesus, where rumor reports he is currently hanging out. And nothing happens. “Hey! I’m dying here!” I silently cry. Those closest to me might realize that something’s wrong, but are unable to help. Nothing but silence. 173185024_c1419b6266[1]And I know this is not just a dry period, a time in the desert. I say to myself “I’ll come out of this, he’ll show up, I’m just in a down time, sort of taking a long spiritual nap.” But I know deep in my soul that I’m lying to myself. The spiritual ember flickers out, leaving a cold, empty space full of ashes at my core. This is real death, from which there is no return. “Lazarus is dead.”

Dietrich Bonhoeffer once wrote that “When Christ calls a man, he bids him come and die.” And death is not attractive. It isn’t pretty. No matter how beautiful the dress, how snazzy the suit, how professional the make-up job, a corpse is still a corpse. drybones[1]Spiritual corpses go through the motions, pretend that “there’s still some life left in these bones,” but deep down they know it’s a lie. I know, and after a while others know, that something smells. “Mortal, can these bones live?” I seriously doubt it. “My bones are dried up, and my hope is gone. I am cut off completely.”

But after what seems like a spiritual eternity: a rattling of bones, a puff of breath, and there are the stirrings of life. I’ve been dead for so long, I’m disoriented. I don’t recognize my surroundings, or the voice in the distance. jesus_20lazarus_20raised[1]“Come forth!” As a moth toward a flame, I’m drawn toward that sound, toward a pinpoint of light and I find that, against all odds, what was dead is alive again. I’m surrounded by those I thought I’d lost, those whom I thought I would never truly see again. “We thought you were dead!” “I was!” But I can’t move properly, can’t see clearly, I feel like a mummy who just became alive again. And I hear a commanding voice: “Loose him, and let him go.

I’ve been raised to new life—so why am I still bound by the vestiges of death, by the grave-clothes of a past that I thought was gone? Because spiritual renewal and growth are like the Darwinian evolutionary process—I drag the remnants of a past reality into my new life. Vestiges of what has died still remain. If inattentive, I will attempt to weave new garments of salvation out of old, stinking, rags that have long outlived their purpose. And I cannot remove them by myself—I need help. We need each other’s help. I need the help of those who love me and who know what it’s like to try to get one’s bearings as a newly resurrected corpse. And the Lazarus cycle goes on.

No one wants to die. But life with God is a cycle of death and resurrection, a daily, weekly, yearly Lazarus event. Dying, abandoned, buried, called back to life, emerging to new life with lots of work to do. Sometimes we’d rather not. But the message of the story of Lazarus is “Don’t be afraid to die”—especially to those things we cannot bear to even think about losing. Don’t be afraid to release even what seems most necessary—familiar thoughts, comfortable patterns of behavior, habits set in stone, OXYGEN COMMUNICATION COMPANIONwell-intentioned but self-centered expectations—the very things that for each of us seem to be the cornerstone of existence. To truly live, we have to die. Simone Weil put it beautifully:

They alone will see God who prefer to recognize the truth and die, instead of living a long and happy existence in a state of illusion. One must want to go towards reality; then, when one thinks one has found a corpse, one meets an angel who says: “He is risen.”

MajorMinor1

Joy in a Minor Key

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The readings from the Jewish scriptures today and last week are from the last chapters of Job, including a portion today that scholars say was added centuries after the main text. It reminded me of a post from a bit over a year ago–what can we learn from the “minor key” portions of our lives?

At some point early in their musical training, all serious musicians are introduced to the “circle of fifths,” a handy chart that maps out the complicated but fascinating relationships among the twelve tones of the chromatic scale, their corresponding key signatures, as well as the associations between the major and minor keys.I was fortunate to have Katrina Munn, a graduate of Julliard, as my piano teacher from age four to eleven—she was a stickler for theory and precision and had a large poster of the circle of fifths on the wall of her studio. I was immediately fascinated—it looked like a labyrinth or something out of The Lord of the Rings, and as I was gradually introduced to the twelve major keys, the twelve related minors, and their harmonic relationships I was able to trace geometrically on the chart the harmonies I had been hearing in my head for as long as I could remember.

