A Few Good Books, Part One

I enjoy my gig as a book reviewer. It keeps me reading and writing and making some small contribution to the family’s finances. I like having concrete assignments, deadlines, and front row access to the world of Christian publishing. I enjoy dishearteningly few of the assigned books, however. As a mother of girls I receive a disproportionate number of teen girl devotionals, women’s Bible studies, and Christian parenting titles. This inevitably skews my sense of the job as a rollicking good time, in part because my personal reading tastes don’t tend toward “nice,” but primarily because I maintain an apparently minority position that books for women and young people merit as much theological rigor, ground-breaking novelty, and professional editing as books for markets deemed more discerning. Of course, I try to review each book on its own terms – if it accomplishes what it sets out to do – rather than according to personal tastes, but my reading within and outside of these sub-genres indicates that we can do better here and just don’t bother. Here are links to my reviews of a few good books. They’re not necessarily great literature, but they’re ones that somehow raise the bar on their respective fronts.

Fearless Daughters of the Bible: What You Can Learn from 22 Women Who Challenged Tradition, Fought Injustice and Dared to Lead by J. Lee Grady.
The Kindle version is only $1.99 today.

“Many books urging women to claim our positions as God’s daughters tell only half the story. They tell us we are God’s beloved little girls, privileged princesses. They expound on our roles or rights as children of God, but not our responsibilities. J. Lee Grady wrote Fearless Daughters of the Bible to encourage women to reclaim the power of God’s promises and step up and act accordingly….A father of four daughters, Grady writes in paternal tones without stooping to paternalism; ideal readers would be high school and college age.” My full review here.

Parenting Is Your Highest Calling: And Eight Other Myths That Trap Us in Worry and Guilt by Leslie Leyland Fields

“Leslie Leyland Fields debunks nine myths of Christian parenting, making the case that children are not put on this earth to fulfill us; neither are we asked to be God to them…. The depth to which some of these myths are ingrained becomes evident in the author’s own occasional inconsistency. Overall, her major points, scriptural examples and discussion questions offer an effective, affirming and hopeful counter to destructive myths our culture — and sometimes even our churches — subtly enforce.” My full review here.

One Fine Potion: The Literary Magic of Harry Potter by Greg Garrett

“Addressing evangelical concerns regarding sorcery and witchcraft head on, he argues that the supernatural functions not as an alternate belief system, but as a backdrop for a story full of Christian values — a story so Christian that its creator hesitated to discuss her own Christian faith before the last installment came out for fear of giving away the ending.” My full review here.

The Mockingbird Parables: Transforming Lives through the Power of Story by Matt Litton

“High school English teacher Matt Litton offers an outstanding spiritual reading—currently unavailable in most high school English classrooms—of Harper Lee’s classic To Kill a Mockingbird as a parable of compassion, courage and community. In the microcosm of small town Maycomb, Litton discerns lessons about parenting, responsible living, caring for neighbors and envisioning God as a mysterious neighbor who, similar to the enigmatic Boo Radley, must be engaged on his own terms rather than defined or domesticated.” My full review here.

Half the Church: Recapturing God’s Global Vision for Women by Carolyn Custis James

“The Chinese say, “Women hold up half the sky.” Carolyn Custis James figures if the majority of women worldwide suffer oppressive poverty and violence and a privileged minority still struggle to prove or believe in their own value, no wonder it feels as if the sky is falling…. Dismantling the myth of the subordinate helpmeet, she recovers the Old Testament figure of the woman of valor, the strong and capable ezer who helps as God helps.” My full review here.

Dead Can Dance: A Meditation and Playlist for Holy Saturday

The Dance of Death (1493) by Michael Wolgemut, from the Liber chronicarum by Hartmann Schedel

“[Jesus] was dead, to begin with. There was no doubt about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner…. [Jesus] was as dead as a door-nail…. There is no doubt that [Jesus] was dead. This must be distinctly understood, or nothing wonderful can come of the story I am going to relate.” adapted from Dickens’ _A Christmas Carol_

