Sunday, March 23, 2008

Christ the Lord is Risen Today

The message of the resurrection is that this world matters! That the injustices and pains of this present world must now be addressed with the news that healing, justice, and love have won...

If Easter means Jesus Christ is only raised in a spiritual sense - [then] it is only about me, and finding a new dimension in my personal spiritual life. But if Jesus Christ is truly risen from the dead, Christianity becomes good news for the whole world - news which warms our hearts precisely because it isn't just about warming our hearts.

Easter means that in a world where injustice, violence and degradation are endemic, God is not prepared to tolerate such things - and that we will work and plan, with all the energy of God, to implement victory of Jesus over them all.

Take away Easter and Karl Marx was probably right to accuse Christianity of ignoring problems of the material world. Take it away and Freud was probably right to say Christianity is wish-fulfillment. Take it away and Nietzsche probably was right to say it was for wimps.

N. T. Wright as quoted by Tim Keller in The Reason for God


Christ the Lord is risen today, Alleluia!
Earth and heaven in chorus say, Alleluia!
Raise your joys and triumphs high, Alleluia!
Sing, ye heavens, and earth reply, Alleluia!

Love's redeeming work is done, Alleluia!
Fought the fight, the battle won, Alleluia!
Death in vain forbids him rise, Alleluia!
Christ has opened paradise, Alleluia!

Lives again our glorious King, Alleluia!
Where, O death, is now thy sting? Alleluia!
Once he died our souls to save, Alleluia!
Where's thy victory, boasting grave? Alleluia!

Soar we now where Christ has led, Alleluia!
Following our exalted Head, Alleluia!
Made like him, like him we rise, Alleluia!
Ours the cross, the grave, the skies, Alleluia!

Friday, March 21, 2008

Good Friday

A well-written review of Tim Keller's new book. Very timely too.


Reasons for Good Friday
By Michael Gerson

In a flood of bestsellers by skeptics and atheists charging a nonexistent God with crimes against humanity, Timothy Keller stands out as an effective counterpoint and a defender of the faith. His new book, "The Reason for God," makes a tight, accessible case for reasoned religious belief. And his national tour of college campuses has drawn overflowing crowds. "This isn't because I'm well known," Keller told me, "but because of the topic."

But Keller is likely to be better known in short order. His 5,000-strong Manhattan congregation is a model of outreach to 20- and 30-something artists and professionals. Keller's church symbolizes an emerging urban evangelicalism -- at a recent service, he recalls, a Republican speechwriter sat near a songwriter for Madonna. Many of Keller's parishioners are deeply skeptical of the religious right, untroubled by evolution and begin their complex spiritual journeys with serious doubts.

Keller explains that members of this rising generation are not so much relativists as they are philosophically rootless. "They have a deep morality, but they have no idea why." And they generally share some objections to religious belief: that traditional faith is exclusive and intolerant and that the existence of suffering is inconsistent with the existence of a loving God.

A centerpiece argument of Keller's response might be called the myth of secular neutrality. "Skeptics argue that they have the intellectual high ground," he says, "but they are really making assumptions as well." An absolute doubt -- claiming that all truth is culturally conditioned -- can work only if it exempts itself from doubt and assumes the cultural superiority of rationalism. Raging against evil and suffering in the world assumes a moral standard of good and evil that naturalism cannot provide. Keller argues that the main criticisms of religion require "blind faith" of their own, and he urges people to begin by doubting their doubts.

But while Keller argues that all worldviews contain assumptions of faith, reason is not futile. It may not provide proof, but it does provide clues. The fundamental regularities of the universe that improbably favor life; the artistic beauty that reaches beyond materialism; the sense of love and duty that seems so much more than evolutionary instinct -- Keller argues that only theism explains our lived experience and deepest desires. "God is the only thing that makes sense of what we love."

At the center of his book is an interesting case study: human rights. Some skeptics argue that the universe is an empty, impersonal void -- that life has no meaning or value beyond its material makeup -- and yet they try to maintain the importance of human dignity as if still living in a world of meaning and justice. "If morality is relative," Keller asks, "why isn't social justice as well?" Why isn't the rule of the strong -- the clear teaching of nature -- just as valid as a belief in the rights of the weak? A materialist, Keller argues, can only respond with sentiment.

The final part of Keller's book will be the most difficult for many readers to accept. He contends that the God of space and time is somehow uniquely found in Jesus of Nazareth. The earliest Christians knew this was a "scandal" often interpreted by others as blasphemy. Sophisticated, first-century Greeks and Romans were no more likely to believe in risen corpses than we are today.

