I found this image through the Facebook page of Interfaith Power and Light, a national faith-based environmental group. It’s one of many prepared by Sarah Ogletree and offered in a media toolkit for faith communities through website of strikewithus.org (https://drive.google.com/drive/folders/1_Oflxq9qzHGhqLdTKlaMdMBLC_t_ULCu). She has designed graphics to include many objects of love: farms, farmers, deserts, mountains, neighbors, children, families, oceans, youth, pollinators, rivers, “this world,” “those not yet born,” islands, and communities. If we love any or all of these creatures, these living beings, we have a reason to do what we can to help them live and flourish. Continue reading
During Lent I’m participating in a study of Can I Get a Witness?: Thirteen Peacemakers, Community-Builders, and Agitators for Faith and Justice, created through the Project on Lived Theology at the University of Virginia and edited by Shea Tuttle, Charles Marsh, and Daniel Rhodes. Released last week, the book presents the stories of thirteen pioneers for social justice who engaged in peaceful protest and gave voice to the marginalized, working courageously out of their religious convictions to transform American culture.
These stories of social activists, such as Howard Thurman, Dorothy Day, and William Stringfellow, shed light on the spiritual motivation for their work for justice. The first chapter is about Cesar Chavez, the organizer of “the first farm-worker union in a struggle for justice that took on the industry of agribusiness.” Daniel Rhodes writes, “Chavez always understood the movement to be about more than wages or contracts; it was a spiritual campaign. For him, the work of the union was woven inextricably in a fabric of religious significance. Jesus was with them, and in their struggle and sacrifices they were a part of his kingdom, his people. It was nearly sacramental–eucharistic.”
Chavez’s story, as well as the others in Can I Get a Witness?, in of particular interest to me because I’m collaborating on a book with and about Noel Paul Stookey–the “Paul” of Peter, Paul, and Mary, a singer-songwriter and activist whose faith and social justice commitment have be integrated both in his work with the trio and in his career as a solo artist. I share stories of Chavez’s connection with the trio.
In the 1960s Chavez and his co-leader in the United Farm Workers (UFW) organized a national boycott of grapes to draw attention to the exploitation of farm workers by mega-farm corporations. Sympathetic to the cause, the trio was invited to perform in a Carnegie Hall concert to support the UFW. Noel and Peter write, “Milton Glaser, the internationally acclaimed graphic designer who . . . created all of the graphics for our record albums, stationery, and many other projects, asked his colleague, Paul Davis, . . . to create the now famous image of a young Hispanic boy that was featured in the poster for the concert” . You can view the poster “Viva Chavez, viva la causa, viva la huelga” on the website of the Library of Congress.
Later, Chavez was among the people who invited Peter, Paul, and Mary to join in Survival Sunday, a 1978 concert in the Hollywood Bowl to protest the start up of a power plant in Northern California, built next to the San Andreas earthquake fault.
In 1997 the trio’s manager Martha Hertzberg called on them to join in efforts in Watsonville, CA, to organize strawberry workers, whose health was being affected by pesticides, who were having to work in fields that lacked potable water and toilet facilities, and who were greatly underpaid. She partnered with Arturo Rodriguez, Chavez’s son-in-law, to organize a benefit concert and a trip to the strawberry fields of Watsonville to increase public awareness of the situation . They sang Woody Guthrie’s song “Deportee” about migrant workers .
Peter and Noel wrote, “Seldom had an audience touched us so deeply. In some heart-to-heart exchanges with the United Farm Workers’ leaders, we found out what you cannot know from the printed page or from secondhand descriptions: Theirs was a struggle for survival under the constant shadow of illness, hunger, and possible death due to horrific working conditions, virtually no health services, and miserably low pay.” They noted that efforts to improve conditions for the workers were “largely successful”: “It was the legacy of Cesar Chavez, who changed the consciousness of American about some of our most forgotten and cruelly exploited workers. Woody Guthrie spoke of these workers in the lyrics of ‘Pastures of Plenty’: ‘Pull beets from your ground, cut grapes from your vine, to set on your table that bright, sparkling wine.’ In Watsonville, we had come full circle from the ’60s to the ’90s. The struggle for fairness and justice for the poor was, is, and, alas, will continue to be ongoing” 
 Peter, Paul, and Mary: Fifty Years of Music and Life.
 Peter, Paul, and Mary: Fifty Years of Music and Life.
 This version from the PBS Lifelines special includes Tom Paxton.
 Peter, Paul, and Mary: Fifty Years of Music and Life.
