Friday, February 8, 2008

Darfur: still and worse; write Congress on China

That's right, China.

This just in from the Save Darfur Coalition:

What did Sudanese President Bashir do with a world-infamous war criminal? He gave him a promotion.

Bashir has appointed the militia leader who helped orchestrate genocide in Darfur as a senior adviser on ethnic affairs. This brash and consistent defiance of the U.N. won't stop - not as long as Bashir has China to protect him.


We must tell China that enough is enough. Leaders in Congress are gathering support for an official letter to President Hu of China letting him know that his indifference toward Darfur is unacceptable.



Click the link below to join me in urging your Congressional representative to sign on to this bipartisan letter and send a strong message to China.

http://action.savedarfur.org/campaign/lettertochina

As you may know, China is Sudan's largest trade partner and foreign investor. It is Sudan's biggest defender in the international community, and it is the regime's largest arms supplier. But China played a crucial role in getting Sudan to agree to a hybrid peacekeeping force last summer. Simply put, China has the power to put an end to the games Bashir is playing. Our representatives must pressure the Chinese government to lead the world community and end the violence in Darfur.

You can also forward this message to your friends and family and ask them to join you. There is a link on the site above. Once you send out your letter, you'll also get an automated thank-you with a link to a forwarding mechanism.

Photo: In These Times.

Thursday, February 7, 2008

When in Doubt, Sing: a new edition!

Oh, I have been sitting on this good news for three months because I did not want to say anything in public until everyone had signed on the dotted line. Now I can tell you.

My book When in Doubt, Sing: Prayer in Daily Life is being re-issued in a brand new paperback edition, with New Preface by the Author (c'est moi).

The book came out in 1999 and HarperCollins let it go out of print. Never mind that the reviews were great and people said it was useful to them and I was giving workshops and retreats based on it all around the U.S. The other Harper, HarperSanFrancisco (now HarperOne) with which one must contract separately, didn't want to bring it out in paperback when I and my then- literary agent asked. Long story with a lot more in it. I will not grouse publicly about various past publishers, but I will sing the praises of my new publisher, Ave Maria Press. Yes, a Catholic publisher, based at Notre Dame University (NOT at Ave Maria University!) and and yes, they know I'm an Episcopalian (and former Roman Catholic) and they are just fine with that. Their book list is ecumenical. In fact, they contacted me about doing this reprint. Bless their hearts.

Like most writers, I like getting my deathless prose published. (This did have something to do with my starting a blog.) So I am a happy puppy. I am also deeply grateful to Ave Maria Press and its fine publisher, Tom Grady, for bringing out this book again to be of help to people in their spiritual lives.

As things stand now, When in Doubt, Sing: Prayer in Daily Life's new paperback edition will be out in the U.S. in the fall of this year under Ave Maria Press's imprint Sorin Books.

I'll post a reminder when I know the actual date the book will be in the stores.

Yes, the book will also be available in Canada, the U.K., Australia, and Aotearoa New Zealand. Perhaps South Africa too. Contact me if you can't get a hold of that info locally and I will put you in touch with the publisher and the distribution people.

And yes, I am available for talks, workshops, retreats, quiet days a.k.a. days of recollection, guest sermons, adult education sessions and forums, spiritual formation programs, et al.

Bookstore talks of course are unpaid, so if your local Borders or Barnes & Noble or independent bookstore (support your local independent bookstore!) wants me, I don't get paid, but author appearances do sell books and people get to hear me read and ask me questions and get their book signed. So it pays in that sense -- and for the public, it's a nice free talk. When I post the reminder, I'll post my publicist's name. She'll be arranging bookstore appearances.

For the other appearances, like retreats and all the above, which require more preparation and expertise, the hosts do have to pay me, plus there are travel expenses.* I don't have a lecture agent at this point, it all goes through me. That may or may not change. For now, just contact me if you or your congregation, diocese, house of prayer, community action group, or other constituency have interest in my coming to visit.

****I make exceptions (from receiving an honorarium) for Catholic Worker houses, poor or very small urban and rural congregations, homeless and battered women's shelters, and prison chaplaincies. Everyone else gets to help me earn a living.

I'm going to gloat, to the greater glory of Godde of course, by reproducing this wonderful review from the Los Angeles Times by Nora Gallagher, the author of Things Seen and Unseen and Practicing Resurrection.

