The Already People of the Not Yet

Here's the fifth sermon in the series on the Kingdom of God we've been going through at the FreeWay. Our Text was Acts 1:3-11.

"The Already People of the Not Yet"

Me 2?

Contrary to appearances, I haven't dropped off the face of the earth, though some exotic bronchial infection has been having a house party in my chest this last week, kicking my life into survival mode and leaving me with little left to give when it came time to blog. Meanwhile, the page has turned on October and it's time to pick a new "Disc of the Month." (See the sidebar.)

Lately U2's No Line on the Horizon's been getting a lot of airtime on the drive to and from work. Now, it hasn't been nearly as earth-shattering an aural experience as Achtung Baby (the best rock album of the 90s?), but I've really enjoyed this latest U2 effort. Lots of memorable moments: the weird cello on "Breathe," Bono's falsetto lunge on "Crazy Tonight," the rumbling rhythms of "Being Born." Even "Get on Your Boots," though it kinda confused me when I heard it as a single, somehow, in context with the rest of the album, makes perfect sense.

Anyways, still convalescing a bit, I don't have much to say, except to share some of my favorite lines from this Month's CD of the Month:

1. I gotta stand up for faith, hope, love/ but while I'm getting over certainty / stop helping God across the road like a little old lady

2. I found grace inside the sound, / I found grace, it's all I've found

3. I was speeding on a subway/ Through the stations of the cross

4. Every day I die again and again and reborn / Every day I need to find the courage / to walk out into the streets

5. It's not a hill it's a mountain / as you start out the climb

6. The roar that lies on the other side of silence / The forest fire that is fear so deny it

7. Listen for me, I'll be shouting / Shouting to the darkness / squeeze out sparks of light

The Kingdom (Part 4)

Here's part 4 in our series on the Kingdom of God. Our text was Mark 10:35-45.

God-Sightings and Goings-out

Here's last Sunday's sermon, part three in our series on the Kingdom of God. Our text was Luke 9:28-36.

Newborn

This is the next sermon in the series on the Kingdom of God we've been working through at the FreeWay. Our text was John 3:1-15.

Dear Saskatchewan

Dear Saskatchewan,

Drove the 401 the other day and thought of you. The living line of metal crawling east and west as far as I could see probably had more cars in it than all of Caronport, and I had to pinch myself to convince myself I was there. Remember the good old days on Highway 1? When a broom-handle in the steering wheel and a brick on the gas pedal was almost enough to get us to Regina?

There was a report on the radio while I drove, Saskatchewan, about the people flocking to you from here for work and industry. The lady in the interview spoke in apologetic tones as she packed her bags. "If I told my friends I was going to Vancouver, or Edmonton, or Calgary," she said, "They'd understand. But when I say Regina... they say: 'Why would you want to move there?'" Go easy on her when she gets there, Saskatchewan: pour the prairie in slowly, like you did for me.

Don't get me wrong, I like it here. And there is something pretty poignant about being "from the West." The Elves of Middle Earth were from the West, you remember, and their hearts always ached for it. I can hum lines like "There's a feeling I get when I look to the West, and my spirit is crying for leaving," with real meaning now; and I can mumble lines like "though the last lights off the black West went, the morning at the brown brink eastward springs" with real knowing.

But when I got to the barbers and he learned I was Moose-Javian, he said: "I've never been out west. Is it really as flat as they say?" I laughed and said: "Yeah, and the telephone pole is the provincial tree..." Not to betray you, Saskatchewan, but I felt I would have only betrayed you more if I tried to explain. How could I explain what it's like, to stand at the edge of town and see the whole world, green and gold and hay-scented, stretching out around you, spread out like some great, shallow earthen-ware dish, filled to the very edge of its delicate, distended meniscus with unfiltered light?

Well, I'll try to keep in touch, Saskatchewan-- I'll try to think of you whenever I catch real glimpses of open sky-- and I'll try to keep the crawling lines of metal from wringing the prairie out of me completely.

But while we wait and see, take care.

Yours truly, Dale.

Listen Local, Save the Planet?

Those of you who stop in at terra incognita on a somewhat regular basis may have noticed that September's CD of the month was this one: Wide World Crashing by tripmeter.

Never heard of tripmeter? CDBaby describes their sound as "up-tempo melodic rock with soaring vocals, rich guitars and creative rhythms. In short: well-conceived songs in captivating and clever arrangements."

