The Monastery of Saint John the Baptist, (also known as Community of Saint John the Baptist) is a monastic community which was founded in 1959 by Archimandrite Sophrony Sakharov (1896-1993). On 27 November 2019, Archimandrite Sophrony was added to the list of Saints by the Ecumenical Patriarchate in Constantinople. His Feast Day is on the day of his repose, the 11 of July. The Monastery is situated in Tolleshunt Knights near Tiptree, in the United Kingdom. It belongs to the Eastern Orthodox Christian Church, and is under the jurisdiction of the Ecumenical Patriarchate in Constantinople.
During the first decades after the community had moved to England, the building and decorating of the churches of the monastery required much of his prayer and attention. After having abandoned painting for many years, he began to paint icons and frescos for the new places of worship. He strove to express the Face of Christ which had been revealed to him in the Light. However, he was never satisfied with his work and often adjusted and repainted the icons of Christ he had created.
Art has the ability to touch that inner part of man and convey directly a creative experience and response difficult to express in words. It was the life long vocation of Saint Sophrony to offer this living experience through art. His artistic training had its roots in both Imperial and Soviet Russia where as a young student, he was influenced by the writings of Kandinsky on the spiritual in art. It was the spiritual life that called him ever more strongly and after working as a portrait and landscape artist in Paris, Father Sophrony abandoned his painting to become a monk on Mount Athos.
Sister Gabriela joined the Community of Saint John the Baptist in 1983 after studying iconography in Paris on Saint Sophrony’s insistence. She was part of the team which was painting the murals of Saint Silouan’s Chapel and worked closely with the saint. After the mural work, Saint Sophrony continued to teach her the art of icon painting, and she assisted him in some larger works. Her work includes a series of large icons created for Chelmsford Cathedral.
On the 3rd of December 1985, while Sister Gabriela and Father Sophrony were working on the murals in the chapel of St Silouan, Father Sophrony told her: “Later, you have to write a book about our experiences; which colours were used, the mistakes you made and so on.” Thirty three years later she set herself to the task and dealt with the time of her apprenticeship as a story, copied out from her notes and adding a few explanatory notes. Failures & Discoveries: Notes from an icon workshop is the book she wrote.
Since Saint Sophrony’s repose, to the extent that she has been able to understand them, Sister Gabriela has tried to further his vision and ideas in various artistic projects. This includes painting the icons and murals for the round chapel which was completed earlier this year.
As Saint Sophrony’s mind was always very creative, he had many ideas about how to create a space for the celebration of the Liturgy. In 1992, he made a plan to build a round chapel and supervised the construction of a model which specified all the various dimensions as well as the exact location. Whilst at the time it was not possible to fulfil the project, its realisation came thirty years later. Initially, Saint Sophrony had wanted to dedicate the chapel to the Holy Trinity; but when he himself was numbered amongst the saints, it was decided to change the plan and name the chapel after our founding Father.
The Monastery has not written a history, but the books written by Saint Sophrony and members of his Community provide an insight into the spiritual basis of its life. These books are on sale at the Monastery’s bookshop in Tolleshunt Knights, as well as online.
I've recently read Body Piercing Saved My Life, Andrew Beaujon's journalistic investigation into a subculture so large that it's erroneous to even call it a subculture: Christian rock.
At the time his book was written (2006) Christian rock culture was booming, not only with bands but with extreme teen Bibles, skateboarding ministries, Christian tattoo parlors, paintball parks, coffeehouses, and nightclubs,encouraging kids to form their own communities apart from the mainstream. Profiling such successful Christian rock bands as P. O. D. , Switchfoot, Creed, Evanescence, and Sixpence None the Richer, as well as the phenomenally successful Seattle Christian record label Tooth & Nail, enormous Christian rock festivals, and more.
Spin journalist Andrew Beaujon lifted the veil on a thriving scene that operated beneath the secular world's radar. Revealing, sympathetic, and groundbreaking, Body Piercing Saved My Life (named for a popular Christian rock T-shirt depicting Christ's wounds) is a fascinating look into the hearts and minds of then enormous, and growing, youth culture.
Matt Fink notes that the book is 'Part autobiographical travelogue, part journalistic investigation' and that 'what Beaujon finds consistently challenges his expectations'. After an effective potted history of Christian Rock or Contemporary Christian Music (CCM), his experiences enable him to explore the difference between Christian rockers and rockers who are Christians, the move CCM made from an outward focus on evangelism to an inward focus on worship, and the conservatism of mainstream CCM.
