Against whom should we compare ourselves?

Here is my sermon from today's Eucharist at St Stephen Walbrook:

Against whom should we compare ourselves? Our answer makes all the difference in the world. The Pharisee in Jesus’s parable (Luke 18. 9 - 14) compared himself against other people: ‘God, I thank you that I am not like other people: thieves, rogues, adulterers, or even like this tax collector. I fast twice a week; I give a tenth of all my income.’

This is generally what we do when we make comparisons; we compare ourselves with others and so compare ourselves with those we think are worse than or similar to ourselves. We’ve all heard others and, maybe, ourselves saying ‘I’m alright, Jack!’ or ‘I’m as good as the next person, if not better!’ On the basis of these comparisons we think we are ok; at least no better or worse than others, at best, better than many others around us. On the basis of these comparisons we are comfortable with who we are and see no need to change.

The Pharisee in this story lived in a simplistic world of legalism where he could look down on those like the publican because he kept certain rules and fulfilled certain practices. Therefore he could say, I am not like other people because I fast twice a week and give a tenth of all my income. For him, there was no wrestling with difficulty and no struggling with conscience but the world he inhabited was, ultimately, a harsh world without understanding, without compassion, without forgiveness. Our common response as human beings to our own fallibility and failure is that, instead of acknowledging our own shortcoming, we attempt to distract attention away from our selves by identifying a scapegoat and angrily pointing out that person’s many failings. We are often very successful in covering up our own shortcomings when we adopt this tactic but, of course, the reality is that we are being hypocritical.

The true comparison that we make should not be with others, but with God. Jesus challenged us to ‘Be perfect, therefore, as your heavenly Father is perfect.’ On the basis of that comparison, we all fall short. As St Paul writes, ‘for all have sinned and fall short of the glory of God.’ Jesus, through his life and death, showed us the depth of love of which human beings are really capable and, on the basis of that comparison, we come up well short and are in real need of change. In the light of Jesus’ self-sacrifice, we see our inherent selfishness and recognise our need for change. Those are the kind of comparisons that the publican in the parable was making when he stood far off, not even looking up to heaven, beating his breast and saying, ‘God, be merciful to me, a sinner!’

In the light of the way that Jesus lived his life, we see our lack of love, joy, peace, patience, kindness, goodness, faithfulness, humility, and self-control. If we say that we have no sin, we deceive ourselves, remain in darkness, and there is no truth in us. But when we live in the light of Christ, seeing ourselves as we really are, then we become honest with ourselves and with God. By coming into that honesty we confess our sins and are purified; as we say in this service, we make our humble confession to Almighty God truly and earnestly repenting of our sins.

That honesty undermines the simplistic legalism of the Pharisee’s world by revealing the hypocrisy at its heart. The reality is that each one of us has broken the Law and each one of us is a sinner. If that is so, on what basis can one sinner presume to judge or condemn another? To do so is a gross act of hypocrisy which multiplies one sin upon another. The publican, by contrast, lives in a world of without condemnation because he lives in a world where second chances and fresh starts are available.

On Ash Wednesday the sign of the cross is marked in ash on our foreheads and these words are said: "Remember that you are dust, and to dust you shall return. Turn away from sin and be faithful to the Gospel." In that service, we acknowledge both our sinfulness and our mortality recognising the link between the two – that the wages of sin are death. The ash mark on our forehead is a public acknowledgement of our sinfulness but, because it is formed as a cross, it is also a sign of the forgiveness we have received. We are saying that we no longer live in the legalistic, unforgiving world of the Pharisaical Law where we compare ourselves with others in order that we come out best; instead, like the publican, we are those who compare themselves against God only to then realise that we have been accepted and welcomed into the world of love by Jesus himself.

Against whom should we compare ourselves? Our answer makes all the difference in the world. Jesus said one of the two men went down to his house justified; and it certainly wasn’t the Pharisee!

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Kindred Spirit - Ask Me No Questions.

Orígenes: a unifying aesthetic and religious visions

The prestigious literary and arts review Orígenes was founded by José Lezama Lima and José Rodríguez Feo in 1944.

