Doug Gay, a colleague who teaches Practical Theology at University of Glasgow, recently posted a citation on his Facebook page from Alastair Gray’s stunning 1981 novel Lanark that gave voice to much of what I been wrestling with for the past two weeks. For those not familiar with Lanark, it is reminiscent of James Joyce’s Portrait of the Artist as a Young Man and Ulysses with echoes of William Blake’s poetry, Lewis Carroll’s Alice through the Looking Glass, and George McDonald’s Lilith and splashes of Irvine Welch and David Foster Wallace. Like Joyce, Gray is tearing away the facade of society and looking deep beneath the images toward a deeper notion of what is really animating life. Like Joyce’s Dublin, Gray sets much of his wanderings in an unsympathetic repose of Glasgow in all its decay and longing. Rather than trying to universalize humanity in abstraction, he instead drives us to the particular, the intimate and the real. The central character in the first two books is named Lanark who akin to Joyce’s characters is a persona in constant transition. Lanark’s name changes to Thaw in the second two books for no explicit reason but this further goes to illustrate the liminality of identity. In this passage, Thaw ponders the lack of imagination for people in the city of Glasgow and the cost of this lack of imagination

“Glasgow is a magnificent city,” said McAlpin. “Why do we hardly ever notice that?”

“Because nobody imagines living here,” said Thaw. McAlpin lit a cigarette and said, “If you want to explain that I’ll certainly listen.”

“Then think of Florence, Paris, London, New York. Nobody visiting them for the first time is a stranger because he’s already visited them in painting, novels, history books and films. But if a city hasn’t been used by an artist not even the inhabitants live there imaginatively. what is Glasgow to most of us? A house, the place we work, a football park or a golf course, some pubs connecting streets. That’s all. No, I’m wrong, there’s also the cinema and library. And when our imagination needs exercise we use these to visit London, Paris, Rome under the Caesars, the American West at the turn of the century, anywhere but here and now. Imaginatively Glasgow exists as a music-hall song and a few bad novels. That’s all we’ve given to the world outside. It’s all we’ve given to ourselves.”

While I had visited Glasgow prior to moving there, I didn’t imagine life in Glasgow nor how I would reimagine the world because of that city and its people. Yes, I thought about my life in the university as a research student, serving in the Cathedral as an Assistant Minister, and relationships we would be establishing. But I never considered how this city with its poverty, its joy for living, its working class and upper class sitting side-by-side in the Tinderbox on Byers Rd. or singing the same songs at a Partick Thistle game would cause me to reimagine how I was to live, to serve, and even to believe. Over the six years we lived in Glasgow, my imagination shifted in ways both subtle and dramatic. Seismic shifts in how I saw faith, life and the resources I would draw from to make meaning in the world. Like Lanark’s Thaw, I only allowed myself to consider Glasgow as a parody of sorts – a place Belle and Sebastian made music, where AL Kennedy wrote her novels, and launching pad from which to see the Highlands and Islands of the Celtic twilight. What I didn’t take into account was that I would grow to see that much of what I learned was deeper than a renewed reason and was really a transformed heart. But this always comes with a cost and part of that cost was seeing and listening to the world in different ways, seeking out conversation partners that would not be valued (read: not authoritative) by some, and even dreaming of a world that was not the world of others.

This morning our church reflected on the stoning of Stephen in the book of Acts. In chapter 7 Stephen, one of seven deacons of the followers of Christ, is charged with sedition and treason (“We have heard Stephen speak words of blasphemy against Moses and against God” – Acts 6:11) and as such is sentenced to death before the Sanhedrin. Chapter 7 of Acts is Stephen’s grand sermon where he challenges the lack of theological imagination of those who consider themselves stewards and guardians of the faith. He rolls back time to recount from the very foundations of the faith that there is an expansiveness and wideness to God’s working in the world that is now ushering in a new way and depth that not only continues on all the God has been doing, but will increase it even further to the very ends of the earth. Stephen is so passionate about this vision he has that he essentially turns to the so-called guardians of the tradition and utters these words:

“You stiff-necked people, with uncircumcised hearts and ears! You are just like your fathers: You always resist the Holy Spirit! Was there ever a prophet your fathers did not persecute? They even killed those who predicted the coming of the Righteous One. And now you have betrayed and murdered him – you who have received the law that was put into effect through angels but have not obeyed it.” – Acts 7: 51 – 53

With this Stephen is put to death with stones emblematic of the cold, hard, unchanging and unbending hearts that surrounded this first martyr of the renewal movement now called the Church.

I find a lot of commonality in Stephen and Thaw and will admit that after the past few weeks wondering whether we live in a world where renewal and change will ever come to the venerated institutions that guide and manage our public discourse, our view of the Good, our vision for humanity and even the so-called orthodoxy as to what passes as true faith and right belief. I wonder with Thaw if all that we sometimes truly offer the world around us is more of the ‘same’ – the repeated refrain of old sayings that are safe and don’t cause mischief, the repose of the theologically rigorous yet little of the prophetically bold, the caution of partial activism that only serves to justify my life yet offers little enduring justice for others, and an economy of sacrifice that is measured carefully and with restraint and therefore costs me so little as to seem like a fad rather than faith. And yet here is Stephen, pounding out the faith story to the point of death and taking no prisoners along the way. Here is Stephen, caring so much for the future to be realized in the now that he will stand at the gates of power and no longer be silent. Here is Stephen, not even an apostle of the Church and merely a deacon, willing to engage the collected powerful and remind them that faith is only seen in what we release from our grasp and not in what we guard and protect at all costs.

There are times when people need to reach ever deeper into their hearts and ask with all sincerity whether the world is truly that which they ultimately desire and for those that we call our neighbors.

Is this all – as Alastair Gray’s Thaw muses in relation to Glasgow – that we offer the world and ultimately all we offer ourselves? Are we so tied to the way things have been that we cannot hear the worlds of prophesy when they knock on our door and preach to us truth?



