Seen and Unseen: Revisiting Amazing Grace inspires new songs

My latest article for Seen & Unseen is 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:

'The Sorrow Songs, Stolen From God and Grace Will Lead Me Home are three deeply moving and challenging albums, with [Angeline] Morrison and [Cohen] Braithwaite-Kilcoyne as the exceptional musicians linking all three, that tackle the history of the transatlantic slave trade, unearthing both incredible tales and uncomfortable truths. The Church is among the institutions that need most to hear and receive the truths and tales these albums share.'

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 second article 'Corinne Bailey Rae’s energised and anguished creative journey' explores inspirations in Detroit, Leeds and Ethiopia for Corinne Bailey Rae’s latest album, Black Rainbows, which is an atlas of capacious faith.

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 fifth article was 'Finding the human amid the wreckage of migration'. In this article I interviewed Shezad Dawood about his multimedia Leviathan exhibition at Salisbury Cathedral where personal objects recovered from ocean depths tell a story of modern and ancient migrations.

My sixth article was 'The visionary artists finding heaven down here' in which I explored a tradition of visionary artists whose works shed light on the material and spiritual worlds.

My seventh article was 'How the incomer’s eye sees identity' in which I explain how curating an exhibition for Ben Uri Online gave me the chance to highlight synergies between ancient texts and current issues.

My eighth article was 'Infernal rebellion and the questions it asks' in which I interview the author Nicholas Papadopulos about his book The Infernal Word: Notes from a Rebel Angel.

My ninth article was 'A day, night and dawn with Nick Cave’s lyrics' in which I review Adam Steiner’s Darker With The Dawn — Nick Cave’s Songs Of Love And Death and explore whether Steiner's rappel into Cave’s art helps us understand its purpose.

My 10th article was 'Theresa Lola's poetical hope' about the death-haunted yet lyrical, joyful and moving poet for a new generation.

My 11th article was 'How to look at our world: Aaron Rosen interview', exploring themes from Rosen's book 'What Would Jesus See: Ways of Looking at a Disorienting World'.

My 12th article was 'Blake, imagination and the insight of God', exploring a new exhibition - 'William Blake's Universe at the Fitzwilliam Museum - which focuses on seekers of spiritual regeneration and national revival.

My 13th article 'Matthew Krishanu: painting childhood' was an interview with Matthew Krishanu on his exhibition 'The Bough Breaks' at Camden Art Centre.

My 14th article was entitled 'Art makes life worth living' and explored why society, and churches, need the Arts.

My 15th article was entitled 'The collective effervescence of sport's congregation' and explored some of the ways in which sport and religion have been intimately entwined throughout history

My 16th article was entitled 'Paradise cottage: Milton reimagin’d' and reviewed the ways in which artist Richard Kenton Webb is conversing with the blind poet in his former home (Milton's Cottage, Chalfont St Giles).

My 17th article was entitled 'Controversial art: how can the critic love their neighbour?'. It makes suggestions of what to do when confronted with contentious culture.

My 18th article was an interview entitled 'Art, AI and apocalypse: Michael Takeo Magruder addresses our fears and questions'. In the interview the digital artist talks about the possibilities and challenges of artificial intelligence.

My 19th article was entitled 'Dark, sweet and subtle: recovered music orientates us'. In the article I highlight alt-folk music seeking inspiration from forgotten hymns.

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Angeline, Cohen and Jon - Grace will lead me home.

A God who entrusts us with things of enormous worth

Here's my reflection that I shared at today's Eucharist in St Andrew’s Wickford:

Many of Jesus’ parables are set in the world of work. They concern masters, servants and slaves, as those were the primary work roles at the time and, because Israel was an agrarian culture, they often relate to farming. Ours is a very different context but, despite the many differences between the working life of Jesus’ day and time, the universal nature of the stories that he told, means that they still have much to say to the work practices of our own day and time.

One person who has specifically explored the implications of Jesus’ parables for the workplace is Will Morris who is both PwC’s Deputy Global Tax Policy Leader and a priest in the Episcopal Church. In his book ‘Where is God at Work?’ he devotes five chapters to exploring the Parable of the Talents or Pounds (Luke 19.11-28).

He notes firstly that this is story about workers and work. In the story people at work are ‘entrusted with vast sums of money and expected to use them in commercial ways’: ‘People are given assignments, they have responsibilities, and they have to report back to the boss, who then assesses them and rewards them with further work responsibility – or punishes them with demotion (or the sack). The relationships are business relationships. There is one worker who obviously has real commercial smarts, another who is not quite as high-powered but still does pretty well, and then there is the one who has no commercial savvy at all, and who lets his employer’s money sit in the ground doing nothing. So we have the successful risk-taker and the conservative, risk-adverse colleague who’d much rather do nothing than try anything. And there’s a hierarchy. It really is just like a workplace.’

He makes three key points. The first is that this is not directly a story about God-given abilities (a pound or talent was a measure of money, not a skill or gift). It is ‘rather a story about the entrustment of something of great price to various individuals.’

‘Second, the sums of money – the pounds or talents – are something given, entrusted by the master when he leaves and required to be turned back over when he returns.’ It is about ‘something entrusted to us which we are expected to work with – fruitfully – and then return to the person who gave it to us.’

Third, there is the size of the gifts. One talent is sixteen years’ wages, five is eighty years’ worth. ‘That’s a lot to entrust to a slave ... Slaves, those way down the pecking order, were here entrusted with huge wealth. The master didn’t entrust the talents to his fellow owners or to his friends, but to his slaves.’ In that sense, ‘this parable is more about equality, at least of opportunity, than it is about inequality. Slaves, if they can handle it, are as worthy of being trusted as the leaders of society.’

This parable ‘upholds commercial activity – even ... banking’ and, more specifically, ‘Jesus does indicate that – in the right settings – using money to make money is completely acceptable.’ ‘For Christians in the workplace that is welcome and affirming.’ Despite this, ‘the parable doesn’t tell us that money is good, or that we will be doing God’s work if we earn more talents for Him by any means we wish as long as we end up increasing the amount.’

However, ‘done well, done properly, these activities will validly contribute to the building up of the kingdom. As a result, we must be open to the possibility that God has placed them there for us to use in this way. If we approach the workplace with the idea, the preconception, that good cannot possibly be achieved there, then the chances are that it won’t be. But if, in part thanks to this parable, we are open to the possibility that God can work through instruments such as money and in the workplace, then who know what might happen? ... God can turn up and do amazing things in the most unlikely places.’

The ‘parable of the talents is not about the unequal handing out of skills and about the punishment of the weak. It is about whether we try to be the best we can be, working with God to build His kingdom, heal His creation, including the workplace – which, like everything else, will be perfected at the end of time. It’s about being ourselves, not trying to be people we’re not. It’s about doing only what we are capable of doing, but doing it very well. It’s about a God who entrusts us with things of enormous worth – the possibilities of being His co-workers – and who will love us for what we have done unless (and only unless we hide the gift, don’t ask Him for help using it, and then turn around and tell Him it was all His own fault anyway). Our God loves us. He really does. And all we have to do is love him back.’

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The Call - Let The Day Begin.