Recently the following from Richard Powers’ Orfeo got me to thinking about the major and minor keys in a new way.

There’s joy in a minor key, a deep pleasure to be had from hearing the darkest tune and discovering you’re equal to it.

MajorMinor1A lot can be learned from the major and minor keys that is applicable to everyday life. Traditionally the major keys have been described as “bright, extroverted, upbeat” and so on, while the minor keys are “introspective, complex, sad” or even “depressing.” Yet the circle of fifths shows that each major has its relative minor that is literally only one note different—a note that makes all the difference. Powers, who is a classically trained musician, is noting something important about the minor keys—they are rich and evocative in ways with which the brighter and more popular majors cannot compete. Yet the dividing line between major and minor is razor thin—if we are to pay proper attention to the music of our lives, understanding how major and minor interweave is crucial.

I had the opportunity to explore this with “Living Stones,” the adult Christian education group that I lead after church once a month (and have written about in this blog)

Living Stones

last Sunday after the morning service. I was doing double duty, as I was also organist that morning,003 alternating with the organist emeritus every other week through the summer as the church searches for a new full-time music minister. The fifteen or so regulars have a wide range of experience with music (or lack of same), so I presumed no prior knowledge. Gathering in the choir stalls by the organ rather than in our usual location, I oriented them to the major/minor distinction by suggesting that in the cycle of liturgical seasons, Easter and Christmas are major key seasons while Advent and Lent are minor key seasons. We moved then to a listening exercise, as I played first My country“My Country ‘Tis of Thee,” our closing hymn for the morning because of it being July 4th Sunday, in F minor rather than its original F major, then a representative minor key hymn, “If Thou But Trust in God to Guide Thee,” in G major rather than its original G minor. As the Living Stoners compared the new keys to the hymn texts, they agreed that major is appropriate for the first hymn than minor and minor more appropriate to the second than major. Different texts require different tunes—and so it goes with the chapters and texts of our lives.

The Book of Job from the Hebrew Scriptures is a case in point. The story is familiar. Job, “a man blameless and upright . . . who feared God and shunned evil,” is the topic of conversation between God and Satan, “the accuser.” In response to God’s “Have you considered my servant Job? There is none like him on the earth,” Satan replies “Well duh! You give him everything he wants and you have built a protective hedge around him.” In response to God’s agreeing to remove the hedge at Satan’s suggestion just to see what happens, Job’s flocks, crops, Job-wife1servants and children are swept away within six short verses and one of the greatest texts on the dynamic of suffering is underway.

The drama of Job is relentless, with his suffering unaddressed by his apparently well-meaning friends and his less than supportive wife. Underlying it all is Job’s insistence that his suffering and pain is not justified in any sense that he (or any other human being) can understand. It is clear that he will not “curse God and die,” as his wife advises him to do—his commitment to his God is unshakeable. “Though he slay me, yet I will trust him.” Job’s commitment, however, is neither passive nor facile. He wants answers and challenges a silent God to provide them. With very few exceptions, the Book of Job is entirely written in a minor key; the message of Job is that sometimes minor keys do not get resolved into major keys. Sometimes the text of one’s life demands a minor key; simply “waiting it out” or longing for it to be something it is not is to rob oneself of the richness and depth that only minor harmonies can provide.

0_21_0706_stockdaleWhen God finally does respond to Job’s questions and challenges, it is in a way that on the surface, at least, is entirely unsatisfactory to our contemporary sense of fairness and justice. God does not provide any reasons for Job’s misfortunes, nor does God explain himself. Rather, God makes clear in a lengthy soliloquy that he does not have to explain himself at all. As Admiral James Stockdale once described God’s response to Job, “I’m God and you’re not. This is my world—either deal with it or get out.”