Where were you on September 11th, 2001?

As for me, I was nine hours ahead of my family and friends in Seattle as I was finishing a day of work.  Sitting in my office in the Divinity faculty at the University of Glasgow, I received a phone call from Diana saying that “something was happening in New York” and that I should log onto the computer.  An hour later I was in my flat watching the unfolding of this decade’s most defining few hours.  Nine years later and the aftershocks of 9/11 are still with us.  Few events have globally shifted culture in the last hundred years like this and popular music has certainly been re-framed by it.  As one could expect, pop music took up the events and aftershocks of 9/11 and painted both with the broad strokes of a Monet and the pointillism of a Pollock by pouring energy and space for contemplation into the violence, the patriotism, the wars and rumors of wars.  Perhaps even more so than other art forms seeking to make sense of this apocalyptic moment where what we understand the world to be was shattered before the eyes of millions, pop music in all its immediacy, its primacy of emotion, its desire to communicate quickly and resolutely in a matter of minutes, and its disposable nature and willingness to be discarded for the next 4 minutes vocal exclamation and pounding beat was THE form that has framed what 9/11 was and is for a generation.  Sure, the scholarly monographs are being written with its the critical analysis giving arguments for the why and how of such an event and this too will have some effect on how generations will seek to understand those events.  But it was the pop song that showed up first and they are the artifacts that show we people were not only thinking… but feeling.

To this end, compiling a list of top albums for this first decade of the new millennium is impossible without seeing pop music through the dust clouds, death, and wreckage of those events on September 11th.  Everything that followed those days has some symbiotic relationship to the attack on the World Trade Center, the Pentagon, the wars in Iraq and Afghanistan, the pursuit, capture, and execution of Saddam Hussein, and the reality that all of this is far from being ‘over’.

One last thing to mention is Columbine. On April 20th, 1999 Columbine High School was assailed not by terrorists from another country but from ‘within’ as two teenage American boys entered a public high school in Colorado with semi-automatic weapons injuring 21 people, killing 12 students and 1 teacher.  America entered the decade haunted by the reality that all was indeed not well in our land and the fear and anxiety of losing our children in a place that is supposed to be safe – a school of all places – meant that nowhere was safe.  Layering this on top of 9/11 made the decade one marked as fearful both within our borders and from without.

So in picking ten albums for the past decade that have marked out a path for pop music and pop culture, it is with the ever-present reality of Columbine and 9/11 that I listened to these albums and think they offer a representative taste of the decade in its anxiety, its disappointments, as well as its hopes and glory.  I haven’t listed them in any hierarchal order in part because I honestly can’t put one over the other (with the exception of my top album which is the last entry at the bottom… by the way… spoiler alert… it isn’t Kayne, Arcade Fire, or Taylor Swift… so don’t hold your breath for one of those) so I offer the list as a whole as they have become in my remembrances  – they are a ‘shuffle’ play of the decade that saw so much pain, such loss, and many surprises and new beginnings that showed that life isn’t done with us yet.

Once – Music to the Motion Picture Soundtrack

Small things change the world in more ways than we realize.  My decade began with starting my first faculty post, Diana starting her PhD program, and my first daughter being born.  To say that so-called little things don’t have big impact hasn’t held a newborn infant and realized that the world just shifted under the weight of it all.  The indie film “Once” was a small thing that brought big changes as well.  Here was a small film set in Dublin where the primary characters were fairly depressed, sad people and nothing sizable happens in comparison to the global turmoil that surrounded its release in 2007 as the war in Iraq continued on.  Yet here was a simple little story – Glen Hansard (lead singer of the Frames) played a lost soul busking on the streets of Dublin amidst the heartbreak of lost love and meets Marketa Irglova, another lost soul selling roses in the street who is in a difficult marriage yet yearns for something more for herself and her young daughter.  In releasing the film, the trailer pushes you to believe that this is a love story between these two and yet the true story (like love itself) is so much bigger and courageous than that.  The song “Falling Slowly” won the Best Song Oscar and the scene in the movie of the two sitting in a music store working on the song is heart warming in ways only a Wesleyan conversion experience can describe.   What the album achieves is a simple, deep collection of songs about love lost and found, about a desire to love in a world so damaged that it doesn’t know where to begin, and about the power of creating art as a way through the madness of a world at war with itself.

Radiohead – In Rainbows

We all thought that the tipping point for music distribution was going to come with MySpace – the idea that the grand democracy of the web would allow artists to break free from the record labels and get to the audience directly thereby cutting out the middle man and making music affordable again.  It never happened.  But what did happen in the past decade was a band offering up one of the best albums of their amazing career for… well… whatever you wanted to pay for it.  On October 10th, 2007 amidst a number of email blasts, a simple website offered Radiohead’s latest album – not a single or three song EP mind you, but a complete album – for whatever you could (or were willing to) pay for it.  But this wasn’t the surprising thing.  What was most surprising was that In Rainbows wasn’t some cast-off collection of B-sides thrown together for a publicity stunt – this was (and is) a stunningly great album.  The record industry was knocked silent for a bit waiting to see what would happen next – would Radiohead lose money? Would fans demand this model?  Well, Radiohead moved a lot of copies… and eventually sold a lot of physical CDs as well and the fans embraced Radiohead even tighter.  Whether people will hold up In Rainbows as a great album on it own remains to be seen, but coupled with the breakthrough of showing that great music can get out to people, can make a profit, and doesn’t have to be stolen (read: burning someone else’s copy or using Bitorrent)