He works with a distinction found in Jay Howard and John Streck's book Apostles of Rock: The Splintered World of Contemporary Christian Music: Separationist; Integrationist; and Transformational. Seperationist artists 'create Christian music primarily for other Christians', Integrationist artists 'try to translate their faith into mainstream music or, at the very least, offer a wholesome alternative to what's in stores and on the radio', and Transformational artists are those 'who struggle with their faith but still attempt to bring "salt and light" to the world'. Although he explores all three expressions of CCM, Beaujon's interest tends towards the latter category.
Among the performers he mentions that were new (or newish) to me are:
David Bazan: Danielle Dietze writes that 'For thirty years, David Bazan has been writing about what it means to believe in something-and what it means when those beliefs fray. When Pedro the Lion released It’s Hard to Find a Friend in 1998, Bazan was already a keen observer of moral and existential conflict, capturing minor human disappointments with devastating attention. By the time Control came out, his writing had sharpened, slicing through suburban politeness and the American dream with pinpoint precision. For over a decade, he built Pedro the Lion into one of indie rock’s most quietly radical projects, chronicling doubt, faith, guilt, and the messy pursuit of grace in a way that felt both deeply personal and universally resonant. Then, in 2006, he retired the Pedro the Lion moniker, as if setting down an old burden. Bazan kept writing, releasing the synth project Headphones and five solo albums that were blunt and revelatory in their own right, but the decision to retire the name felt definitive. Until, suddenly, it wasn’t. In 2017, after being dormant for more than a decade, Pedro the Lion was back. The deeply autobiographical albums to follow, Phoenix, Havasu and Santa Cruz, marked a return to the places that shaped him literally and metaphorically, tracing the lines of the past to understand the shape of the present.'
John Davis: John Davis has been in a constant state of record production since 1994. He is founding member of Superdrag, The Lees Of Memory, The Rectangle Shades & Epic Ditch. He is also 1/4 of astronaut pushers. He walked away from Superdrag in 2003 but has remained prolific across myriad Bandcamp-abetted projects, including his shoegaze-oriented outfit the Lees Of Memory, the psych-country combo Rectangle Shades, and a handful of Christian-themed releases under his own name. David Zahl writes that 'John Davis found in the Gospel the permission to go deeper, rock harder, sing prettier – freedom in other words – and we’re all the better for it'. Astronaut Pushers, the one-time Nashville supergroup, consists of Sam Ashworth (Grammy and Academy Award-nominated songwriter), John Davis (Superdrag, The Lees Of Memory), Lindsay Jamieson (Ben Folds, Departure Lounge) and Matt Slocum (Sixpence None the Richer). Their four-song EP, originally self-released as a CD on a limited basis, showcases a wide diversity of styles performed by musicians at the top of their creative game. It was reissued on vinyl by Lost In Ohio in 2022.
The Ocean Blue: Getting their start as teenagers in the late ‘80s in Hershey, PA, The Ocean Blue released their self-titled debut on the famed Sire Records label that launched many of their most beloved bands in the U.S., including the Smiths, Echo & the Bunnymen, and the Pretenders. Embraced by alternative radio and MTV, the band quickly made their mark with early singles “Between Something And Nothing,” “Drifting, Falling” and “Ballerina Out of Control,” each Top Ten hits on U.S. college and Billboard’s Modern Rock Radio charts. Early success set in motion a run of four major label albums— The Ocean Blue (1989 Sire), Cerulean (1991 Sire), Beneath the Rhythm and Sound (1993 Sire), and See The Ocean Blue (1996 Mercury). The band continued with string of independent releases in the 2000s, including Davy Jones Locker (2000 March), Waterworks (2003 W.A.R.), Ultramarine (2013 Korda) and Kings and Queens/Knaves and Thieves (2019 Korda). With eight albums and several EPs under their belt, the band continues to perform and record around the world, with work underway on a new album, and shows in cities throughout the U.S. in 2025.
Poor Old Lu: Poor Old Lu was a pioneering alternative Christian band based in the Pacific Northwest of the United States. Their name was taken out of the first book in C.S.Lewis' Chronicles of Narnia: The Lion, the Witch, & the Wardrobe. The band experimented with a variety of sounds and genres, particularly grunge, funk and psychedelic rock. Poor Old Lu put out four full-length records and an EP before breaking up in 1996; they reunited for a well-received comeback album, The Waiting Room, in 2002; since that time, they have released only a single song, “The Great Unwound,” in 2013. The band evolved from a funky/jangly alternative sound early on into a much moodier, refined indie rock powerhouse fully realized on their magnum opus Picture of the Eighth Wonder. They hit at the height of the Christian indie scene in the 1990s, and formed a core unit of alternative rock bands that included The Prayer Chain, Plankeye, Starflyer 59 and a handful of others. Hailing from the Seattle area, the band also had close ties with others in the scene like Pedro the Lion, Damien Jurado, Blenderhead, and even Sunny Day Real Estate (vocalist Jeremy Enigk provided guest vocals on one POL track).