Recommended, they say, if you like: Foo Fighters, Mute Math, Nine Inch Nails.

Well, I don't really know Foo Fighters, Mute Math, Nine Inch Nails (in the words of Grandpa Simpson: "I used to be with it, but now what's 'it' seems strange and scary to me... it'll happen to you...").

But I've really grown to love the energy and edginess of this album. From the tintinabular peals of "My Addiction's" opening riff, to the pedal-to-the-metal drag race of "Drive to the Sun," to the ominous-but-hopeful vision of "Somewhere" (Somewhere, you can find the heart to beat this... no one gets left behind without good reason...), there's a lot to feast on, aurally speaking.

But it's not just that.

The thing is: I know these guys. They were all students at Briercrest college during my days there. Took Greek exegesis with the drummer (the guy parsed irregular Greek verb forms with as much flare as he syncopates the down-beat). Was in a small group for a while with the lead guitarist. Even the guy on the cover-art was my next door neighbour (helped him when the waterlines of his trailer froze one 30 below morning on the prairie).

And it's this human difference that makes me love this CD. It's the same difference that makes me love home-made soup over Campbell's Chicken-by-Product Noodle: the difference between what's bagged and canned and mass-produced for anybody and nobody, and what comes to us as a gift from hands we know, have shook, have helped to jump-start their frozen car (another 30 below prairie morning with my neighbour).

It's why I love independent music. And I'm not talking about the kind of "independent" music that's really just a niche-market genre gimmick out of Nashville or L.A. or where ever it is that "indie rock" comes from. I'm talking about music that grows out of the lives and hearts and heads of the people next door, down the street, in our communities, in our neighbourhoods, in our lives.

In his book Deep Economy: The Wealth of Communities and the Durable Future, Bill McKibben develops a pretty cogent argument in favor of making economic choices that promote small, community-oriented, human-scale thinking over the more/massive/mass-market world that we've grown to expect and accept. He argues (again cogently) that the more/massive/mass-market world is pretty de-humanizing after all, and unsustainable anyways, and if we're really serious about building a durable future, we're going to have to start thinking locally.

You know: buy locally-grown food and locally-produced goods from the hands of real people that you can actually shake. McKibben doesn't stop there, though. He goes on to argue (still cogently) that part of building a durable future will include community-oriented, human-scale choices about our entertainment. If we can build community and a sense of place by supporting local entertainment (like our music, theatre, sports, and so on) we might discover a world where words like "more," "massive," and "mass-market" are no longer synonyms for "better."

And this world, he argues, is the kind of world we'll need if we want to build durable and sustainable economies in the coming years.

Well. I don't know if I'll really save the planet by listening to tripmeter, but it's nice to muse. And there's still this: whenever I hear Wide World Crashing, suddenly I'm strolling again along that back alley behind the Sparrow Gardens arena where so many Briercrest bands have had rehearsal space, savouring the muffled sound of rock-dreams thumping through the walls- and whenever I listen to my friend Dale Dirksen's These are the Days, I'm sitting with him again in his office, musing about music and minsitry and life together- and whenever I listen to that rough-around-the-edges worship CD we produced at my old church, I'm there again trading chords and words and laughs with people I love.

I'm grounded. I'm anchored. I'm home.

And the Musik Biz doesn't produce a can of alt-rock-indie-fusion-pop that you could open for this kind of aural experience.

Caedmon, Sing Me Something

Some time in the mid-seventh century, an Anglo-Saxon herdsman living in the monastery of Streonæshalch (on the north-east coast of England) had a dream. The monks of the monastery were at feast that night, singing and harping, but because he knew no poetry, Cædmon had wandered off early to sleep in the cattle stall with the animals he tended. In his dream, "someone" approached him, calling him by name and beckoning: "Cædmon, sing me something."

Knowing no songs, Cædmon refused, but the "someone" insisted: "All the same, you have to sing for me."

"And what must I sing?"

"Sing principium creaturarum"-- The beginning of Created Things.

Immediately Cædmon's mouth was opened and he began to sing praises to the Creator. Verses he had never heard before sprang out of him, verses for the Christian God, but sung in the (till then mostly pagan) poetic tradition of his country-men.