Ryan Adams – Heartbreaker

There was a world before 9/11 and in many ways Ryan Adams’ debut solo album is the bridge from that world and the world we have now inherited.  At the turn of the millennium Ryan Adams was quite possibily one of the truly coolest guys in music. Only 26 years old at the time, he was the voice and primary songwriting talent behind the alt-country band Whiskeytown which along with seminal alt-country bands such as Uncle Tupelo and Wilco help to usher in a revival of the Gram Parsons legacy of the ‘cosmic cowboy’ vibe for a new generation.  Overly confident, musically gifted, charisma to burn as he blended punk and country and Hollywood stardom into a New Yorker ‘look at me, I’m the center of the earth’ presona – Ryan Adams was simply something to behold in concert.  The album begins with an argument between himself and David Rawlings (partner of Gillian Welch – see the discussion of Time (The Revelator) below) about Morrissey’s song ‘Suedehead’ and then leads into the barn burner opener “To Be Young (Is To Be Sad, Is To Be High)”.  This crash of genres – moving deftly from Morrissey to this alt-country hard core twang opener speaks to the mash up of genres that feel so at home for Ryan Adams such as the story that he named the album while in the studio and saw a poster of Mariah Carey who was wearing a T-Shirt that had the word “Heartbreaker” on it.  Yet with all this arrogance and swagger, Heartbreaker is exactly what it’s title states – a real album of heartbreak.  Songs like “(Oh My) Sweet Carolina” and “Come Pick Me Up” are simply stunning in their lyricism and depth with the latter song being one of the best break up songs written… ever.  To hear some of these songs is to be astounded that they came out of this swaggering, mouthy 26 year old punk who just liked being a rock star.  In many ways I don’t know how he pulled it off as the subsequent albums over the decade just haven’t touched what this album did.  But at least lightening struck this boy when it did.  A great album for long haul driving and watching the sun set in the horizon.  Pitchfork put “Come Pick Me Up” as one of its top 500 songs and it certainly deserves to be on that list.

Tom Waits – Orphans: Brawlers, Bawlers, and Bastards

Perhaps it isn’t fair to put a collection of B-sides, unreleased tracks, and music for soundtracks and consider it a worth album for this list.  Perhaps.  But this is Tom Waits and Tom Waits’ garage is freakin’ gold.  Released as a 3 CD set thematically organized around the themes of ‘brawlers’, ‘bawlers’, and ‘bastards’, it is a testimony to Tom Waits’ gift as a songwriter and performer that all these supposed throwaway tracks are stunning in their own right.  As a song that embodies the zeitgeist of the decade, go buy ‘Road to Peace’ and put it on constant rotation.

U2 – All That You Can’t Leave Behind

U2 released three strong albums this past decade, but they started the decade in 2000 with one of their most integrative efforts to date.  All That You Can’t Leave Behind hit the streets in October of 2000 and launched what Bono said in a number of interviews as their “campaign to reapply for the title of ‘best band of the world'”. The album took the best of the bands’ twenty  year history and distilled it down into a series of songs that are both classic and yet move the band confidently into the 21st century.  The political power of “Walk On”, the idealism of “Beautiful Day”, the stadium punch of “Elevation” and others blend into a truly potent album and still sounds fresh.  What is astounding is that although these tracks were written prior to the events of 9/11, they were the very songs that many people found solace and hope within during the chaos and discouragement of the next few years. Is it a stretch to say that U2 is prophetic?  Not for this fan.  Just seeing their 9/11 tribute performance where they blend “Peace On Earth” with “Walk On” as if they wrote it for that night is a wonder to behold.

The National – High Violet

For those of you who followed my top ten of 2010, you will recognize The National and their amazing 2010 release as my top pick of the year. As such, it bears repeating that The National really came into their own in the latter part of the decade and while some would place their earlier release – The Boxer – higher, I will stand with High Violet.   As I mentioned in my previous post, Matt Berninger who is the lead singer of The National, has a voice and writes songs that get compared to a lot of other artists –  Leonard Cohen, Bruce Springsteen, and Tom Waits to name a few. What I have yet to hear is the comparison to artists found on John Hughes movie soundtracks.  Take just about every cut on the Some Kind of Wonderful soundtrack could be covered by The National and I would venture to guess that Berninger spent a good portion of his adolescence with many of the misfits that populate the Hughes teen film canon.  As demonstrated in their last release The Boxer and this years High Violet, The National is a band concerned with coming-of-age

On High Violet, you could also argue that the effect of Tim LeHay’s Left Behind series and millennial fever is part of the back story given the apocalyptic images of floods, bee swarms, and even brain-eating zombies.  In this way the album is truly a product of this 9/11 haunted decade.   Most of what this conjures up for the listener though is the strange effect loving something more than yourself means in a world that is falling apart at every turn.  Given that Matt Berninger became a father during the recording of High Violet speaks to this anxiety of now having to provide and protect a life other than your own.  to express the fear of a man who now must put a wife and young child ahead of himself.  “Afraid Of Everyone” is what encapsulates this anxiety to perfection.  As Berninger sings of being afraid ‘of everyone’ you honestly believe him.  And yet the movement of the album doesn’t live in the paranoia of Radiohead nor the burn-the- world-down-and-start-again anthem that is found in Nine Inch Nails.  No, with songs like “England” and “Bloodbuzz Ohio” The National sing of being fearful for others and the love that breaks their heart over and over and over again.  In short, it is just a stunning album filled with complexity, brooding, wonder and at times quick wit and one of the lasting releases that I can imagine playing again and again.


