Singing as Responsive Confession

A few weeks ago, particularly the Saturday before Easter, I posted a video of Andrew Peterson’s “Is He Worthy?” video “sight unseen.”  As many others, I did my best to hold off on listening to Resurrection Letters Vol. 1 until Easter morning (and contenting myself with the “prologue” ep).  I’ve listened to the song a number of times since Easter Sunday, often in my classroom through the main speakers.  And I admit to tearing up a number of times.

The song, which features a back-and-forth between Peterson and a choir, acts as a kind of responsive confessional (or at least that’s what I’m calling it).  It echoes part of the liturgy, where questions are asked and answered with “He is.”  What makes this song especially affective for me is the content of the questions.  It’s not just “is Jesus the Son?” or “did God create everything?”  Instead, the song draws together a number of significant Christian beliefs that often don’t make it into these kinds of songs through simple declarations concerning the brokenness of the world, the deepening darkness we feel, the groaning of creation (and its waiting for renewal), the idea (present all the way through Scripture) that God desires to dwell with His people.  All  there and all heartbreakingly beautiful.

So here’s the video again.  The whole album is a worthy purchase and can be found here.  I’m looking forward to many years of living with this music and singing these songs with others.

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Twisting and Turning in Time

outlaws 3I spent most of today (except when mowing and weed-eating the yard) reading the third and final volume in N. D. Wilson’s Outlaws of Time series: The Last of the Lost Boys.  Even though the second book in the series, The Song of Glory and Ghost, dropped this time last year (and I bought it release-week), I didn’t actually finish reading it until this morning, too.  One of the great things about Wilson’s young adult fiction is that it’s just complicated enough (partly because of time-travel, partly because of an ever-deepening backstory) to really suck you in . . . once you get into the groove.  A lot has happened with Wilson since I read the first book in the series.  Wilson was diagnosed with a tumor behind his ear.  He also released a “prequel” to his other two book series (100 Cupboards and The Ashtown Burials series).  The third book in the Outlaws series reads much more like that book, The Door Before, than the first two Outlaws books in that it’s shorter and not quite as dense narrative/action-wise.

The thing that’s most interesting about this third volume in the trilogy is that the main story for the series seems to come to a conclusion at the end of book two (spoilers: Sam and Glory defeat the Vulture).  Beyond that, this book involves both a perspective jump and a time jump, with many of the peripheral characters of previous books absent and the main characters aged a number of years.  It’s kind of a gutsy move, really, particularly with people accustomed to trilogies working out a certain way.  And yet it really works here, making the story much more intimate (and the stakes oddly and appropriately higher).  It also leaves multiple timelines (?) more open-ended that expected.

Which begs the question: where does Wilson go from here?  Wilson has moved into movies and directing over the last few years.  He’s released a couple of non-fiction works, too.  The third book in the Ashtown Burials series, The Empire of Bones, actually ended on a cliffhanger (and with some issues with the publisher).  It would be great to see what happens next with those characters . . . particularly since at least one thing is revealed in The Last of the Lost Boys that brings even more threads of “the Wilsonverse” together (even more so than The Door Before, really).  Hopefully we’ll hear news of what’s next sooner rather than later.

(image from harpercollins.com)

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Broadening the (Jurassic) World

If nothing else, the latest (and final) trailer for Jurassic World: Fallen Kingdom has definitely told a lot more story than that first trailer (which seemed to take place solely on the island from the first movie.  The question is: does this trailer show us too much?  It definitely moves the story into more of a “horror” story.  It also give the “world” part of the title a littler more meaning.  Check it out below.

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“Not the only or the easiest way . . .”

Yesterday’s post of Charles Wright reading “Jesuit Graves” got me in the mood for listening to other authors reading their works.  I mentioned Wendell Berry, whose essays and poetry I’ve enjoyed immensely over the last five years (and yet I can’t bring myself to read his fiction . . . perhaps my way of saving it for a later time).  Here’s one of his “Mad Farmer” poems.  It rings both cantankerous and true, I think.  You can read it here.  And you can watch and listen to him read the poem, “The Contrariness of the Mad Farmer,” below.

And if you want to read his best (in my opinion) “Mad Farmer” poem, you can check it out here.

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“For those who would rise . . .”

National Poetry Month is about half-over.  The English department at school has been making copies of their favorite poems available to students as they walk by particular classrooms, which is a great idea.  For me these days, I find myself reading the occasional line from Wendell Berry (whose “Manifesto: The Mad Farmer Liberation Front” graces my desk) or thinking about the beautiful melancholy of Tolkien’s poetry in The Lord of the Rings.  But given a chance to read a favorite poem, I will almost always return to Charles Wright’s “Jesuit Graves,” a poem from Black Zodiac, his Pulitzer Prize-winning collection.  The poem is a reflection on one of my favorite poets, Gerard Manley Hopkins.  I think the poem finds a way here and there to do GMH justice, particularly in its hints towards the poet’s particular style.  You can read the poem for yourself here.  I recommend that you click the link but then read along silently as you listen to Wright reading the poem in the clip below (and with some authorial background, too).  Such a great reading of a well-rendered poem.