Yet Keller argues for the reliability of the New Testament accounts. And he makes the case that the Christian message has an advantage: It is more than an intellectual theory. In his book, Keller quotes Simone Weil, the French mystic and social activist, who made a practice of repeating Christian poetry during her migraines: "It was during one of these recitations that . . . Christ himself came down and took possession of me. In my arguments about the insolubility of the problem of God I had never foreseen the possibility of that, of a real contact, person to person, here below, between a human being and God."

Good Friday calls attention to a final argument as to why the God of the philosophers, however useful, may not be enough. In the end, the problem of human suffering cannot be minimized or explained away -- but in the Christian story, that suffering has been shared. Perhaps, in our own darkness, we need the imprisoned God, the scarred God, the shamed God, the despairing God.

The poet Jane Kenyon grasped at this mystery of Good Friday:

The God of curved space, the dry

God, is not going to help us, but the son

whose blood spattered

the hem of his mother's robe.



Surely he took up our infirmities
and carried our sorrows,
yet we considered him stricken by God,
smitten by him, and afflicted.

But he was pierced for our transgressions,
he was crushed for our iniquities;
the punishment that brought us peace was upon him,
and by his wounds we are healed.

We all, like sheep, have gone astray,
each of us has turned to his own way;
and the LORD has laid on him
the iniquity of us all.
Isaiah 53:4-6

Monday, February 11, 2008

Never Gonna Break My Faith

Who knew that Bryan Adams - former king of the sappy rock ballad and my erstwhile childhood idol (his So Far So Good was one of the first CDs I ever got) - was capable of writing a gospel anthem? And a pretty fantastic one at that. "Never Gonna Break My Faith", sung by the Queen and Princess of Soul, Aretha Franklin and Mary J. Blige, just picked up the Grammy for Best Gospel Performance. It's off the soundtrack of the movie Bobby, which is about the assasination of Robert F. Kennedy in the early morning hours of June 5, 1968 in the Ambassador Hotel in Los Angeles, and 22 people in the hotel whose lives were never the same again.



My Lord
I have read this book so many times
But nowhere can I find the page
that says what I experienced today
has any grace

Now I know that life is meant to be hard
that’s how I learn to appreciate my God
Though my courage made be tried
I can tell you I won’t hide
Because the footprints show you were by my side

You can lie to a child with a smilin’ face
Tell me that colour ain’t about race
You can cast the first stones, you can break my bones
But your never gonna break, you’re never gonna break my faith

And hope ain't yours to give
Truth and liberty are mine to live
You can steal a crown from a king
Break an angel's wings
But your never gonna break, you’re never gonna break my faith

My Lord
Won’t you help them, help them to understand
that when someone takes the life of an innocent man
Well they never really won because all they’ve really done
is set the soul free where it’s supposed to be

For those we lose before their time
I pray their souls will find the light
I know that the day will surely come
When His will, His will, will be done

Thursday, January 31, 2008

Switchfoot Live

The concert was fantastic. Switchfoot were absolutely amazing live. They opened the show with several of their faster rock songs like Oh! Gravity, Stars and We Are One Tonight, their electrifying guitar riffs ripping through an ecstatic crowd. Unlike most of the eager young people in the mosh pit, I sat a safe distance away on the elevated seats, far from the madding crowd but no less enthusiastic.

On the slower songs lead singer Jon Foreman took to the stage solo, accompanying himself on the acoustic guitar. By way of introduction he said, "This is one of my favourites," before launching into what is also one of my favourites - Only Hope. Both a meditation and a prayer.

Sing to me of the song of the stars
Of Your galaxy dancing and laughing
and laughing again
When it feels like my dreams are so far
Sing to me of the plans that You have for me
over again


But perhaps the most touching moment of the concert came, surprisingly, not during one of their slower, more meditative songs, but in the middle of one of their loud rock anthems.

We were meant to live for so much more
Have lost ourselves
Somewhere we live inside, somewhere we live inside


Foreman turned the microphone over to the audience and the band fell silent. I never knew that there were so many kids in Singapore who knew the words to this song.