The White Stripes –  Elephant

Here is a serious question: where would popular music be right now without Jack White?  I am glad I don’t have to answer that question for a number of reasons, but three readily come to mind: (1) resurrecting the career of country singer Loretta Lynn by producing her album Van Lear Rose which simply buries most country albums and puts some serious post-punk energy into her already storied and passionate gifts as the Queen of Country Music, (2) proving that there were other things going on in Detroit other than Motown, and (3) giving the world the challenge to rip open the studied, boring, factory slickness of the studio album and bring it back to its rawness and immediacy – if it ain’t fresh… don’t bother listening.  Like a freakish mutation of The Carpenters from the sweet innocent 70’s, Jack and Meg White took the weird, creepy ‘brother/sister’ act to a whole new level.  Take The White Stripes’ album Elephant and the now ubiquitous sounding “Seven Nation Army”.  While there are haters and imitators alike, the needed push that The White Stripes offered the decade was a gift.  In the end, throw the sound board in the pickin’ river and rip up the stage with your guitar and a drum kit.  Elephant sounds like something that Robert Plant only dreamed of but isn’t capable of imagining himself into these days (granted, I like the whole T-Bone/ Alison Krauss move… ) It is both a nightmare and dream but one that we are still not ready to wake up from.  Where Ryan Adams’ “Come Pick Me Up” is my vote for the ultimate break-up song for the decade, Elephant gets my vote for the album that gets played once you are fed up and ready to pound your fists against the wall.  I don’t know if that is a category… but it worked for me many, many times.

Over the Rhine – Drunkard’s Prayer

Marriage is not an easy thing and anybody who tells you different has watched too many Disney films.  Having a marriage survive beyond the first few years these days is something of a miracle and being able to put a song together (let alone an entire album) that gets the pathos and joy of this wild, strange endeavor of intimacy is truly rare.  Karin Berquist and Linford Detweiler – the songwriting duo and core of Over The Rhine – have put out some astounding albums over the twenty years that they have been a band, but the angels and demons that they wrestled to the ground in the midst of a marriage that teetered on the brink of oblivion is a wonder and is a gift for the ages.  Drunkard’s Prayer is a love letter written in blood, sweat and tears of real love put to the test and facing the darkness before any hope of a dawn.  It is a simple, painful, truly drunken romp through a love gone dead and lifeless and two lovers being asked to identify the corpse that was their life.  It is an album I want to give to couples on their 10th anniversary, and their 20th, and for every decade after.  Like the good wine that was drunk in times of joy and sorrow… it is an album that truly gets better with age.

Gillian Welch – Time (The Revelator)

In a decade that seemed to have lost all its innocence, there was certainly a turning back the clock with the move of alt.country acts like Old Crow Medicine Show, Whiskeytown, Jeff Tweedy, and Wilco to name a few who rose in stature during this decade.  Probably nothing launched this movement though quite like The Coen Brothers brilliant film O Brother Where Art Thou released in 2000 but gained a strong cult following once it was released in DVD following the 9/11 attacks.  The soundtrack was a bluegrass tour de force produced by T-Bone Burnett to great acclaim and introducing the world to Gillian Welch.  Gillian Welch, an orphan born in New York City and moved to Los Angeles at the age of three with her adopted parents, isn’t the person most people would pick as the legacy bearer for bluegrass.  But like a pastoral vocation, one doesn’t choose their calling… its chooses them.  Having bummed around University of California, Santa Cruz as a bass player in punk bands, it was when she heard bluegrass and Patsy Cline era country that all the lights went on.  Her albums take time seriously and if you are not patient, then she is not someone you will enjoy because akin to public transit to can’t rush it and it will come to you when it is good and ready.  But Gillian Welch and her partner David Rawlings (my vote for the best guitarist of the decade next to Mark Knopfler) create a space that is deep yet won’t drown you.  Every time I have seen them live (four times now) I have come away feeling like I wanted to be a better person… few musicians do that.  Her last album – Soul Journey – came out in 2003 and she is way overdue for another release so lets pray that we get sometime to start the new decade with.  But of her releases this past decade, it is Time (the Revelator) that truly stands as a masterwork.  Joyous and cautious at the same time, it is an album that takes stock of what is precious and worth loving and holds it before with gentleness and grace.  While her previous releases dealt with the internal canvas of a person struggling with being an orphan and the poverty that infects our past both spiritual and economically, Time paints a much larger picture by taking on what it means to be an American in a world that after 9/11 seems so strange.  Drawing on such diverse themes as the sinking of the Titantic, Elvis, Abraham Lincoln and the endlessness of time itself, Time is truly the central character in this album and the one figure for Welch that has the perspective to render our momentary frustrations and longings in a context worthy of souls created by God.  The ending track “I Dream A Highway” is a universe in miniture: a 15 minute testimony to the movement of time and the grace that will carry us through this life and beyond.  This song alone makes Time (The Revelator) worthy of this spot in a top ten list, but the album is strong as steel and worth a listen.  

The video below is from an amazing performance in 2004 that Welch and Rawlings performed as part of a BBC in-studio.  In this great venue of a church, you get a nice taste of this magical duo and especially Rawlings amazing guitar work:


Sufjan Stevens – Illinois (Come on feel the)

I have to admit feeling like a hipster wannabee putting Sufjan Stevens at the top of my decade list and I went an entire day trying to figure out a way to take him off the list entirely.  There is now such a backlash against the Sufjan cult that I just want to run way from all the skinny jeans, blogging, emo, self-reflective indie cool of it.  But standing in the rain scrolling through my iPod I kept coming back to Illnois and the wonder of it all.  Spin magazine had anointed Sufjan with the appropriate title of “Elliott Smith after ten years of Sunday school” and perhaps this is the best way to think of him – a mash up of Smith and sanctification peppered with pathos yet dripping with the sublime.   His vision of art has been something of seeking beyond the art itself and Illinois captures this madness at its true blinding reality.  In an interview in the Grand Rapids Press, Stevens spoke of art in this way:

“Art is … a reflection of a greater divine creation. There really is no separation…There’s a fullness of being in the world that takes into consideration the supernatural and the natural, and everything we do and say is evoking and expressing eternal things without even knowing it.”

