Come, ye faithful, raise the strain
of triumphant gladness!
God hath brought his Israel
into joy from sadness:
loosed from Pharoah’s bitter yoke
Jacob’s sons and daughters,
led them with unmoistened foot
through the Red Sea waters.
‘Tis the spring of souls today:
Christ hath burst his prison,
and from three days’ sleep in death
as a sun hath risen;
all the winter of our sins,
long and dark, is flying
from his light, to whom we give
laud and praise undying.
Now the queen of seasons, bright
with the day of splendor,
with the royal feast of feasts,
comes its joy to render;
comes to glad Jerusalem,
who with true affection
welcomes in unwearied strains
Jesus’ resurrection.
Neither might the gates of death,
nor the tomb’s dark portal,
nor the watchers, nor the seal
hold thee as a mortal:
but today amidst the twelve
thou didst stand, bestowing
that thy peace which evermore
passeth human knowing.
Alleluia now we cry
to our King Immortal,
who triumphant burst the bars
of the tomb’s dark portal;
alleluia, with the Son
God the Father praising;
alleluia yet again
to the Spirit raising.
Words: John of Damascus (ca. 675-749), 750;
trans. John Mason Neale (1818-1866), 1853
MIDI: St. Kevin (Arthur Sullivan, 1872)
Sing along at Oremus Hymnal online – your Episcopal Church in a box! Happy Easter, everybody.
Author Archives: Jendi Reiter
Carl Phillips: “Aubade: Some Peaches, After Storm”
So that each
is its own, now–each has fallen, blond stillness.
Closer, above them,
the damselflies pass as they would over water,
if the fruit were water,
or as bees would, if they weren’t
somewhere else, had the fruit found
already a point more steep
in rot, as soon it must, if
none shall lift it from the grass whose damp only
softens further those parts where flesh
goes soft.
There are those
whom no amount of patience looks likely
to improve ever, I always said, meaning
gift is random,
assigned here,
here withheld–almost always
correctly
as it’s turned out: how your hands clear
easily the wreckage;
how you stand–like a building for a time condemned,
then deemed historic. Yes. You
will be saved.
(Read Carl Phillips’ bio and more poems here.)
Good Friday Meditations: Stations of the Cross
In the Catholic church that I attended this afternoon for a re-enactment of the Stations of the Cross (the episodes of the Passion story from Jesus’ death sentence to his burial), the priest and lector read these amazing reflections by Mother M. Angelica, P.C.P.A., which can be found on the website of the Christian network EWTN. I encourage my readers to seek out the full text; below, I quote some passages that were especially meaningful to me:
The Second Station: Jesus Carries His CrossThat is my prayer today for all whom I have offended and all who have offended me.
How could any human impose such a burden upon Your torn and bleeding body, Lord Jesus? Each movement of the cross drove the thorns deeper into Your Head. How did You keep the hatred from welling up in Your Heart? How did the injustice of it all not ruffle your peace? The Father’s Will was hard on You – Why do I complain when it is hard on me?
…My worldly concept is that suffering, like food, should be shared equally. How ridiculous I am, dear Lord. Just as we do not all need the same amount of material food, neither do we need the same amount of spiritual food and that is what the cross is in my life, isn’t it – spiritual food proportional to my needs.
****
The Third Station: Jesus Falls the First Time
My Jesus, it seems to me, that as God, You would have carried Your cross without faltering, but You did not. You fell beneath its weight to show me You understand when I fall. Is it pride that makes me want to shine even in pain? You were not ashamed to fall- to admit the cross was heavy. There are those in world whom my pride will not tolerate as I expect everyone to be strong, yet I am weak. I am ashamed to admit failure in anything.
If the Father permits failure in my life just as He permitted You to fall, then I must know there is good in that failure which my mind will never comprehend. I must not concentrate on the eyes of others as they rest upon me in my falls. Rather, I must reach up to touch that invisible hand and drink in that invisible strength ever at my side….
****
The Eleventh Station: Jesus Is Nailed to the Cross
It is hard to imagine a God being nailed to a cross by His own creatures. It is even more difficult for my mind to understand a love that permitted such a thing to happen!…
It seems, dear Jesus, Your love has held You bound hand and foot as Your heart pleads for a return of love. You seem to shout from the top of the hill “I love you – come to me – see, I am held fast – I cannot hurt you – only you can hurt Me.” How very hard is the heart that can see such love and turn away. Is it not true I too have turned away when I did not accept the Father’s Will with love? Teach me to keep my arms ever open to love, to forgive and to render service – willing to be hurt rather than hurt, satisfied to love and not be loved in return.
