HEARING VOICES


The great Jewish sage of the Middle Ages, Rabbi Moses ben Maimon, or as he is best known, Maimonides or Rambam, concluded his medical oath with these words.  “O God, You have appointed me to watch over the life and death of Your creatures. Here I am, ready for my vocation.” To invoke the Divine in this way is to make the Divine present, to bring it out of hiding into the open space of encounter and engagement. I begin my prayers each day making God present in each moment of my day and my activities. I am able to do this because God has appointed me to a life of prayer as well as a life of work or vocation. Prayer, as Maimonides knew well, has less to do with saying than with being. Prayer is vocation. Vocation is prayer. The essential nature of prayer is unconditional surrender to God, to be completely disposed, body and soul, to the invitation of the Divine. To be ready for my vocation means that I come before the Divine as I am, sinful and unclean, willing to stand under judgment and grateful to be forgiven by grace to fulfill the call that addresses me in the Gospel. Yet, I am so very aware that to be ready for my vocation is always a threat to the self I so carefully protect.

The voice of the Gospel breaks into the open spaces between the Divine and me bearing contemporary and immediate sounds that can be confusing. With effort, I can sometimes hear an ancient voice that no longer speaks with the force of will, but with the favor of remembrance. It fades quickly, displaced by the urgency of the moment. Now I readily hear the voice of joy and laughter with their distinct timbre beckoning me to a casual self-forgetfulness that pretends to be liberating. I ponder fleetingly whether I am deceived by grace. I push aside the voice of illness and pain when they appear. They are an unwelcome intrusion into my life so skillfully designed to avoid all unpleasantness. It is much more pleasing for me to drink from the fountain of joy than to sip from the cup of bitterness. The Gospel does not push me into an unwanted embrace with the bitter ordinariness of my life. Neither does it force me to accept grief, loss, defeat or disappointment. Rather, the Gospel always arrives ahead of me, prepares a place for me in the heart of grief, loss, disappointment and defeat, awaits my arrival with patience and when I am there anoints me with its comforting love. While there it is revealed to me that the vocation for which I am made ready is gratitude, i.e., Eucharist.

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Stewards of Distress


Summer offers us an opportunity to relax with family and friends and to refresh ourselves for the rest of the year’s journey. It is also the time for us to reflect on the blessings that have shaped our lives and our relationships so far this year. These are not simply this year’s blessings, for blessings are continuous, unceasing. They clear a path for us each day into a future that gradually opens up to reveal the goals and destinations to which God has called us. This summer, some of us are going through afflictions, illnesses of different degrees of severity, some may even be ultimately fatal. These do not feel like blessings but are more like burdens that weigh upon us and hold us down. Burdens, too, are as revealing as blessings. Burdens unveil the strength of soul and spirit that dawns for us at the break of day as a promise that we will be borne through the day on God’s grace. The prophet Isaiah comforts us with these words,” A bruised reed he will not break, and a dimly burning wick he will not quench.” (Isaiah 42:3). Burdens are not a divine test to find out just how faithful we are. God already knows that! Burdens, among which we count illness, are human events, sometimes painfully tragic but often less so. Burdens are an horizon, heaven touching earth, divine grace embracing human frailty. Because we have held our faith in front of us through our journey of health or illness, we know that we have the grace to bear our burdens for however long until we find the blessings hidden in them. Burdens are blessings in disguise, an opportunity for gratitude. That is difficult for many to hear, and as disciples of Jesus Christ we will need to find many different ways of saying that until the message is heard.  Illness is itself a stewardship of grace. Illness demands that we conserve God’s grace so none of it is lost in fear and anxiety.

