March 18
:
Thanks for God's Great Works of Redemption

♫ Music:

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Day 17 - Friday, March 18
Title: THANKS FOR GOD’S GREAT WORKS OF REDEMPTION
Scripture: Psalm 107:1-9, 43
Oh, give thanks to the Lord, for He is good!
For His mercy endures forever.
Let the redeemed of the Lord say so,
Whom He has redeemed from the hand of the enemy,
And gathered out of the lands,
From the east and from the west,
From the north and from the south.

They wandered in the wilderness in a desolate way;
They found no city to dwell in.
Hungry and thirsty,
Their souls fainted in them.
Then they cried out to the Lord in their trouble,
And He delivered them out of their distresses.
And He led them forth by the right way,
That they might go to a city for a dwelling place.
Oh, that men would give thanks to the Lord for His goodness,
And for His wonderful works to the children of men!
For He satisfies the longing soul,
And fills the hungry soul with goodness.
Whoever is wise will observe these things,
And they will understand the lovingkindness of the Lord.

Poetry: 
A Brief for the Defense

by Jack Gilbert

Sorrow everywhere. Slaughter everywhere. If babies
are not starving someplace, they are starving
somewhere else. With flies in their nostrils.
But we enjoy our lives because that's what God
     wants.
Otherwise the mornings before summer dawn
     would not
be made so fine. The Bengal tiger would not
be fashioned so miraculously well. The poor women
at the fountain are laughing together between
the suffering they have known and the awfulness
in their future, smiling and laughing while
     somebody
in the village is very sick. There is laughter
every day in the terrible streets of Calcutta,
and the women laugh in the cages of Bombay.
If we deny our happiness, resist our satisfaction,
we lessen the importance of their deprivation.
We must risk delight. We can do without pleasure,
but not delight. Not enjoyment. We must have
the stubbornness to accept our gladness in the
     ruthless
furnace of this world. To make injustice the only
measure of our attention is to praise the Devil.
If the locomotive of the Lord runs us down,
we should give thanks that the end had magnitude.
We must admit there will be music despite
     everything.
We stand at the prow again of a small ship
anchored late at night in the tiny port
looking over to the sleeping island: the waterfront
is three shuttered cafés and one naked light burning.
To hear the faint sound of oars in the silence as a
     rowboat
comes slowly out and then goes back is truly worth
all the years of sorrow that are to come.

STUBBORN JOY

    …We can do without pleasure,
    but not delight. Not enjoyment. We must have
    the stubbornness to accept our gladness in the ruthless
    furnace of this world. To make injustice the only
    measure of our attention is to praise the Devil.

I discovered today’s poem several years ago.  Since then, Gilbert’s lines have haunted and rebuked me.  When I read it then, the world seemed more peaceful; my cares more voluntary.  When I read this poem now, as Putin’s army invades Ukraine—shelling hospitals—I read it with gritted teeth.  The words come out a bit strangled. 

The Psalm, too, opens with words of praise that I sometimes struggle to speak with conviction: “For his mercy endures forever / Let the redeemed of the Lord say so.”  The Psalm forces me to confront the reality of my assumptions about God’s mercy and redemption—assumptions that are easily dashed by calamity.  The heart wants to put God on trial and demand an explanation for failing to deliver what I thought was promised.

But what is promised?  The psalmist declares the mercy of God and insists that you and I join him in his proclamation.  God delivers, leads forth, satisfies the longing soul!  But sometimes when I read these things, it’s tempting to think that what is promised is life free from trouble; full of abiding peace, success, and prosperity.

But these things are not promised and not the true foundation of our hopes.  Drawing closer and closer to Golgotha, Jesus tells his disciples, “I have told you these things, so that in me you may have peace. In this world you will have trouble. But take heart! I have overcome the world.”  Jesus urges them to seek and receive peace on the basis of their relationship with Him; not on a life free from difficulty.

Jesus’ exhortation to “take heart” echoes the other commands and invitations expressed by the psalm, Gilbert’s poem, and the mural by Aaron Douglas.  If I want to know and receive peace, I have a responsibility to seek, see, and declare it.  It will not just be delivered like so many packages from Amazon Prime.  And the orientation toward peace is not achieved by averting my gaze from the “ruthless furnace of this world.”  That would be mere denial.  Indeed, Gilbert and Douglas present suffering and wickedness as wholly and graphically inescapable.  The poem’s opening lines are an exhausted parade of misery: “Sorrow everywhere.  Slaughter everywhere.”  His tone is impatient, verging on callous, and intensified by the seemingly bitter claim that “we enjoy our lives because that’s what God wants.”  But he continues and presents bizarre images of laughter and joy in those places where suffering ought to have made joy impossible.  The poem ends with a quiet conviction that no amount of evil and suffering can decisively erase beauty from the world or our lives: “We must admit there will be music despite everything.”

