December 3: The Wickedness of Judah
♫ Music:
WEEK ONE INTRODUCTION
DECEMBER 3–9
TITLE: THE CONTEXT OF CHRISTMAS
Christmas for many is “the most wonderful time of the year,” filled with some of the things that we cherish most: family, generations-old traditions, glorious music, and seemingly endless celebrations. For over two millennia, Christians have rejoiced in the advent of the Messiah, recalling his miraculous birth in a lowly manger. But what is the context of Christmas and how does that play into God’s story of redemption? How did the Old Testament prophets contribute to the grand narrative of the incarnation?
At the beginning of Scripture, God chooses Israel to be his foreordained people so that through them he might bring salvation to the entire world. Yet, the reality of who the “people of God” were in Isaiah’s day was a far cry from the holiness Yahweh desired of them. It’s uncanny how the blatant sins and wickedness of eighth-century BCE culture seem to be so similar to our own lawless societies in the twenty-first century. Isaiah 5:20 epitomizes prevailing attitudes that were also present when the prophet wrote this warning three thousand years ago: “Woe to those who call evil good, and good evil; who put darkness for light, and light for darkness; who put bitter for sweet, and sweet for bitter!” (Isaiah 5:20, NKJV).
When Isaiah was called by God, Israel was already split into two separate nations: the ten tribes in the North, Israel, and the two tribes in the South, Judah. They had been at odds with each other and the surrounding nations for over one hundred years. The first thirty-five chapters of Isaiah contain oracles of righteous judgment, first regarding Israel and Judah, then the surrounding nations, and finally the entire earth. Isaiah even looks into the distant future to foretell the Babylonian captivity and then the eventual fall of the Babylonian empire.
We begin the 2023 Advent cycle by reflecting on the implacable words of Yahweh through his prophet Isaiah. The passages we have selected for this first week may be shocking to some—our modern sensibilities aren’t used to such harshness. But as we prepare once more for the already-and-yet-to-be arrival of Christ, it is important to thoroughly examine our individual lives to see what sin and evil lingers deep within. So, the context of Christmas is that God’s chosen people, who knew better, ended up “walking in darkness,” and following after the false gods of their enemies. Humankind was lost and needed help. Interspersed throughout Isaiah’s oracles of judgment are words of messianic hope and the possibility of a transformative redemption realized in the person of Christ. Astoundingly, God’s solution to the unspeakable wickedness in this world was to send his only Son in human form as a babe so that “the world might be saved through Him” (John 3:17 NASB).
TITLE: THE WICKEDNESS OF JUDAH
Scripture #1: Isaiah 1:2–9 (NKJV)
Hear, O heavens, and give ear, O earth! For the Lord has spoken: “I have nourished and brought up children, And they have rebelled against Me; the ox knows its owner and the donkey its master’s crib; but Israel does not know, My people do not consider.” Alas, sinful nation, a people laden with iniquity, a brood of evildoers, children who are corrupters! They have forsaken the Lord, they have provoked to anger The Holy One of Israel, they have turned away backward. Why should you be stricken again? You will revolt more and more. The whole head is sick, and the whole heart faints. From the sole of the foot even to the head, there is no soundness in it, but wounds and bruises and putrefying sores; they have not been closed or bound up, or soothed with ointment. Your country is desolate, Your cities are burned with fire; strangers devour your land in your presence; and it is desolate, as overthrown by strangers. So the daughter of Zion is left as a booth in a vineyard, as a hut in a garden of cucumbers, as a besieged city. Unless the Lord of hosts had left to us a very small remnant, we would have become like Sodom, we would have been made like Gomorrah.
Scripture #2: Isaiah 1:21–23 (NKJV)
How the faithful city has become a harlot! It was full of justice; righteousness lodged in it, But now murderers.Your silver has become dross, your wine mixed with water. Your princes are rebellious, and companions of thieves; everyone loves bribes, and follows after rewards. They do not defend the fatherless, nor does the cause of the widow come before them.
Scripture #3: Isaiah 1:27 (NKJV)
Zion shall be redeemed with justice, and her penitents with righteousness.