"More than forty issues of the journal were published by the time of its demise in 1956. Orígenes was one of the most prestigious journal of its day in Latin America, and certainly the most important in the Hispanic Caribbean; in the words of Frank McQuade, "it provided a focal point for the most promising poets and critics in Cuba in the 1940s and 1950s." The journal published poetry, short stories, and critical essays on literature, art, music, and philosophy. Orígenes also featured artwork by internationally recognized Cuban artists such as Mariano Rodríguez, Wilfredo Lam, and René Portocarrero. Among the foreign writers who contributed to the magazine were several would-be Nobel Laureates including Juan Ramón Jiménez, Albert Camus, and Vicente Aleixandre. In addition, excellent translations of works by authors such as Wallace Stevens, Anäis Nin, and T.S. Eliot were done by the journal's co-founder José Rodríguez Feo, and vastly increased the magazine's international importance."

Most of the members of the group – with the notable exception of Virgilio Píñera – were Catholic and were connected by a unifying aesthetic and religious visions.

"The Orígenes group of poets and artists ... favored the poetry of Mallarmé instead of Péguy, and was contemptuous of the nation’s social and political struggles ... The art critic and diplomat Guy Pérez Cisneros (1915–1953) was an exception; influenced by Jacques Maritain, he played a significant role in the authorship of the Charter of Human Rights at the United Nations in 1946, and was engaged in conversations for the creation of a Christian Democrat Party at the time of his death. Other exceptions included the poets Israel Rodríguez (1925–2008) and Jorge Valls (1933–2015), who were active in the struggle against Batista, embraced the revolution during its first two years, and eventually found themselves in exile or prison ... Catholic intellectuals like Cintio Vitier (1921–2001) and other members of the Orígenes group ... shifted from their apolitical positions of the 1950s to liberation theology “conversions” that embraced the revolution as “the gospel on earth.”"

"The Orígenes group was comprised of the following artists and intellectuals:

• Poets and novelists: José Lezama Lima (the group's leader and co-founder), Virgilio Píñera, Eliseo Diego, Cintio Vitier, Fina García Marruz, Gastón Baquero, Father Angel Gaztelu, Octavio Smith, Agustin Pi, Justo Rodríguez Santos, and Lorenzo Garcia Vega.
• Artists: René Portocarrero, Mariano Rodríguez, Amelia Peláez, Alfredo Lozano, and art critic Guy Pérez Cisneros.
• Musicians: Julían Orbón and Jose Ardévol.
• Essayist, translator, co-founder and principal source of funding, José Rodríguez Feo. Several of the literary figures – especially Lezama Lima and Virgilio Píñera – are considered to be among the most important and influential authors of twentieth-century Cuba and major figures in modern Latin American letters."

Roberto Méndez Martínez writes that Fr Angel Gaztelu "was not a run-of-the-mill priest: his extensive culture distanced him from all fundamentalist attitudes and though he is remembered above all for his support of the arts and for his writing, in each one of the parish churches where he served he left a pleasant memory among the humblest people."

In the old San Carlos y San Ambrosio Seminary he met with an exceptional young man, José Lezama Lima. He "wrote his first notable essay, exegesis further more of the first poetic emergence of Lezama: “Muerte de Narciso, rauda cetrería de metáforas,” while the ineffable Juan Ramón collected 11 of his texts for his peculiar anthology La poesía cubana en 1936."

"Gaztelu was a pioneer in modern art applied to liturgy. When the temple in Bauta was being rebuilt, he asked sculptor Alfredo Lozano to design the presbytery. Four large paintings on wood were built into the walls on both sides of the nave, two of them were by Portocarrero: “Crucifixión” and “Entierro de Cristo,” while the rest, “El Descendimiento” and “La Resurrección” were by Mariano, who also left two stained-glass windows: one dedicated to Our Lady of Fatima and another to Saint Joseph. Today, in the chapel of Nuestra Señora de la Caridad de Playa Baracoa, unfortunately in a bad state, a mural by Portocarrero and an imposing crucifix by Lozano, still remind us of the splendour of that humble temple whose plans were conceived by architect Eugenio Batista.

He was appointed parish priest of Havana’s Espíritu Santo church on March 25, 1957 and the following year the priest undertook the restoration works of the temple: he had the plastering eliminated to leave the building in its original stone facade, thanks to which the presbytery’s dome appeared in all its beauty. The former baptism fountain, where illustrious patrician figures of Cuban culture were baptised, like poet Manuel de Zequeira, statesman Francisco de Arango y Parreño and pedagogue José de la Luz, was restored with the collaboration of Lozano, who created for this site a bronze bas-relief, “El bautismo de Cristo,” before undertaking in 1961, at one side of the presbytery, the building of the imposing tomb that would contain the remains of Bishop Gerónimo Valdés.