One of the things I have loved about the career of Sufjan Stevens has been his unwillingness to be pulled into the CCM orbit nor to seek so far into despair as to abandon the very thing that gives life to his art – namely his appreciatation for wonder and mystery in the face of God.  As he notes in an interview in Pitchfork around the time of the release of Seven Swans:

“I do have to reckon with the material I’m singing about. And I want to be responsible for what I’m singing about. But I can’t be responsible for an entire culture, or an entire church. I can’t be responsible for Christendom. I think that when people react reflexively to material that is religious, they’re reacting to the culture of religion. And I think an enlightened person is capable, on some level, of making the distinction between the institution of the culture and the culture itself.”

Sufjan Stevens inhabits a strange sub-genre of “good musician artists” who happen to be Christians: (David ‘curse those branches for dropping me” Bazan, Danielson, Rosie Thomas, Ester Drang, and Half Handed Cloud among others) – as opposed to so-called “Christian artists” found only in Christian bookstores. They are different because they are subversive Christian musicians. They do not directly evangelize and they barely even mention the name Jesus. They are not under pressure to convert any souls through their music, only pressure to make good art.

Sufjan signed with Asthmatic Kitty, a small label in Holland, Michigan near Hope College where he attended.  After releasing Michigan he went headfirst into his Anglicanism with Seven Swans which began his journey of flexing his “I’m brooding, I’m happy, I’m brooding, I’m happy” style that flew Icarus-like towards the Holy of Holies in one instant and then fell into the arms of a lover the next – melted wings and all.

Seven Swans is a quiet, intimate work, wholly concerned with Stevens’ relationship with God. The ‘Seven Swans’ of the title represent the gifts of the Seven Sacraments of the Holy Spirit, willing to persist in the face of the mystery of God and fully engaged with the world through art and liturgy. Stevens writes as a believer not willing to accept the easy answers, as one who knows the failures of sin, the silence of God and the complications of belief. The work often has the tone of a Lamentation or a Psalm.

Oh the glory that the lord has made /And the complications you could do without /When I kissed you on the mouth/

Tuesday night at the bible study /We lift our hands and pray over your body /But nothing ever happens/Oh the glory that the lord has made /And the complications when I see his face /In the morning in the window /Oh the glory when he took our place /But he took my shoulders and he shook my face /And he takes and he takes and he takes

—“Casimir Pulaski Day”

And in my best behavior /I am really just like him /Look beneath the floorboards /For the secrets I have hid

—“John Wayne Gacy, Jr. ”

“In the Tower above the earth there is a view that reaches far/Where we cede the universe/I see the fire, I see the end/Seven miles above the earth, there is Emmanuel of Mothers/With His sword, with His robe, He comes dividing man from brothers.”—from the Revelation themed “The Seer’s Tower”

As an Episcopalian who is a bit embarrassed by the institutionalization and commodification of most church culture, Stevens stands in line with artists like Dorothy Sayers and Flannery O’Conner, who considered excellence at their craft the primary discipline of a Christian. One gets the impression that Stevens doesn’t want to be a mouthpiece or a preacher, but rather that he wants to be someone who lives and looks for God in the doubts, the stories and the musical movements of the Spirit.

I have mentioned to some that I have not taken to The Age of Adz yet – his latest release that frankly confuses me more than anything.  Being a hater of a Sufjan Stevens project is a dangerous game in some circles (those skinny jeans folks will bludgeon you with their messenger bags, chuck copies of The Believer at you, dump a cold Americano on your laptop and cut off your wifi just to add insult to injury) but I am risking vulnerability and ignorance in hopes of finding something redemptive in it since I think that of the artists this decade, Sufjan Stevens provides one of the clearest blueprints for what true artists should be engaged in – art that matters and transcends the rubble of this age and hopefully leaving us with a smile that is only joy when shared with others and we seek for justice and reconciliation.

So… that’s it for the list.  So many that should be here and are not.

What do you think?

Where did I hit and where did I miss for you?


Due to my mad schedule of late with too many meetings, writing deadlines and seemingly endless crises to deal with, I haven’t been able to sleep well and finding myself needing to get up and work.  As such, I am reliving the days of having an infant in the house where waking up every hour leaves you in a state where lack of sleep renders the line between dream, nightmare and waking pretty dang blurry.  This is the space of liminality – a place between places as the conscious and unconscious crash together like waves in a storm without a shoreline to settle the feud. One of the great thinkers – if not THE greatest thinker – on the topic of this liminality of conscious and unconscious is Sigmund Freud.

In a letter dated September 21, 1897, we have one of the most famous letters of Sigmund Freud written to his friend Fliess.  Here we read an example of Freud’s notion of a dreamscape in this account:

I received a communication from the town council of my birthplace concerning the fees due for someone’s maintenance in the hospital in the year 1851, which had been necessitated by an attack he had had in my house. I was amused by this since, in the first place, I was not yet alive in 1851 and, in the second place, my father, to whom it might have related, was already dead. I went to him in the next room, where he was lying in his bed, and told him about it. To my surprise, he recollected that in 1851 he had once got drunk and had had to be locked up or detained. It was at a time at which he had been working for the firm of T____.’ So you used to drink as well?’ I asked; ‘did you get married soon after that?’ I calculated that, of course, I was born in1856, which seemed to be the year which immediately followed the year in question. (Freud, Interpretation of Dreams, 1900: 436).

Now this dream appears in chapter 5 of The Interpretation of Dreams; where it is a part of a collection of dreams that Freud labels “absurd” dreams – dreams that negate fact – in this case the possibility of carrying on a conversation with one’s deceased male parent. A set of dreams that, as are often true of the sets of dreams that Freud presents in The Interpretation of Dreams, need to be read as a whole. They all concern fathers and the issue of a father’s death, and there’s at least a strong possibility that one of the other dreams which is not presented as a dream Freud’s own, may in fact be so.