Los Angeles Times, Saturday, May 1, 1999
Finding the Voice to Pray

Prayer is strange. Sometimes it's akin to shouting out loud in a dark barn without any sense of who or what will reply, if anyone at all, or whether the reply will come in a language we can immediately understand. But when you reach down into the discipline of prayer, you understand that the shout itself is important, that to want to find the holy is to want to find your own soul. What begins prayer is a search and what ends it is a finding, not of the mind, not of the heart, but of the mind's heart.


Yet to pray is to invite uncertainty. And many guides to prayer are too sentimental or simplistic to provide any help. Whether Jane Redmont is gazing at icons or practicing healing prayer or "waking in the night: when you cannot pray," she provides in When in Doubt, Sing an intelligent and compassionate guide to prayer and daily practice. Her tone, her own story and her good writing infuse the book with a trustworthy authenticity: This is a woman who knows about prayer, in all its patterns, depths and turns.

Divided into 27 short chapters, which include prayers taken from such traditional and contemporary sources as the wonderful New Zealand Prayer Book, Janet Morley, Kathleen Norris and the Psalms, When in Doubt, Sing opens with "Begin where you are, not where you ought to be." From there it gets into specifics: mantras, petitions, intercessory prayer, lectio divina (reading and praying), singing and prayer, building a daily practice.

"What is prayer?" Redmont asks in her introduction. "A sentence, paragraph, or page of definition would not bring us much closer to the doing of prayer. I keep hearing Jesus' words to his would-be disciples... [when] they asked him, 'Where do you live?' 'Come and see,' he answered. Come and see."

A feminist Roman Catholic theologian, Redmont is studying for her doctorate at the Graduate Theological Union in Berkeley. She has worked as a chaplain and a social justice minister and has directed the National Conference of Christians and Jews. Born of Jewish parents, she converted to Catholicism as a young adult. [And I was raised a Unitarian; people almost always leave that one out. My "New Preface by the Author" will of course talk about my emigration to the Episcopal Church after 26 years as a R. Catholic.] Her life has not been simple, and her work reflects it.

Redmont suggests slowing down as a preamble to prayer -- "Love has its speed," she quotes a Japanese theologian, "at 3 miles an hour. It is the speed we walk and therefore the speed God walks." But she acknowledges that "much depends on temperament, circumstance and time of life." Redmont says she prays outdoors more and uses icons and candles, fleshly things.

Redmont's own story is woven throughout, but most poignantly in the chapter "From Where Will My Help Come? Praying During Depression." After finishing her first book, Generous Lives: American Catholic Women Today, she took on a demanding job and then suffered from serious anxiety attacks and depression. "Sometimes it seemed as if the electrical wiring inside my brain was short-circuiting. No amount of deep breathing, yoga and fresh air seemed to help." One night, desperate with panic, she read the Psalms out loud, especially Psalm 6 -- "Oh, Lord, heal me, for my bones are shaking with terror."

When on a business trip to New York City, overcome with panic and increasingly suicidal thoughts, she prayed on the street to "every saint I could think of in that moment." She checked herself into a hospital for several weeks
[actually, 12 days], went on antidepressants and began to slowly recover. Each phase of her illness required different kinds of prayer, and no prayer "worked" or "made everything all right," but all the prayers added up. Redmont's strongest writing is in this chapter.

"Asking for help: Again and again it came down to this. Help from therapists, from family, from God, from the local bank, from colleagues and friends. Help with the fear, help with the rent, help with employment, help with prayer." Toward the end of the book, Redmont talks more about communal prayer and prayers for justice. Prayer at its most profound is countercultural: It requires us to feel the ache in the heart for both love and justice, for the place Jesus called the kingdom. A friend of Redmont says it is "the never-ending work of trying to bring more alignment between what you hope for and how you live."

Nora Gallagher is the author of Things Seen and Unseen: A Year Lived in Faith.



And here's another review, this one from The National Catholic Reporter.

May 28, 1999
When in Doubt, Sing: Prayer in Daily Life - Review

One cannot read this book and remain the same. It is a book that stretches traditional thinking about God without discarding tradition, distilling what is salient while gentle nudging fresh ideas our way

When in Doubt, Sing is a revitalizing book, meant to be pondered slowly, perhaps in a journal or through dialogue. Redmont approaches her subject as much from personal experience as from her Ph.D. work at Graduate Theological Union. Born of Jewish parents who later became Unitarian, Redmont, a feminist theologian who studies yoga, is a Catholic practicing in an urban congregation with a penchant for gospel.