I’ve put together some songs for my UM sisters and brothers who are in pain, shock, grief, anger, and dismay after General Conference. I’ve seen links you’ve posted to help you deal with the complex emotional impact of what we have witnessed this week. Then I’ve posted some of my own. These are not one-size-fits-all songs, but I hope that you’ll find something here to that suits the place where you find yourself.
These three posted by friends give a sample of the emotional roller coaster that progressives and centrists have been on this week.
Kathy Mattea’s Mercy Now , written by Mary Gauthier, announces that the church could use “a little mercy now.”
Let off some steam by singing Jigsaw’s Sky High to General Conference: Our love had wings to fly / We could have touched the sky / You’ve blown it all sky high/
Hear the comfort from Norm Lewis singing Stephen Sondheim’s No One Is Alone: Someone is on your side / No one is alone.
So those are the links from some of you, and these are the ones sounding through my head:
Let It Fall by Over the Rhine:
When you’re down so low
You feel the imprint of the ground
Find comfort in Carrie Newcomer’s Sanctuary
Will you be my refuge
My haven in the storm,
Will you keep the embers warm
When my fire’s all but gone
And find courage in her You Can Do This Hard Thing.
Here are two songs that remind us of the struggle to honor the presence and the gifts of LGBTQIA people in our society and in our church. I know that many of you have been immersed in Holly Near’s Singing for Our Lives . (You won’t want to miss the PBS American Masters tonight celebrating Near’s life and work.) You may not know Thea Hopkins’ Jesus on the Wire, which she dedicated to the memory of Matthew Shepard.
I find in Noel Paul Stookey’s One and Many encouragement for an expansive vision of God’s love, one that we need at this time.
We live in the same house, on different floors
I got my window. and you got yours
We’ve each got a door that leads to the hall
But the rooms are so cozy and the door is so small
One FLAME; many candles
One SKY; many stars
One SEA; many rivers
One LOVE…so many hearts
Be it so.
Please share songs that you are listening to.
photo by Steve Halama on Unsplash
The essay from my FaithLink for Dec. 23rd–“Christmas Music and the Incarnation”—has been posted on the Ministry Matters website: https://www.ministrymatters.com/all/entry/9420/christmas-music-and-the-incarnation
Here are links to the songs mentioned in the essay:
- John McCutcheon’s “Christmas in the Trenches”: https://mail.google.com/mail/u/0/#inbox?projector=1
- Noel Paul Stookey’s “Christmas Dinner” with claymation video by Will Vinton: https://www.youtube.com/watch?v=93A3DlzpVxM&feature=youtu.be
- Over the Rhine’s “Blood Oranges in the Snow” https://www.youtube.com/watch?v=FOAtUic6LaU
- Indigo Girls’ “Peace Child”: https://www.youtube.com/watch?v=TK4az31Ppd8
- “There’s Still My Joy” written by Melissa Manchester, Beth Nielsen Chapman, and Matt Rollings
- Melissa Manchester’s version: https://www.youtube.com/watch?v=Mld1l2Yzzj0
- Indigo Girls’ version: https://www.youtube.com/watch?v=JwMRtwX3TpQ
- Noel Paul Stookey’s version with video by Jeanne Torrence Finley: https://www.youtube.com/watch?v=7h9Rl_ycRNE&feature=youtu.be
“You may think, as I did at first, that pairing a Utopian hermit monk and a demon-haunted rock star is just plain perverse or at the very least willfully paradoxical,” said David Dalton in his foreword to Robert Hudson’s The Monk’s Record Player: Thomas Merton, Bob Dylan, and the Perilous Summer of 1966. That drew me in. Then Dalton said Merton and Dylan were “Siamese Twins joined at the hippocampus”(ix-x) and asked, “why wouldn’t two people as inventive, desperate, supernaturally talented, and aghast at the temper of the times have a lot in common?”(x) Ok, so I was highly curious, but the clincher was this: “Both were willful sinners, antiheroes of mysterious virtue and reluctant saints involved in issues of street-legal theology, Symbolist poetry, radical politics, morbid psychology, women (why leave them out?), the imminent spiritual crisis, and Doom—eschatology, to use theological terminology”(xii).
For serious seekers of increased understanding of either Merton or Dylan, Hudson’s book may not satisfy, but for readers who want an engaging look at possible parallels between two seemingly very different influencers of American culture and politics, it could be a good fit. One was Trappist monk living as a hermit at the Abbey of Gethsemani in rural Kentucky who nonetheless wrote books that attracted the attention of both official Roman Catholic censors and the spiritual seekers the world over. The other is a Jewish singer/songwriter who “went electric” at the Newport Folk Festival in 1966, a performance that’s been the subject of much debate in American music history, and who won the 2016 Nobel Prize for Literature.