****
The Twelfth Station: Jesus Dies on the Cross
God is dead! No wonder the earth quaked, the sun hid itself, the dead rose and Mary stood by in horror. Your human body gave up it’s soul in death but Your Divinity, dear Jesus, continued to manifest its power. All creation rebelled as the Word made Flesh departed from this world. Man alone was too proud to see and too stubborn to acknowledge truth.
Redemption was accomplished! Man would never have an excuse to forget how much You loved him. The thief on Your right saw something he could not explain – he saw a man on a tree and knew He was God. His need made him see his own guilt and Your innocence. The Promise of eternal life made the remaining hours of his torture endurable.
A common thief responded to Your love with deep Faith, Hope, and Love. He saw more than his eyes envisioned – he felt a Presence he could not explain and would not argue with. He was in need and accepted the way God designed to help him.
Forgive our pride, dear Jesus as we spend hours speculating, days arguing and often a lifetime in rejecting Your death, which is a sublime mystery. Have pity on those whose intelligence leads them to pride because they never feel the need to reach out to the Man of Sorrows for consolation.
****
Lenten Sonnets and Reflections from Touchstone Magazine
Anthony Esolen at Mere Comments, the blog of Touchstone Magazine, offers these moving reflections on the particularity of love, human and divine:
The gentle souled Albert Einstein, possessed of a devout spirit, once said that he believed in God, but God as conceived by the philosopher Spinoza, Deus sive natura — God, or nature, or the laws of physics. When Planck set forth his theory of quantum mechanics, Einstein at first rejected it, tartly asserting that “God does not play dice with the universe.” Something about the particularity of Planck’s theory offended him, was a mote to trouble the mind’s eye. I wonder if it is the same tiny but scandalous mote that troubles the minds of men who cannot see love at the heart of the universe. A law is abstract and general; if I step off the limb of a tree, gravity doesn’t care who I am or what I desire; I fall. But love is particular, and the dark history of man is studded with moments of love, when nothing in the world matters but this single being I love, for whom I would give life itself.Dr. Esolen’s post is one of a series reprinting and commenting on sonnets by Fr. Donaghy, S.J., about the Stations of the Cross. Read the first entry here.
It is the stunning claim of Christianity and Judaism that this world is not a vast machine but a story, with startling turns, moments of truth, and characters unique and unrepeatable.
Gabriel Welsch: “Pressing Business”
Trees leaf out—roses and lilacs
sequin with buds. Smooth tense skins
tighten like a promise. We’ll break them down.
We’ll press them, force them flat
for a record. Press them within the pages
of an unabridged dictionary, the RHS
encyclopedia of gardening. Let them feel
the weight of the language we have heaped
upon them. The weight is heavy indeed:
philosophy, the bible, a dictionary,
a Rookwood pot—terra cotta, urn-shaped,
paperbacks stuffed inside, the weight
of more learning and cultural import
to crush the color of a tulip flat, a tulip
that had come a long time down to this,
pushed in a towel in a dictionary under a pot,
this blossom of Dutch monarchs, this Mercedes
of mercantilism, this blossom to kill a king for, this
delicate gem of no facets. We write the tags,
take their names and learn them,
speak them in our home, teach their curves
to our tongue and teeth, feel
language work even here, simply by its
accumulated weight. In this way,
syllables blossom, the names lose
their context of weeds, keep the color
slipped from the sun.
Read more poems from Welsch’s book Dirt and All Its Dense Labor (WordTech Editions, 2006) here.
Marjorie Maddox: “How to Fit God into a Poem”
Part I
Read him.
Break him into stanzas.
Give him a pet albatross
and a bon voyage party.
Glue archetypes on his wings with Elmers,
or watch as he soars past the Slough of Despond
in a DC-10.
Draw wrinkles on his brow with eyeliner
until his beard turns as white as forgiven sin.
Explicate him.
Call him “Love.”
Translate him into Norwegian.
Examine original manuscripts
for proof of his kinship to Shakespeare.
Make him rhyme,
Cram him into iambic pentameter.
Let him read War and Peace ten times
and give a book report to third graders.
Edit out references to sin
and insert miracles.
Award him a Nobel Prize.
Then, after you’ve published him annually
in The New Yorker for thirty years,
crucify him. Proclaim it a suicide.
Part II
Let him whirl through your veins
like a hurricane
until your cells gyrate,
until you salivate at the sound of his breath.