The hall was filled with the sound of singing -

We were meant to live
We were meant to live


Tuesday, January 01, 2008

Awakening


by Switchfoot

Face down with the LA curbside ending
In ones and zeros
Downtown was the perfect place to hide
The first star that I saw last night was a headlight
of a man-made sky,
but man-made never made our dreams collide
Collide

Here we are now with the falling sky and the rain
We're awakening
Here we are now with the desperate youth and the pain
We're awakening
Maybe it's called ambition, you've been talking in your sleep
About a dream, we're awakening

Last week found me living for nothing but deadlines,
With my dead beat sky but
this town doesn't look the same tonight
These dreams started singing to me out of nowhere
And in all my life, I don't know if I've ever felt so alive
Alive

I want to wake up kicking and screaming
I want to wake up kicking and screaming
I want a heart that I know is beating
It's beating, I'm bleeding
I want to wake up kicking and screaming
I want to live like I know what I'm leaving
I want a heart that I know is beating
It's beating, I'm bleeding

The acoustic version of the song can be found here. (By the way, Switchfoot is coming to Singapore. Yay!)


And so it is. Another year passes us by. 2007 marked my first full year in the workforce, a strange new reality - or unreality - that I am slowly starting to get used to. Monday to Friday, morning to night. Sometimes I find myself lost in the regular routine - "Last week found me living for nothing but deadlines" - only ever catching the faintest glimpses of light. But the end of a year, with Christmas as well as the new year, a season of hope and birth and new beginnings, is always a fantastic wake up call. Once again I am reminded of the heart of all things, which is You and You alone.

When I attempted, a few minutes ago, to describe our spiritual longings, I was omitting one of their most curious characteristics. We usually notice it just as the moment of vision dies away, as the music ends or as the landscape loses the celestial light. What we feel then has been well described by Keats as “the journey homeward to habitual self.” You know what I mean.

For a few minutes we have had the illusion of belonging to that world. Now we wake to find that it is no such thing. We have been mere spectators. Beauty has smiled, but not to welcome us; her face was turned in our direction, but not to see us. We have not been accepted, welcomed, or taken into the dance. We may go when we please, we may stay if we can: “Nobody marks us.”

A scientist may reply that since most of the things we call beautiful are inanimate, it is not very surprising that they take no notice of us. That, of course, is true. It is not the physical objects that I am speaking of, but that indescribable something of which they become for a moment the messengers. And part of the bitterness which mixes with the sweetness of that message is due to the fact that it so seldom seems to be a message intended for us but rather something we have overheard.

By bitterness I mean pain, not resentment. We should hardly dare to ask that any notice be taken of ourselves. But we pine. The sense that in this universe we are treated as strangers, the longing to be acknowledged, to meet with some response, to bridge some chasm that yawns between us and reality, is part of our inconsolable secret.

And surely, from this point of view, the promise of glory, in the sense described, becomes highly relevant to our deep desire. For glory meant good report with God, acceptance by God, response, acknowledgment, and welcome into the heart of things. The door on which we have been knocking all our lives will open at last.

C. S. Lewis in The Weight of Glory

Happy New Year everyone.

Tuesday, December 25, 2007

Immanuel

I met the cutest little boy in church on Sunday. He was all dimples, gummy smiles and inquisitive eyes. He must have been about a year old or so - he was just learning to walk. He would take a few awkward steps before sitting back down on the floor - looking at his father, babbling meaningfully, waiting to be picked up and put back on his feet again. Looking at him I found it hard to imagine that God himself, the creator of heaven and earth, the author of the universe, was once a tiny, helpless little boy who could barely walk or talk.

And yet therein lies the miraculous beauty of the Christmas message. God did not enter human history with a blast of trumpet sound and an army of angels. He came as a tiny baby boy. And even then, he was not born into a powerful, royal household. He was born to a carpenter and a young Jewish girl, born under the rule of a tyrant who wanted to kill him, into a world that had no room for him, save in a lowly manger.

Yet in that manger, in that apparent servility, was the greatest majesty. In that apparent weakness was the greatest strength. In that apparent obscurity was the most history-changing event of all – the birth and life of Jesus Christ. In that manger, in that dirty feed-trough, absolute glory was at work. The infinitely high had condescended to become inconceivably low. The infinitely immense had become astoundingly small. But to what end?
(Tim Keller in Grace and Glory and Nazareth?!)


As C. S. Lewis says in Miracles, "In the Christian story God descends to reascend. He comes down; down from the heights of absolute being into time and space, down into humanity; down further still, if embryologists are right, to recapitulate in the womb ancient and pre-human phases of life; down to the very roots and seabed of Nature He has created. But He goes down to come up again and bring the whole ruined world up with Him."