             For us Lutherans, that stewardship of grace is embedded in “Justification by faith,” the heart of our Christian life. It throbs in health as well as in illness not only for each of us as individuals, but also for all of us together.  In our community of faith, on our walk through health or illness, we live in other people’s visions and we dance in other people’s dreams. This gathered life is life that embraces the divine. St. Paulwho spoke from the depth of his own suffering says, “We do not live to ourselves, and we do not die to ourselves. If we live, we live to the Lord, and if we die, we die to the Lord; so then whether we live or whether we die, we are the Lord’s.” (Romans 14:7). The foundation of that statement is our life together in Christ. A gathered life holds within itself the promise of health and the fear of illness. One way of feeling justified is to know that God is bearing our illness and burdens until we are strong enough again to assume them. Justification, making us whole again, is God’s free gift to us, whereby through Jesus Christ grace grants us forgiveness and reconciliation. Reconciliation makes whole again what was broken between the Lord and us, and what was broken within ourselves. Justification is a promise that God will not leave what is broken in its broken-ness, that God will not leave the sick and distressed in their distress, that God will not abandon us in health or in illness. We are stewards of that promise, even when we break for summer.

 

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Reminder: Wear Red on Penetcost


REMINDER: WEAR RED ON PENTECOST

 

When I saw “Reminder: Wear Red on Pentecost” I smiled at the sentiment. Show our unity. Feel the fire, or as the poet Browning would have it, “the indubitable bliss of fire.” I smiled as I knew that I would be wearing black on Pentecost. I wear black most days. I’m comfortable with black. Red and Black are important to me, e.g., I am trying to keep the congregation out of the Red and in the Black, financially. I’m probably wrong if I assume that my sermons will lead to inspired giving. Sermons are curious entities oftentimes as useless as an appendix, an anomaly of evolution, but of sacred liturgy. A beleaguered parishioner often has to dig relentlessly to uncover the three theological gems that Lutheran pastors hide there as spiritual booby traps to elicit a sense of generous giving, of fidelity to quarterly statements and budgets. And Synod apportionment.  Finding those gems is as difficult as showing enthusiasm for okra.

Sunday is not the best day for sermons. While I’m not sure of this, not having a complete understanding of ecclesiastical laws, it does seem as if the thinking demanded by sermons would violate Sabbath rest at about 11:20 a.m. I hasten to add that I violate the Sabbath every Sabbath by working while trying to keep the Sabbath holy. For this I am grievously repentant. I am convinced, however, that a proper sermon is proper stewardship! The evident purpose of a sermon is the financial health and well-being of the congregation, the art of generating income, which Lutherans are wont to deny.  While it may seem insensitive to mention sermon and finance in the same sentence, I am palpably aware that Lutheran pastors are salaried servants, and that servanthood can go only so far without a fair amount of mammon.

A good sermon, probably any sermon, is an economic device. It may best be presented in a business context where the mention of money does not result in embarrassment, awkwardness, or at the extreme, apocalyptic judgment. It has always seemed to me that the best time and place for a sermon is Wednesday afternoon at a quarter to three, in the relaxed ambience of a board-room, while anticipating tea. In such a context the sermon would not be an intrusion upon the quietness of mind. It would offer an alternative to negotiations characteristic of economic interests. Since the amount of income hoped to be derived would indeed be a mere paltry sum compared to the accustomed expectation of return on investments (ROI), a sermon would be tolerated with equanimity and an appropriate level of empathy. In other words, it could keep us in the Black and out of the Red.

Red and Black are important in another way. They remind me of diversity. Pentecost is a story of diversity, the Holy Spirit calling diverse people into spiritual unity. That’s what we are: ekklesia, ek-klesia, the church, people called apart and called together. “Red and Yellow, Black and White, all are precious in his sight.” To be called is to be precious, and precious is priceless but still within budget. It’s that stewardship thing again. The Pentecost story quotes the prophet Joel that the sun shall be darkened and the moon turned to blood. Black and Red again! The sun, the greater light, becomes other than itself, now absorbed in darkness. The moon, the lesser light, becomes other than itself, now covered in blood. Otherness is diversity seeking embrace.