The Psalters:The Psalters are a genre unto themselves, defying easy categorization. A Philadelphia Weekly writer describes them thus: 'I’m…watching the Psalters celebrate rootlessness and internationalism, mixing radical Christian propaganda with multiethnic polyrhythms and neo-Dickensian refugee ragamuffin chic. The woman next to me wears a full-on Middle Eastern burka, from which protrude long, electric green dreadlocks…The tall dude at the sound desk in the leather pants and the crazy pirate-looking mother in the front row are all members of the…Psalters–the crusty-punk, multiethnic, radical Christian equivalent of the anarchist Chumbawamba: part traveling circus, part live-by-example anti-patriotic slap in the face to the ticky-tacky Christianity peddled by millionaire preachers obsessed with their congregation’s genitalia.' The Atlantic says “Psalters mounts an ululating, multi-drum offensive against the capitalist hegemony. They dress the part, too—if you saw this lot coming on a dark night, you’d run.” They’re a communal NGO, partnering with refugee populations and indigenous groups in the work of radical justice through the art of worship. Vocalist Scott Krueger’s view is that “our Christian walk is supposed to affect every aspect of our lives. So as artists, we want to have that shape our art.”
Marsha Stevens: 'If Larry Norman is to be called the father of Christian Rock, then Marsha Stevens certainly deserves to be known as the mother of contemporary Christian music, a title that Christian Century and others have bestowed upon her. She was the leader of what is considered to be the world's first contemporary Christian music group, Children of the Day, and she has continued as a solo artist to produce albums of worship-oriented and edifying adult contemporary pop. As such, she remains the progenitor of what, by 2002, would become the single most popular genre in the contemporary Christian music market… Stevens became the first (and as of 2002, the only) major singer in the contemporary Christian music subculture to identify herself publicly as a lesbian…Christian Century Magazine has said that Stevens became “conservative Christianity's worst nightmare - a Jesus-loving, Bible-believing, God-fearing lesbian Christian.' - Excerpt from "The Encyclopedia of Contemporary Christian Music", Sept. 2002. Marsha, alongside her spouse, Cindy, are working between tours to continue their music ministry training school for those in Christian outreach to the GLBT community. An outreach of Balm Ministries (Born Again Lesbian Music), the program is called upBeat!. They have produced a Praise and Worship album with 14 singers and 10 songwriters.
Derek Webb: Musician Derek Webb, who started out with the band Caedmon’s Call in the 1990s, has “spent a career gnawing on the hand that feeds me in the evangelical Christian world,” as he told Sojourners. Caedmon's Call was a contemporary Christian band which fused traditional folk with world music and alternative rock. From his time in Caedmon’s Call to his work as a solo artist for the past 20 years, Webb has outlined a winding and vulnerable journey of doubt, love, grief, and freedom. Most recently, Webb has been reckoning with his evangelical past, writing what he calls his “first Christian and Gospel album in a decade.” In his April [2023] album, The Jesus Hypothesis, Webb demonstrates his ever introspective and thoughtfully provocative lyricism with lines like, “Maybe black sheep are not lost oh, they’re just pioneers / Just brave enough to wander off and find what’s past our fears.”
Brian Welch: When Brian "Head" Welch stepped away from Korn in 2005, he began a solo career, releasing Save Me From Myself in 2008. His autobiography, also titled Save Me From Myself, tells the incredible story of a controversial rock star, his secret addiction to methamphetamines, and his miraculous salvation through Jesus Christ. In 2013 he re-branded his solo project as Love and Death and released Between Here and Lost. Love and Death harness soaring melodies and crushing riffs, weaponizing them like a supernaturaldagger to strike at the blackened heart of disillusionment from both within and without. With an instantly recognizable relatability, for anyone who has felt discarded or without value, the band crafts invigorating anthems filled with earnest pleas for mercy and certainty amidst the chaos of an uncertain world. This is heavy music to vigorously confront depression, heartbreak, and pain. Their latest album Perfectly Preserved, is driven by the spiritual resilience inherent in the first record, combined with an even starker depiction of real-life struggle. Welch is featured on the song "Fall On Your Knees" by HolyName, a metal worship project fronted by Tommy Green. Welch also performed live with HolyName during their "Initiation" live recording in Chicago, which was released in 2023. HolyName’s most recent album is essentially a love letter to Christ and a tribute to the history of eastern orthodoxy.
