better advice?

Reading this made me wonder: when I have been seeing someone in a pastoral counselling situation, have I been more conscious & careful of what I was saying when they were making notes on our conversation?

I think my answer is: possibly. It hasn't happened often.

I also wonder what impact the reverse situation would have - if I worked from notes in speaking to them, or made notes as they spoke (I do neither - I may have some written notes that I make into mental notes in advance of the meeting; I seldom make notes during the conversation and only do so if I need to obviously capture some piece of information).

the single-aim sermon

Over at Between Two Worlds, there is this quote for preachers to mull over (non-preachers views also welcome here, as always...):

I have a conviction that no sermon is ready for preaching, not ready for writing out, until we can express its theme in a short, pregnant sentence as clear as a crystal. I find the getting of that sentence is the hardest, the most exacting, and the most fruitful labour in my study. To compel oneself to fashion that sentence, to dismiss every word that is vague, ragged, ambiguous, to think oneself through to a form of words which defines the theme with scrupulous exactness—this is surely one of the most vital and essential factors in the making of a sermon: and I do not think any sermon ought to be preached or even written, until that sentence has emerged, clear and lucid as a cloudless moon.”

—J. H. Jowett, The Preacher: His Life and Work (Harper & Bros, 1912), p. 133.

The quotation may be old but the idea is very popular today, too.

I want to ask whether it's a helpful idea. Of course, it is likely to help the preacher (and the hearer) in gaining a sense of coherence and so on. And that's good. But I want to ask the question for this reason: does a commitment to achieving a single-senteced summary of a sermon mean that the text portion must be reduced in size until one dominant thought in present in it? Suppose a couple or more things are going on in a passage - how is that to be handled? Cut it back to one main thought? Is that helpful? Can we not handle two or more big ideas at once? Are listeners so dull? Is the sermon so sacrosanct?

Maybe I'm being pedantic because I don't like the thought of more work on top of the usual sermon graft!

And what if the form of the text also communicates a message or intends an effect, in addition to the message and intent of its words? I'm thinking primarily of psalms but not only. How ought that to be handled in a sermon? Can it be handled at all or is it 'done' through the reading aloud of scripture only?

the great songs (xxiii) - i believe in you

This selection was very difficult. In some ways, I think that Can't Get You Out Of My Head is a better song and a more compelling performance. It captures so well the obessession that masquerades as love, in every aspect. The whole feel of the song is of the densest suffocation. (Incidentally, the mashup with Blue Monday is a cracking listen, too).

But I'm opting to choose I Believe In You by Kylie (any need for a surname?). I've opted for it (I think) because it's the more positive of the two. Less compelling writing but a great peformance and the one of the best-ever deliveries of a closing line; the sweetness is almost unbearably near.

In many ways, the finest culmination of the whole S-A-W influence on popular music.

But in neither case am I recommending the videos, let it be said.

when you should take a risk

You do not evaluate a risk by the probability of success but by the worthiness of the goal. We were willing to fail because the goal we sensed was so urgent and strategic.

Ralph D. Winter

the great songs (xxii) - romeo & juliet

From their album Making Movies this is Dire Straits at their best. Great musicianship, songwriting and, more unusually, singing. And if I remember rightly, a pretty decent video, too.

Romeo and Juliet is, of course, based on the original play (and, less so, its retelling as West Side Story). Two star-crossed young lovers; did anyone ever capture it as well in song as Knopfler here? Six minutes of sheer class.

A love-struck Romeo sings a streetsuss serenade,
laying everybody low with a love song that he made;
finds a streetlight, steps out of the shade
says something like, 'You and me babe, how about it?'

Juliet says, 'Hey it's Romeo! You nearly gimme a heart attack';
he's underneath the window, she's singing, 'Hey-la my boyfriend's back';
'You shoudn't come around here singing up to people like that.
Anyway, what you gonna do about it?'

"Juliet, the dice was loaded from the start
and I bet, and you exploded in my heart
and I forget, I forget the movie song;
when you gonna realise it was just that the time was wrong, Juliet?"

"Come up on different streets, they both were streets of shame;
both dirty, both mean - yes, and the dream was just the same.
And I dreamed your dream for you and now your dream is real;
how can you look at me as if I was just another one of your deals?"

"When you can fall for chains of silver, you can fall for chains of gold,
you can fall for pretty strangers and the promises they hold;
you promised me everything, you promised me thick and thin, yeah,
now you just say 'Oh Romeo, yeah you know i used to have a scene with him.'"