...an angel of the Lord appeared to him in a dream and said, "Joseph son of David, do not be afraid to take Mary home as your wife, because what is conceived in her is from the Holy Spirit. She will give birth to a son, and you are to give him the name Jesus, because he will save his people from their sins."

All this took place to fulfill what the Lord had said through the prophet: "The virgin will be with child and will give birth to a son, and they will call him Immanuel" — which means, "God with us." Matt 1:20-23


Blessed Christmas everyone.

Sunday, December 23, 2007

A Jazzy Christmas

I watched this annual jazz concert last night (now in its fifth year) and I was completely blown away by the virtuosity and the sheer brilliance of the performers: Singaporean pianist/keyboardist Jeremy Monteiro, Malaysian guitarist/singer Paul Ponnudurai, and American husband and wife duo, Tuck and Patti (Tuck on guitar and Patti on vocals).

I was stunned with Patti started to sing - the sheer depth and richness of her voice filled the hall, as if we were all swimming in a warm, molten, chocolate sea. She sounds great on the CDs but she is completely amazing live. This is probably the closest I'll ever get to hearing Ella Fitzgerald live, I thought to myself. I was absolutely thrilled when they played Time After Time. (Both Tuck & Patti and Eva Cassidy have vastly improved upon this Cyndi Lauper original - I love both versions.)

But the real revelation was Paul Ponnudurai. I think we all had the collective reaction "I can't believe he's been playing at the Esplanade Harry's Bar all this while and I never knew about him". TODAY newspaper ran a particularly flattering write-up of him in its recent weekend edition.

Listening to his version of "Joshua fought the battle of Jericho" - "This is a song that I learnt at Sunday School" he had said by way of introduction - it was not hard to see why the May 2007 issue of TIME magazine called him "quite possibly the greatest musical interpreter of our time". He completely turned the tune from a happy-clappy kids' song into a soulful, gut-wrenching, blues number. Which Sunday school did he go to??? Because I'm pretty sure that I learnt a different song. And hearing his voice soar effortlessly as he sang Silent Night...

Silent night, holy night
Son of God, love's pure light
Radiant beams from Thy holy face
With the dawn of redeeming grace
Jesus, Lord at Thy birth
Jesus, Lord at Thy birth

I heard these words as I have never heard them before.

Wednesday, December 05, 2007

Brideshead Revisited: A twitch upon the thread



I've just finished reading Brideshead Revisited by Evelyn Waugh. It's been some time since I've read a good, no, great, novel - witty, urbane and profoundly moving all at once - mired as I am, in the more functional and prosaic prose of current affairs reporting. Even though I got through the novel in fits and starts, it is probably a testimony to Waugh's brilliance that every time I picked it up again to continue from where I had left off, I was immediately wrapped up in the poetic beauty of his words and transported to a different place, a different time. And yet, despite the rarefied air of the world that his characters inhabit, much of what they struggle with is universal.

The book is about one Charles Ryder's infatuation with the Marchmains, an eccentric (often comical), aristocratic, Catholic family, and the "rapidly disappearing world of privilege they inhabit" (so says the blurb at the back of the Penguin edition of the book). Charles Ryder first falls in with the enchanting Sebastian when they are at Oxford. This episode opens with one of the loveliest descriptions of Oxford I have ever come across.

Oxford, in those days, was still a city of aquatint. In her spacious and quiet streets men walked and spoke as they had done in Newman's day; her autumnal mists, her grey springtime, and the rare glory of her summer days - such as that day - when the chestnut over her gables and cupolas, exhaled the soft airs of centuries of youth. It was this cloistral hush which gave our laughter its resonance...

Through his friendship with Sebastian, Charles is introduced to his "madly charming" family and years later is swept up in an adulterous affair with Sebastian's ethereally beautiful sister, Julia.

Here, after having been together with Julia for two years, Charles recalls a conversation that he and Julia once had.

'It's frightening,' Julia once said, 'to think how completely you've forgotten Sebastian.'
'He was the forerunner.'
'That's what you said in the storm. I've thought since, perhaps I am only a forerunner, too.'
'Perhaps,' I thought, while her words still hung in the air between us like a wisp of tobacco smoke - a thought to fade and vanish like smoke without a trace - 'perhaps all our loves are merely hints and symbols; vagabond-language scrawled on gate-posts and paving stones along the weary road that others have tramped before us; perhaps you and I are types and this sadness which sometimes falls between us springs from disappointment in our search, each straining through and beyond the other, snatching a glimpse now and then of the shadow which turns the corner always a pace or two ahead of us.'