Christians are sorely tempted to gloss over or spiritualize the death of Christ. After all, how dead can we imagine the Source of all life? At what point do our imaginations fail to allow for his return to life? If we find Jesus’ resurrection easy to believe, might it be at the expense of our belief in Jesus’ death? Our scriptures and our creeds stress that Jesus did not just die, he was buried. He was counted and fully identified with the dead. He took kenosis, humanity, and mortality to their furthest limits and poured himself out even to death. Christ’s earliest followers wanted to impress upon all who would listen that he did not faint, lose consciousness, or swoon. He was not “mostly dead.” He was as dead as dead gets, deader than we’ll ever be, as ultimate in death as in life, not only the firstborn of all creation, but also the jigging and grinning leader and Lord of the danse macabre that ultimately unites us all regardless of who we were and what we believed. Wherever we go when we die, he went there, and conquered it in his own name. Harrowing of Hell - from a 15th century French Book of Hours at the Huntington Library

Death couldn’t hold him any more than heaven or earth could. Holy Saturday makes room in our theology for the death of God, and a God beyond Being, and all the contributions of William Blake and John of the Cross, Hegel and Nietchze, Caputo and Zizek. We are given a time to mourn him and celebrate his life, time for a proper wake, granted an interval to contemplate the horror of life without him, an opportunity to come together and make sense of and respond to what he was on about in life.

It’s a time to allow our perspectives to shift, like Robert DeLong sings about in “Global Concepts.”

After I die, I’ll re-awake,
redefine what was at stake
from the hindsight of a god.

Whether or not you believe Jesus completely grasped the entirety of who he was and what he came to do before he died, it’s quite obvious that his disciples did not. Only in losing him and in his return did they begin to understand the magnitude of what was at stake. Even those who believed he was the Messiah had a limited notion of what that meant before Christ’s death and resurrection. To John’s disciples who wondered if he was the One, he replied “that the blind see, the lame walk, the lepers are cleansed, the deaf hear, the dead are raised, the poor have the gospel preached to them” (Luke 7:22), and to the crowds he wondered aloud, if John’s preaching and my healing can’t do it, what’s it going to take to get you people mourning and dancing? What did you go out into the desert to see? A reed in the wind? A man in soft clothes? A prophet? What will you make of me coming to eat and drink with you?

Did I make money? Was I proud?
Did I play my songs too loud?
Did I leave my life to chance
or did I make you f***ing dance?

Holy Saturday redefines death, life, and power. The dance of the dead is not a sign of futility or defeat, but of completion, hope in more than this life, and victory.

Should I close my eyes and prophesize
Hoping maybe someday come?
Should I wet the ground with my own tears
Crying over what’s been done?

Should I lift the dirt and plant the seed
Even though I’ve never grown?
Should I wet the ground with the sweat from my brow
And believe in my good work?

Hey there, I’m flying up above
Looking down on the tired earth
I can see, I can see potential
Speaking through you, speaking to you
From all of heaven’s possibility

Power, hey, do know how it work?
Hey, do you know that the meek
They shall inherit the earth?
You should work, you should work
Yeah, for the self and the family

Should I hit the water or stay on dry land
Even though I’ve never swam?
Take machete, take them into the brush
Though at first there is no path

Taste the war paint on my tongue
As it’s dripping with my sweat
Place my gaze in the future’s path
Seeing things that ain’t come yet

Hope to watch the victory dance
After the day’s work is done
Hope to watch the victory dance
In the evening’s setting sun

Need more for your playlist? Try Elbow’s “The Night Will Always Win” (imagine Peter and Judas singing that for their various reasons), Dave Matthews’ “The Space Between” and The Waterboys’ “Song for the Life” along with, of course the Dead Can Dance’s eponymous album from way back when for atmosphere. Interestingly enough they put out an album called Anastasis (=resurrection) last year that I’ll be listening to tomorrow.

I’ll close with a poem that leads a great post on the subject of Holy Saturday by Christine Valters Paintner

Don’t surrender your loneliness so quickly.
Let it cut more deep.
Let it ferment and season you as few human
Or even divine ingredients can.
Something missing in my heart tonight
Has made my eyes so soft,
My voice so tender,
My need of God
Absolutely clear
.

~ Hafiz

Pantoums

Despising the Pain: A Pantoum by Jenn Cavanaugh

 

I face death every day

For the joy that is set before me.

Dust returns. Death loses the fray –

The happy end begins the story.

 

For the joy that is set before me

I ride the eternal like a tide.

The happy end begins the story –

We’ll wear our spirits on the outside.

 

I ride the eternal like a tide,

Dizzied and spun, despising the pain.

We’ll wear our spirits on the outside

For the work that is not in vain.