"Juliet when we made love you used to cry
you said, 'I love you like the stars above, I'll love you till I die.'
There's a place for us, you know the movie song;
when you gonna realize it was just that the time was wrong, Juliet?"

"I can't do the talk, like they talk on TV.
And I can't do a love song like the way it's meant to be;
I can't do everything but I'd do anything for you,
I can't do anything 'cept be in love with you."

"And all I do is miss you and the way we used to be,
all I do is keep the beat and bad company;
all I do is kiss you through the bars of a rhyme -
Julie I'd do the stars with you any time."

"Juliet, when we made love you used to cry
you said 'I love you like the stars above, I'll love you till I die.'
There's a place for us, you know the movie song
when you gonna realize it was just that the time was wrong, Juliet?"

And a love-struck Romeo sings a streetsuss serenade
laying everybody low with a love song that he made;
finds a convenient streetlight steps out of the shade
says something like, 'You and me babe how about it?'

'You and me babe, how about it?'

the cross in the light of the old testament

Engaging with contemporary debates about the cross of Jesus, Chris Wright makes this very astute observation (emphasis mine):

Please bear with me, then, as we step back and think about the Old Testament for a moment. I shouldn't have to apologise for asking you to do that, but so few people seem to bother! It will take a little time, but it will really help us when we come back to the question of the human and divine aspects of the cross. You see, part of the problem with so many theories of the atonement through the centuries is that they try to explain the death of Christ in terms of other stories or worldviews where it does not really fit, while ignoring the one story in which it is actually set - the biblical story of God's dealings with Israel and of God's mission through Israel to bring salvation and blessing to the world.

(Chris Wright, The God I Don't Understand, p.145)

It would take a very long post to summarise how he then works this out in detail (which post this isn't). But his basic premise is worth pondering by all who have encountered the debate.

a great album: what are you going to do with your life?

No doubt The Badger and I will get around to a list of all-time great albums in due course. And this album by Echo And The Bunnymen probably wouldn't make my list (I can't, of course, speak for the furry one) but I wanted to just say that it is, in its own right, a great album.

One of the comments in some review or other made the point that here are middle-aged musicians writing and singing appropriately to their time of life but in recognisable continuity with their earlier musical offerings. I have to agree. And it makes it all so very worthwhile.

There's no Cutter-type vocal histrionics from Ian McCulloch here but the singing remains a highlight. And whilst there's no fevered-guitar such as on The Back Of Love, the playing is engaging and hugely enjoyable.

Worth checking-out. Without doubt.

canaanites

Chris Wright has a very fine chapter on the issue of the extermination of the Cannanites in his book The God I Don't Understand. In chapter 4 he details various inadequate explanations for the command of God for Israel to slaughter the Canaanites. Then in chapter 5 he gives 3 frameworks for understanding what God was doing in that horrific command.

He firstly notes that it appears within the framework of the Old Testament as a whole, and as such we need to keep the following in mind: the culture and rhetoric of ancient warfare, the possibility of God accomodating himself to the fallen reality of warfare at that time and the conquest of Canaan as a unique and limted event. His points are valid and helpful and worthy of ongoing reflection.

The second framework is that of God's sovereign justice - under which he refers to the wickedness of Canaanite culture and religion, the fact that the conquest did not mean Israel was righteous and then, lastly, that God threatened to do the same to Israel and did, in fact, do so. All of this is, again, helpful and proportioning.

His third framework is to situate the conquest within the framework of God's plan of salvation. Here we are treated to material that is not just helpful for the issue at hand but stimulating for a whole approach to grappling with scripture. He notes the Bible's vision of peace, the blessing of the nations, care for foreigners in Old Testament law and, finally, the praise of the nations to Yahweh. The conquest of Canaan has to be seen as one step along the road that leads to Calvary and to the blessing of all nations by the one true God of all the earth.

Wright correctly notes that he isn't giving a definitive answer to the problem of the conquest of Canaan and its apparent brutality. But his way of handling the issue is a model in sustained biblical reflection that leads to a maturing gladness in the God whose character is revealed in scripture and history.

the great songs (xxi) - summer of '69

For some, this is probably all the proof they need that a list like this is principally nostalgic - not because Summer of '69 looms large in my own musical history tour but because of its theme ('those were the best days of my life').

But it isn't nostalgia that brings us here. It's the energy, the feelgood mood and the up-the-volume-and-move-those-feet dynamic of one of Bryan Adams' signature songs.