Denison Whitmer:Denison Witmer is an American singer-songwriter who has been crafting introspective folk music for over two decades. Born and raised in Lancaster, Pennsylvania, he began his journey in recorded music at the age of 19 with his first album, My Luck, My Love - recorded originally as a high school English project and released on 250 cassettes. His official debut album, Safe Away, followed in 1998, setting the foundation for a prolific career. Over the years, Witmer has released a series of acclaimed albums, including Of Joy and Sorrow (2001), Philadelphia Songs (2002), and Are You a Dreamer? (2005), with the latter, produced by Don Peris and featuring Sufjan Stevens, earning critical praise from outlets such as Pitchfork and Entertainment Weekly. Witmer's discography continued to expand with Carry the Weight in 2008, followed by his first release on Sufjan Stevens' Asthmatic Kitty Records, The Ones Who Wait (2012). His subsequent albums, the self-titled Denison Witmer (2013) and American Foursquare (2020), also released on Asthmatic Kitty, continued to showcase his evolving artistry.
For more on music and faith see my co-authored book 'The Secret Chord'.
Having just discovered The Ocean Blue and Denison Whitmer, I've also been interested to find out about their connections to the very wonderful Innocence Mission, connections which for Whitmer and Innocence Mission have also led to links with Sufjan Stevens.
Getting their start as teenagers in the late ‘80s in Hershey, PA, The Ocean Blue released their self-titled debut on the famed Sire Records label that launched many of their most beloved bands in the U.S., including the Smiths, Echo & the Bunnymen, and the Pretenders. Embraced by alternative radio and MTV, the band quickly made their mark with early singles “Between Something And Nothing,” “Drifting, Falling” and “Ballerina Out of Control,” each Top Ten hits on U.S. college and Billboard’s Modern Rock Radio charts. Early success set in motion a run of four major label albums— The Ocean Blue (1989 Sire), Cerulean (1991 Sire), Beneath the Rhythm and Sound (1993 Sire), and See The Ocean Blue (1996 Mercury). The band continued with string of independent releases in the 2000s, including Davy Jones Locker (2000 March), Waterworks (2003 W.A.R.), Ultramarine (2013 Korda) and Kings and Queens/Knaves and Thieves (2019 Korda). With eight albums and several EPs under their belt, the band continues to perform and record around the world, with work underway on a new album, and shows in cities throughout the U.S. in 2025.
Denison Witmer is an American singer-songwriter who has been crafting introspective folk music for over two decades. Born and raised in Lancaster, Pennsylvania, he began his journey in recorded music at the age of 19 with his first album, My Luck, My Love - recorded originally as a high school English project and released on 250 cassettes. His official debut album, Safe Away, followed in 1998, setting the foundation for a prolific career. Over the years, Witmer has released a series of acclaimed albums, including Of Joy and Sorrow (2001), Philadelphia Songs (2002), and Are You a Dreamer? (2005), with the latter, produced by Don Peris and featuring Sufjan Stevens, earning critical praise from outlets such as Pitchfork and Entertainment Weekly. Witmer's discography continued to expand with Carry the Weight in 2008, followed by his first release on Sufjan Stevens' Asthmatic Kitty Records, The Ones Who Wait (2012). His subsequent albums, the self-titled Denison Witmer (2013) and American Foursquare (2020), also released on Asthmatic Kitty, continued to showcase his evolving artistry.
For listeners of the innocence mission, the Lancaster, Pennsylvania trio are beyond a favourite band, more like a beloved companion, such is their intensity and fragility of their sound and vision, spearheaded by Karen Peris’ heartbreaking, breathtaking voice. Those fans include Sufjan Stevens and Sam Beam (Iron & Wine), who have both covered innocence mission songs, and in whose company the trio deserve to be bracketed.1999’s Birds Of My Neighborhood kickstarted the innocence mission as we know them today, following three albums as a quartet that drew comparisons to The Sundays and 10,000 Maniacs. But when drummer Steve Brown left to become a chef, Karen Peris (guitars, piano, pump organ, accordion, voice), husband Don (guitars, drums, voice) and Mike Bitts (upright bass) forged ahead with an orchestral, at times cinematic, folk pop sound which they felt was truer to their real nature in any case, a sound rich in atmosphere, innately sad, but ultimately hopeful.
Sufjan Stevens is a singer, songwriter and composer currently living in New York. His preoccupation with epic concepts has motivated two state records (Michigan and Illinois), a collection of sacred and biblical songs (Seven Swans), an electronic album for the animals of the Chinese zodiac (Enjoy Your Rabbit), a full length partly inspired by the outsider artist Royal Robertson (The Age of Adz), a masterwork memorializing and investigating his relationship with his late mother (Carrie & Lowell), and two Christmas box sets (Songs for Christmas, vol. 1-5 and Silver & Gold, vol. 6-10). In 2020 he shared Aporia, a collaborative new age album made with his stepfather Lowell Brams, and his eighth studio album The Ascension, a reflection on the state of humanity in freefall and a call for total transformation of consciousness. In early 2021 he released Convocations, a five-volume, two and a half hour requiem mass for present times, and then A Beginner’s Mind, a collaboration with singer-songwriter Angelo De Augustine featuring songs inspired in part by popular films. In October 2023, Stevens released his tenth solo studio project, Javelin, which pairs musical sweep with emotional breadth in a way only Stevens can, weaving an entire lifetime of feeling into 42-minutes.
