March 24: God, The Lover of Human Beings
♫ Music:
WEEK FOUR INTRODUCTION
GOD’S PROJECT: FORMING HUMAN BEINGS
March 24 - March 30
Genesis 1 describes God’s special project, “Let us make the human being in our image, after our likeness.” This deliberate fashioning of the human being was the focus of God’s eternal plan. The Westminster Shorter Catechism states it beautifully, “Man’s chief end is to glorify God and to enjoy him forever.” The human being was the crowning glory of God’s creation. Pastor Scott Hescht writes, “To be fully human means to live into our true humanity the way God originally designed it. Jesus was the most fully human human to ever live; the way he loved, healed and forgave. Then by dealing with the power that sin and death has over humanity he gives us the freedom to begin to live likewise.” Yet, Christian theology teaches us that it is only through the valley of death and entrance into Heaven that we will become fully human. “Beloved, we are God's children now, and what we will be has not yet appeared; but we know that when he appears we shall be like him, because we shall see him as he is” (1 John 3:20).
Sunday, March 24
God, The Lover of Human Beings
Scripture: Genesis 1:26-28
Then God said, “Let us make man in our image, after our likeness. And let them have dominion over the fish of the sea and over the birds of the heavens and over the livestock and over all the earth and over every creeping thing that creeps on the earth.” So God created man in his own image, in the image of God he created him; male and female he created them. And God blessed them. And God said to them, “Be fruitful and multiply and fill the earth and subdue it, and have dominion over the fish of the sea and over the birds of the heavens and over every living thing that moves on the earth.”
Poetry:
Have You Eaten of the Tree?
by Paul Hoover
And the fourth river is the Euphrates
The first day was a long day
and the first night nearly eternal.
No thing existed, and only One was present
to perceive what wasn’t there.
No meaning as we know it;
difference was bound in the All.
On the first day, water,
on the second day, land,
on the third day, two kinds of light,
one of them night.
On the fourth day, laughter,
and darkness saw it was good.
But when God laughed,
a crack ran through creation.
On the fourth night, sorrow,
staring away from heaven,
torn in its ownness.
No evidence then of nothing,
but worlds upon worlds,
underwritten, overflowing:
the worlds of fear and of longing,
lacking in belief,
and the pitiful world of love,
forever granting its own wishes.
Out of dust, like golems,
God created man and woman,
and cast them into chance.
And man was subdued in those days.
All that could leap, leapt;
all that could weep, wept.
First of all places, Eden;
last of all places, Cleveland;
and a river flowed out of Eden,
inspiring in the dry land
a panic of growth and harvest season.
The newly formed creation
took from flesh its beast
and from each word its sentence.
And early loves and hatreds blew
from thistle to thorn.
Each thing that God created,
he placed before man
so that he may name it:
cloudbank, hawk’s eye, lambkin,
and for each thing that man made,
God provided the name:
andiron, Nietzsche, corporation.
All speak of pain
subtle in its clamor,
as when the child, dying,
sinks into its skin
as under public snow.
Heartrending, each termination;
God-shaken, each beginning.
At the dawn of smoke,
pungent as creation,
the long chaos rises over these trees.
For we opened our eyes in Eden,
with the taste of fruit on our lips.
(Genesis)
A TIME OF PASSAGE OR A TIME OF BIRTH
The thing about seasons is that the evidence of change is what marks the present-ness of each time. We long for change. In C.S. Lewis’ The Lion, The Witch and The Wardrobe, the fact that it was always winter but never Christmas—always in the season of death but without Christ—held great sorrow. But in the moving through one season to another, we see evidence of what has passed and promise for what is to come. Through the changing of seasons, we see life and death; we see Christ in His grandeur and intimate smallness of creation and we see our mortality. Winter does come. Yes. But in winter we have Christmas. And with Christ, comes new birth—As the text on George Heywood Maunoir Sumner’s Spring says, “Spring and the light and sound of things on earth; Requickening all within our Green Sea’s girth; A time of passage or a time of birth.”
In George Sumner’s illustrations, Spring, Summer, Autumn, and Winter, he depicts the seasons by rendering the different stages of working the land. Sheep grazing on the hills; Leaves in full bloom on the trees; Harvest brought in from the fields; Bare trees cut and hauled to be used for firewood. Each season gives evidence of the one before and looks forward to the one that will come.
Perhaps it is in the fullness of all the seasons together that we can more closely understand our likeness to God. In the beginning of his poem Have you Eaten of the Tree, Paul Hoover writes No meaning as we know it: Difference was bound in the All. It was in the act of creation that differences came to be. Genesis 1:27 says, “So God created man in His own image, in the image of God he created him; male and female he created them.” Later in the poem Hoover describes the days of creation as well as the seasons of death, longing, and sorrow that humanity experiences. Hoover calls us to remember that beginnings and endings are held together—heartrending, each termination; God shaken, each beginning.
