Tuesday, April 15, 2008

Preaching


Gospel reading: John 10:1-10
(Click HERE for last Sunday's readings)

Some of you know that I've spent more of my life as a carpenter than I have as a priest. The career change was pretty stark for me. I went from wearing a tattered Carhart canvas jacket to wearing a cassock and surplice at work.

It's hard to imagine two careers with job descriptions that differ more than priest and carpenter. But I think preaching has been the bridge between the two for me.

My sermons begin as written documents, and I don't stray from my text beyond a sentence here or there to clarify a connection or make reference to something that has happened between printing and delivery. And that document satisfies that part of myself that needs to see a made thing result from my labor. But it's a pleasure that's not complete until it's shared.

The first carpenter I worked for was a very literate guy named James Fish. I joined his framing crew in a small town outside Tacoma. After I had moved back to Arkansas, he moved to Eastern Washington and began building traditional timber frame houses. These are the old post and beam structures that last for centuries, their great timbers joined by elegantly carved joints drawn together with oak pegs.

I once received a letter from James written entirely on a fir shaving like the one curling from the plane in the picture at the top. A timber framer needs first rate planes, and he needs to keep those planes tuned. So the message of James's missive was very much in (not just on) the medium. The shaving thin enough so as to be translucent, and it was at least two feet long.

His letter was sheer gloat. And I loved it. Because I knew of the labor it came from.

Sermons are like that for me. There is something very solitary about their making. But in making them, and then in delivering them, I find some of my most intense connections to the lives of the congregation that is forming me as a preacher and as a human being. It's in searching for that intersection between the stories of scripture and our stories that I lose myself in a task I love, but also realize that somehow the whole of that task is wonderfully contained within the life of a people who say their prayers at Capitol and Scott Sunday after Sunday.

The longer I'm here the more clearly I feel like I think James did. He spent hours honing the edge of his planes. Many more hours perfecting his technique. And when he watched that lovely, delicate sliver curl from his work, it pleased him. And he sent it to me, thinking, "Scott will get a kick out of this."

A sermon is like one of those slivers. To most people one may look like a curiosity at best, something to be swept up with the rest of what falls to the floor in a workshop. But because it has emerged from shared things - our scriptures, our stories, our lives - I know Christ Church will get it, or at least get some kind of kick out of it. Even when my thoughts fail to coalesce and when I stumble in their delivery, somehow, over time, Christ Church gets it. Christ Church is getting me. Because Christ Church is getting into me.

Tuesday, April 8, 2008

Good and Evil

Gospel reading: Luke 24:13-35
(Click HERE for last Sunday's readings)


I must be preoccupied with music lately. Last week it was John Fahey. This week: Yonder Mountain String Band.

My son, Alden and I went to a concert last week. Yonder Mountain's instrumentation is pretty straight ahead bluegrass: upright bass, guitar, banjo, and mandolin. But if you go to one of their concerts expecting Lester Flatts and Earl Scruggs - well, for one thing, you will have forgotten your ear plugs. The instruments are acoustic, but Yonder Mountain isn't timid in their amplification of those instruments.

So the question arises: Is the Yonder Mountain String Band a bluegrass band? An old time string band? A rock and roll band? Something else entirely? People of good will disagree.

It's helpful for us to have categories to drop things into as we sort through what the world brings our way. But it always seems like the world's most creative people explore the edges or maybe the heart of the category they find themselves in. Sometimes we feel the need to create a new category. Bluegrass itself was a new term for what Scruggs and Flatt started to do in the 1940s. It's hardly an ancient form. But it's a form we can argue about what belongs rightly within it.

What does all that have to do with good and evil?

Only this. When good and evil become clear categories that describe people rather than actions they are dangerous concepts. And they are dangerous because they drain from both goodness and evil their subtlety and elusiveness. And they almost always allow us to place ourselves and our friends in with the good.