It’s a tough message for our modern sensibilities, but is far closer to the reality of the world we find ourselves in than the stories we tell ourselves about “things working out in the end” or “justice will prevail.” Whatever value there is in suffering cannot lie in hopes for its removal or resolution. Yet we continue to try. jobs-restorationThere is nothing hokier or more forced than to resolve a composition from a minor key to its accompanying major in the last measure of the piece. But this is precisely what we find at the end of Job. In the final verses of the last chapter, after Job has been subdued by the divine display of power and superiority, Job magically gets everything back—children, flocks, servants, lands—and even his useless “comforters” and unhelpful wife get told off by God. “And they lived happily ever after,” in other words. I learned from one of my theology colleagues a number of years ago that these closing verses are not in the oldest texts of Job, but were apparently added in several decades or even centuries later.

Why? I asked my group. Why would someone want to change the original minor key story of Job, resolving it to a major key in the last measure? “Because the original ending is too tough,” someone suggested. “Because people want to believe that the suffering has a point, that it is all for something,” another thought. Which makes the better story? The original or the one with the new ending? “The original is truer,” an eighty-something Living Stoner said. “People don’t come back. Things that you lose don’t return.” And she was right. If there is meaning in the minor key movements of my life’s symphony, it has to be in the movement, not because the final movement will return to a joyful major key. The major keys ride the waves, but the minor keys plumb the depths, depths that give a life its richness and texture.lean forward As Richard Powers suggests, there is joy and satisfaction to be found in the midst of the suffering, a joy that is largely unavailable in any other context.

A few months ago, MSNBC (the only 24-7 news channel I can stomach, and even that not for very long) had a new ad campaign: Lean Forward. Out of context, it made little sense. Lean forward to what? But in the minor keys of our lives, “lean forward” or “lean in” is far better advice than “hold your breath and wait it out.” The purpose of the minor keys is not to provide a temporary alternative to majors. Rather, as another ad campaign many years ago suggested, sometimes minor harmonies are the most important threads in “the fabric of our lives.”

gentle drizzle

Gentle Drizzle

IOresteian the interdisciplinary program I teach in and used to direct, the first semester faculty have to make many tough choices. Iliad or Odyssey? What texts from the Hebrew Scriptures? The New Testament? What to use from Plato and Aristotle–or, God forbid, Plato or Aristotle? And no less challenging—which of the triumvirate of great Greek tragedians? Usually it is a toss-up between the profundity of Sophocles and the brilliance of Euripides, but last fall my teammate and I opted for the first of the trio, Aeschylus. We spent a week with sixty-five freshmen in The Oresteia, a trilogy with enough violence and dysfunctional family intrigue to hopefully satisfy the most scandal-hungry eighteen year old. Perhaps some of the playwright’s profound insights into the human condition seeped in as well.

RFKAlmost twenty-five years ago, early lines from Agamemnon, the first play of Aeschylus’ trilogy, were quoted by Robert F. Kennedy in Indianapolis toward the end of a brief, impromptu eulogy of Martin Luther King, Jr. who had been assassinated in Memphis earlier in the day. Kennedy, who would himself be killed by an assassin’s bullet just two short months later, included these lines from the Chorus’ first speech in the play as a sobering piece of one of the great speeches in American history:

Even in our sleep, pain which cannot forget
falls drop by drop upon the heart until,
in our despair, against our will,
comes wisdom through the awful grace of God.

I was reminded of both Bobby Kennedy and these lines from Aeschylus as I was listening to “The Moth Radio Hour” on NPR the other day.

Sala Udin on “The Moth”

Sala UdinOne of the story-tellers at the Moth event was Sala Udin who told of how as a Freedom Rider in Mississippi fifty years ago he came within an inch of losing his life after being stopped and then viciously beaten by the Mississippi State Police. In his jail cell, as he looked at his battered and disfigured face in the mirror, he thought “I don’t know why they didn’t kill me, but they should have. Now I’m committed. I’m clear. I will never stop fighting racism and injustice.Kasisi-Sala-Udin-copy I’m going to be a Freedom Rider for the rest of my life.” Udin and thousands like him were some of those drops upon the heart that Aeschylus wrote of over two millennia ago. Because of persons like Udin, change in the direction of wisdom incrementally but inexorably comes “against our will,” a change that although real is nowhere near complete.