Poetry & Poet:
“The Last Wolf”
by Mary TallMountain
The last wolf hurried toward me
through the ruined city
and I heard his baying echoes
down the steep smashed warrens
of Montgomery Street and past
the ruby-crowned highrises
left standing
their lighted elevators useless
Passing the flicking red and green
of traffic signals
baying his way eastward
in the mystery of his wild loping gait
closer the sounds in the deadly night
through clutter and rubble of quiet blocks
I hear his voice ascending the hill
and at last his low whine as he came
floor by empty floor to the room
where I sat
in my narrow bed looking west, waiting
I heard him snuffle at the door and
I watched
He trotted across the floor
he laid his long gray muzzle
on the spare white spread
and his eyes burned yellow
his small dotted eyebrows quivered
Yes, I said.
I know what they have done.
THE WICKEDNESS OF JUDAH
While we can take these devotions as individual exercises in piety, it is the corporate reality of life before God which stands out in our first readings from the prophet Isaiah. In fact, we should lean into the distinctively intersecting and co-operative venture of this Advent series to allow ourselves to be drawn out of our pious or prideful isolation. It is Judah and Zion (Jerusalem) that have failed. A people who have chosen unrighteousness and unfaithfulness––corporate failure, solidarity in sin, systemic and sustained, in communities of disdain. The forsaking of faithful covenant worship has led Judah into injustice (iniquity, evil and corruption, murder, greed, and neglect) (vv 4, 21-23) The body politic is diseased and decaying. A city on a hill has become a booth, a hut––a mere shed (v8). The emblematic names of Sodom and Gomorrah, disordered in their loves, condemned to divine judgment, are no longer distant by-words, but now shameful labels that apply to Daughter Zion (9).
Artist Anselm Kiefer grew up playing in the rubble of post-World War II German cityscapes. His art for today, formally exploring the Norse mythology of the Great Hall of the Dead, Valhalla, does so through the motifs of urban destruction and tottering towers. The violence of the devastated landscape blooms upwards and outwards to the top of Böse Blumen. Poet Mary TallMountain also writes of a ruined city, seemingly inhabited by a sole survivor, finding feral friendship with the last wolf. The wolf slows his mysterious, wide-loping gait and his cries are reduced––from baying, to low whine, to snuffling at the door. He is rendered speechless, searching with eyes only in the face of desolation. The earth, represented by the wolf, has indeed, given ear (Is 1:2). It is the poet-prophet who can articulate knowing. But that knowing is not pretty. It is an account of culpability. Only the prophet-poet, the surviving remnant, knows ‘what they have done’ to bring this destruction upon the city.
Composer Stephen Anderson’s rendition of Isaiah 1, the first in his oratorio of the prophetic book, sounds out the distress and anguish of the divine judgment against Judah’s evil:
‘They have forsaken the Holy One,
Provoked the Holy One of Israel to anger,
They are gone backwards,
Gone backwards, gone backwards,
they are gone backwards,
Provoked the Holy One’
‘Zion shall be redeemed with justice, and her penitents with righteousness.’ (v27) What, or better, who, will that justice redeem, that righteousness, look like? Unlike Valhalla’s arbitrary reward for bloodshed in battle, Advent points us to a redeeming and restoring peace that will come by way of a faithful representative one, suffering the disease and death of his people, in incarnation and crucifixion.
As we enter into Advent, longing for the Lord’s coming, we are called to discern, with creation, our failure to worship holistically, in spirit and in truth. As stories of abuse of the most vulnerable, women, children, and marginalized others pile up around us, do we worship on a Sunday as if all is normal? While we decry cultural decline, do we see our sin, our interlinked ignorance, that happily disconnects our fate from our failings, as the occasion to repent, to cry out to God to continue to be the one who, by grace, preserves a remnant? Are we open to see, as Judah was called to do, our own complicity with evil, such that the good news of God’s coming near in the Christmas story binds us up in our corporate representative Son of Man, Jesus himself?
Prayer:
Dear Father, Almighty and Everlasting God,
Come by your Holy Spirit to empower our judgment and discernment,
Show us the destruction of our sin, toward you, ourselves, and those you place around us,
Lead us in repentance to seek for the Kingdom of your coming Son,
And all his righteousness,
And have us yearn for peace,
In Jesus’s precious name,
Amen.
Dr. Andy Draycott
Associate Professor of Theology
Talbot School of Theology
Biola University
For more information about the artwork, music, and poetry selected for this day, we have provided resources under the “About” tab located next to the “Devotional” tab.