"Our whole life belongs in prayer: emotional, intellectual, physical, sexual, affective, social, economic, political in the broadest sense of the word. Our doubts and our pain, not only our wishes and our dreams. Our whole selves."

Such a premise immediately challenges conventional parameters. Yet, Redmont points out, this approach finds its approach in the life of Jesus Christ and other biblical brethren. [I used gender-inclusive language in the book and did not speak of "brethren." But her point is accurate. The book does have Buddhist meditation- and yoga-inspired parts, but I am irredeemably biblical.] For them and for us, prayer is relationship with God, encompassing our entire lives.

The 27 chapters of When in Doubt, Sing address the seasons of that relationship and offer ways for it to deepen. In each chapter Redmont shares real life anecdotes, insight from various theologians and religious texts and exercises pertinent to the subject. The topics are roughly chronological, corresponding to the maturation of a relationship. [Interesting, I didn't really think of them that way except of course in the early chapter titled "Begin Where You Are, Not Where You Ought to Be."]

Accordingly, Redmont explores ways to meet and get to know God in the beginning chapters. She stresses the words of Thomas Merton to alleviate initial hesitation or feelings of unworthiness: "Don't set limits to the mercy of God. Don't believe that because you are not pleasing to yourself you are not pleasing to God. God does not ask for results. God asks for love."

Redmont then discusses ways to related to God authentically and comfortably through forms of prayer ranging from the use of icons and rituals, meditation to singing. In these and other forms offered, Redmont consistently refers to biblical precedents.


In the chapter, "Praying With the Body," for example, Redmont points to the physicality of Jesus beyond Incarnation and Eucharist. "You will find bodiliness nearly everywhere [in the gospels]. Jesus touches eyes, ears, mouths, restoring speech and sight... Even after the Resurrection, Jesus is still dealing with bodies, breaking bread on the road to Emmaus, grilling fish on the beach, showing wounds to a doubting disciple."

The theme of this chapter resonates throughout. We know, worship and pray to God through our individual and collective bodies. Redmont stresses the two as inseparable; individual relationships take place within a living context informed by history and tradition. The baptism of a friend's son vividly captures this union while providing an unconventional example of prayer. The parents asked loved ones to send water that would be blessed by the priest and used in the baptism. They received water from the Ganges, from Walden Pond, well water, salt water and fresh.

Since Redmont couldn't attend the ceremony, she sent the boy a letter along with the water: "With all your friends and family I welcome you to the church. It's got its problems, but let me tell you two wonderful things about it. This baptism makes you related to millions of people! People from Zimbabwe and France and Brazil and New Zealand. [Actually I wrote, and the book says, Aotearoa New Zealand, but book reviewers don't much care about the Maori.] People of all different colors and shapes and sizes speaking different languages and singing different songs and eating different foods. They too are your aunties and uncles and brothers and sisters. Imagine that!

"And all of them are friends of Jesus. That's the second wonderful thing: being a friend of Jesus. He was a real person many years ago, but he's all over the place now, too. You can talk to him and listen to him and hear his stories and ask questions about him. You can hear how he was friends with everyone -- poor people and rich people, women and men, and little children like you, too; he always made room for children. He also liked very old women and men. There was always room at the table for one more person; that's the way Jesus is."

Redmont's letter eloquently and simply explains the legacy of Christianity bestowed through the ritual of baptism. The letter also expresses what is essential to any ritual; it is a way to re-member because it brings together or makes whole.

When Redmont lost a friend and could not find words of her own to grieve, she repeated the words of the Requiem Mass. Years later, she realized she had been praying for him in the plural. "I said the words, but the words were not mine. I felt the grief; grief was not mine alone. All those who mourn and all those who have died were present in the prayer. The words were not mine; but there was room for all my grief inside them."

We belong to a spiritual fellowship that spans history and geography. Redmont reminds us that we are not merely passive inheritors of something lifeless. Instead, what we have received is dynamic and calls for our participation. In human relationships, we care about the concerns of those we love; it is no different with God.

Karl Barth urges us to pray with the Bible in one hand and the newspaper in the other. One reveals who is on the heart of God: the poor, the dispossessed, the disenfranchised and the marginal; the other where to seek them. Here, too, prayer takes on a corporal form, for we attend to God's cares with our bodies and as a body of believers.