Freud offers here a dream in which a ghost speaks, a type of dream he cites repeatedly. These dreams – all concerned with murderous sibling rivalry and/or the father’s downfall – share unconscious contents making their interpretations mutually relevant. Curiously enough, given this rich body of content and its reference to fathers and so on, the place at which Freud decides to take up the meaning of this dream is the number “five.” The exciting cause of the dream, Freud said – the “day-residue,” in his jargon – was his reaction to having heard the night before he had the dream that “a senior colleague of mine whose judgment was regarded as beyond criticism had given voice to disapproval and surprise that the fact that the psychoanalytic treatment of one of my patients had already entered its fifth year.”

At this point Freud begins to welcome the seemingly random and often bizarre as building blocks of our conscious life – fiction and imagination are welcomed players as much (at times even more so) than systematic facts. In short, Freud is welcoming the consult of Oedipus and Hamlet and the interpretation of art and literature into the supposed pure scientific realm. He is now less caught up in narrow, crass desires like solving the patient’s problems in a systematic manner, and instead he opens up the exploration of a new kind of relationship.

Freud’s The Interpretation of Dreams could be argued, as some have done, as being the first modern autobiography.  But an autobiography that is willing to blur the lines of fact and fiction – for maybe we need *both* in order to make any sense of life in the end.

When you read through The Interpretation of Dreams, you do not encounter a systematic and orthodox psychoanalytic text nor can you argue that the work represents a scientific document. The title itself is misleading in that throughout the entire work there is not a single fully interpreted dream. In a similar fashion to watching television where people surf in and out of programming when the action just gets going, all the interesting interpretations break off when they’re starting to get good, only to emerge a hundred pages later to be cross-referenced with another dream. This is certainly not a systematic treatise in any way.   Rather The Interpretation of Dreams is the recounting of the process by which Freud achieves his uniqueness as Freud, the creation of a persona and the creation of a process of writing life at its unconscious and conscious levels at once.  This process is ultimately a process that has something to do with Freud’s own neurosis after the death of his father. Furthermore, the dream work allows him to recapture powerful memories of his own past and to do something with them that, aside from rendering them less troubling, makes literature of them, allows him to speak in a powerful way of the things that really concern him: family romance, mythic history, fantasy.

There is always the question even after a century of reading and re-reading The Interpretation of Dreams whether the products of Freud’s mature genius belong with Science or with Art, with fact or with fiction but the subtle reading of psychodynamics which begins with The Interpretation of Dreams continues to provide the hermeneutic or interpretive ground for much of modern thought. The implications of his changed thinking about traumatic etiology point toward a recurrent issue in the dream book – personality structure is not so much discovered as created by analysis and the prototypical analysis is of the self as something known as much by construction as deconstruction. Looking back at his own history, while Freud had several models to display his views on the true nature of the human subject, it is in the form of the dream that Freud finds the paradigmatic vehicle for interpretation, as each image leads to others, stratified by epochal moments of emotional growth.

Is this not something to take on board as we consider how theology is construed in relation to how people live their fractured and seemingly disconnected lives?  When a life is put under systematic rigidity and asked to conform, we rarely (if ever) can succeed with any integrity.  However, the mash-up of selfhood that Freud offers: life as the stuff dreams are made of, blending and swirling in and out of consciousness and build upon fantasy, fiction, imagination and wonder as much as certainty, linear progression and will power.  Perhaps it is no accident that the Bible calls us back to dream time and time again – whether Joesph is interpreting dreams for the salvation of his people or whether the mark of the Church in Acts 2 is a place where, akin to the prophet Joel, dreams will be in tandem with visions for a new life and people.  Perhaps we are in an age seeking a ‘dream theology’ after all… a rendering of God and the implications of the Divine framed not by conscious reason but by the not-quite-waking wonder of dreams within dreams that grow and deepen beyond the limits of our wakeful reason.  To dream anew, to bear dreams of the future and live them into today… this is the task at hand.

Perhaps we do need to read Freud with our Barth… and our Margaret Wise Brown…

Goodnight nobody… goodnight mush… goodnight to the old lady whispering “hush”…

Numerous scholars of the Abrahamic religions have called Christianity, Judaism and Islam “religions of the book” in reference to the central role that the sacred text plays in each tradition and all three sharing similar narratives albeit interpreted theologically in differing ways.  As someone who studies and inhabits the Christian tradition, I would be a called a ‘person of the book’ as well.  The collected 66 books that constitute the Christian scriptures – representative texts that inhabit the Hebrew scriptures coupled with the New Testament corpus – are the ‘norming norm’ of the Christian faith and while there is a quite a large span within the big tent of Christianity reaching from those who hold the texts to be inerrant (wholly and complete as holy inspired and therefore without error) to those who espouse the texts as authoritative as inspired texts yet still formed with human agency to those who see them along other ‘weltliteratur‘: a text among others containing moral values and historical heft yet ultimately a product from within human cultural history.  Therefore ranging from fundamentalist frenzy to merely supplemental reading in a Great Books curriculum, the Bible continues to be one of the most influential (if not THE most influential) book in human history.   The role that the Bible plays in the forward movement and sustaining center point of human history have been discussed as the main concern in two recent films – The Book of Eli and The Secret of Kells.  While there a number of stark differences between these films (one is a fairly standard post- apocalyptic action film made for the multiplex while the other is an indie Oscar nominated animated short film looking back to the age of the illuminated manuscript that had limited release in art houses), what unites these films though is a deep sense that without ‘the Book’ – this text that is somehow imbued with Divine initiative and unique in all the world – civilization as we know it will fall into darkness and akin to WB Yeats’ The Second Coming we will fall into a spinning apocalypse beyond human control:

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

In The Secret of Kells, the tale is woven around the monastic community of Kells in Ireland and the production in the 9th century of an illuminated manuscript of the synoptic Gospels.  The story is told through the eyes of young Brendan, an orphan living within this monastic community who is introduced to Aidan of Iona, an elderly monk who is said to be the greatest illuminator of texts in all of Christendom.  Brendan’s uncle is the abbot of this monastic order and fears that their community will be overtaken by ‘Northmen’ – Viking invaders that have been savaging the lands throughout Scotland and Ireland and thrusting the world into anti-intellectualism and darkness – as well as pagans who continue to hold to folk religion.   In order to protect the monastic community, the Abbot erects large walls to cloister the community and seal it off from both Northmen invaders and the pagan outsiders.  Ultimately, the tale shows the tension between which future will be best – choosing to build bigger and better walls to protect a way of life from everything that is different or to journey into the pagan lands, to listen and experience what the world has to say in all its hopes, its loves, its dangers and its fears and allow art to speak into all these places as a dialog of hope and grace.  It becomes clear that the illuminated Gospels will never be completed unless it is taken outside the walls that cloister and ‘protect’ it for only in the pagan realm are there the materials and inspiration to truly make the text a thing of light or a deeply ‘illuminated’ work.  It is this journey of choice between creating stronger walls or finding the light of the world that already dwells ‘in’ the world with which the sacred text can be read by that the movie moves the viewer to choose for themselves.

The Book of Eli is in many ways a much simpler film – a ham-handed morality tale told through video game violence in order to keep a violence-saturated multi-plex audience attentive for the full two hours.

Yet that would be too harsh a judgement as the film is actually better and asking bigger questions than it perhaps even realizes.  Akin to The Secret of Kells, The Book of Eli has as its central concern the fate of civilization that while not the dark ages (saeculum obscurum) arising after the fall of the Roman empire but post-apocalyptic dark age that has haunted the imaginations of Western culture from filmic visions such as Ridley Scott’s Bladerunner and George Miller’s The Road Warrior to the contemporary literary visions cast by Jim Crace’s The Pesthouse and Cormac McCarthy’s The Road.  As with the exhaustion of virtues and morality that cast the world into darkness in The Secret of Kells, the ravages of the nuclear option burn through the aesthetics of The Hughes Brothers film with Denzel Washington fending off simple-minded madmen with a machete, amazing martial arts skills for a guy walking for 30 years and sweet Oakley sunglasses to boot.   Behind the goofiness though is the haunting question of what will bring civilization back from oblivion and offer a center point around which human flourishing can prosper.  The answer seems to rely upon the same book albeit in a decidedly different form than the illuminated Gospels of Kells (you will have to see The Book of Eli to find out just how different… I won’t spoil it for you).  As the sinister character Carnegie (played to maximum scene-chewing pitch by Gary Oldman) makes clear when trying to get the Book from Denzel Washington’s Eli, what is seen as salvation to some is also power and domination to others:

[it is] a weapon aimed right at the hearts and minds of the weak and the desperate. It will give us control of them. If we want to rule more than one small, f$%^&’ town, we have to have it. People will come from all over, they’ll do exactly what I tell ’em if the words are from the book. It’s happened before and it’ll happen again. All we need is that book

After watching both films, I was taken that in both cases there is still this haunting sense that this book as ‘the Book’ is still thought of as having such power and the ability to making society or destroy it.  Is this really the case in an age when every motel has a Gideon bible that is as ubiquitous as the free shampoos and conditioners?  Many people speak of the post-Christian age – a time that has long since seen this book as ‘the Book’ lose its luster and hold on the hearts and minds of thoughtful people.  Is this truly something that people, if they would but read it, find the center and still point in this ever twisting chaotic world or is it merely the stuff of film?

What do you think?  Are St. Augustine’s words ‘take up and read’ enough?

In my new book – Freedom of the Self: Kenosis, Cultural Identity and Mission at the Crossroads – I outline an argument to move away from the posture of consumerism and into what I call “the Kenotic Self” based on Philippians 2:5-11.  In the book I track the forgotten path of the Kenotic self in philosophy dating back to Aristotle and Augustine through to Derrida, Levinas and Jean-Luc Marion and theologians such as Karl Barth, Dietrich Bonhoeffer and Graham Ward.  In light of this move toward the Kenotic self for 2010, here are 5 things to consider for ‘twenty-ten’ and 5 questions to ask yourself in making economic decisions in the new year drawn from the latter half of the book where I spell out the lifestyle choices of the Kenotic self:

1. God owns all things. As we hear in Ps 24: 11 and Job 41:11, the notion of personal and corporate ownership is an illusion. We have a lease relationship with this life. The fact that people in the U.S. speak of “owning” a home when the truth of the matter is that a vast majority of so-called “home owners” are tenants in a residence “owned” by a mortgage company or bank shows how far we have come as a culture into the illusion that “debt” can be equated with “ownership.” This mentality has seeped into the marrow of our understanding of God’s ownership of creation and all that dwells in it. Regardless of stance on free will and human ethical agency, it is central to the Christian story that God is the not only the sustainer of creation, but the owner as well. We are “stewards” of the garden, not owners. As John Taylor points out in his book Enough is Enough: “Only in his unbroken awareness of God is man’s technological mastery safe. Only in his acceptance of creaturehood can his dominion [over creation] be prevented from becoming raw domination. For being answerable to God, man remains answerable for his fellow creatures and for the soil of his earth.”

2. God provides all things. As the Bible reminds us, there is no need for anxiety: Matt 6; Luke 12: 22–31; no need for love of money: Heb 13:5; no need to serve two masters: Matt 6:24; no need to seek secondary treasures: Matt 13:45. In short, what is needed is provided for—all the rest is fuel of fear at best. Part of the concerns surrounding economic flux in the global market and the rash responses—from Y2K paranoia to increased interest in Middle East oil reserves—has to do with a need to manage and control those things we need due to our deep lack of faith. In short, we pay lip service to God’s providence the more we hoard goods and services unto ourselves at the expense of others. The notion that we are to “focus on our family” as a “primary concern” only exacerbates the divide between our nuclear family and the “widow and orphan” whose caring is not additive, but central to our understanding of what the Kingdom of God looks like.