About the Art #1:
Böse Blumen
Anselm Kiefer
2016
Oil, acrylic, emulsion, shellac, and clay on canvas
470 x 760 cm (six panels)
About the Art #2:
Walhalla
Anselm Kiefer
2016
Oil, acrylic, emulsion, and shellac on canvas
380 x 190 x 5.5 cm
Throughout his career, German artist Anselm Kiefer used and obsessively followed themes of history, politics, and landscape. In his work he’s revisiting imagery and symbolism through different forms and media, conflating and connecting narratives that are resonating with the idea of history as one continuous cycle. In his work entitled Walhalla, he’s staging an immersive experience of a large-scale installation that places the audience in the mythical realm of Walhalla, which represents paradise for those slain in battle in Norse mythology. Kiefer employs a range of media—oil, acrylics, emulsion, shellac, and clay—to emphasize the space of painting as a threshold into a mythic, imaginative realm. Here, a series of high towers are set amid desolate landscapes, their stacked forms exploding and dissolving into clouds of deep black or caustic blue smoke. A familiar motif in the artist’s work, the towers are based on his own sculptures made from rough concrete casts of shipping containers, including the brutalist-style towers of Jericho made for the set of In the Beginning staged at Opéra Bastille in Paris in 2009. Here, rather than the symbolic bastion of power that Walhalla aims to evoke, the towers are flat and two-dimensional, overlaid and set at impossible angles under the expanse of a meridian-blue sky.
https://www.blackqube.de/walhalla-anselm-kiefers-gloomy-hall-of-fame/
https://www.studiointernational.com/anselm-kiefer-walhalla-review-white-cube-london
About the Artist #1 and #2:
Anselm Kiefer (b. 1945) is a German painter and sculptor. The great majority of Kiefer’s works since his emergence in the late 1960s through the 1990s refer to subjects drawn from Germany and its culture—German history, myth, literature, art history, music, philosophy, topography, architecture, and folk customs. His works are characterized by an unflinching willingness to confront his culture's dark past and unrealized potential, and his works are often done on a large, confrontational scale well-suited to the subject matter. His work also often includes the names of people of historical importance, legendary figures, or historical places. His later works incorporate themes from Judeo-Christian, ancient Egyptian, and Asian cultures, which he combines with other motifs. In all, Kiefer searches for the meaning of existence and "representation of the incomprehensible and the non-representational."
https://en.wikipedia.org/wiki/Anselm_Kiefer
https://www.metmuseum.org/toah/hd/kief/hd_kief.htm
https://en.wikipedia.org/wiki/Anselm_Kiefer
About the Music:
“Besieged City—Isaiah 1” from the album Isaiah Oratorio
"Isaiah" is an oratorio for SATB choir, string orchestra, and piano. The piece was commissioned by Mormon Artists Group for the UNC Carolina Choir. The text is drawn from the book of the prophet Isaiah as found in the King James Version of the Bible.
Lyrics:
The Wickedness of Judah
Hear O heavens,
Give ear, O earth,
The Lord has spoken,
And nourished the children,
The children of the Holy One.
And they have rebelled against me,
And they have rebelled.
The ox knoweth his owner,
But Israel doth not know.
The ox knoweth his owner,
But Israel doth not know.
The children are corrupters,
They have forsaken the Holy One,
Provoked the Holy One of Israel to anger,
They are gone backwards,
Gone backwards, gone backwards,
They are gone backwards,
Provoked the Holy One.
And why should ye be stricken,
Be stricken any more.
The daughter of Zion is left as a cottage
In a vineyard, a vineyard,
As a besieged city, as a besieged city,
A besieged city, as a besieged city.
They are forsaken.
Your country is desolate,
Your cities are burned with fire:
Your land, strangers devour in your presence,
It’s desolate, it’s desolate.
And they have been held against thee.
And they have been held.
Wash you, and make you clean;
And put away the evil of your doings.
Seek judgment, righteousness,
Seek judgment, righteousness,
Learn to do well:
Seek justice, relieve the widow.
Come now, and let us reason together,
Though your sins be as scarlet.
If ye be willing and obedient,
Ye shall eat the good of the land.
Zion shall be redeemed with judgment,
And her converts with righteousness.
And her converts with righteousness.