The members of the Ocean Blue first met in junior high school. They cut a series of demos while in high school, with Scott Stouffer sitting in on drums. They managed to get two of these earliest recordings, "On Growing Up" and "Wounds of a Friend", included on a local radio station compilation in late 1986. The compilation also included very early work from noted local artists the Innocence Mission, who were friends and mentors of the Ocean Blue.
"Do You Still Remember" on Davy Jones' Locker (1999) by The Ocean Blue (song recorded by Don Peris; entire album mastered by Don). Don was credited as the mastering engineer for two EPs released by The Ocean Blue: Denmark (2000) and Ayn (2001).
Korda Records is a Minneapolis based record label cooperative launched in late 2012 by a number of artists including David Schelzel of The Ocean Blue. The label say of The Innocence Mission: "We are proud to have our friends The Innocence Mission a part of Korda and their 2015 release Hello I Feel the Same (Korda 014) on the label. The guys in The Ocean Blue have a long and deep friendship with Don & Karen of The Innocence Mission that goes back to some of each band’s first shows in Pennsylvania and their major label debut records on Sire and A&M."
Don Peris has worked extensively with Lancaster-based singer-songwriter Denison Witmer, and was first credited as an engineer on his debut release, 1995's My Luck, My Love. After buying his first guitar, Denison sought the teachings of Don Peris. Peris, however, ended up playing a much bigger role in Witmer's career later in life. Peris has gone on to produce several of Witmer's albums, including Safe Away (1998) and Are You a Dreamer? (2005), 'Carry The Weight' (2008), as well as the 1999 EP River Bends. He also engineered the LPs Of Sorrow and Joy (2001) and Recovered (2003), and mixed The '80s EP (2000) and Philadelphia Songs (2004). The latter album additionally features background vocals from Karen, on the song "Rock Run". Karen also assisted with production of Are You A Dreamer? The album also featured Sufjan Stevens.
2011's 'The Ones Who Wait' was originally released under the Mono vs Stereo label but was re-released in 2012 by Asthmatic Kitty, the label owned by renowned singer/songwriter Sufjan Stevens. Denison's 10th album was self-titled and was again released under the Asthmatic Kitty banner (2013). It was produced by Don and Karen Peris, who also feature on the album. American Foursquare (2020) included “Birds of Virginia” which features Karen and Don Peris. Witmer’s latest album, Anything At All, was released on Asthmatic Kitty Records on February 14 2025 and showcases his enduring collaboration with Sufjan Stevens, who produced the record.
Speaking of his cover of The Innocence Mission's "Lakes of Canada", Stevens said:“I’m in awe of big songs, national anthems, rock opera, the Broadway musical, but what I always come back to, after the din and drum roll, is the small song that makes careful observations about everyday life. This is what makes the music by The Innocence Mission so moving and profound. ‘Lakes of Canada’ creates an environment both terrifying and familiar using sensory language: incandescent bulbs and rowboats are made palpable by careful rhythms, unobtrusive rhyme schemes, and specificity of language.”
When speaking of Karen Peris, it’s clear to see the admiration Stevens holds for her: “What is so remarkable about Karen Peris’ lyrics are the economy of words, concrete nouns - fish, flashlight, laughing man - which come to life with melodies that dance around the scale like sea creatures. Panic and joy, a terrible sense of awe, the dark indentations of memory all come together at once, accompanied by the joyful strum of an acoustic guitar. This is a song in which everyday objects begin to have tremendous meaning.”
For more on music and faith see my co-authored book 'The Secret Chord'.
Here's the reflection that I shared this evening during Evensong at St Catherine's Wickford:
Like many in the 1970’s, my family had an LP of the songs from Joseph and his Amazing Technicolour Dreamcoat. I remember listening to it frequently and, at some stage, seeing the stage show when it visited Oxford.
The show makes Joseph’s test of brother’s integrity central to the second Act. We can retell the story by quoting lyrics from the show (Genesis 42: 1-25). Back in Canaan the future looked rough and Jacob's family were finding it tough. So, they finally decided to go off to Egypt to see brother Jo. They all lay before Joseph's feet. Mighty prince, give us something to eat. Joseph found it a strain not to laugh because not a brother among them knew who he was. I shall now take them all for a ride, after all they have tried fratricide. Joseph handed them sack loads of food and they grovelled with base gratitude. Then, unseen, Joseph crept out around the back and planted a cup in young Benjamin's sack.