Translated into modern English, this is what he sang:

Now must we praise heaven-kingdom's Keeper,
the Measurer's might and his mind-plans,
the work of the Glory-Father, when he of wonders every one
eternal Lord, the Beginning established.
He first created, for men's sons,
heaven as a roof, holy Creator,
then the middle-earth, mankind's Keeper,
eternal Lord, afterwards he made--
for men, earth, the Master Almighty.

Cædmon woke with this song ringing in his head, and shared it with his foreman. The foreman took him to the abbess of the monastery, who in turn affirmed it as a gift from God. Cædmon took monastic vows and began to receive instruction in Christian doctrine, learning the "whole sequence of sacred history" which he would convert into sweetest song, song "so delightful that he made his teachers, in their turn, his listeners."

He died a revered poet-saint.

And the song he received that night in the cattle-stall of a seventh-Century Christian monastery on the north-east coast of England is thought by many to be the earliest example of Anglo-Saxon poetry we have on record. You can click here to listen to a reading of Cædmon's Hymn in the original Old English. (If you've never heard Anglo-Saxon poetry before, it's worth a listen. I got my English students to listen to a bit once when we were studying poetry-- they said it sounded like Elvish from the Lord of the Rings movies.)

But there's something haunting here in this ancient story of a simple herdsman, meeting with the Christian God and finding his mouth filled with distinctly Anglo-Saxon praise. "Cædmon, sing me something" called the Spirit of Christ in the stable that night; like an altar-hot coal he touched Cædmon's lips, inspiring him to translate that touch into the rich poetic tradition of his own culture.

And there, in the alliterated syllables and Old English kennings of Cædmon's hymn- now must we praise heaven-kingdom's Keeper- the Measurer's might and his mind-plans- we can hear the Spirit calling out once more to all the nations, tribes and tongues of the Earth. "Come," it cries: "Bring to me the richest and finest and most lovely your culture has to offer- its verse, its song, its art, its craft. Bring it now through the gates of the New Jerusalem. Lay it here at the feet of the Christ of God and find it divinely-claimed, blood-bought, purified and perfected there."

"Come Cædmon, sing me something."

Ten Words that Changed the World

Started a new sermon series at the FreeWay this Sunday on the Kingdom of God. Here's sermon one of six.

Gutenberg's Revenge and Other Thoughts

I suppose after my last post, the next logical step would be to muse a little about the revenge effects of the various technologies we've introduced to church ministry itself. When the Gutenberg Press took the Bible out of the hands of the priesthood and put it firmly into the hands of every believer-- with the laudable intention of building biblically literate, thus better, Christian communities-- I don't suppose anyone could have guessed that it might also be putting deep cracks in the foundations of Christian community, by pushing the individual's "interpretation" of the Good Book to the centre of Christian experience and pushing the community to the edge. Did Gutenberg get its revenge (mused the blogger) by filling the pews with a hundred personal popes piously practicing their private versions of the Faith, ready and able to leave when the interpretive going got tough? Is the embarrassing fragmentation of the church today part of the Gutenberg legacy?

Not that I would want to go back to the gloom of the pre-Gutenberg era, mind you... any more than I would want to go back to my pre-HTC Dream life... but perhaps if we can name the unintended effects of our technology, we can make more informed choices about when, why and how to use it.

So, off the top of my head, here are a few possible "revenge effects" of technology in the Church.

In an effort to make our preaching more effective, we've introduced a variety of presentation technologies behind the pulpit. Has this had the unintended effect of shackling our sermons to ideas that fit neatly on to PowerPoint slides and shackling our preachers to what's written on the screen?

In an effort to make our music more engaging, we've replaced hymnals with screens. Has this had the unintended effect of alienating people from the songs they're singing because they no longer have the music in front of them?

In an effort to make worship more dynamic, we've amplified everything. Has this had the unintended effect of deafening us to the voice of God and the voices of each other in our gathered times?

In an effort to make our faith more "relevant" we've introduced a wide variety of media to our worship, from video montage, to film clips, to Christianesque imagery moving behind the song lyrics on the PowerPoint slide. Has this had the unintended effect of making us less able to recognize the deeply relevant but counter-cultural aspects of life with God (things like stillness, Sabbath, quiet, simplicity)?

These are real questions, not just rhetorical points. And even if the answer is "yes" to any of them, that doesn't mean the technology itself must go (*just wait, I'm getting a call on my phone*). But if we can see the "revenge effects" of our own cleverness like this, we will also begin to see, I think, the limitations of our cleverness. And to see our own limitations is to take a humble step towards deeper dependence on God.