The indefatigable priest had time to collaborate in the magazines Espuela de Plata, Nadie Parecía – the only Cuban magazine at the time in sponsoring the new aesthetics with an explicit Catholic orientation, which defined itself as “Cuaderno de lo bello con Dios” – and Orígenes. Also a friend of many of the most notable visual artists of his time, he had one of the most important Cuban art collections of his time."

"Lezama was right when he wrote in the “Sucesiva 33” of Tratados en La Habana:

Those who heard him speak of creation and poetry, of verse and crafts, of names and justness, of friends and dignitaries, not only listened to him but also saw a tradition that went forward and demanded, a very decisive form of essence and presence. Of Christian, strong, irreplaceable essence. Of a classic presence in the serene Sunday of all the possibilities of man. (2014)"

Fina García Marruz is a poet, essayist and literary critic whose poetry pursued "the eternal in the fleeting temporal things." "Her poetry has received high honors in the Spanish-speaking world, including Cuba’s National Literature Prize, Chile’s Pablo Neruda Prize, and Spain’s Reina Sofía Prize for Spanish American poetry, among many others." She stands out in the rich heritage of Cuban literature for the linguistic vitality of her verses, her vivid images, her evocative use of language and for embodying, in her own way, the life history, customs, contradictions and all the glorious colour of the island. 

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Jose Ardévol - Sonata.

Transfiguration: A glimpse of glory

Last night our Evensong for the Feast of the Transfiguration followed by a Garden Party drew a congregation of 125 to St Stephen Walbrook. The setting used by the Choir of St Stephen Walbrook was Hebert Howells in G and the anthem was Edgar Bainton's And I Saw A New Heaven. In my reflection for this service I said the following:
The dictionary definition of transfiguration is: a change in form or appearance or an exalting, glorifying, or spiritual change. Those aspects of transfiguration can be seen in our Gospel reading, but the story defines the word best.

Sam Wells, the Vicar of St Martin-in-the-Fields, puts it like this:

“There’s glory – the glory of the Lord in the face of Jesus Christ. There’s the pattern of God’s story in Israel and the church, a story that finds its most poignant moments in the midst of suffering and exile. There’s the loving, tender, presence and heavenly voice of God the Father – a voice that for the only time in their lives, the disciples hear and understand. And there’s the extraordinary realisation that, even though all this could have gone on without them, the disciples have been caught up in the life of the Trinity, the mystery of salvation, the unfolding of God’s heart, the beauty of holiness.”

The way he describes it, transfiguration involves the glory of seeing a person or event in the bigger story of God’s loving purposes for the world. Up until this point, “the disciples know Jesus does plenty of amazing and wonderful things and says many beautiful and true things, but they still assume he’s basically the same as them.” It’s only as they go up the mountain with him that the veil slips and they’re invited in to a whole other world. A world in which “Jesus is completely at home,” “even when the Father’s voice thunders from above.” “And more remarkably still, it seems there’s a place for them in it, hanging out with the likes of Moses and Elijah. They’ve been given a glimpse of glory. It’s a glory that’s faithful to the story of Israel, a glory that has Jesus at the centre of it, a glory that has God speaking words of love, a glory that has a place for them in it, however stumbling and clumsy they are, and finally a glory in which Jesus touches them tenderly in their fear.“

Sam Wells suggests that this experience, this glimpse of glory, can shape the way we pray by giving our prayers the same extra dimension. In fact, he details three different ways to pray. The first involves Resurrection. “Resurrection prayer is a prayer calling for a miracle. It is prayer of faithful risk. We look to the heavens with tightened fist and say, ‘Sweet Jesus, if you’re alive, make your presence known!’” 

The second way to pray is Incarnation. This is “a prayer of presence. It is, perhaps, more silent than a prayer of Resurrection. It is a prayer which recognizes that, yes, Jesus was raised, but that it happened through brokenness. Through Christ, God shares our pain and our frailty. So we pray acknowledging that God suffers with us.”