The gospel message is that Pentecost is a transforming event. It changes us, it makes us into something other than we are. The Holy Spirit, “tongues as of fire” (Acts 2:3) is the new light of Christ. When that light falls upon us it leaves no room for shadows. “The darkness could not comprehend it,” (John 1:5), and “Darkness is not dark to thee.” (Psalm 139:12). The Holy Spirit, “tongues as of fire,” is also an enlightening Word and a flaming sword, guarding us as it continues to guard Eden, the place of origin and destiny. The Holy Spirit on that first day of Pentecost made us into something that we were not, the  new place of origin and destiny, the Church. We are now the flaming sword. We are now the Word aflame. We are now the guardians of Eden, the guardians of origin and destiny. This is Stewardship!

 

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The Restless Spirit, Again


St. Paul urges us, “If we live by the Spirit, let us also walk by the Spirit.” This is never an easy walk. The Spirit goes where it wills. That is its nature. It seeks out what is new, different, excitingly dangerous, taking risks to be true to itself, always challenging whatever affects us to grow us to maturity. The Spirit is the playful play of futurity, daring to release from lingering the things that surreptitiously bondage us to what is merely time. The Spirit is the foe of time, of the reasonableness of quotidian accidents whose aspirations to divine will or named tragedy inevitably fail. Spirit remains spirit only as the untamed, the radical uprooting of all anchorage, the absolute freedom to will itself multitudes of divergences from the normal. Spirit has no norm, resists norming, as norming breeds settled and conditioned definitions that seek to set the frame for freedom as community. Spirit is that capacity to offer to a dispirited world love, joy, peace, patience, kindness, generosity, faithfulness, gentleness and self-control. All of these survive only where absolute freedom prevails. Absolute freedom is freedom that has been absolved from its temptation to surrender to the vicissitudes of time, the urge to be other than itself, the Eternal Presence that sustains the community of faith. Because only the Absolute can absolve, can grant authority to absolve, Spirit grants a reckless, restlessness to community without which there is neither liberty nor redemption, “If you are led by the Spirit, you are not subject to the law.” Spirit is fullness, here, there, everywhere pervading where the human stands and takes a stand. Spirit is the transcending futurity that invites what is next and proximate to become, linger, pass. Spirit brings about what comes to pass, so that in its passing it creates a clearing for the new to dawn. Spirit is the dawning of what is new and needs to be told for the first time. Spirit is the human story, still unfolding, spreading across the expanse of soul into tomorrow.

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A Reckless, Restless Spirit


The spirit goes where it wills. That is its nature. It seeks out what is new, different, excitingly dangerous, taking risks to be true to itself, always challenging whatever affects us to grow us to maturity. The spirit is the playful play of futurity, daring to release from lingering the things that surreptitiously bondage us to what is merely time. The spirit is the foe of time, of the reasonableness of quotidian accidents whose aspirations to divine will or named tragedy inevitably fail. Spirit remains spirit only as the untamed, the radical uprooting of all anchorage, the absolute freedom to will itself multitudes of divergences from the normal. Spirit has no norm, resists norming, as norming breeds settledness and conditioned definitions that seek to set the frame for freedom as community. Spirit grants a reckless, restlessness to community without which there is neither liberty nor redemption. Spirit is fulness, here, there, everywhere pervading where the human stands and takes a stand. Spirit is the transcending futurity that invites what is next and proximate to become, linger, pass. Spirit brings about what comes to pass, so that in its passing it creates a clearing for the new to dawn. Spirit is the dawning of what is new and needs to be told for the first time. Spirit is the human story, still unfolding, spreading across the expanse of soul into tomorrow.
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Rilke’s Orbits