It's easy to question whether this book is really about prayer, perhaps because we approach prayer with narrow definitions that do not have room for the abundance suggested. Redmont challenges these definitions in a curative, enlightening manner, providing new perspectives on the familiar and opportunities to relate to God more intimately.

Throughout, Redmont refers to the prayers, relationships with God, modeled in the Bible. Among others, David raged, grieved, rejoiced, wept, lamented, and yes, even danced before the Lord. With gentle passion, Redmont exhorts us, "go and do likewise."

Mary Silwance is a staff writer and book reviewer for Review, a Kansas City, Mo., arts publication.

COPYRIGHT 1999 National Catholic Reporter


Here endeth the commercial.

Mourning the war dead

FranIAm has a moving video up today. See it here. As Fran rightly notes, Lent is a time of lament. This was part of my point in "Ashes and Weeping," too. Thank you, Fran, for your witness and for inviting us to stop and look, and weep and pray. And for inviting us to act, since lament is the beginning of protest.

Wednesday, February 6, 2008

Two Ash Wednesday meditations and a liturgical blogiversary

I began this blog on Ash Wednesday last year, late in February, but liturgically speaking today is the blogiversary, since today is Ash Wednesday, a very early one this year!

So, happy liturgical blogiversary to Acts of Hope.

As for Ash Wednesday reflections, I offered two last year, and I have re-read them and decided I really need to take my own advice. Hence, I should not say anything beyond what I said last year! But if you weren't around at the time, or even if you were, you might find something in there for your spiritual nourishment.

The first is a few years old and comes from something I wrote in the now defunct The Witness. It's called "Recovering lament: 'Ashes and Weeping,' revisited."

The second is something I wrote for our students in the campus ministry letter last year. It has less in-house churchy language in it but does talk about the meaning of the day and the Lenten journey. It also speaks of the issues of time with which so many of us wrestle and which have a great impact on our spiritual lives. It's called "Time for Lent."

"Knoxville, Summer 1915:" James Agee, Samuel Barber, Dawn Upshaw

Late last night, in the early hours of Ash Wednesday, I was cleaning up from the Fat Tuesday party and listening to the radio, and on the nighttime classical music show came a familiar tune which I had forgotten. Then I remembered it in all its beauty as I listened. It is Samuel Barber's "Knoxville: Summer of 1915," text by James Agee, sung in this case by the incomparable Dawn Upshaw.

I poked around the web afterward but neither eSnips (which is no longer very helpful) nor YouTube has this, and the various CD-selling sites want you to buy the whole recording, of course (can't blame them). I don't own the recording or know how to work one of those little music thingies (I must get the software) so alas, I can't share this with you, but do listen to it sometime! It's a wondrous work.

I did find online a set of 2004 program notes about the work and its context. It's worth a read. Here it is. But try to get a hold of the full musical piece!

Knoxville: Summer of 1915
Samuel Barber (1910-1981)

“We are talking now of summer evenings in Knoxville Tennessee in the time that I lived there so successfully disguised to myself as a child” — the opening of James Agee’s essay Knoxville and Samuel Barber’s 1950 composition for soprano and orchestra, “Knoxville: Summer of 1915.”

The American Civil War was the bloodiest war that the world had known up to that time. This war has often been considered the precursor to modern warfare, with its trenches and tremendous death tolls. The Civil War was a harbinger of modern war in other disturbing ways as well. It was fought over attempted cultural hegemony and blatant nationalism, bound up with racial oppression. The civilian population of the South was brutalized in the Union’s vindictive march to the Atlantic Ocean on the Georgian coast. The year 1915—the year that James Agee chose for his essay—was only 50 years after that war, less, in fact, than our distance now from the Second World War.

Of course, 1915 has other implications. That year Americans were determined to avoid the war in Europe, both in spite of and because of the knowledge of the terrible human cost. “Knoxville: Summer of 1915” is poised precariously in the early evening, before the dark horrors of the night of the 20th Century. The family in the Agee/Barber work is a portrait of Southern stoicism and reserve; their quiet small-talk skirts the fears of tomorrow as well as the sadnesses of yesterday, and focuses on life at the moment.