Let him bristle your nerves like cat hairs
and laminate your limbs.
On All Saints’ Day, meditate
and wait patiently.
Then, he will come,
then, he will twist your tongue,
pucker your skin,
spew out his life on the page.
Read more selections from Maddox’s collection Weeknights at the Cathedral (WordTech Editions, 2006) here. Read a review in Arabesques Press here.
Signs of the Apocalypse: Sweet Jesus!
From Saturday’s New York Daily News:
A controversial artist outraged city Catholics yesterday with plans to display a nude 6-foot chocolate Jesus during Holy Week.Read the whole story here.
Cosimo Cavallaro’s anatomically-correct candy Christ, titled “My Sweet Lord,” was made from almost 200 pounds of dark chocolate. The sculpture is to be displayed in a street-level window at the Roger Smith Hotel’s Lab Gallery on E. 47th St. starting Monday.
Much as I’m intrigued by the idea of three of my favorite things in one place, this kind of artwork stopped being avant-garde several decades ago. From Jesus’ standpoint, the most offensive aspect of this statue is probably the waste of good chocolate in a world where millions go hungry.
On the other hand, since the statue already exists, having a congregation dismember and consume it at Easter might be a powerful way to bring home to people the reality of Christ’s sacrifice and our sinfulness. Shouting “crucify him” is nothing compared to chopping up a life-size body of Jesus, with your very own hands. Now that would be avant-garde.
Saving Jesus (Episode 10): Bad News for People Who Love Good News
This week’s episode of the Saving Jesus DVD series at my church attacked the doctrine of the Atonement, a risky thing to do before Palm Sunday, especially when you’ve just installed an expensive cell phone tower in the belfry.
Debate and disagreement about Christian doctrine are essential for the health of the church, not to mention the world. My complaint is with the intellectual sloppiness and spiritual dishonesty of this series, which habitually misrepresents opposing views and portrays controversial positions as proven beyond doubt. The speakers pose as Christian theologians while forcing religion through the strainer of a secular-rationalist worldview that is never acknowledged as merely one epistemology among many. As far as I’m concerned, every episode should begin with the “South Park” disclaimer that “All characters and events in this show – even those based on real people – are entirely fictional…and due to its content it should not be viewed by anyone.”
Episode 10 begins with Rita Nakashima Brock and Rebecca Ann Parker, co-authors of Proverbs of Ashes, challenging the notion of redemptive suffering. They discuss the story of a woman who was told by her priest to remain in an abusive relationship because Jesus bore suffering patiently and so should we. Meanwhile, the violence against her and her children escalated. Brock and Parker rightly name this as bad theology: Jesus resisted evil, though nonviolently. He did not model helplessness in the face of oppression.
But then they leap from this story to rejecting the entire idea of Christ dying for our sins. According to Brock, “one version” of Jesus’ death is that he went willingly to the cross, his death being a supreme act of love. (Did I miss the “Angels with Dirty Faces” remix where he goes kicking and screaming?) But that model, she says, tells us that the way to imitate Christ is by passively accepting abuse. We should model ourselves on his life, not his death.
It’s never mentioned that this priest’s counsel is not even consistent with the orthodox views he presumably held. Precisely because Christ died for the abuser’s sins, his wife doesn’t have to. Recognizing that we are not the superhuman rescuer, letting go of our fear of being less than saintly, is often the only way to free ourselves from the enabler’s role.
Considering that more than a third of the video was spent on this story, it’s inexcusable that Brock and Parker allow this priest’s advice to stand as the only definition of “the atonement” before they throw the doctrine out the window. Christianity has recognized many theories of how the atonement “worked”, including some that leave it largely a mystery.
Theologian John Dominic Crossan highlights a single explanation, which sounds like a distortion to me. He notes that in the ancient world, it was taken for granted that blood sacrifice was the way to establish or repair our relationship with God or the gods. Crossan says this arose by analogy to human social rituals. When a guest came, you would kill an animal to make a meal for him, or give him an animal as a gift. Similarly, to show “hospitality” to God, a religious community would burn an animal on the altar (the gift) or slaughter it and symbolically share a “meal” with Him. Crossan notes that the suffering of the animal was not the point. Nor did it occur to people that the animal in some way substituted for a human who deserved to die instead. (He’s forgetting the ritual of the scapegoat.) So why extend these concepts to Jesus? Why claim that God wanted us to suffer but made His Son suffer instead?