The third way to pray is Transfiguration. Sam writes, “God, in your son’s transfiguration we see a whole reality within and beneath and beyond what we thought we understood; in … times of bewilderment and confusion, show … father your glory, that [we] may find a deeper truth to … life than [we] ever knew, make firmer friends than [we] ever had, discover reasons for living beyond what [we’d] ever imagined, and be folded into your grace like never before.” “In other words, it is a prayer that, in whatever circumstance, asks God to reshape our reality, to give us a new and right spirit to trust that even in the midst of suffering and hardship, truth can still be experienced and shared.”

“On the mountain, the disciples discovered that Christ was part of a conversation with Israel and God and was dwelling in glory in a way that they had no idea of and could hardly grasp and yet it put everything on a different plane.” 

As a result, the prayer of Transfiguration is a different kind of a prayer. “The prayer of resurrection has a certain defiance about it – in the face of what seem to be all the known facts, it calls on God to produce the goods and turn the situation round. It has courage and hope but there’s always that fear that it has a bit of fantasy as well. The prayer of incarnation is honest and unflinching about the present and the future, but you could say it’s a little too much swathed in tragedy … it’s so concerned to face … reality … that there’s always that fear that it’s never going to discover the glory of what lies above.”

The prayer of Transfiguration is different. “Not so much, ‘Fix this and take it off my desk!’ Nor even, ‘Be with me and share in my struggle, now and always.’ But something more like, ‘Make this trial and tragedy, this problem and pain, a glimpse of your glory, a window into your world, when I can see your face, sense the mystery in all things, and walk with angels and saints. Bring me closer to you in this crisis than I ever have been in calmer times. Make this a moment of truth, and when I cower in fear and feel alone, touch me, raise me, and make me alive like never before.’”

Maybe you would like to make the prayer of transfiguration your prayer for yourself at this time, “in the midst of whatever it is you’re wrestling with today.”

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Edgar Bainton - And I Saw A New Heaven. 

Start:Stop - The Prayer of Transfiguration

Today's Start:Stop - 10 minutes of quiet reflection repeated every 15 minutes between 7.30 - 9.30am on Tuesday mornings at St Stephen Walbrook - focuses on the Prayer of Transfiguration:

Bible reading

Six days later, Jesus took with him Peter and James and his brother John and led them up a high mountain, by themselves. And he was transfigured before them, and his face shone like the sun, and his clothes became dazzling white. 3 Suddenly there appeared to them Moses and Elijah, talking with him ... While he was still speaking, suddenly a bright cloud overshadowed them, and from the cloud a voice said, “This is my Son, the Beloved; with him I am well pleased; listen to him!” When the disciples heard this, they fell to the ground and were overcome by fear. But Jesus came and touched them, saying, “Get up and do not be afraid.” And when they looked up, they saw no one except Jesus himself alone. As they were coming down the mountain, Jesus ordered them, “Tell no one about the vision until after the Son of Man has been raised from the dead.” (Matthew 17. 1 – 9)

Meditation

The dictionary definition of transfiguration is: a change in form or appearance or an exalting, glorifying, or spiritual change. Those aspects of transfiguration can be seen in our reading, but the story defines the word best. Sam Wells, the Vicar of St Martin-in-the-Fields, puts it like this: “There’s glory – the glory of the Lord in the face of Jesus Christ. There’s the pattern of God’s story in Israel and the church, a story that finds its most poignant moments in the midst of suffering and exile. There’s the loving, tender, presence and heavenly voice of God the Father – a voice that for the only time in their lives, the disciples hear and understand. And there’s the extraordinary realisation that, even though all this could have gone on without them, the disciples have been caught up in the life of the Trinity, the mystery of salvation, the unfolding of God’s heart, the beauty of holiness.”