The voice of this text seems to vacillate between that of the child-narrator and the adult-narrator remembering his childhood thoughts. We are not sure where one voice ends and the other begins. The beginning of the piece quotes the music of the impassioned prayer sung later, at the climax. Gradually, the strident leaps in the strings dissolve into a gentle rocking motion against which the text unfolds. While this rocking motive is indeed less vehement, it still contains the same musical element of the fervent prayer, only softened. In this way, the music seems to guide us to that state of being “successfully disguised to [one’s self] as a child.” The pathos is apparent but contained.

In fact, the child’s sense of security is in continual conflict with his sense of existential terror. Most obviously, the streetcar passing by obliterates the previous Edenesque depiction of evening. In its wake remains the rough wet fear of mortality and the loneliness of the night. The night scene is described: “On the rough wet grass of the back yard my father and mother have spread quilts.” The sustaining comfort of quilts, on which the family rests, is only an inch thick; underneath lie uncertainty and mortality in its biblical metaphor of grass.

Childlike simplicity and dark emotion alternate with increasing duress, culminating in the speaker’s desperate prayer for the well-being of his people: “By some chance, here they are, all on this earth; and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass in a summer evening, among the sounds of the night. May God bless my people, my uncle, my aunt, my mother, my good father, oh, remember them kindly in their time of trouble; and in the hour of their taking away.”

The rocking music returns, all the more comforting, if ultimately less reassuring. As the voice of the adult and child fuse, the speaker realizes that with all their regard and love, his family will not—in fact, could not, even when they were still alive—tell him who he is, who he should be. In this tragedy of universal loneliness, however, lies also the hope that one’s spirit, since it must be cultivated alone, will develop on its own terms and flourish.

Barber dedicated the piece to the memory of his father.

— Jed Gaylin


Text, “Knoxville: Summer of 1915”— from James Agee’s essay "Knoxville" and the introduction to his Pulitzer Prize-winning posthumous novel, A Death in the Family

We are talking now of summer evenings in Knoxville Tennessee in the time that I lived there so successfully disguised to myself as a child.

...It has become that time of evening when people sit on their porches, rocking gently and talking gently and watching the street and the standing up into their sphere of possession of the trees, of birds' hung havens, hangars. People go by; things go by. A horse, drawing a buggy, breaking his hollow iron music on the asphalt: a loud auto: a quiet auto: people in pairs, not in a hurry, scuffling, switching their weight of aestival body, talking casually, the taste hovering over them of vanilla, strawberry, pasteboard, and starched milk, the image upon them of lovers and horsemen, squaring with clowns in hueless amber. A streetcar raising its iron moan; stopping; belling and starting, stertorous; rousing and raising again its iron increasing moan and swimming its gold windows and straw seats on past and past and past, the bleak spark crackling and cursing above it like a small malignant spirit set to dog its tracks; the iron whine rises on rising speed; still risen, faints; halts; the faint stinging bell; rises again, still fainter; fainting, lifting, lifts, faints foregone: forgotten. Now is the night one blue dew.

Now is the night one blue dew, my father has drained, he has coiled the hose.

Low in the length of lawns, a frailing of fire who breathes...

Parents on porches: rock and rock. From damp strings morning glories hang their ancient faces.

The dry and exalted noise of the locusts from all the air at once enchants my eardrums.

On the rough wet grass of the back yard my father and mother have spread quilts. We all lie there, my mother, my father, my uncle, my aunt, and I too am lying there.…They are not talking much, and the talk is quiet, of nothing in particular, of nothing at all in particular, of nothing at all. The stars are wide and alive, they seem each like a smile of great sweetness, and they seem very near. All my people are larger bodies than mine,...with voices gentle and meaningless like the voices of sleeping birds. One is an artist, he is living at home. One is a musician, she is living at home. One is my mother who is good to me. One is my father who is good to me. By some chance, here they are, all on this earth; and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass, in a summer evening, among the sounds of the night. May God bless my people, my uncle, my aunt, my mother, my good father, oh, remember them kindly in their time of trouble; and in the hour of their taking away.

After a little I am taken in and put to bed. Sleep, soft smiling, draws me unto her: and those receive me, who quietly treat me, as one familiar and well-beloved in that home: but will not, oh, will not, not now, not ever; but will not ever tell me who I am.

© 1949 (renewed) by G. Schirmer, Inc. (ASCAP). International copyright secured. All rights reserved. Reproduced by permission

Agee, by the way, was raised an Episcopalian and attended an Episcopal boarding school in the Appalachian mountains. Here and there in his work you can catch that influence in the cadences and content of his language.