If we think again about Sumner’s four panels of working the land, and how Scripture tells us that man was given dominion over the birds of the air and every living creature on the earth, we see that land is integral to humanity and to all of creation. Soil holds life and death. In his essay, Two Economies, Wendell Berry writes: “A healthy soil is made by the life dying into it and the life living in it, and to its double ability to drain and retain water we are complexly indebted.” Soil is what makes it possible for crops to grow, crops that go into the production of food, which we need to survive. And the dust of the earth is what God used to create man and woman—“remember that we are dust and to dust we will return” (Ecclesiastes 3:20).
Today as we enter into the fourth week of Lent, let us be present in these earthly bodies, aware of our existence as human beings and living into the moments that are today. Yes, we are in the season of winter—Lent is a reminder that these bodies we inhabit are mortal—and yet, spring will come. We are indeed like the earth from which God created us: rich in life because death and life are held together.
Prayer:
Lord Jesus, we acknowledge our need for you today. We acknowledge that these bodies we live in are mortal and to dust we will one day return. We also praise you for our life! Life to be lived and nurtured and planted in particular places and woven together with others’ lives. Help us to live fully into our humanness today and in years and seasons to come. We desire to delight in your Word and to be like the tree planted by streams of water, which yields its fruit in season. We praise you and thank you for making us so wonderfully complex! Your workmanship is marvelous; how well we know it.
Amen.
(Psalm 1:3; Psalm 139:14).
Kari Dunham
Adjunct Professor of Art
Biola University
About the Artwork:
Spring, 1893
Summer, 1893
Autumn, 1893
Winter, 1893
George Heywood Sumner
Color lithograph on paper
43.8 cm x 85.7 cm
Victoria and Albert Museum
London, England
These poster panels by British artist George Sumner show seasonal scenes of harvest and farm workers. Edged with various poems, such as the poem To Autumn by John Keats, the panels represent God’s blessing of abundance and the role of mankind’s stewardship over nature.
About the Artist:
George Heywood Sumner (1853-1940) was a British painter, illustrator, and craftsman, closely associated with the Arts and Crafts movement. Although he was raised in a family of clergymen, including an Archbishop of Canterbury (his great uncle), Heywood decided to study law rather than enter the church and was called to the bar in 1879. By this time, though, his real interests were in the arts. He soon became a successful artist within the Arts and Crafts tradition and was heavily influenced by textile designer William Morris. Sumner rejected the elitism of William Morris and engaged in projects to bring Arts and Crafts to the general public. In particular he helped to develop the Fitzroy Picture Society, a group of artists dedicated to producing inexpensive, boldly colored prints to enliven the walls of public institutions. Sumner did not excel in any one particular technique, but his breadth of achievement was remarkable.
About the Music:
“In the Kitchen” from the album Unless
About the Composer and Performer:
Hawktail is a band of acoustic instrumentalists featuring members of Punch Brothers, David Rawlings, Crooked Still, and A Prairie Home Companion. Respected players Brittany Haas, Jordan Tice, Paul Kowert, and Dominick Leslie comprise the group, who released their debut album, Unless, in May 2018. Hawktail was founded after fiddler Haas, bassist Kowert, and guitarist Tice decided to have Punch Brothers’ Chris Eldridge produce their first album. While each member carries an impressive resume of professional experience, it is the devotion to collaboration and the pursuit of a unique group sound that sets them apart. Together, Haas, Tice, and Kowert have produced a body of work containing flights of improvisation and interesting compositional turns all grounded by memorable melodies and driving rhythms. The group's adventurous spirit and desire to show the audience something new is never at the expense of the most intrinsically rewarding elements of music, such as the beauty of a well crafted melody or the dance-inspiring energy of a great groove.
About the Poet:
Paul Hoover (b. 1946) is a poet, editor, and translator and the author of over a dozen collections of poetry including, The Novel: A Poem (1991), Totem and Shadow: New & Selected Poems (1999), Winter (Mirror) (2002), Edge and Fold (2006), Sonnet 56 (2009) In Idiom and Earth (2012), and desolation: souvenir (2012). In addition to poetry, prose, and translation, Hoover is the editor of the Norton Anthology, Postmodern American Poetry. He also co-edits New American Writing. Hoover has received numerous honors and awards for his work including: the PEN/USA Translation Award, the Jerome J. Shestack Prize, the Frederick Bock Award from Poetry, the Carl Sandburg Award, and a fellowship from the National Endowment for the Arts. A former professor at Columbia College Chicago, he founded the Columbia Poetry Review. He currently teaches at San Francisco State University.
About the Devotional Writer:
Kari Dunham
Adjunct Professor of Art
Biola University
Kari Dunham is an artist living in Orange, California. She is an adjunct art professor at Biola University, Concordia University Irvine, Azusa Pacific University, and Irvine Valley College. She also wrote for the most recent publication of CIVA’s SEEN Journal, Hope.