Some Christian writers may have dwelt on Christ’s suffering in order to move people’s hearts and remind us of the seriousness of judgment for sin. I don’t find that sort of guilt-trip appealing myself, most of the time, but I’ve always assumed it was more of a rhetorical tactic than a belief that God values pain for its own sake.
Perhaps we err in trying to find timeless metaphysical arguments for the necessity of Christ’s blood sacrifice, when the form that the atonement took was simply determined by the historical moment. If Jesus understood himself to be the messiah (see N.T. Wright’s The Challenge of Jesus), he would enact his redemptive role in terms that the ancient Hebrews would understand: as the culmination of the Temple sacrifices that they had been performing to expiate the sins of Israel. Had the Son of God come to earth instead in contemporary America, when we have a much more individualistic understanding of how guilt is acquired and transferred, the atonement might have looked very different.
The basic question that separates Christian from non-Christian beliefs about the death of Christ is simply this: Is reconciliation between God and sinful humanity brought about by our good works, or by God’s unselfish act of love?
The speakers on this DVD would opt for the first answer, to the extent that they believe there is a moral gap between God and humanity at all. New Testament professor Stephen Patterson speaks derisively of the atonement as running up a debt on your credit card and believing Daddy will pay it. It’s called grace, people. There might be a parable or two about it, if you look really hard.
Crossan says Jesus’ death was no different from that of Martin Luther King Jr., or a firefighter who dies rescuing a child. It is a sacrifice not because God wanted somebody dead and you stepped in, but because all life is sacred and giving up your life for others makes it particularly holy. You lived in a heroic way, knowing it could cost you everything.
Bishop John Shelby Spong offers a surprisingly moving gloss on this theme, but unfortunately undermines it a moment later. The cross, he says, is the story of someone who reaches out to those in pain, even when being tortured himself (“father, forgive them”). Dying, Jesus was more alive than those around him, because he was still taking care of others. “You live to the degree that you possess yourself sufficiently to give yourself away.” Of course, Spong then adds, most of these stories aren’t literally true…. So instead of God dying for love of us, we have the largely imaginary story of a human role model. Pretty thin gruel, you ask me.
During the discussion period, my minister (though I have vowed not to darken this church’s doorstep till he leaves next year, I don’t know what else to call him, and I’m too much of a lady to name names) made a very revealing comment about the agenda behind this class. Countering a participant who professed belief that Christ’s sacrifice reconciled us to God in a way that no other human martyrdom could, the minister said that insisting on the uniqueness of the atonement was a path to religious intolerance.
Now, there are many Christians, myself included, who distinguish between “salvation through Christ alone” and “salvation through belief in Christianity alone”. No less an authority than the Catholic Church has come around to some version of this “inclusivist” position. C.S. Lewis could also be found in this camp.
But what I found most telling was that my minister was judging theological values in terms of political ones. He is deeply attached to the liberal creed of civility and compromise, and shapes his spirituality to fit it. The political realm is the one that for him is truly real; these religious ideas are epiphenomena at best, and at worst, threats to a pluralistic society where peace depends on a spiritual version of “don’t ask, don’t tell”.
This is why it’s such a travesty to be showing this DVD series under the auspices of a church. Its whole agenda and methodology are about subordinating Christianity to modernism, treating the faith as a wholly human creation to be reshaped for our changing purposes, not as a revelation from God that also reshapes us. If the church can’t make the case for God’s sovereignty, who will?
Helen Bar-Lev & Johnmichael Simon: Poems and Paintings about the Land of Israel
Israeli poets Helen Bar-Lev and Johnmichael Simon’s new book of poetry, Cyclamens and Swords, is now available from Ibbetson Press. This collection is beautifully illustrated with Helen’s watercolor paintings of Jerusalem and the Israeli countryside. I highly recommend it for anyone interested in the culture and landscape of the Holy Land, as well as poetry fans generally.
You can purchase your copy by emailing hb*****@***********et.il or j_*****@***********et.il . Prices are 65 NIS (including postage to
The achingly beautiful cover of timeless trees, earth, flowers and rock, is redolent of Israel’s destiny. This little land, so hallowed in human history, seems the literary and spiritual core of existence to most of humanity. If strife is ever present here, how can there ever be the peace of ancient promise? This land seems to symbolize the eternal quest for harmony where forces of turmoil march ceaselessly. Bar-Lev and Simon explore this theme for us. Cyclamens and Swords will become a treasured classic, echoing as it does so fluently, the longing, fearing and questing that marks these troubled times. Helen Bar-Lev’s poem Beauty sums up the reader’s feelings as we reluctantly finish this special book: “and I,/the ingrate,/ever insatiable,/implore you,/please,/ show/ me/more.”