Play VERY LOUD.

the dangers of going digital

I read a fascinating interview yesterday that Tim Challies did with Doug Groothuis on the subject of his 1997 book, The Soul In Cyberspace. There were at least 3 highpoints for me, that are worth pondering (nb: emphases in his responses are mine, not his):

i. In response to Tim's question - You wrote, “The digitized word does not abide forever.” Is there a way in which the digitizing of text has undermined, or stands to undermine, the immutability of the Word of God?, Groothuis replied:

Not in the metaphysical or moral sense of Scripture as divine propositional revelation. It is objectively and eternally God’s holy disclosure of convicting, saving, and sanctifying truth. However, digitizing texts can destabilize our sense our awareness of its immutability, since texts can be manipulated so easily when they are in electronic form. Even the ready availability of Scripture on line can subvert one’s consciousness that texts are part of a larger argument, system, and narrative. We are less likely to lose the context when we read Scripture in book form.

ii. In answering this question - A quote from your book: “The book, that stubbornly unelectric artifact of pure typography, possesses resources conducive to the flourishing of the soul. A thoughtful reading of the printed text orients one to a world of order, meaning, and the possibility of knowing truth.” Is there a way, then, in which the printed word is inherently superior to the digital word? What do we stand to lose as we transition to the digital word? - he said,

The printed word, as a unique medium, has strengths (and weaknesses) not shared by the digitized word. I appeal to McLuhan: “The medium is the message.” Or, to dilate a bit: each communications medium shapes its content distinctively and shapes the perceiver necessarily. For one thing, we lose a sense of history when we move from books to screens. Books can be old friends, both the content (which stays in our minds) and the artifacts themselves, which we treasure. For example, I would not part with my 1976 edition of Francis Schaeffer’s The God Who is There, which I read shortly after my conversion. It was that book, those ideas, that sparked my vision for Christian ministry. Moreover, I love the cover of that edition and enjoy looking over the many notations I put into the book through multiple readings. Having the same book in a digital form, while worthwhile in many ways (for example, I could capture text and put it on my blog!), would not be the same. Much would be lost.

iii. And then, to this - You said “Ours is an age infatuated with, addicted to, and voraciously hungry for ever-increasing doses of information.” Is this hunger for information in some way dangerous to the soul? - he responded thus,

Yes, since we have limited capacities for knowledge and wisdom. Knowing what matters most—truths about God, ourself, and creation—takes time and effort. Being awash in information is not the same as gaining knowledge (truth received in a rational way). Americans are usually well-informed ignoramuses. We have oceans of facts or information at hand, but little knowledge. Wisdom is the proper use of knowledge. Americans typically have no idea how to handle all the data thrown at them: the more information, the less meaning.

I think I need to work through Doug's insights. I have long enjoyed using a PDA or other device for Bible reading - great for searches & having multiple translations to hand and other upsides; but I think Groothuis is right about dislocation from the wider context, something which is about physicality as much as anything else. I have thoroughly enjoyed reading books as ebooks and have felt no lessening of the power of the words and the worlds before me - maybe it's more noticable in terms of the Bible?

Co-incidentally, I read the interview on the same day that the Amazon Kindle DX was announced - a device that will increase access to all kinds of materials but that flattens the medium in what might be an unhelpful way.

the great songs (xx) - cloudbusting

I'll happily confess I have very little grasp of what dear Kate Bush is singing about in this song....but I love it. I love the way it meanders and yet seems to gain momentum as it goes; I love the singing; I love the whole feel of it.

It's from her 1985 album The Hounds of Love and is one of a number of really strong tracks on there (mainly those released as singles). A bit of a comeback for her at the time following the mild disaster that was The Dreaming.

Pleased to have it in this list and in my collection.

I still dream of Orgonon.
I wake up crying.
You're making rain,
And you're just in reach,
When you and sleep escape me.

You're like my yo-yo
That glowed in the dark.
What made it special
Made it dangerous,
So I bury it
And forget.

But every time it rains,
You're here in my head,
Like the sun coming out--
Ooh, I just know that something good is going to happen.
And I don't know when,
But just saying it could even make it happen.

On top of the world,
Looking over the edge,
You could see them coming.
You looked too small
In their big, black car,
To be a threat to the men in power.