About the Composer:
Described as a “bright star on the jazz horizon,” Stephen Anderson is a critically acclaimed composer and pianist, whose music has been published on nineteen compact discs. Dr. Anderson is professor of composition and jazz studies at the University of North Carolina at Chapel Hill and serves as director of jazz studies and director of the UNC Summer Jazz Workshop. He earned a D.M.A. degree (2005) and a M.M degree (2000) from the University of North Texas and a B.Mus. degree from Brigham Young University (1997). Anderson’s work with the Dominican Jazz Project and Marimjazzia Latin jazz ensembles have led him to perform at multiple festivals in the Caribbean, as well as in Central and South America since 2014. Associated with the 2022 Jazzomania Jazz Festival IV, and as founder and director of the Dominican Jazz Project, Anderson was formally recognized and distinguished by the minister of culture, Senora Milagros German, of the government of the Dominican Republic, for “his research and contributions to the national musical heritage.” In 2011, Anderson began work on his first choral composition, Isaiah, for chorus, string orchestra, and piano. Anderson writes, “I began to realize the significance of what the piece could become. Handel’s oratorio, the Messiah, drew heavily from the book of Isaiah. Isaiah was important to both Jews and Christians across the world due, in part, due to the numerous Messianic prophecies contained throughout Isaiah’s writings.” The fifty-minute piece premiered at the University of North Carolina on November 21, 2013, at Hill Hall Auditorium.
https://music.unc.edu/people/musicfaculty/stephenanderson
About the Performers:
University of North Carolina Choir and Orchestra
The UNC Chamber Singers, under the direction of Susan Klebanow, is an ensemble of twenty-five voices. Its repertoire encompasses vocal chamber music of different styles, with emphasis on Renaissance, baroque, and twentieth-century/twenty-first-century music.
Susan Klebanow is the director of choral activities at the University of North Carolina at Chapel Hill, where she conducts the Carolina Choir and UNC Chamber Singers and teaches courses in conducting. Her B.A. is from Brandeis University and M.M. in Choral Conducting from the New England Conservatory of Music. Klebanow has led choral festivals, workshops, and clinics throughout the United States, Mexico, Italy, and Hong Kong. She has guest conducted many choral and instrumental ensembles, including the North Carolina Symphony, the Emmanuel Church of Boston Bach Cantata Series, Mallarme Chamber Players, Boston University’s Opera Theatre, and the University of Veracruz Baroque Festival Chorus in Mexico. A performing pianist, harpsichordist, and accomplished soprano, she has concertized extensively with contemporary music and early music groups based in Boston, North Carolina, and Mexico City.
https://music.unc.edu/people/musicfaculty/susan-klebanow/
The UNC Symphony Orchestra is a ninety-member ensemble that performs two major concerts each semester. Enrollment is open by audition to the entire UNC community—music majors, minors, non-majors, graduate students in all fields, and recent graduates. Led by its music director and conductor, Tonu Kalam, the orchestra often presents faculty and student musicians as concerto soloists and has regularly collaborated with the UNC Opera and choral ensembles.
https://music.unc.edu/undergraduate/ensembles/uncso/
Tonu Kalam has served on the UNC-Chapel Hill faculty as music director and conductor of the UNC Symphony Orchestra since 1988. Under his leadership, the UNCSO was named as the 2012 first-place winner of the American Prize in Orchestral Performance—College/University Division. He was educated at Harvard University (A.B. 1969), the University of California at Berkeley (M.A. 1971), and the Curtis Institute of Music. For twenty-five years, Kalam also served as music director and conductor of the Longview Symphony Orchestra in Texas and he has guest conducted orchestras and opera companies throughout the United States and Europe.
https://music.unc.edu/people/musicfaculty/tonu-kalam/
About the Poetry and Poet:
Mary TallMountain (1918–1994) was a poet and storyteller of mixed Scotch-Irish and Koyukon ancestry. Her works deal with the interplay of Christianity with indigenous beliefs and the difficulties of her own life. Before her mother died from tuberculosis, she was adopted by a white couple, where she faced prejudice among whites. Her experience with alcoholism and her experience as a victim of prejudice and child abuse are expressed in the theme of struggle and healing in her work. She started her working career as a legal secretary and began writing around age fifty, when she was a contributor to the Native American Renaissance. She eventually owned her own stenography business, which she lost while battling cancer. Her final years were spent in a poor, inner-city neighborhood in San Francisco, where she cofounded the Tenderloin Women Writers Workshop.
https://en.wikipedia.org/wiki/Mary_TallMountain
About the Devotion Author:
Dr. Andy Draycott
Associate Professor of Theology
Talbot School of Theology
Biola University
Andy Draycott is associate professor of theology at Talbot School of Theology, Biola University. His scholarly research and teaching focuses around John Bunyan’s spiritual classic The Pilgrim’s Progress, its theology, and its varied reception since publication in 1678. You can get a taste of his work from his sporadically updated website,
www.ProfessorPilgrimsProgress.com.