–Katherine L. Gordon
Author, Editor, Publisher, Judge and Reviewer, Resident Columnist for Ancient Heart Magazine
Bar-Lev and Simon open the reader’s eyes and hearts to Israel as a land of dazzling, sometimes tragic juxtapositions. The timeless tranquility of Bar-Lev’s unpopulated landscape paintings gains poignancy alongside poems that show an equally ancient violence alwayslooming on the border. This elegantly designed book shines with love and gratitude for the small miracles of natural beauty and human kindness that flourish even in a war zone.
–Jendi Reiter, editor of www.winningWriters.com and author of A Talent for Sadness
There is a point where art transcends our daily lives and past experiences to touch deep the old stories from where all of humanity arose. In this volume Helen Bar-Lev and Johnmichael Simon have drunk deep from the wellhead of this locus to combine poetry and visual art into a Jungian statement that illustrates how, when portrayed at its artistic essence, the story of one place becomes a story of us all.
–Roger Humes, Director of The Other Voices International Project, Author of There Sings No Bird
Helen Bar-Lev and Johnmichael Simon bring the beauty of Israel to life in Helen’s lush watercolors and evocative monochrome paintings and in the sensitive poems they both write. Their verbal and visual depictions of the breathtaking scenery, flowers, birds, fish, deer and ants, testify to Israel’s magnificent natural environment. But like an undertow in a dazzling ocean, the ongoing undercurrent of conflict tries to steal the serenity of the scenery. Their book is simultaneously exhilarating and jarring. They reveal the beauty and the pain which live side by side in the compelling, complex reality that is Israel. One shares their hope that serenity will triumph.
–Rabbi Wayne Franklin, Providence, R.I.
****
A selection from Cyclamens and Swords:
Waters of Gaza
by Johnmichael Simon
They moved out of Gaza
not without protest, not without prayer
feeling like ivy ripped off the walls
like irrigation pipes torn from the soil
they moved out on unwilling legs
on buses to nowhere
fathers, mothers, children
and children without fathers
without mothers
They moved into Gaza
not without covet, not without envy
feeling like water released from a dam
bursting into surrendering fields
carrying all before it, trees, houses
places of prayer, fences, gardens
waves breaking over alien temples
again and again till water covered all
After the water came briny hatred
lusting for a redder liquid
and the skies darkened again
lightning and thunder returned to Gaza
rained on this thin strip of unhappiness
writhing between the wrath of history
and the dark depths of the sea
****
Cyclamens and Swords
by Helen Bar-Lev
Life should be sunflowers and poetry
symphonies and four o’clock tea
instead it’s entangled
like necklaces in a drawer
when you reach in for cyclamens
you pull out swords
This is a country
which devours its inhabitants,
spits them out hollow like the shells of
seeds,
defies them to survive
despite the peacelessness,
promises them cyclamens
but rewards them with swords
It is here we live with
symphonies and sunflowers,
poetry and four o’clock tea,
enmeshed in an absurd passion for this land
entangled as we are in its history,
like butterflies in a net
or sheep in a barbed wire fence
Where it is forbidden
to pick cyclamens
but necessary
to brandish swords
Poem: “A Myth”
Before the dam was built our people slept
under the water
and worshipped the dark bird-shadows of
boat hulls
which passed overhead, seen through
the ripples of distance.
Our crops were the weeds and growths that
trailed like tears
out of the sunken skulls of fish.
We scarcely noticed the water
weighing on our chests like a stone:
how do you notice a burden that has never
been lifted?
Speech went nowhere, a breath released into
the thick silence
that bathed us and sealed us in.
To communicate, we handed each other objects
dropped down from boats — a spoon for kindness,
a chronometer for death —
the phrases the gods had set for us.
After the dam was built we lay naked on
our dry beds.
It was so light we could not rest.
We had to believe that an element we
could not see
was now our own. The shadows we’d
learned to worship
streamed from every object. Some of us
bowed down
to birds whose shadows flickered across
the grass,
some to waving clotheslines’ shadowy flags,
and some to clouds that passed over the
whole scene,
dimming our other gods
to nothingness for a moment.
The weight of water being lifted from
our chests,
we learned the terror of aspiration,
as balloons
soaring, knowing they may burst.
And our words carried through the
new spaces
almost more than we could bear — released
like us
to travel, to die at unimagined distances.
published in The Christian Century