I was born in 1956 and was too young to be directly involved in the early days of the Civil Rights movement, but have often wondered whether I would have wanted to be a Freedom Rider if I had been old enough and had been given the opportunity. I have no reason to believe that I would have, but take a small amount of comfort in the belief that once the habit is developed, courage tends to be available in the amounts needed by present circumstances. I have never been faced directly with the question of what I would be willing to stake my life on and possibly die for, amazing gracebut can at least hope that faced with the decision to act on what things are worth risking or even losing my life for, I would not immediately run away.

Jeanne and I recently watched one of our favorite movies—”Amazing Grace”—with a good friend who had not seen it before. The 2007 movie includes fine acting performances from various rising young actors who now are the hottest performers going—Ioan Gruffudd, Benedict Cumberbatch, Rufus Sewell, Romola Garai—the wonderful Ciaran Hinds (who knew that Julius Caesar was in the House of Commons?), and two of my favorite older actors, Michael Gambon and Albert Finney. images3FS0ITV3“Amazing Grace” is the story of William Wilberforce’s twenty year campaign to end the slave trade in England, finally accomplished in 1807 (the movie is a celebration of the bicentennial of that legislation). I have no idea how historically accurate the movie is, but as my good friend and colleague Rodney used to say, if it isn’t true it should be. It’s a great story.

Although there are certainly “good guys” and “bad guys” in the movie, no one is close to saintly or perfect. Wilberforce’s (played by Gruffudd) dogged attempts to end slavery meet with resistance for reasons that sound unfortunately familiar. Ending the slave trade will be devastating economically, there is “evidence” that the slaves in the colonies live better than the poor in Engwilberforce and newtonland, non-whites in the colonies are “the white man’s burden,” as Rudyard Kipling will write decades later, and so on. As he encounters multiple defeats and disappointments, Wilberforce is on the brink of despair when he has a conversation with his childhood minister, John Newton (played by Finney). Before becoming a member of the clergy years earlier, Newton had been a successful captain of a slave ship; through various powerful and transformative experiences, he recognized the evil underlying his profession, and famously wrote a poem that he set to a familiar and popular tune. The result was “Amazing Grace,” perhaps the most beloved song in the hymnal, in which the now-blind Newton wrote “I once was lost, but now am found; was blind, but now I see.”

In the middle of their conversation, Newton mentions he has heard that Wilberforce is returning to the faith of his youth; Wilberforce confirms the rumor, but says that while he badly needs divine inspiration and help, there have been no inspirational lightning bolts thus far. newton“Ah,” replies Newton, “but God sometimes does his work through gentle drizzle rather than storms.” It is many more years before Wilberforce and his supporting cohorts from all walks of life land on a strategy that finally works, confirming Newton’s insight. The frontal attacks of previous years, energized by righteous anger, eloquent statesmanship, and the best of moral intentions have failed again and again. It is not until an obscure lawyer in Wilberforce’s entourage of like-minded persons suggests a new strategy—essentially “we cheat”—that success is finally won. Through behind the scenes manipulation and the use of a long neglected, virtually unknown set of maritime regulations, Wilberforce does a brilliant end run on his political opponents and slavery in Great Britain soon crumbles under its own weight. It will take more than another half century and a brutal Civil War for the same to happen in the United States.

gentle drizzleGod sometimes does his work through gentle drizzle rather than storms. Ain’t it the truth? That certainly has been my experience, both in my own life and as I have observed the world around me for close to six decades. In its Latin roots, to “convert” means to “turn around,” but this turning is more often like a sunflowersunflower following the sun in its slow course across the sky than a dynamic and once-for-all event. I am an optimist at heart, something that is often difficult to sustain when I think about how much there is to be accomplished in my own life and in the world around me. But a steady rain, even a gentle drizzle, is better for my plants and grass than an inch-in-a-half-hour downpour. Beneath the layers of violence, hatred, ignorance and despair, something holy is lurking. Let the gentle drizzle and drops upon the heart release it.

An Aria as Lovely as a Tree

As Jeanne headed into Dunkin’ Donuts to purchase her customary large decaf French Vanilla with eight creams and three Equals (and Mr Tpity the fool who doesn’t get it right), I stayed in the car surfing the FM dial—my coffee intake for the morning had already exceeded its quota. I landed on New York’s NPR classical station just in time to hear “Ombra mai fu,” the opening aria from Georg Friedrich Handel’s 1738 opera Serse. serseParked in an ugly Double-D parking lot on Long Island, I thought to myself that when the angels sing, they must begin and close with this piece—perhaps the most beautiful I’ve ever heard.