Hudson begins his introduction with a quote from Dylan’s “The Times They Are A-Changing” (“Come writers and critics / Who prophesize with your pen . . . .”) and notes, “In the 1960s, these two were among the most outspoken writers and critics to prophesy with their pens, and they did indeed change the times they lived in” (1).
Although Hudson calls his book a “selective biography” and a “parallel biography” (7), its focus is much more on how Merton understood his own crisis in the summer of 1966 through the soundtrack of Dylan’s music. The monk, having fallen in love with Margie Smith, a nurse half his age, had to choose between her and his monastic vows, which included not only celibacy but the solitude of a cloistered life, a solitude that was always in tension with his public life as a writer and activist in the peace movement.
Claiming that “their souls were next door neighbors,” Hudson shows the “surprising parallels” between the two. Both were
- “cultural icons of the 1960s” and had to deal with interruptions from fans and interviewers”;
- “prolific to the point of compulsion”;
- “amateur visual artists” with “a love of photography, both behind and in front of the camera”;
- “as inscrutable as they were brilliant”;
- fiercely in “need for autonomy” and freedom, Dylan from the expectations of his fans and manager and Merton from the constraints of the Catholic Church and his monastic vows;
- “unflagging spiritual pilgrims, perpetually restless, intense, and curious” (3-5).
- poets, one a poet-singer and the other a poet-monk.
Perhaps their most interesting parallel was their gift of “the ability to hold within themselves beliefs entirely at odds with each other, dissonances usually more upsetting to their fans than to themselves.” Merton explained, “We are not meant to resolve all contradictions but to live with them and rise above them.” Dylan simply said, “Chaos is a friend of mine”(5) Hudson expresses his understanding of this ability in Merton in this statement: “Just as he believed that he could only achieve unity with humanity by being alone, so too he realized that he could only be true to Margie by remaining true to his vows of celibacy.” (150)
Dylan fans may be disappointed that there is not more about Dylan in the book—three “interludes” that focus singularly on him—but Hudson makes up for sparse attention by doing justice to his crisis of the summer of 1966—no, not the motorcycle accident itself but the larger problem that it symbolized. Hudson says that “if Dylan had done no more than stub his toe, a serious accident took place, one that involved the high-speed collision of his fame, his drug and alcohol abuse, and an impossible number of commitments that had been foisted upon him”(113). His manager, Albert Grossman, was pushing him to promote his newest album, Blond on Blond, to go another tour, to write new songs, and to write a book (for which Grossman had signed a deal with Macmillan without consulting Dylan). In addition, he simply needed to disappear from public view—from fans both adoring and hostile—“to find out what it felt like to be a family man, a patrician farmer, a father who was there for his kids.” Hudson sees the “accident” as the beginning of “Dylan’s own search for solitude” (117), a search that in some ways mirrored Merton’s.
Merton had planned to write an article about Dylan. Hudson says, “The core of the article would no doubt have been Dylan’s ‘prophetic’ voice . . . . For Merton, prophetic implied both a high level of truth-telling and the state of being ahead of one’s time,” and he believed poets possessed a prophetic vocation (159). He never got around to writing it. Merton died by electrocution in December 1968 when he touched a defective floor fan at a conference center in Bangkok, Thailand.
On July 25, 1966, at the Newport Folk Festival Dylan sang, “I ain’t gonna work on Maggie’s farm no more . . . .” (51) Hudson calls that line “a chilling declaration of defiance that has resonated through the decades for anyone who has ever wrestled with authority, who has ever kicked against the oppression of society’s leveling influence.” In The Monk’s Record Player he subtly shows how those words came to expression in Merton’s life and writing as he lived out his vocation as prophet and poet.
The Monk’s Record Player pays close attention to the influence Dylan had on Merton, documented in the monk’s journals and letters and evidenced in changes in his writing style, particularly in Cables to the Ace, in which Hudson says Merton “went electric, every bit as much as Dylan did at Newport the previous year”(139). Hudson gives reasons Dylan may have known of Merton, though the songwriter never mentions the monk in his own writings. Nevertheless, Hudson makes a convincing case for affinities between the two men and succeeds in what he sets out to do—to write a book “about solitude and love, originality and autonomy, and the extent to which music—functioning therapeutically—touched the life of one particularly gifted and troubled thinker in a time of crisis” (8).