Earlier in the book, Charles declares that "to know and love one other human being is the root of all wisdom." But by the end of the book the imperfection and insufficiency of love between two flawed human beings becomes tragically clear. And yet, all is not lost. The book ends redemptively, with the Marchmain family returning to their spiritual roots and Charles back at his beloved Brideshead Castle during the second world war, now a Captain in the army, saying a prayer - "an ancient, newly-learned form of words" - in the chapel, finally finding what he had always been searching for, even as he is found.


In the 1959 preface, Waugh writes that the theme of this book is "the operation of divine grace on a group of diverse but closely connected characters". In the middle of the book, just after their mother has passed away, Cordelia (Sebastian and Julia's younger sister) tells Charles:

'Anyhow, the family haven't been very constant [in their faith], have they? There's [Papa] gone and Sebastian gone and Julia gone. But God won't let them go for long, you know. I wonder if you remember the story mummy read us the evening Sebastian first got drunk - I mean the bad evening. "Father Brown" said something like "I caught him" (the thief) "with an unseen hook and an invisible line which is long enough to let him wander to the ends of the world and still to bring him back with a twitch upon the thread."'

Thursday, November 01, 2007

twenty-four


Twenty-four
by Switchfoot

Twenty-four oceans, twenty-four skies
Twenty-four failures in twenty-four tries
Twenty-four finds me in twenty-fourth place
With twenty-four dropouts at the end of the day

Life is not what I thought it was
Twenty-four hours ago
Still I'm singing Spirit take me up in arms with You
And I'm not who I thought I was
Twenty-four hours ago
Still I'm singing Spirit take me up in arms with You

There's twenty-four reasons to admit that I'm wrong
With all my excuses still twenty-four strong

But see I'm not copping out
Not copping out, not copping out
When You're raising the dead in me

Oh, I am the second man
Oh, I am the second man now
Oh, I am the second man now

And You're raising these twenty-four voices
With twenty-four hearts
All of my symphonies in twenty-four parts
But I want to be one today
Centered and true
I'm singing Spirit take me up in arms with You
You're raising the dead in me

Oh, I am the second man
Oh, I am the second man now
Oh, I am the second man now
And You're raising the dead in me

I want to see miracles
To see the world change
Wrestle the angel
For more than a name
For more than a feeling
For more than a cause
I'm singing Spirit take me up in arms with You
And You're raising the dead in me

Sunday, October 28, 2007

Soweto Gospel Choir

I went to watch the Soweto Gospel Choir at the Esplanade on Friday. As their soaring, sonorous voices filled the hall - without any instrumental accompaniment - I was moved to tears. They sang songs of praise to the Lord in a language that I did not understand, but the joy that they exuded as they sang and clapped and danced... I think a had a little taste of heaven that night and it was absolutely amazing. "These are the gospel songs that we sing in our churches, songs of praise that echo our thanks to the Lord who means a lot in our lives," said one of the choir members by way of introduction. And sing they did.

Some say the zeal of the early European missionaries in Asia and Africa was just another form of cultural imperialism. In response to this, Tim Keller quotes Lamin Sanneh (an African theologian currently teaching at Yale) in his sermon on Culture. In his book "Whose Religion is Christianity: The Gospel Beyond the West", Sanneh points out that every culture has a baseline narrative. The apostle Paul, when he talked about the cultures of his day, said that the Jews wanted power and the Greeks wanted wisdom. Every culture has a theme. Sanneh says that African culture understands that the world is filled with spiritual forces, and especially a lot of dark spiritual forces. Africans were looking for a way to address that.

They looked at their tribal religions and found that even though they believed in those spiritual forces, they had no answer for how to overcome them. And they looked at the modern secularism that was coming and they realised that modern secularism laughed at their Africaness because it said, "Oh no, you can't believe in miracles. You can't believe in demons." (That, is cultural totalitarianism.) Then they looked at Christianity, and Sanneh says, "Christianity answered the great cultural challenge of our hearts. People sensed in their hearts, that Jesus did not mock their respect for the sacred, and Christianity did not mock their clamour for an invincible saviour, and so they beat their sacred drums for Him until the stars skipped and danced in the skies. And after they danced, the stars were not little anymore. Christianity helped Africans to become renewed Africans, not remade Europeans."

Africans have made Christianity entirely their own. They praise the Lord in their own tongue, with their own songs, with their own dances, as only they can.

But even though we sing praises in different languages, we praise the same God. And even though we come from different countries and different cultures, we are brothers and sisters in Christ. When He said all the nations, He meant it.