 

Dizzied and spun, despising the pain,

Dust returns. Death loses the fray.

For the work that is not in vain

I face death every day.

Poor blog, doomed respository for my second-tier poems. I post this one as an example to accompany yesterday’s Writers Workshop post on the pantoum form, so you can see what you can get out of working in the form in short order. It’s only the third or fourth one I’ve ever written, and the results still feel blocky, compared to writing in unrhymed free verse. If you get something out of the theme or a phrase, I’m glad. Otherwise, this is what a writing exercise looks like!

So far, the best part of writing pantoums is that they practically write themselves – you put a couple of lines together, give them a flick, and you have a perpetual motion poetry machine. For me, they are line-generators. You put a line in, you get a line out, because the form is going to take you there. To write one that stands up as fine poetry, like the one I’ll leave you with here, I will probably have to give up the rhyme, as she did, make my lines more grammatically creative, and incorporate more narrative detail. A pantoum doesn’t have to tell a story, but the ones that appeal to me most suggest one. Do you have a favorite or one of your own to share?

Stillbirth by Laure-Anne Bosselaar

 

On a platform, I heard someone call out your name:

No, Laetitia, no.

It wasn’t my train—the doors were closing,

but I rushed in, searching for your face.

 

But no Laetitia. No.

No one in that car could have been you,

but I rushed in, searching for your face:

no longer an infant. A woman now, blond, thirty-two.

 

No one in that car could have been you.

Laetitia-Marie was the name I had chosen.

No longer an infant. A woman now, blond, thirty-two:

I sometimes go months without remembering you.

 

Laetitia-Marie was the name I had chosen:

I was told not to look. Not to get attached—

I sometimes go months without remembering you.

Some griefs bless us that way, not asking much space.

 

I was told not to look. Not to get attached.

It wasn’t my train—the doors were closing.

Some griefs bless us that way, not asking much space.

On a platform, I heard someone calling your name.

To the Tune of “The Lilies of the Covenant:” A Psalm 80 Haibun

To the Tune of “The Lilies of the Covenant:” A Haibun

by Jenn Cavanaugh

(Yesterday I posted about the haibun form. I wrote this one for our church’s Lenten Devotional to accompany Psalm 80.)

Restore us, O God

make your face shine on us

that we may be saved

– Psalm 80:3

Scripture often compares us to grass, to flowers, to trees. We are plants of the field, of the garden, of the wilds – rambling, bristling roses; burning, flowering bushes; a host of succulents storing water in the driest deserts; swaying oasis palms flagging hidden sources of water; tumbleweeds that mark the sand and frame the next generation of climbing plants. We sprawl through the wilderness toward a land of streams, a land cleared of everything that doesn’t yield fruit.

Consider the vine

without fangs or teeth or arms

it survives nations

The strength of a vine is its tenacity in springing back, in adapting to the place it is planted. The terms of its survival are unconditioned – a mark of the people of the God who preserves and glories in faithful remnants. The vine’s response to being trampled is to renew its grip on the good earth, anchor itself with the buried tendrils, and keep growing. When cut back mercilessly, the broken bits form new shoots. The vine’s long stems are designed to break new ground and cover it, not to stand on their own. One lonely strand epitomizes the frail, but as a whole it establishes itself in heaps, disregards artificial limits, surmounts impediments, drapes itself lightly over inhospitable terrain, and clambers toward the sun at every opportunity.

Photo by CameliaTWU/ Creative Commons http://www.flickr.com/photos/cameliatwu/3992092192

 

 

 

 

 

 

 

 

 

 

Rooted in motion

Runners commit to earth and sky

Morning glory

Culling, Cultural Consumption, and the Myth of Eternal Boredom

I just happened upon “The Sad, Beautiful Fact That We’re All Going to Miss Almost Everything”  by Linda Holmes. It struck me as Lenten in tone, in the sense of learning to choose one good thing over another and learning to live in the balance of healthy grief and letting go.

It also fits with what I try to articulate in my book about approaching cultural goods and literacy as a Christian. I’ll pull in some significant quotes, but it’s worth reading here in its entirety.

there are really only two responses if you want to feel like you’re well-read, or well-versed in music, or whatever the case may be: culling and surrender.