I hid my yo-yo
In the garden.
I can't hide you
From the government.
Oh, God, Daddy--
I won't forget,

cause every time it rains,
You're here in my head,
Like the sun coming out -
Ooh, I just know that something good is going to happen.
And I dont know when,
But just saying it could even make it happen.

The sun's coming out.
Your son's coming out.

making no sense of evil

We want to know where evil comes from. Why did God allow Satan to tempt Adam and Eve? And where did he come from? How did he become evil?

Chris Wright notes that asking questions in order to understand, to bring order and sense is a profound aspect of people being made in God's image and then makes these helpful observations:

Thus, true to form, when we encounter this phenomenon of evil, we struggle to apply to it all the rational skill - philosophical, practical and problem-solving - that we so profusely and successfully deploy on everything else. We are driven to try to understand and explain evil. But it doesn't work. Why not?

God with his infinite perspective, and for reasons known only to himself, knows that we finite human being cannot, indeed must not 'make sense' of evil. For the final truth is that evil does not make sense. 'Sense' is part of our rationality that in itself is part of God's good creation and God's image in us. So evil can have no sense, since sense itself is a good thing.

Evil has no place within creation. It has no validity, no truth, no integrity. It does not intrinsically belong to the creation as God originally made it nor will it belong to creation as God will ultimately redeem it. It cannot and must not be integrated into the universe as a rational, legitimated, justified part of reality. Evil is not there to be understood but to be resisted and ultimately expelled. Evil was and remains an intruder, an alien presence that has made itself almost (but not finally) inextricably 'at home'. Evil is beyond our understanding because it is not part of the ultimate reality that God in his perfect wisdom and utter truthfulness intends us to understand. So God has withheld its secrets from his own revelation and our research.
.......
Now this may seem a lame response to evil. Are we merely to gag our desperate questions, accept that it's a mystery and shut up? Surely we do far more than that? Yes indeed.
We grieve.
We weep.
We lament.
We protest.
We scream in pain and anger.
We cry out, 'How long must this kind of thing go on?'
And that brings us to our second major biblical response. For when we do such things, the Bible says to us, 'That's OK. Go right ahead. And here are some words you might like to use when you feel that way.'

chris wright, the god i don't understand, p.42

servant sufferers

In Housegroups this week we were looking at 1 Peter 4 and the various ways in which people who follow Jesus can suffer at the hands of those who don't. That kind of perpetual ridicule and opposition can be very wearing; it can also make us defensive and insular, people who are turned away and turned inwards by suffering.

But in verses 7-11 Peter exhorts his readers to be sufferers who serve - people who pray, who love, who share with others and who serve with all God's might.

How does that come about? Maybe verse 7 is a help, and not just with respect to praying: "The end of all things is near". Knowing suffering has an end, knowing there is glory beyond the suffering, knowing that soon the Saviour will be seen and every wrong righted - knowing such things seems to be Peter's recipe for serving others in the face of suffering.

They were good times at the Housegroups.

the great songs (xix) - light my fire

Light My Fire by The Doors just bursts open from the very first note and delivers in spades. For once, I'm not going to comment on the words, they mean very little to me in this case (and are far more direct than most Doors lyrics, not being written by Morrison).

What I will mention is the music - surely one of the greatest instrumental sections in all popular music (far too long to be called an interlude, lasting from just over a minute in, right through to the latter part of the 6th minute of the song). I love the organ and its almost hypnotic effect and the cool sweep of the guitar. Yes, Morrison's singing helps it along but, in truth, it isn't his best and isn't the decisive factor in the song's greatness. It's the playing that carries all before it.

To be played loud.

the great songs (xviii) - mother

I realise this is an extremely hard song to listen to, for all sorts of people and for all sorts of reasons. I'm not including it here because it entertains (it clearly doesn't) but because of its cathartic honesty.

Mother was the opening track to the first post-beatles album by John Lennon (John Lennon/Plastic Ono Band). Both John and Yoko had been exposed to Arthur Janov's primal therapy and the natural outcome was music that reflected their experiences (Yoko's response was the twin album, Yoko Ono/Plastic Ono Band).

The opening tolling of bells has been seen as signalling the passing of the Beatles-era for Lennon, a topic he addresses on the song God later on the album. Whether intentional or not, the effect is palpable. But even more they signal the sense of loss and rejection that the song goes on to handle, as indeed does the whole album in various ways.

A rewarding listen, but not an easy one.

chris wright: asking 'why?'