Rilke’s poem I Live My Life is different from Neruda’s So is my Life. Yet both are poetic revelations of movement toward that which is different from humanity but in whose orbit humanity lives and dies. It seems as if both poems expose the grounding of existence in a never-ending movement toward the Infinite. Rainer Maria Rilke sings “I live my life in growing orbits, which move out over the things of the world. Perhaps I can never achieve the last, But that will be my attempt.” The poet’s life is within growing orbits, spinning into a vastness so infinite that he can say “I am circling around God” and “I have been circling for a thousand years.” Time and movement encompass all that is, the vastness that has as its ancient center the Divine. The poet wanders through time seeking himself, following a vision of who he is as he circles the Divine. In the eternal cycle through which he moves he wonders if he can achieve “the last.” It appears that the poet the center of whose cycle is the Divine, wonders if he can somehow reach the Divine, “the last” that is the goal of his eternal wandering. He feels that he will not know who he is until he has been embraced by “the last.” “I still don’t know if I am a falcon, Or a storm, or a great song.” All four components of his questioning: himself, falcon, storm and song are transcendent beings that circle the same center. Rilke, too, like Neruda sings the Infinite as he transcends “the things of the world.” Whitman sings himself, Neruda sings the people, Rilke sings the center: all are pulled into an ever-widening vision of the Infinite, the lyrics of their songs bearing grace to a world gradually arising from night.

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Neruda’s Infinite


Pablo Neruda proclaims his poetic vision in a brief poem entitled So is my Life. He begins with the affirmation of the foundation of his poetry. “My duty moves along with my song: I am I am not: that is my destiny.” I am puzzled by the curious punctuation out of which the meaning of this verse is born. His duty, that is poetry, is movement. Movement is song. The song seems to be a dialog, perhaps a struggle, between being and not being. The poet’s destiny is that he is blessed or cursed with two different visions of himself. Only to the extent that he is a part of the suffering of all people can he be who he really is. Of those who suffer he says “they are my pains.”  The poet’s destiny is to be drawn into the plurality of pain. For this reason his says “my poetry is song and punishment.” It is the poet’s duty to suffer with the people and to sing for them. His song is what makes the plurality of pain into a journey toward the light, and that journey has as its unique vision the Infinite. The poet’s duty is to sing the Infinite for only in this does he transcend the being and not being that defines his struggle. By means of this transcendence the poet’s song becomes the voice of the people, the very ones who have taught him the Infinite. The poet’s song is a song of deliverance of  his people.

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Whitman’s Lilacs


I still have not uncovered the essential meaning of epitaph, and perhaps I may never be able to do so. My earlier meditation on the theme invited an exploration the relationship of epitaph to return. This seems to me to be one of the directions indicated for study. Epitaph as that which marks a particular ground invites a closer look to that grounding. I could not help being drawn to Whitman’s When Lilacs Last in the Dooryard Bloome’d as I reflected on the meaning of epitaph. There, too, I find a correlation of epitaph and return, when he laments, “I mourn’d, and yet shall mourn with ever-returning spring.” Whitman grounds epitaph in the act of mourning, “And thought of him I love.” The fact that love is in the present tense demonstrates a mourning that abides, that stays with the poet. In my earlier reflection Paz had said that “the present is untouchable.” Love, mourning, return, epitaph all seem to abide in the moment as if the present is their destiny and destination, something sacred that transcends everything else. Whitman gives a hint to his understanding of epitaph when he says, “But mostly and now the lilacs that blooms the first, Copious I break….” Only the new, fresh blossoming lilacs deserve to become an epitaph. I cannot push this poetic vision too far for soon the lilacs with wither and perish to join the departed that they once celebrated. Whitman seems to be saying that epitaph is a fresh bloom that somehow resists the fate of the one whose life it celebrates. He writes, “Yet the lilac with mastering odor holds me.”  And further, “I leave thee there in the door-yard, blooming, returning with spring.” Lilacs as nature bestowing epitaph endures by returning. Epitaph seems to be grounded in transcendence. This seems to be the meaning of return. Mourning, too, is an act of transcendence, beyond the biology of grief. Mourning as a laying bare to the light of what is hidden in the sheltered soul is an epitaph not written in words, but chiseled in memory, the remembrance that makes whole what has been broken. Perhaps it is not too far to say that epitaph is the redemption of the body that has been transgressed, and for this reason the proper grounding of epitaph is the divine.