Culling is the choosing you do for yourself. It’s the sorting of what’s worth your time and what’s not worth your time. It’s saying, “I deem Keeping Up With The Kardashians a poor use of my time, and therefore, I choose not to watch it.” It’s saying, “I read the last Jonathan Franzen book and fell asleep six times, so I’m not going to read this one.”

Surrender, on the other hand, is the realization that you do not have time for everything that would be worth the time you invested in it if you had the time, and that this fact doesn’t have to threaten your sense that you are well-read…. It is the recognition that well-read is not a destination; there is nowhere to get to, and if you assume there is somewhere to get to, you’d have to live a thousand years to even think about getting there, and by the time you got there, there would be a thousand years to catch up on.

I carry around with me distinct memories of conversations with wonderfully engaged people who decided Christianity was not for them because they deemed heaven boring. If it literally consists of throwing down a single crown then standing around forever in a white robe, I’d have to agree. I think we’ll be free to come and go from the throneroom. I think the new heaven and the new earth will include all the best of the current heaven and earth – anything made with lasting value. The nations will bring their treasures, and we’ll wander the stacks in the Library at Alexandria and the galleries of the Hermitage, hit homers at Wrigley Field, do a little restoration work then catch some improv at the Globe Theatre, kick back at a Chinese movie palace, have falafel with Tolstoy, and meditate in the stone garden of Ryoanji.

I could see Ryoanji becoming one of Augustine’s favorite thinking spots.

Best of all we’ll have the freedom and time to enjoy these places and artifacts in perfect relationship with others and to make more wonders together. And when they inspire us to the classic prayer “Wow,” we’ll know we’re heard and by Whom. Any time someone applauds our efforts, we’ll head back to the throneroom with that spiffy new crown, pausing to play pick-up games of frisbee with it along the way to give others credit where due, toss it in the pile, and sing a spell. The ancient Greeks envisioned a placid eternity without novelty. Jesus comes to make all things new.

What I’ve observed in recent years is that many people, in cultural conversations, are far more interested in culling than in surrender. And they want to cull as aggressively as they can. After all, you can eliminate a lot of discernment you’d otherwise have to apply to your choices of books if you say, “All genre fiction is trash.” You have just massively reduced your effective surrender load, because you’ve thrown out so much at once.

The same goes for throwing out foreign films, documentaries, classical music, fantasy novels, soap operas, humor, or westerns. I see people culling by category, broadly and aggressively: television is not important, popular fiction is not important, blockbuster movies are not important. Don’t talk about rap; it’s not important. Don’t talk about anyone famous; it isn’t important. And by the way, don’t tell me it is important, because that would mean I’m ignoring something important, and that’s … uncomfortable. That’s surrender.

It’s an effort, I think, to make the world smaller and easier to manage, to make the awareness of what we’re missing less painful.

This sort of aggressive culling heightens culture war tensions in the unspoken name of self-protection; we cannot categorically dismiss hip hop or sci-fi or romantic comedy without communicating categorical dismissal of those who identify culturally with the genre. Pretty much anything you can’t be bothered with has changed another person’s life, and the larger that mental category, the truer that statement becomes. This is why I believe that Christians need to learn this balance of being discriminating without being discriminatory. We follow a Savior who came to break down the dividing walls of Jew and Greek, male and female, and so on. Adopting this vocabulary of culling and surrender would be preferable to us slamming entire swaths of culture because we heard somewhere they fail to edify. We could claim our preferences for Pixar over Saw franchises as personal choice rather than holy writ and ascribe our inabilities to enter and understand the worlds of Persian poetry, Japanese anime, and Grey’s Anatomy to our limited human resources of time and attention rather than defensively portraying them as unworthy of them. We can make choices and lament our limitations without making the world artificially small and manageable.

If “well-read” means “not missing anything,” then nobody has a chance. If “well-read” means “making a genuine effort to explore thoughtfully,” then yes, we can all be well-read. But what we’ve seen is always going to be a very small cup dipped out of a very big ocean, and turning your back on the ocean to stare into the cup can’t change that.

We’re human. We are always missing relatively everything. Let’s not pretend otherwise. We can celebrate that there is so much to miss, enjoy what we’ve been given, and look forward to more.

Reading Aimee Bender

Los Angeles-based Aimee Bender’s brand of magical realism recalls the sun-baked darkness of classic noir in tone, but without all those other pesky conventions of the genre. In fact, her stories routinely ditch the pesky conventions and constraints of the rational altogether. She’s a fabulist dealing in truths that can only be told slant, using the surreal to heighten the visibility of the invisible emotional realities which so define our lives and ourselves.