When the brothers were ready to go, Jospeh turned to them all with a terrible stare and said, No. Stop, you robbers - your little number's up, one of you has stolen my precious golden cup. But the brothers said, Benjamin is an innocent man. Show him some mercy, oh mighty one please. He would not do this. He must have been framed. Jail us and beat us, we should be blamed, we are the criminal guilty ones, save him, take me. Joseph knew by this his brothers now were honest men. The time had come at last to reunite them all again.
Joseph’s test is worrying and hard for his brothers but serves to help him see that they have changed and become trustworthy. As a result, he reveals himself to them and they are reunited once more. Joseph’s earlier experiences in Egypt were also testing but he came through with flying colours and was rewarded with high office that then provided him with the opportunity to save his family and to reunite them.
In 1 Corinthians 10, we read that, although we will experience tests and challenges as we go through life, no testing will overtake us that is not common to everyone. God is faithful, and he will not let us be tested beyond our strength, but with the testing he will also provide the way out so that we may be able to endure it. That is also what we see happening in the story of Joseph and his brothers.
It means that, whenever we are in difficulty or some kind of test, we need to look to God to see what it is we are to learn and where the way out that he has provided is located. This can be a core part of our prayer recognising that, as with Joseph, it took much of his life before he realised how God was using what had seemed bad for good, and, for his brothers, the test was to see whether they would act with integrity under pressure, having failed to do so earlier in the story.
Hebrews 12 also speaks of tests and challenges and encourages in the midst of such experiences to strengthen our feeble arms and weak knees and make level paths for our feet. James, the brother of Jesus, wrote: ‘My brothers and sisters, whenever you face trials of any kind, consider it nothing but joy, because you know that the testing of your faith produces endurance; and let endurance have its full effect, so that you may be mature and complete, lacking in nothing.’ (James 1. 2 - 4)
In a world of conflict and change is that difficulties, challenges and even opposition are inevitable. The key to coping is linked to attitude. Joseph’s integrity in the face of testing and that of his brother’s when Benjamin was accused are examples to us of viewing difficulties as a testing ground – an assault course – to build up our strength in order to go on; to look for the opportunities in our challenges. If we have a deficit mindset that is focused on all the difficulties we face, then we have lost before we have begun. If we have an abundance mindset that views God as providing resources, support and strength even in the most challenging of circumstances, then, like Joseph, we can have hope in the possibility of moving on and overcoming the challenges we face.
When the disciples asked Jesus to teach them to pray, he responded with a model prayer – beautiful, balanced and brief (Luke 11: 1-13). It has come to be known as the Lord’s Prayer. In his book ‘Discovering Prayer’, Andrew Knowles, a former Canon Theologian of Chelmsford Cathedral, simply and succinctly takes us through the different sections of this prayer for life.
We begin with God - Jesus reminds us to whom we’re talking. We’re coming to Almighty God who is also our Father. We aren’t phoning through a big order to a supermarket store which sells everything. Nor are we practising some weird and wonderful thought-process guaranteed to release psychic powers. We’re coming simply, humbly into the presence of our Creator, having received the invitation to do so from Jesus himself.
It’s good to remember that God is ‘our Father’. We belong to a great, trans-national, cross-cultural family, some of whom have already died and some of whom are yet to be born. Wherever we are around the world, and at whatever point in time we live, we own God as our Father and Jesus as our Lord. So when we pray this prayer, we’re sharing with our Christian brothers and sisters, across every division of colour and class, of politics and economics, of time and eternity.
We say ‘yes to God’ - Not only do we begin with God, we also ask that all he wants to do in our lives and in our world may come about. We ask that all he wants to do in our lives and in our world may come about. We ask that men and women everywhere may realise who he is and humble themselves before him.
We ask that God’s kingdom may come - The kingdom of God exists wherever God is King. It isn’t located on a map, nor do we enter it by holding a passport! The exciting truth is that God is already King of millions of lives. He is already acknowledged as Lord in a vast number of situations. We see the effects of his rule when hate is turned to love, when bitterness is dismantled by forgiveness, when disease is overwhelmed by health, and when war gives way to peace.
But we must remember that God is a father and not a dictator. For this reason his kingdom can only come when individual people invite him into their lives and submit themselves to the changes he wants to make.
This phrase, ‘May your kingdom come’, more than any other in the Lord’s Prayer, has a tendency to rebound on the user. If we really want God’s kingdom to come, then we must open ourselves and our circumstances to God, whatever the cost.
And if we’re looking for the kind of changes in the world that only God can make, we may find that he promptly enlists us in his service! We may find ourselves doing anything from bathing an invalid to mailing a cheque for famine relief. We may even find ourselves called to lob in our whole life as the only fitting contribution we can make to the service of God’s kingdom in a particular situation.