3. We release all things. Henri Nouwen spoke prophetically in regard to the only true prayer is the prayer offered with open hands. Jesus’ ministry was one of freedom for hospitality through our availability to others. In this way, the extreme is the normative—we are to sell all, give all, and ultimately receive all and pure gift as we hear in Luke 12:33–34 and Mark 10:21, 29–30. To “hold on” and grasp things is harmful—both to relationship with God (i.e. “Eye of the Needle,” Luke 18:18–24) and to one’s own identity and relations with others as we hear in 1 Tim 6:8–10. It is important to remember that the judgment upon Sodom and Gomorrah was a judgment primarily based upon a lack of hospitality—they had become so consumed with feeding their own lusts and desires that they had no time nor vision to acknowledge the needs of others. In this notion as Americans do not stand apart from Sodom, but in the Sodom town square.

4. We are called to desacralise all things. Jacques Ellul in The Technological Society argued that money in and of itself when we imbue it with idol-like mission—in this way money qua money has power in itself and we need to act counter to this temptation and set people and relationships in primary consideration as having priority over things. In this way we need to work toward a redefinition of the Good Life: not quantity of things but quality of relations. As we are challenged under the divine command ethics of the ten commandments, we are not to mission any other God than God, period. To hold things and the monetary value we have placed upon those things above drawing people close in relationship with ourselves and their Creator is to choose graven images. This goes for the notion of usury or putting interest upon money borrowed from others. As we hear in 2 Cor 8, we are challenged not to coerce more money from people but liberate people from addiction and release people from debts. The work of DATA and Jubilee 2000 is not merely fad, it is a mandate. As we learn from liberative and emancipatory theologies, God’s concern for the poor is primary throughout scripture. The “new poverty” is the poverty of ignorance to the cry from the margins. Theologian Ron Sider reminds us: “Are the people of God truly God’s people if they oppress the poor? Is the church really the church if it does not work to free the oppressed? [Regarding Matt 25:41] The meaning [of Matt 25] is clear and unambiguous. Jesus intends that disciples imitate his own special concern for the poor and needy. Those who disobey will experience eternal damnation . . . Regardless of what we do or say at 11am on Sunday morning, affluent people who neglect the poor are not the people of God . . . God is not neutral. His freedom from bias does not mean that he maintains neutrality in the struggle for justice. He is indeed on the side of the poor.” What are some of the challenges that remain before us in striving toward an authentic and humble biblical economics? We are reminded of the Lausanne Covenant:  “All of us are shocked by the poverty of millions and disturbed by the injustices which cause it. Those of us who live in affluent circumstances accept our duty to develop a simple life-style in order to contribute more generously to both relief and evangelism.”  In many respects, little has changed in the 30 years since the Lausanne Covenant was drafted, but the challenge before us as people of integrity is still there.

5. Create communities of loving defiance. Ron Sider puts it this way in Rich Christians in An Age of Hunger: “The church should consist of communities of loving defiance. Instead it consists largely of comfortable clubs of conformity. A far-reaching reformation of the church is a prerequisite if it is to commit itself to Jesus’ mission of liberating the oppressed.” There is a need for intentionality among the faithful to form a new vision of the church as “communities of loving defiance” is a world moving with the inertia of consumerism and an ego-born appetite that shows no natural hope of slowing. The time for a spiritual reassessment of economics and the “new poverty” where the deficits of the soul are acknowledged on the balance sheet alongside the deficits of the check book in now needed. Bonhoeffer made this all too apparent as a factor for authentic discipleship: “Earthly possessions dazzle our eyes and delude us into thinking that they can provide security and freedom from anxiety. Yet all the time they are the very source of anxiety. If our hearts are set on them, our reward is an anxiety whose burden is intolerable . . . When we seek security in possessions we are trying to drive out care with care, and the net result is the . opposite of our anticipations.”

Here are five more resolutions to ask yourself for ‘twenty-ten’ form Ron Sider in Rich Christians in an Age of Hunger:

6. Does this purchase I am about to make move toward a globally sustainable personal lifestyle? Are the choices you are making sustainable outside of the US?  Can someone from different economic system live into the life you are surrounding yourself with?  If making high end purchases – clothing brands, technology upgrades – are not attainable by others then why are you binding yourself to such a lifestyle?

7. How am I distinguishing between necessities and luxuries in my economic priorities? One of the best ways to life into this is to surround yourself with a community of discernment who have permission to speak into your purchases and economic decisions.  Remember, what becomes normative is what we spend up to.  Find friends who share a lifestyle you wish to hold as normative and then give people permission to hold you to it.

8. Work toward eliminating “status expenditures”—can a basic Mp3 player do the job that the iPod can? On a recent trip to Hong Kong, I was amazed that most of the brand clothing lines (think: ‘7 for all mankind’ jeans) merely have labels attached to them where as the same jeans in a discount store do not. Same jeans sans the label.  Another thing I advise college students to do – wait 1 day for every dollar you are thinking of spending on entertainment items.  If a new CD or download costs $12, then wait two weeks before buying it.  I have often found that the “need to buy” and the “need to have” diminishes merely by waiting to see if you really want and need it. I still have that stupid T’Pau CD that if I had waited a few days I would have released how lame it was...

9. Work toward distinguishing between expenditures for creativity and recreation and excessive self-indulgence. People spend often when they are bored and as a way to alleviate loneliness and boredom.  “I don’t have anything to do, I will go shopping.”  If the chief question is community and connection, then begin with people and have spending follow.  Additionally, you do not need to spend money to spend time with people – i.e. you do not need to buy food as an excuse to spend time together.

10. Strive toward severing the connection between what you earn and what you consume. This is by far the most difficult task for many. The reality that “downsizing” is incredibly difficult shouldn’t surprise anyone—but the call to do so is certainly central to what it means to life selflessly and self-fully rather than selfishly.

Let me know what you think.  Since I am in the final stages of editing Freedom of the Self, your comments may make it into the final book!