Aimee Bender’s work begins and ends in story, so I recommend beginning and ending your reading with her short story collections to enjoy her storytelling in its purest form.

1.      The Girl in the Flammable Skirt – For Bender, form and story are inextricably linked. Hopping across genres and experimenting with structure allows her to tell a simple story with profound impact. Sometimes she braids together different styles within a single story; in “The Fugue” Bender interweaves the voices, the randomness and life-changing potential of every encounter to mimic the connections and disconnections inherent in human interaction. By dabbling in myth, fable, the fairy and folk tales, she deals with events which are mysterious, but not mystical. Magical objects (or objects rendered magical by the protagonists’ responses to them) arrive unbidden and without explanation, sometimes literally into their laps, forcing them to make what sense of them they can. Something as simple as a bowl comes to represent everything incomprehensible in the protagonist’s life. Bender depicts the visible power of invisible wounds and emotional deformities, like the young “Loser” who develops a superhuman ability to find things because he has lost so much, because he himself is lost. In “The Healer” the ice girl’s numbness and the fire girl’s longing for closeness and haplessness in hurting those she touches become physical conditions. “The Rememberer” chronicles the reverse evolution of a promising relationship which devolves until the lovers literally cannot communicate. The supernatural trope evinces the natural responses of bewilderment at the inexplicable loss of intimacy.

2.      Pick a novel, either novel. If you enjoy An Invisible Sign of My Own, you’ll appreciate The Particular Sadness of Lemon Cake. If you don’t enjoy the first one, skip dessert and pick up again with step three. In a short story you don’t miss the interior depth that Bender tends to project onto external objects or make physically manifest in her characters’ bodies, but many readers feel that keenly over the course of a novel. On the other hand, the fantastic elements are sufficiently diluted at that length that the novels might make better points of entry for readers who lack the stamina to suspend disbelief as often as a collection of Bender’s stories demands.

3.      Willful Creatures – Here we return to Bender’s forte. This second collection isn’t exactly darker than her first, but the sky is lower. Bender’s writing retains its sparkle, but it’s the reflection of broken mirrors more than the lascivious and mischievous glint in the narrator’s eye. There’s less whimsy and an utter lack of transcendence. Bender’s characters embody their own human frailties with no hint of divine image. The supernatural stands in for what is absent. Even when God appears in “Job’s Jobs”, he serves merely as a foil for the human protagonist, an omnipotent anti-muse. By reading this late in the game, though, we understand why Bender’s characters have no need for spiritual lives; their inward spiritual realities play out physically in their own bodies or in the objects around them.

If you’re hooked at this point Bender has apparently devised a ripped-from-the-fairytale-headlines quest for her true devotees. The Third Elevator has something to do with the nebulous offspring of a swan and a bluebird, looks to be beautifully illustrated and utterly charming, and is currently out-of-print and going for over $2 a page on the Amazon Marketplace. Lit Pub seems to be making a go of getting it back into circulation, but the course of fantastic inter-species avian love never did run smooth….

Epiphanies Part 2: …And Where It Settles

Click here for Part 1.

Epiphanies have to do with seeing, in the deepest sense. A spotlight comes on and shines on something that has been there all along and, as if for the first time, we truly see it. The work of the artist is to train one’s eyes to see and communicate it such a way that others see it as well, to witness and bear witness. Flannery O’Connor wrote, “Your beliefs will be the light by which you see, but they will not be what you see and they will not be a substitute for seeing.” We require light to see, which is why light is a primary metaphor for describing epiphanies: realizations come to light, connections are illuminated, and so on. Following Christ in the world depends heavily on having eyes to see and ears to hear. Artists have a particular calling to make what they see visible to others, but we are all called to live as witnesses – to see and hear and make what sense we can of God’s presence, action, and guidance – and to respond accordingly.

A quiet consensus has formed in this show – that the light by which we see enters through the cracks and crevices and that it settles, well, just about everywhere, really – everywhere we have trained our eyes to see and taken the time to look. Poet Mike McGeehon sees the light settling in the enforced pause of disparate souls at a stoplight.

In all of us here

in the 40-second meeting,

settling into our seats

for a moment together

where the intersection is.