In introducing the section of his book, The God I Don't Understand, that deals with evil and suffering, Chris Wright makes this valuable observation:

Whereas we often ask "Why?" people in the Bible more often asked "How long?". Their tendency was not to demand that God give an explanation for the origin of evil but rather to plead with God to do something to bring about an end to evil. And that, we shall see, is exactly what God has promised to do.

(page 27)

the great songs (xvii) - the river

The River was among the first Bruce Springsteen tracks I remember hearing, along with Hungry Heart and Sherry Darling off the same album. I guess it must have been '81 and the album had a decidely lukewarm reception in NME (my reference point in those days).

It isn't necessarily the greatest individual song that the Boss ever recorded (although one of the finest on that album) but it's certainly representative of his expansive, storytelling style. And the lyrics inhabit familiar territory - the early death of idealism and the premature acceptance of an almost cynical realism, with the merest hints of a possible shot at redemption (the almost mythical river into which they'd dive) and the despairing realisation that the river is dry. It paints a stark picture of an ailing nation and of a failing humanity.

The question asked by the narrator, 'Is a dream a lie if it don't come true or is it something worse?' is worth pondering as a prime example of Springsteen's lyrical gift. But the lyrics deserve to be seen in full, so here they are:

I come from down in the valley, where mister when you're young
They bring you up to do like your daddy done
Me and Mary we met in high school, when she was just seventeen
We'd ride out of that valley down to where the fields were green

We'd go down to the river
And into the river we'd dive
Oh down to the river we'd ride

Then I got Mary pregnant, and man that was all she wrote
And for my nineteenth birthday I got a union card and a wedding coat
We went down to the courthouse
And the judge put it all to rest
No wedding day smiles no walk down the aisle
No flowers no wedding dress

That night we went down to the river
And into the river we'd dive
Oh down to the river we did ride

I got a job working construction for the Johnstown Company
But lately there ain't been much work on account of the economy
Now all them things that seemed so important
Well mister they vanished right into the air
Now I just act like I don't remember, Mary acts like she don't care

But I remember us riding in my brother's car
Her body tan and wet down at the reservoir
At night on them banks I'd lie awake
And pull her close just to feel each breath she'd take
Now those memories come back to haunt me, they haunt me like a curse
Is a dream a lie if it don't come true, or is it something worse
That sends me down to the river, though I know the river is dry
That sends me down to the river tonight
Down to the river, my baby and I
Oh down to the river we ride

twitter & morality (wsj extract)

Ever worry that the ever-increasing barrage of status updates from Facebook, Twitter and every other real-time, hey-look-what-I’m-doing and look-what-happened-just-this-very-second service may be outstripping your brain’s capacity to process them?
You’re probably right, says a new study from a University of Southern California neuroscience group. Physorg.com:

“‘For some kinds of thought, especially moral decision-making about other people’s social and psychological situations, we need to allow for adequate time and reflection,’ said first author Mary Helen Immordino-Yang.

‘Humans can sort information very quickly and can respond in fractions of seconds to signs of physical pain in others.
Admiration and compassion–two of the social emotions that define humanity–take much longer….’”

Too many words? Want to cut to the chase? OK:

“The study raises questions about the emotional cost–particularly for the developing brain–of heavy reliance on a rapid stream of news snippets obtained through television, online feeds or social networks such as Twitter.

‘If things are happening too fast, you may not ever fully experience emotions about other people’s psychological states and that would have implications for your morality,’ Immordino-Yang said.”

(from the Wall Street Journal)

indicative power

Willpower is a notoriously sputtery engine on which to rely for internal energy, but a right image silently and inexorably pulls us into its field of reality, which is also a field of energy.

Eugene H. Peterson, Under The Unpredicatable Plant, p.6

edward shillito: jesus of the scars

If we have never sought, we seek Thee now;
Thine eyes burn through the dark, our only stars;
We must have sight of thorn-pricks on Thy brow,
We must have Thee, O Jesus of the Scars.

The heavens frighten us; they are too calm;
In all the universe we have no place.
Our wounds are hurting us; where is the balm?
Lord Jesus, by Thy Scars we claim Thy grace.

If, when the doors are shut, Thou drawest near,
Only reveal those hands, that side of Thine;
We know today what wounds are, have no fear;
Show us Thy Scars, we know the countersign.

The other gods were strong, but Thou wast weak;
They rode, but Thou didst stumble to a throne;
But to our wounds only God’s wounds can speak,
And not a god has wounds, but Thou alone.