Similarly, in Douglas’ mural, the ugliness of slavery and its consequences are on full display. A plume of smoke curls from the muzzle of a Civil War cannon.  Moving from the foreground to the background, the foliage of an African forest gives way to skyscrapers, towering like American pyramids.  In the center, the outline of a woman—perhaps Tubman—still holds the manacles that, until recently, held her.  But they are held aloft by her free, exultant arms.  And while the painting clearly asserts the horrors that helped transform Tubman into a hero, Douglas doesn’t dwell on them.  Detail is exchanged for silhouette seen through ripples and beams of light, one of which might be coming from heaven.  We are invited to share a vision that proclaims light and joy in the midst of horror and sin.

But, again, I have to choose to see it.  I must raise my voice and kindle a stubborn determination to receive the joy and the satisfaction that God offers; even when—or perhaps especially when—my path has brought me to desolation and distress.  “In this world you will have trouble.  But take heart!  I have overcome the world.”  So, let us take heart.  Let the redeemed say, “Hallelujah, we thank You, Lord.”

Prayer
O God our King, by the resurrection of your Son Jesus Christ, You conquered sin, put death to flight, and gave us the hope of everlasting life: Redeem all our days by this victory; forgive our sins, banish our fears, make us bold to praise you and to do your will; and steel us to wait for the consummation of your kingdom on the last great Day; through the same Jesus Christ our Lord.
Amen.

Dr. Phillip Aijian
Adjunct Professor
Torrey Honors College
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 Artwork: 
Harriet Tubman Mural
Aaron Douglas 
1931                
Oil on canvas
49.75 x 73.5 in.
Bennett College for Women
Greensboro, North Carolina 

Among artist Aaron Douglas’ most important works are his large-scale murals. Using a modernist language of geometric and abstract forms, he depicted slavery, emancipation, the power of education, and the contributions of African Americans to American culture. Allegorical and epic, the narratives draw on Egyptian wall painting and Ivory Coast sculpture as well as modern architecture, jazz, and dance. Douglas’ major mural projects included the Harriet Tubman Mural, commissioned by Alfred K. Stern of Chicago for Bennett College for Women located in Greensboro, North Carolina. Douglas uses modernist imagery to depict Harriet Tubman, who was responsible for leading more than three hundred slaves to freedom by way of the Underground Railroad. Douglas wrote that he portrayed Tubman “as a heroic leader breaking the shackles of bondage and pressing on toward a new day.” Behind her and stretching back symbolically to Africa are the black men and women who toiled and prayed through three hundred years of servitude. “The group of figures to the right…symbolizes the newly liberated people as laborers and heads of families. The last figure symbolizes the dreamer who looks out towards higher and nobler vistas, the modern city, for his race. He represents the preachers, teachers, artists, and musicians of the group. The beam of light that cuts through the center of the picture symbolizes divine inspiration.”
https://camdencivilrightsproject.com/2015/09/07/harriet-tubman/

About the Artist:
Aaron Douglas
(1899–1979) is an American artist widely acknowledged as one of the most accomplished and influential visual artists of the Harlem Renaissance. After earning a B.A. in fine arts, Douglas moved to Harlem, where he became deeply involved in Harlem’s cultural community. In 1927 James Weldon Johnson, a poet and activist, asked the young artist to illustrate his forthcoming collection of poems, God’s Trombones: Seven Negro Sermons in Verse. Critically praised, God’s Trombones was Johnson’s masterwork and a breakthrough publication for Douglas. In his illustrations for this publication and later in paintings and murals, Douglas drew upon his study of African art and his understanding of the intersection of cubism and art deco to create a style that soon became the visual signature of the Harlem Renaissance. In 1931 Douglas sailed for Paris, where he undertook formal training and met expatriate artist Henry Ossawa Tanner. Following a year abroad, Douglas returned to New York, where he continued to receive commissions for his art. During the 1930s Douglas returned intermittently to Fisk University, a private historically Black university in Nashville, Tennessee, where he eventually became the chairman of the art department and mentored several generations of students before retiring in 1966.
https://www.nga.gov/collection/artist-info.38654.html