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Settling Into a Quiet Place

The folks at Vanity Fair recently posted a great clip of John Krasinski “breaking down” of the earliest scenes of his recent movie, A Quiet Place.  The movie really is as good as reviews are saying.  I think I had a tense smile on the entire time I was watching it: smiling because I knew I was watching something special but tense because it sucks you in from the very first scene and doesn’t really let you relax until the end.

Not only that, it’s definitely one of the most naturally beautiful movies that I’ve seen in a long time.  The locations for the movie are as lush as they are terrifying.  And so while sound plays perhaps the most important “character” in the movie, the natural world deserves some real applause, too.

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Where All Roads Lead?

There’s this semi-interesting online debate about whether Marvel’s Agents of SHIELD is the best superhero show on network television or the worst.  I’m not quite sure how I feel about the conversation.  While the show hasn’t quite fit the niche I thought it would, it has definitely created its own space in the world of funny-books-turned-to-television.  And now that it’s heading to a season finale (potentially series finale) titled “The End” (which also got name dropped in tonight’s episode), the show is really bringing things together.  And by “really” I mean bringing back long-time characters and concepts and mixing them up into something fresh.  Here’s the trailer for next week’s episode:

We’ve got about a month left (and a couple of weeks to see if they do a direct/immediate tie-in to Avengers: Infinity War) before the finale.  Let’s see if they go for broke.

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Run, Barry, Run (2018 Edition)

The Flash returned with new episodes last night.  And while it definitely had a “villain-of-the-week” vibe (as is often the case with superhero shows), it also had some nice, not-so-subtle moments that moved the story forward in interesting directions.  Marlize DeVoe is being used by the Thinker without her knowing/remembering.  Harry activates Gideon for the first time in a good while (and ever in this incarnation?).  And then Cisco gets an opportunity to leave Team Flash for potentially greener pastures.  And all while the season begins its final sprint to the end.  Here’s the preview for next week’s episode:

All in all, it’s been a good season from my perspective.  Sure, there’s been that “villain-of-the-week” vibe, but at least there’s a throughline that doesn’t involve an evil speedster.  And there’s definitely more humor at play than last season (even with Dibney taking it a bit too far here and there).  Sure, this preview looks pretty bleak, but I’m hopeful that Team Flash can keep the better direction of the season to the end.

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Thinking about Education

comment.transparentlogoToday I had the opportunity to lead out in our school’s annual “faith issues” workshop.  One of the aims of the meeting, at least from my perspective, is to continue the conversation of faith integration.  The folks over at Comment Magazine recently posted an interesting piece on the role that faith-based institutions can play in a world where technology has made much of what makes the college experience obsolete.  From “Christian Higher Educational in an Exponential Age”:

Faith-based schools seek to educate the mind—but their ultimate aim is formational. That is, developing and orienting students toward character, moral excellence, acute spiritual sensibilities, and meaningful societal contributions. To be clear, these aren’t simply things that Christian schools do or attributes they have. This is who they are: ethos informs identity, and identity drives practice . . .

The formational ethos of Christian schools has embraced and supported both a social and a personal dimension. With respect to the latter, a faith-based educational climate is not merely concerned with what Parker Palmer and Arthur Zajonc refer to as “the self-authoring mind.” Rather, Christian education is animated by a more ancient orientation. Aristotle believed that education proper should be aimed toward rightly ordered affections, desires, and impulses. In an ironic twist, this approach to learning has less to do with what we know but rather with what we love. In this conception of education, ordinate affections are at the heart of a prosperous, virtuous life. “The good life”—write Robert Skidelsky and Edward Skidelsky—”is not simply one of satisfied desire; it indicates the proper goal of desire. Desire is to be cultivated, directed to the truly desirable. Moral education is an education of the sentiments.” For the faith-based institution, “educating the sentiments” is a holistic notion, inculcated across a variety of university dimensions through repetition, experience, and relationship.

While I like the whole article . . . and these two paragraphs, in particular, that last little list is a nice summation of something important.  Repetition, experience, and relationship.  I think many organizations and institutions have a strong sense of the last two.  For those who want to be on the “cutting edge,” though, the idea of repetition tends towards a negative kind of redundancy.  Which isn’t always the case.  I’ve come to think of those repetitive things as part of the actual framework for the experience and relationship.  The article, which you can read in its entirety here, also makes nice use of Aristotle, hints at You Are What You Love, and includes some thoughts on the place of the liberal arts.  Definitely worth your time.

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Solo Story Glory

The second full trailer for Solo: A Star Wars Story had to do one thing: make the movie much bigger and louder and unexpected that what we saw of the Super Bowl trailer a few months ago.  Here’s what we got yesterday:

I am much more hopeful for this movie.  Don’t get me wrong: the proof will be in the pudding upon actual viewing.  But this trailer gives us even more visual excitement (other worlds, different kinds of technology) and a little more sense of what to expect from the ensemble cast.  If anything, Disney’s approach to this movie cements the idea that every cinematic Star Wars story is an ensemble story.  At least for now.

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