What's fascinating about Kathleen Norris's chapter this week is that she expolores the subtlety of evil through characters like Jeffrey Dahmer, the mass murderer who cannibalized his victims and stored their hearts in his freezer. Norris refers us, faithfully, I think, back to Jesus' teaching that the roots of murder are right there in our anger.

Jesus blurred some very useful moral categories (murder, adultery, etc.) not in order to let us all of the hook. But to remind us that we're all on the hook. The good and the evil in this world are both things we all participate in as we go about our lives. And like all of life, we participate in good and evil in ways that are always matters of degree, never pure forms of either.

Now back to the music. The best artists are never satisfied to simply occupy a place within a genre. They push at its edges. They explore the energy it arose from. In fact, it may well be that the best artists in any genre don't really believe in genres.

And so it is with our moral lives. Goodness is a lived reality. In fact, maybe goodness is an art. The old categories like murder and charity are necessary and useful. But the best in goodness comes about like the best in music. It always happens in the moment. Goodness isn't a designation for people. It's a way of being that we're always working at. And the moment we think we've mastered it the music of our lives loses its soul.

And here's a little taste of Yonder Mountain for anyone who wants one:


Tuesday, April 1, 2008

Faith

Gospel reading: John 20.19-31
(Click HERE for last Sunday's readings)

I'm captivated by John Fahey's The Legend of Blind Joe Death. It's a record by this strange but legendary guitar player. His albums don't include vocals or accompaniment. Just John and his guitar.

His style is unmistakable. He plays like he's grasping the instrument by it's throat. His music sounds like something the calloused hands of a morose stonemason plucks angrily from the shuddering steel strings of his guitar. (OK, that's a bit much.) If you think acoustic music is all sweetness and light, you haven't heard John Fahey.

Last week the kids and I drove to North Carolina and back. (This is why I didn't manage to blog in case you happened to miss this weekly whatever.) And I realized on the drive that I only time I really listen to Blind Joe Death is late at night on road trips. And I always listen to the whole thing. I never get a hankering for say, "Sligo River Blues" or his dark rendition of "In Christ There is No East or West" by themselves. It's all or nothing.

The album has a rather odd format. Fahey plays nine songs. Then he plays them again. Then he plays three more songs. After each listening I feel like I've managed to be present to the whole of some process that only unfolds over a long, long time. I'm never quite sure whether the process has taken place in me or out there in what I've heard. There's a haunting familiarity when the tunes come around again, and I can't quite say just how they and I have been changed. But they...I...we...surely have.

When Kathleen Norris writes about faith being more like a verb, I think of John Fahey. At least this week I do. Listening to an album can be a simple thumbs up or thumbs down proposition. Have you ever listened to The Legend of Blind Joe Death? is a simple yes or no question. And too often we speak of faith in much the same way. As if it's something we get or do at a certain point in time.

But maybe faith is more like an immersion in something. Maybe it's a way of seeing or a kind of awareness that we slip into and out of. A way of being that grows only slowly, perhaps, over time.

Thomas's encounter with the risen Christ can seem to imply faith as a settled fact happening in an instant. But reading the story again we see that Thomas is given an experience both strange enough and concrete enough to open up the future for God knows what. The evidence he is given only confirms that all bets are off when it comes to what God might do next.

And so it is with us, I think. We tend to think of faith in terms of how much or how intensely we can manage to believe a particular set of (usually unbelievable) facts. But maybe faith is never belief in a something settled, never a possession, but rather, something strange and wonderful that possesses us. Something that seems to unfold slowly, over time. But something whose force we find ourselves unexpectedly present to.

I don't read the Bible like I listen to John Fahey. It's longer. And reading while driving late at night is a bad idea. But I wonder if I'd get something more from that strange book if I could. I wonder if I would really get its sense that faith is something that comes to be in great waves and surges and trickles over time. And maybe the experience would register somewhere within my self that faith is not a way of being that we achieve once for all, but that we step into or stumble into and maybe get wonderfully lost within.