About the Music: 
“Psalm 107” - single 

Lyrics:
Halle hallelujah
Halle hallelujah

I was in darkness
I was blind without you
You brought me into life
Now I am free

I was full of death
I was in chains without you
You brought me into life
Now I am free

Halle hallelujah
Halle hallelujah

We thank you Lord

Halle hallelujah
Halle hallelujah

We thank you Lord
We thank you Lord

I was wounded
I was in pain without you
You brought me healing
Now I am free

I was wandering
I was lost without you
You brought me near lord
Now I am free

Halle hallelujah
Halle hallelujah

We thank you Lord

Halle hallelujah
Halle hallelujah

We thank you Lord
We thank you Lord
We are redeemed
We are redeemed
And we sing of His love
And we sing of His love

We are redeemed
And we sing of His love (6x)

Halle hallelujah
Halle hallelujah

We thank you Lord

Halle hallelujah
Halle hallelujah

We thank you Lord
We thank you Lord

Zi komo Jesu
(Thank you Jesus) (8x)

We are redeemed
And we sing of his love (4x)

About the Performers: 
Twenty Six Eight/Tribes & Tongues Collective are a family of worshippers and psalmists from the Twenty Six Eight Church located in Idaho who craft genre-blending Messianic songs that glorify God and bless people. Their name, Twenty Six Eight, reflects the words of the prophet Isaiah in Isaiah 26:8: “Yes Lord, walking in the way of your laws, we wait for you. Your name and renown are the desire of our hearts.” That Scripture informs the mission of their church, a body of believers that lives according to the world of God with conviction, truth, and love for God. The people from the Zambia Messianic Fellowship inspired Tribes & Tongues to write the song “Psalm 107,” a Messianic song influenced by the sounds of Africa. 
https://268church.org/product/psalm-107-single/
https://268church.org/tribes-tongues/

The Zambia Messianic Fellowship is a biblically sound prophetic movement of Jews and non-Jewish followers of Yeshua in Zambia. Established in 2000, they are a Yeshua-centered and Torah-observant congregation and are the oldest Messianic congregation in Zambia.
https://zamf.org/

About the Composers: 
Tribes & Tongues is a songwriting and worship collective associated with the Twenty Six Eight Church in Idaho. Members of the Tribes & Tongues Collective who wrote this “Psalm 107” include Bryan Klein, Atalie Snyder, Ivy Gilbert, and Isaiah Snyder
https://268church.org/product/psalm-107-single/

About the Poet: 
Jack Gilbert
(1925–2012) was an American poet. Gilbert was acquainted with poets Jack Spicer and Allen Ginsberg, both prominent figures of the Beat Movement, but he is not considered a Beat poet; he described himself as a "serious romantic." Over his five-decade-long career, he published five full collections of poetry. He graduated with a B.A. from University of Pittsburgh and received his M.A. from San Francisco State University in 1963. His work has been distinguished by simple lyricism and straightforward clarity of tone, as well as a resonating control over his emotions. His first book of poetry, Views of Jeopardy (1962), won the Yale Younger Poets Prize and was nominated for the Pulitzer Prize. His books of poetry were few and far between; however he continuously maintained his writing and contributed to The American Poetry Review, Genesis West, The Quarterly, Poetry, Ironwood, The Kenyon Review, and The New Yorker. Gilbert was the 1999–2000 Grace Hazard Conkling writer-in-residence at Smith College. Much of Gilbert's work is about his relationships with women. Gilbert was also a visiting professor and writer-in-residence at the University of Tennessee in 2004. 
https://en.wikipedia.org/wiki/Jack_Gilbert
https://www.poetryfoundation.org/poets/jack-gilbert

About the Devotion Author:  
Dr. Phillip Aijian
Adjunct Professor
Torrey Honors College
Biola University

Phillip Aijian holds a Ph.D. in Renaissance drama and theology from UC Irvine, as well as an M.A. in poetry from the University of Missouri. He teaches literature and religious studies and has published in journals like ZYZZYVA, Heron Tree, Poor Yorick, and Zocalo Public Square. He lives in California with his wife and children.
https://www.phillipaijian.com/
https://californiospress.com/2020/02/02/write-to-me-an-interview-with-poet-phillip-aijian/

 

 

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