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Octavio Paz’s Epitaphs


Recently I was reading Octavio Paz’s poem Return when my eyes lingered upon a line that continues to call for a level of reflection of which I do not consider myself capable. The line reads, “Poet: gardener of epitaphs.” I have long thought that poets bring into being what is reserved, troubling and transformative. Poets for this reason stand at the beginning of what is new, a creative process that allows a new world to come into existence and become a mirror of body and soul. In an earlier poem Concert in the Garden the poet announces, “I walk lost in my own center,” and in Return he elaborates, “I  walk toward myself,” and further on, “I walk without moving forward, We never arrive , Never reach where we are, Not the past, the present is untouchable.”  This walk to the center, toward the self, without moving, without arriving, seems to me to define the poet’s meaning of epitaph, something that is said indelibly about the end. The poet who stands at the beginning is also the poet who pronounces the end. Does the poet stand within time’s parenthesis? Is his poetry a self-revelation or a proclamation of forgiveness that creates the world anew with the arrival of dawn? If the poet does not arrive, does not reach where he is, then what is the meaning of the title Return? In his defining poem Sunstone the poet tells his truth: by the end of the poem the poet reveals that he has never left the beginning. The end is the beginning embracing itself.  The poet’s journey is always toward the center, the self if there be such, toward a present that is untouchable. The present is beyond the senses, elusive, puzzling.  The gardener of epitaphs causes something to arise from the earth, a bringing forth of something, an arising, a rising from the earth. The epitaph does not name what is buried and untouchable. The epitaph is the miracle that gives life to what has been taken away. The epitaph is the end always striving to remain, refusing annihilation.  I am reminded of a verse from the Bhagavad Gita that reads, “There never was a time when I was not.” The poet’s truth prevails, the present is untouchable, it adheres to itself, it will not vanish. The epitaph is a promise kept.

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Gilgamesh’s Quest


I want to continue pursuing the theme of “journey” for another moment. The Epic of Gilgamesh is over 5,000 years old. It contains some things with which we are already acquainted, such as an earlier version of the Flood of Noah. The hero of the epic is Gilgamesh, who is not afraid of perils, dangers and challenges. He is always ready to vanquish his foes. He is equally at ease facing fierce monsters or negotiating with gods. With the death of his close friend, who is in real terms his other self, Gilgamesh is at a loss. He has been told by the gods that it is the human lot to suffer death. Only the gods are immortal. Gilgamesh does not accept this. His quest for immortality brings him into contact with persons who know where immortality lies and can be obtained. Each one seems to initiate him on an ever-increasing perilous part of the journey to the land where he would discover immortality. The quest takes him through a land of deep darkness, a kind of dark night of the soul, after which he emerges into sunlight and faces the god of the sun. He is told the secret of finding immortality, and he is warned. To achieve immortality he must dive deeply into the sea, retrieve a special plant, and after eating it, would achieve immortality. I have often had to go deep within myself to find something of lasting value that would reveal to me my true self. Gilgamesh is a model for those on a quest for what is most true and noble, but Gilgamesh is not the final answer. Gilgamesh rises from the sea with the transforming plant, but he does not partake of it. Soon, it is stolen from him by a snake. A familiar theme: humanity versus the snake. The quest seems to end in failure, and this is the mark of the tragic hero Gilgamesh. It is the lot of humans not to be immortal: that is the content of his faith and culture. This is in great contrast with the Christian faith. The New Testament does not speak of immortality; it is not a concept that is embraced there. Rather, the Christ faith announces the good news of the resurrection. The promise is given to those who believe that they will share in the resurrection of Christ. This is the foundation of faith.

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