As is my frequent custom, I shared my unexpected and much appreciated encounter with Handel’s “Ombra mai fu” with my Facebook acquaintances, then on my blog. Several who share my love of classical music shared their own favorite versions of the aria on YouTube; a good-natured debate arose over whether the aria is most beautiful in the soprano range, as Handel wrote it,

transposed into the lower and richer mezzo-soprano or contralto ranges,

or perhaps sung by a male soprano, as it would have been originally, since the aria is sung by King Xerxes in Handel’s opera.

The music is so glorious that I, not knowing Italian, speculated that the text of the aria was probably religiously themed along the lines of so much of Handel’s compositions. But no—the text of “Ombra mai fu” contains no lofty sentiments, no paeans to the divine. It’s a brief poem of thanks for the shade of a plane tree.

Ombra mai fu                         Never was a shade    

di vegetabile                           of any plant

cara ed amabile,                    dearer and more lovely,

soave più.                                or more sweet.

Over the centuries Handel’s glorious music has been co-opted for different texts, such as the hymn “Holy Thou Art.”

But it is fitting that one of the most inspired pieces of music ever written is originally in honor of a tree.

One of the greatest continuing insights of Reverend John Ames, the aging Calvinist minister from Marilynne Robinson’s Gilead, concerns the sacredness of all things. As he nears the end of his life, he pays close attention to the mystery and miracle of things most of us dismiss as “ordinary.”gilead

It has seemed to me sometimes as though the Lord breathes on this poor gray ember of Creation and it turns to radiance—for a moment or a year or the span of a life. And then it sinks back into itself again, and to look at it no one would know it had anything to do with fire, or light. . . . Wherever you turn your eyes the world can shine like transfiguration. You don’t have to bring a thing to it except a little willingness to see. Only, who has the courage to see it?

For Reverend Ames, everything is a sacrament with intimations of holiness. And the Divine Being he has served and conversed with for decades is still a mystery.

“You don’t have to bring a thing to it except a little willingness to see. Only, who has the courage to see it?” Good question. It takes a lot more courage to embrace this world with all of its imperfections and disappointments as a spectacular and continuing divine miracle than to step back and bemoan the fact that it seldom is the miracle we would have performed if it were up to us. It isn’t up to us—the power and glory of our created, sacred world is far above our pay scale. And yet sacredness and beauty embedded in imperfect matter is a reminder that according to the Christian narrative, this very strange yet compelling fusion of the divine and the imperfect is God’s intention with us.sunset

Slightly Improved

I have no idea why or how Miss Katrina Munn, a graduate of Julliard School of Music2139064083_fa0e5dd401[1] with a degree in organ performance, came to spend most of her adult life teaching piano to kids in central, rural Vermont. She was my first piano teacher, from age five (or was it four?) until age eleven. I spent forty-five minutes per week with her in the piano studio attached to her small apartment. While many of her students found her intimidating, she reminded me a bit of my imperious but loving paternal grandmother. But she could have been the Wicked Witch of the West and I would have put up with it, because piano was my life.

Music is in my genes from both sides of the family. I don’t remember when my older brother started piano lessons, but some of my earliest memories involved my mother forcing him to practice his lessons as well as my jealousy that he was getting to do something I wasn’t old enough for yet. He was an indifferent musician—he could play the notes but had no love of it. I was a different matter. I recognized the piano as a soul mate as soon as I started lessons. As I got old enough for school, I would rush to our old uprightimagesCAQOJENP as soon as I got home and play until my mother forced me to leave the bench for supper. The piano was my best friend.