We bring our needs to God - In the second half of the Lord’s Prayer we ask God to meet our basic human needs. We ask him for enough to live on, for forgiveness, and for protection.
‘Give us day by day the food we need’ has a strong echo of the days when the Israelites were supplied with manna in the desert. Every day they had ‘enough’, and the Lord’s Prayer asks that we may have the same experience of god’s faithful provision each day as it comes. In an age when many people are run raged by their desire for money and possessions, this is a wonderful promise from Jesus. All the same, we should notice that it is everything we need that God will provide, and not everything we want.
‘Forgive us our sins, for we forgive everyone who does us wrong.’ This reminds us that our standard of living is more than a roof over our head, food on the table and a shirt on our back. Our well-being is intimately tied up with personal relationships – within ourselves, between ourselves, and between ourselves and God. Our recurring need here is for forgiveness. We hurt people by our self-centredness, our anger and our prejudice. We hurt God by going our own way in defiance of his loving law, wilfully defiling all that he intended life in this world to be.
So we ask for forgiveness. We feel the need and we say the words. But it’s no easy matter for God to forgive us. It cost him the life of his only Son to show the reality and consequence of sin. As he died on the cross, Jesus took on himself the results of all our sin. This is the only way by which we can be forgiven and restored to spiritual life. This is the Christian Good News: that life with God – something we can never earn and certainly don’t deserve – is his free gift to us through the death of Jesus. Our sins are not only forgiven but forgotten, and if we mention them to God again he’ll wonder what we’re talking about.
But as we ask God to forgive us, we must check if there is anyone who in turn needs our forgiveness. How do we feel about our worst enemy? Is there any member of the family, or anybody at work, against whom we’re nursing anger, bitterness or resentment? Only as we forgive others can we enter fully into the wonderful experience of God’s forgiveness of us. This is not just a nice idea. It’s a condition for our own forgiveness. Elsewhere Jesus warns that if we don’t forgive, then we in turn shall not be forgiven. This teaching alone, if we take it seriously, will completely change our lives.
‘And do not bring us to hard testing.’ Sometimes this is translated, ‘Lead us not into temptation,’ and we may well wonder when, why and how God could possibly want us to be tempted. And we would be right – he doesn’t. But while God will never lure us into evil, he will sometimes allow us to be tested. Just as we will put ourselves through all kinds of discomfort to get fit or lose weight, so God will allow pressure on us to strengthen our faith or increase our insight.
In the face of this testing, Jesus includes a very human plea that God won’t go over the top in his efforts to refine us. It is encouraging to hear Jesus say this, because he was tempted over a longer period and with greater intensity than we’ll ever know. Enticed by Satan, or daunted by God, we often given in at a very early stage. Our Christian integrity disintegrates and snatches at hypocrisy to cover our shame. But while we often capitulate, Jesus never did so.
The Lord’s Prayer recognises that temptation is an integral part of our daily life. We’ll never lose it, so we must learn to use it. If we can use the force of temptations to push us closer to the Lord, rather than sweeping us away from him, then we’ll be harnessing their power for our benefit.
'Art and faith: Decades of engagement' is a series of posts which aim to demonstrate the breadth of engagement there has been between the Arts (including Literature) and religion within the modern period and into our contemporary experience. The idea is to provide a brief introduction to the artists and initiatives that were prominent in each decade to enable further research. Inevitably, these lists will be partial as there is much that I don’t know and the lists reflect my interests and biases. As such, the primary, but not exclusive, focus is on artists that have engaged with the Christian tradition.
Stephen Schloesser’s Jazz Age Catholicism shows how a postwar generation of Catholics refashioned traditional notions of sacramentalism in modern language and imagery.
Following the Great War’s devastation, innovative movements in France offered competing visions of a revitalized national body and a new world order. One of these was the postwar Catholic revival or renouveau catholique. Since the church had historically been the dominant religious force in France, its turn of the century separation from the state was especially bitter. For many Catholics, the 1914–18 sacrifices made on the Republic’s behalf necessitated its postwar ‘re-Christianization.’ However, in their attempt to reconcile Catholicism with culture, revivalists needed to abandon old oppositions and adapt religion’s rigging to the prevailing winds of modernity.
Stephen Schloesser’s Jazz Age Catholicism shows how a postwar generation of Catholics refashioned traditional notions of sacramentalism in modern language and imagery. Jacques Maritain’s philosophy, Georges Rouault’s visual art, Georges Bernanos’s fiction, and Charles Tournemire’s music all reclothed ancient tropes in new fashions. By the late 1920s, the renouveau catholique had successfully positioned Catholic intellectual and cultural discourse at the very centre of elite French life. Its synthesis of Catholicism and culture would define the religiosity of many throughout Western Europe and the Americas into the 1960s.