The way he describes it, transfiguration involves the glory of seeing a person or event in the bigger story of God’s loving purposes for the world. Up until this point, “the disciples know Jesus does plenty of amazing and wonderful things and says many beautiful and true things, but they still assume he’s basically the same as them.” It’s only as they go up the mountain with him that the veil slips and they’re invited in to a whole other world. They’re given a glimpse of glory. “It’s a glory that’s faithful to the story of Israel, a glory that has Jesus at the centre of it, a glory that has God speaking words of love, a glory that has a place for them in it, however stumbling and clumsy they are, and finally a glory in which Jesus touches them tenderly in their fear.“

Sam Wells suggests that this experience, this glimpse of glory, can shape the way we pray by giving our prayers the same extra dimension. Sam writes, “God, in your son’s transfiguration we see a whole reality within and beneath and beyond what we thought we understood; in … times of bewilderment and confusion, show … forth your glory, that [we] may find a deeper truth to … life than [we] ever knew, make firmer friends than [we] ever had, discover reasons for living beyond what [we’d] ever imagined, and be folded into your grace like never before.” “In other words, it is a prayer that, in whatever circumstance, asks God to reshape our reality, to give us a new and right spirit to trust that even in the midst of suffering and hardship, truth can still be experienced and shared.” “On the mountain, the disciples discovered that Christ was part of a conversation with Israel and God and was dwelling in glory in a way that they had no idea of and could hardly grasp and yet it put everything on a different plane.”

So, maybe you’d like to make the prayer of transfiguration your prayer for yourself at this time, “in the midst of whatever it is you’re wrestling with today.” “Not so much, ‘Fix this and take it off my desk!’ Nor even, ‘Be with me and share in my struggle, now and always.’ But something more like, ‘Make this trial and tragedy, this problem and pain, a glimpse of your glory, a window into your world, when I can see your face, sense the mystery in all things, and walk with angels and saints. Bring me closer to you in this crisis than I ever have been in calmer times. Make this a moment of truth, and when I cower in fear and feel alone, touch me, raise me, and make me alive like never before.’”

Prayer

Lord God, shine in our hearts to give us the light of the knowledge of the glory of God in the face of Jesus Christ. Show us a glory that’s faithful to the story of Israel, a glory that has Jesus at the centre of it, a glory that has God speaking words of love, a glory that has a place for them in it, however stumbling and clumsy we are, and finally a glory in which Jesus touches us tenderly in our fear.

Shine in our hearts to give us a glimpse of your glory.

We ask that you will reshape our reality to give us a new and right spirit to trust that, even in the midst of suffering and hardship, truth can still be experienced and shared. In times of bewilderment and confusion, show forth your glory, that we may find a deeper truth to life than we ever knew, make firmer friends than we ever had, discover reasons for living beyond what we’d ever imagined, and be folded into your grace like never before.

Shine in our hearts to give us a glimpse of your glory.

Make our trials and tragedies, our problems and pain, a glimpse of your glory, a window into your world, when we can see your face, sense the mystery in all things, and walk with angels and saints. Bring us closer to you in our crises than we ever have been in calmer times. Make them moments of truth, and when we cower in fear and feel alone, touch us, raise us, and make us alive like never before.

Shine in our hearts to give us a glimpse of your glory.

Blessing

God speaking words of love, Jesus touching us tenderly in our fear, a new and right spirit to trust, a deeper truth to life than we ever knew, firmer friends than we ever had, reasons for living beyond what we’d ever imagined, sensing the mystery in all things. May all those blessings of God almighty, the Father, the Son, and the Holy Spirit, be among you and remain with you always. Amen.

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Delirious? - We Give You Praise.

States of Mind: Tracing the edges of consciousness

I enjoyed visiting the Wellcome Collection today to see 'States of Mind: Tracing the edges of consciousness'. This exhibition examines perspectives from artists, psychologists, philosophers and neuroscientists to interrogate our understanding of the conscious experience.

Exploring phenomena such as somnambulism, synaesthesia, and disorders of memory and consciousness, the exhibition examines ideas around the nature of consciousness, and in particular what can happen when our typical conscious experience is interrupted, damaged or undermined.

The States of Mind exhibition enables visitors to explore some of the ideas about the nature of consciousness and, in particular, what happens at the ‘edges of consciousness’, when our typical conscious, or unconscious, experience is disrupted or damaged. The exhibition is organised into four areas, each of which explores a different theme related to consciousness: Science & Soul, Sleep & Awake, Language & Memory, Being & Not Being. Each area features objects, artworks and films, exploring the ideas and work of artists, philosophers, psychologists and neuroscientists.

'States of Mind: Tracing the edges of consciousness' has featured a series of changing installations. The final one is 'Time Present' by Shona Ilingsworth, from 19 July until 16 October. This powerful installation considers the impact of amnesia and the erasure of individual and cultural memory.