Miss Munn recognized immediately that she had a “true believer” on her hands and allowed me to progress through the standard lesson books at a much faster pace than most. She was a member of a national organization of certified piano instructors, meaning that once per year representatives of this group would visit, listen to her students play assigned pieces and sight-read new ones, grading the students (and presumably Miss Munn) in any number of categories. I remember the two judges as Kafkaesque,Kafkaesque[1] austere, unsmiling, unmoving, seated primly next to each other about five feet away on the left side of the piano, silently making checks occasionally on a sheet in front of them. Come to think of it, they looked and acted pretty much as I figured God looked and acted all of the time.

Miss Munn shared the judges’ scores with her students once she received them from the central authorities in the mail. I recall as if it were yesterday when she reported to me the results of my first judging: Twelve positive checks and zero negative checks. I was thrilled—I had set a goal of being perfect, and I had been. Miss Munn’s comments on my perfect score, however, were unexpected. She said, I’m very pleased with the number of positives, but I’m concerned that you had no negatives. What? What could be better than perfection? She continued by pointing out that my zero negative score was reflective, not of perfection, but of a strong sense of perfectionismPerfectionism[1] that is not desirable in an aspiring pianist (or anywhere else, I suspect). By being so concerned with not making any mistakes, I had closed off the possibility of additional positive checks only available if one is willing to take risks. I don’t remember exactly how I processed Miss Munn’s unexpected reaction to my perfect score, but I must have taken it to heart. My score on next year’s judging was twenty-seven positive checks, three negative checks. At least at the piano, I’d begun to learn that growth and excellence begin with embracing imperfection.

As Jeanne said when I told her this story, that’s a pretty difficult lesson for a five-year-old to learn. Indeed—it’s a lesson that I still struggle with. Miss Munn may have convinced me that perfection is not to be sought at the piano, but Jesus said “Be Ye PERFECT![1]Be ye therefore perfect, as your heavenly Father in heaven is perfect” (when he was speaking in King James English). That’s an even tougher lesson for a five-year-old, but it stuck. Not as something to strive for, but as an eternal impossible guilt-producing standard whose roots went deeper every year. As I grew older, I knew that this was an impossible standard. I even have said in class, to the nervous discomfort of my students, “What the hell kind of a moral standard is that”?

imagesCA6KS6YVIn  The Sovereignty of Good, Iris Murdoch asks “What of the command ‘Be ye therefore perfect?’ Would it not be more sensible to say ‘Be ye therefore slightly improved?’” Three decades earlier, she built this tension into one of her novels. The central structural pillars of The Belln43712[1] are the dueling Sunday sermons of James and Michael, rivals for the leadership of a lay religious community. James, on the one hand, is convinced that moral perfection is well within any human being’s reach—we know what is required of us and just need to stop thinking and do it. Perfection is measured by the external standard given to us by God through Scripture and tradition. We fail to be perfect through weakness of will. Throughout the novel James is also revealed as judgmental and self-righteous, rigidly insensitive to the nuances and realities of other people.

Michael, on the other hand, preaches that moral behavior begins with an honest assessment of one’s limitations and imperfections—“one must perform the lower act which one can manage and sustain: not the higher act which one bungles.” Although Michael’s position is far more humane and embraceable than James’, his life is a series of continual missteps for which he seeks and expects immediate forgiveness from himself and others. When, due to his moral blundering, a member of the community commits suicide, Michael himself becomes suicidal as he realizes that his lazy acceptance of his own limitations has poisoned his relationships and caused him to blindly miss the importance of continually striving for perfection. Contentment with “slight improvement” has become identical with self-absorption and stagnation.

So there’s the problem. How am I to embrace imperfection while at the same time avoiding complacency? My best clue, which I borrow from Jeanne who is far wiser than I on these matters, has to do with “the law of love.”imagesCAH78QB6 Perfection is a deadly burden as long as it is a standard of judgment. But through the lens of love, it becomes something different. As long as my image of perfection is avoiding judgment by making no mistakes, I live in fear and am doomed to failure. Miss Munn, however, wanted to show me that the growth inspired by taking risks and making mistakes without fear is directed toward a perfection of a very different sort. The wise Abbess in The Bell tells Michael toward the end of the book that “The idea of perfection moves, and possibly changes, us because it inspires love in the part of us that is most worthy.” As First John tells us (once again in King James English), “perfect love casteth out fear.”mural perfect love with cars[1]