Schloesser begins with a prologue examining the roots of the postwar renouveau in the final decades of the nineteenth century, as Decadents, Symbolists, and others rebelled against the dominant secular positivist ideology of republican France and its artistic counterpart, the realist insistence on vraisemblance and exact, “scientific” depictions of reality.
Romantic writers had found in Christianity a poetic cult of the imagination, an assertion of the spiritual quality of beauty in an age of vulgar materialism. The decadents, a diverse movement of writers, were the climax and exhaustion of this romantic tradition. In their art, they enacted the romance of faith as a protest against the dreariness of modern life. In Decadence and Catholicism, Ellis Hanson teases out two strands--eroticism and aestheticism--that rendered the decadent interest in Catholicism extraordinary. More than any other literary movement, the decadents explored the powerful historical relationship between homoeroticism and Roman Catholicism. Why, throughout history, have so many homosexuals been attracted to Catholic institutions that vociferously condemn homosexuality? This perplexing question is pursued in this elegant and innovative book.
Late-nineteenth-century aesthetes found in the Church a peculiar language that gave them a means of artistic and sexual expression. The brilliant cast of characters that parades through this book includes Oscar Wilde, Charles Baudelaire, J.-K. Huysmans, Walter Pater, and Paul Verlaine. Art for these writers was a mystical and erotic experience. In decadent Catholicism we can glimpse the beginnings of a postmodern valorization of perversity and performativity. Catholicism offered both the hysterical symptom and the last hope for paganism amid the dullness of Victorian puritanism and bourgeois materialism.
Martin Lockerd's Decadent Catholicism and the Making of Modernism traces the movement of literary decadence from the writers of the fin de siècle - Oscar Wilde, Aubrey Beardsley, Ernest Dowson, and Lionel Johnson - to the modernist writers of the following generation.
His book charts the legacy of decadent Catholicism in the fiction and poetry of British and Irish modernists. Linking the later writers with their literary predecessors, Lockerd examines the shifts in representation of Catholic decadence in the works of W. B. Yeats through Ezra Pound to T.S. Eliot; the adoption and transformation of anti-Catholicism in Irish writers George Moore and James Joyce; the Catholic literary revival as portrayed in Evelyn Waugh's Brideshead Revisited; and the attraction to decadent Catholicism still felt by postmodernist writers D.B.C. Pierre and Alan Hollinghurst.
Drawing on new archival research, this study revisits some of the central works of modernist literature and undermines existing myths of modernist newness and secularism to supplant them with a record of spiritual turmoil, metaphysical uncertainty, and a project of cultural subversion that paradoxically relied upon the institutional bulwark of European Christianity. Lockerd explores the aesthetic, sexual, and political implications of the relationship between decadent art and Catholicism as it found a new voice in the works of iconoclastic modernist writers.
I have carried out a large number of other interviews for Artlyst, ArtWay, Church Times, International Times, Seen and Unseen and Art+Christianity. They provide a wide range of fascinating insights into the approaches and practices of artists, arts professionals, clerics, curators, performers, poets and writers.
'I think this kind of dialogue has everything to do with cultivating mutual care and love of neighbour. The art world is a series of loosely connected communities full of people who are your and my neighbours. I happen to really care about these communities who make, exhibit, and talk about art, despite their problems. And the same might be said about various religious communities, who have their own problems and who often have more complicated interrelations with those art communities than is generally recognized. Wherever you’re coming from—the arts, the church, or otherwise—I’m interested in expanding dialogue oriented toward loving one’s neighbours, or even one’s enemies if that’s how it must be. At the most basic level, that means listening in a way that tries to discern others’ animating cares and concerns.'
For more on the Jonathan A. Anderson see here (my Artlyst interview with him) and here (my review of 'The Invisibility of Religion in Contemporary Art').
My first article for Seen and Unseen was 'Life is more important than art' which reviews the themes of recent art exhibitions that tackle life’s big questions and the roles creators take.
My third article was an interview with musician and priest Rev Simpkins in which we discussed how music is an expression of humanity and his faith.
My fourth article was a guide to the Christmas season’s art, past and present. Traditionally at this time of year “great art comes tumbling through your letterbox” so, in this article, I explore the historic and contemporary art of Christmas.
My 20th article was entitled 'Revisiting Amazing Grace inspires new songs'. In the article I highlight folk musicians capturing both the barbaric and the beautiful in the hymn Amazing Grace and Christianity's entanglement with the transatlantic slave trade more generally.
My 24th article was an interview with Alastair Gordon on the artist’s attention which explores why the overlooked and everyday capture the creative gaze.
My 25th article was about Stanley Spencer’s seen and unseen world and the artist’s child-like sense of wonder as he saw heaven everywhere.