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Sons of Maxwell - The Lighthouse.

Drift Pop-Up Gallery: Mersea Gallery & Studio

Five contemporary artists - Anne Marie Jacobs, Victoria Norton, Gina Newson, Vinnie Stapley and Maxine Jones - have got together to host the Drift Pop-Up Gallery at the Mersea Gallery & Studio from 6th August to 28th August 2016. The work shown explores themes inspired by Mersea’s unique natural environment using a wide variety of mediums, ranging from ceramics to painting.

Anne-Marie Jacobs' current work is inspired by aerial photographs of the extraordinary wilderness of Mersea Island and its surrounding salt-marshes. She says; 'My sculptural ceramics communicate an experience of the landscape, evoking a bodily relationship to it.'

Victoria Norton is a professional artist and art educator showing regionally and nationally, with experience in international commissions and residencies.Themes are broadly spiritual and often connected to the natural environment or human condition. Installation, site-specific and sculptural works are built upon through drawing, printmaking, collage and construction. Work is developed through a variety of medium and is often constructivist in style. Victoria lives and work on Mersea Island, Essex, and brings over thirty years’ experience of making work, exhibiting and teaching to her practice.

After a long career in TV production and Arts Documentaries, Gina Newson returned to painting and, recently, digital printmaking. Her work ranges from large acrylic abstract canvases to smaller prints reworked from her own photography. She has sold to private collectors in the UK and US and last year was commissioned to paint a large abstract work for the lobby of a commercial building in Clerkenwell.

Textile Artist Vinny Stapley’s work focuses on the natural ephemera of the landscape, exploring the unique nuances of the fringes of the Blackwater. Her more recent work has been exploring the tides and tidelines through abstracted stitched form. The repetitive nature of stitch echoes the constant ebb and flow of the sea.

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The Harbour Lights - Another Rainbow.

commission4mission's 'Reflection' exhibition 2

Hayley Bowen and Michael Garaway are both preparing pieces exploring the theme of prayer for commission4mission's forthcoming Reflection exhibition at St Stephen Walbrook.

Hayley Bowen’s ‘Reflection – You’ll always find the light when it’s burning low’ is a drawing exploring reflection and quiet contemplation.We often remember to stop and do this only when we desperately need to.

Hayley will also show ‘The Way We Pray’, a sequence of sketched hands in prayer. These will all be graphite and Chinese white pencil on brown recycled artist-grade paper. The hands will all be different, reflecting the personal way in which individual people pray.

Michael Garaway is preparing a diptych study piece for this exhibition, based on the Lord’s Prayer presented as a reflecting response to a more dystopian text. The latter follows the same rhythm as the Lord’s Prayer but expresses a more negative worldview, perhaps rather like Ecclesiastes – toil, trouble and vanity. Thus the title of the piece is “Voice by Voice”, the negative voice on the left, the voice of prayer on the right. Michael is aiming to test the idea of contrasting “voices” in the tradition of illuminated text, modified with contemporary graphical forms treated as a mixed media study.

Clorinda Goodman will show her latest sculpture, a carving of St Cedd in portland stone. Following the exhibition, this carving will be displayed in St Cedd’s Chapel at Chelmsford Cathedral from mid-September to Epiphany.

In the finished version of this piece Clorinda has included several images among the flowing hair of St Cedd. These are a bit like a pictogram, telling the story of his life, apart from the end of his life at Lastingham. The images on the left depict Lindisfarne, the boat in which he sailed to Essex, the Chapel at Bradwell and the Synod of Whitby. On the right he has the keys of St Peter to symbolise the outcome of the Synod – i.e. following the Roman rather than Celtic/Irish church. His hair turns into waves on the left, and on the right it turns into fire for the Holy Spirit.

In addition exhibiting artists include Christopher Clack, Valerie Dean, Jonathan Evens, John Gentry, Tim Harrold, Anthony Hodgson, Janet Roberts, and Peter Webb, among others.

Reflection will be at St Stephen Walbrook (39 Walbrook, London EC4N 8BN), Tuesday 6 – Friday 16 September (Weekdays 10.00am – 4.00pm, Weds 11.00am – 3.00pm). An exhibition reception (6.30pm) and commission4mission’s AGM (5.30pm) will be held on Tuesday 6 September.

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Sixpence None The Richer - Melody Of You.