– from “Where the Light Settles”

by Mike McGeehon

Photographer Leslie A. Zukor has a theophany by the natural light of the natural world

"The Burning Bush" by Leslie A. Zukor

“The Burning Bush” by Leslie A. Zukor

while Ron Simmons digitally enhances his photographs to reveal the prismatic refractions surrounding saints making visible all the colors hidden in the light itself.

"Apparitions" by Ron Simmons

“Apparitions” by Ron Simmons

Alison Peacock sees a heavenly father in the earthly. The young Seeker in my poem and in the beautiful collage Trisha Gilmore created for her knows God’s presence before she can articulate it in

the cheek-roughness… of this… tree I can’t name… but… I will someday

– from “Seeker” by Jenn Cavanaugh

in Mars Hill Review 22 (2003)

Autumn Kegley paints her revelling revelation of the joy-filled life. Karla Manus encounters such a life and sees her relatively comfortable, joyless self in stark relief. Elizabeth W. Noyes returns again and again to the return of the full moon in which she catches sight of “infinite possibilities for echoing what is poetic, magical, mysterious and whole in the human heart, and mine.”

In curating this show, I’ve recovered a season. Between the times in which we wait for God to come and prepare for God to act, we have been given a time to train our senses to recognizing God’s presence and present work among us. In the years to come, Epiphany will be for me a time to focus on seeing God in the world, recognizing Christ in others, and becoming more receptive to the connections the Spirit makes.

The Epiphanies group show will be open at Capitol Hill Presbyterian Church of Seattle until February 14th. You can call the church office to make an appointment to see it during a weekday, join us for a service: Sunday, 2/10 @ 9:45 am or Ash Wednesday, 2/13 @ 7 pm, or drop by during the Capitol Hill Arts Walk, 5-8 pm, 2/14. See our Facebook page for more information and pictures http://www.facebook.com/CapHillPresArts

Epiphanies Part I: How the Light Gets in…

About twice a year our church’s arts group plans a themed group show. We identify a theme that corresponds to an upcoming liturgical season or sermon series, send out a call for submissions, offer prizes so modest they hesitate to call themselves that, and work with what comes in. If you’re looking for a creative faith-building exercise, I recommend the practice.

Our current show is “Epiphanies,” in which eleven artists and poets reflect on those a-ha moments of connection, recognition, realization, and revelation. Now that it’s all put together, though, a secondary theme seems to be emerging: Cracks. The chorus of Leonard Cohen’s “Anthem” runs

Ring the bells that still can ring
Forget your perfect offering
There is a crack in everything
That’s how the light gets in.

For me this show has become about how the Light gets in and where it settles. Cohen’s chorus has long been a favorite of mine and our friend Matt Whitney alluded to it while he was installing his piece which uses the various textures of sidewalk cracks to form a received word.

"Clairvoyance" by Matthew Whitney

“Clairvoyance” by Matthew Whitney

Next to it we posted a poem of mine in which the tears and fissures that threaten our faith become themselves a source of hope.

                Miss Vera Speaks
They ask how she grin through that face with that life.
I say I’s never shielded from nothing
‘Cept dying young.

 

People deep bruised by something
Talk like the world should end.
Won’t catch me dying every day like that.

 

‘Cause I seen them once
Just once – the cracks in the universe –
Thought I’d fall right through.

 

‘Stead I laughed – said some kind of God
Put up with a tattered-old place as here
Gotta have some grace for me.
 –      Jenn Cavanaugh
(originally published in America Magazine in 2007)

When it comes to hanging these shows, we often find ourselves strategizing about how best to disguise the myriad holes, blemishes, and outright failings in sanctuary plaster. At the artist reception on Sunday I was joking about how the condition of the walls was starting to inform our artistic decisions overmuch, and a few of us got looking at this tableau:

Noyes Epiphanies Cracks

Photo by Elizabeth W. Noyes. “She Crawled Like You Out of the Wreckage” by Carrie Redway. “Swarm” by Robroy Chalmers. “Wall” by Church + Use + Time

This patch of wall we’re usually so anxious to conceal became part of this piece by Carrie Redway about the Fall and Eve’s anguished banishment from Eden and of the permanent installation by Robroy Chalmers that speaks to our congregation so eloquently and wordlessly of the Spirit’s movement in our midst. Our church building has been in continuous use since 1923. That wall has come by its imperfection honestly. Why hide it? Why not let it inform our artistic decisions?

More next week…